The Girl with all the Gifts. British made dystopian future story about a gifted young girl, her teacher and a scientist who is trying to find a cure for a fungal infection which threatens humanity. Oh, and it's got zombies in it. 8/10
The book (by M.R. Carey) is great too.
The Hobbit: Battle of the Five Armies (Netflix)
The film makers heard you liked climactic battles. So they put climactic battles in your climactic battles.
Or at least that's my impression of this last instalment of Peter Jackson's Hobbit/Quest of Erebor trilogy. It's a succession of finales, for the most part, each of which are ok in themselves, but when stacked one on the other as they are here, lose their impact - and boy, do they go on for a while. Between those, and the self conscious foreshadowing of events in The Lord of the Rings, this deserves its current two star rating on Netflix. In the plus column, there's plenty of visual invention in the filmmaking, some gorgeous vistas reminding us all what a lovely place New Zealand is, and some good performances - they just struggle under the way that the film has been constructed, as though no one was willing to say no to any idea for a scene.
It's a real pity, given the talent involved - both Peter Jackson and Guillermo Del Toro are capable of producing tightly structured, satisfying films that are still inventive and thought provoking.
Tale of Tales (Netflix)
A series of three fairy tales, joined loosely by their protagonists meeting at the start and end of the film. They're mostly in the "ordinary folk suffering because of the stupidity of royalty" genre, which I found irksome, but overall, I enjoyed the film. The production is rich and the film creaks with beautifully composed shots and gorgeous vistas. Toby Jones and Selma Hayek are particularly good. Ironically, given what I said above, I'd have liked to see a Del Toro take on this, just to push the invention and weirdness a little more.
Son of Saul (Netflix)
Fully deserving of its five star rating, this is an incredible piece of work. Telling the story of a member of a "Sonderkommando" at an unnamed Nazi extermination camp, who becomes fixated on providing a proper funeral for a young boy who survives being gassed, only to be killed by the guards. The film is shot with a very tight focus on the protagonist, which means that the chaos and brutality around him is glimpsed, something that somehow makes it more shocking - a chaotic world of ceaseless brutality (most of the scenes are a bedlam of shouted orders and hurried, shocked compliance). That narrow focus makes most of the running time claustrophobic and unsettling, and there are scenes in which viewers will, I think, feel some part of the panic onscreen.
It's also thematically quite rich, offering coping strategies of resistance or submission, empathy or detachment, and questioning whether we should expect anything from them in the face of the overwhelming, machine like brutality facing the characters. A very difficult film to do justice to in a few paragraphs, I'm afraid, and I feel there is much more to say about it - I'm astonished that something so assured and formally inventive is a directorial debut.