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On this page: THE CRIME IS MINE | STUNTMAN | SUPERBOYS OF MALEGAON

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See also: SHADOWS FILM FESTIVAL | Last update 16.Oct.24

The Crime Is Mine Mon Crime
Review by Rich Cline | 4/5

dir-scr Francois Ozon
prd Eric Altmayer, Nicolas Altmayer
with Nadia Tereszkiewicz, Rebecca Marder, Isabelle Huppert, Fabrice Luchini, Dany Boon, Edouard Sulpice, Andre Dussollier, Regis Laspales, Olivier Broche, Felix Lefebvre, Franck de Lapersonne, Evelyne Buyle
release Fr 8.Mar.23,
US 25.Dec.23, UK 18.Oct.24
23/France 1h42

Is it streaming?

With its jazzy tone, raucous gags and twisted intrigue, this crime comedy can't help but delight the audience. And it helps that characters are colourfully played with subtext, while the story adds present-day resonance in themes about the unequal balance of power between men and women. Writer-director Francois Ozon creates a wonderfully engaging vibe that mixes in little jolts of realism amid the generally breezy, gleefully camp thrills.

In 1935 Paris, struggling actress Madeleine (Tereszkiewicz) bursts out laughing when she's accused of murdering a noted theatre producer who tried to have his way with her. She hires her just-qualified flatmate Pauline (Marder) as her lawyer, and the trial is a sensation when Madeleine and Pauline take control of the narrative, claiming that the shooting was actually self-defence. The press has a heyday with this, wildly boosting Madeleine's acting career. Then they are contacted by Odette (Huppert), a former silent film star who claims that she's actually the murderer. And she has proof.

Philippe Rombi's wonderful Hermann-like score adds to the Hitchcockian vibe, along with Manu Dacosse's lively cinematography and gorgeously designed sets, costumes and makeup. As always, Ozon creates especially vivid female characters while having some fun with the men as well. These include the pompous judge (Luchini), an involved businessman (Boon) and Madeleine's deeply confused fiance Andre (Sulpice), estranged son of a tyre magnate (Dussollier).

At the centre, Tereszkiewicz and Marder are a superb duo, as Madeleine proves skilled at feigning naivete, while Pauline conceals her true feelings for her, even amid some blatant innuendo. They have terrific chemistry, which adds a wonderful sense of affection and mischief. And while Luchini is an ace scene-stealer, cleverly punctured by Broche as his sardonic sidekick, it's no surprise that Huppert steals the entire film when she sweeps in imperiously. Like a superstar drag queen, she expertly deploys her impeccable timing, cheekbones, lipstick and hilariously over-the-top outfits.

While the female empowerment message is on point, it's the clever pastiche of a culture driven by paparazzi and social media that catches the attention here, playfully exploring the convolutions of truth, lies and myth-making that create reputations and popular opinion. So even if a couple of plot points get lost in the tangled web, this is a wildly entertaining film that keeps us laughing all the way through, especially as we begin to wonder what we might be able to get away with.

themes, language, violence 30.May.24

Stuntman
Review by Rich Cline | 3.5/5

Stuntman
dir Albert Leung, Herbert Leung
prd Angus Chan
scr Anastasia Tsang, Yip Wai-Ping with Terrance Lau, Tung Wai, Cecilia Choi, Philip Ng, Max Cheung, To Yin-Gor, Lam Yiu-Sing, Rachel Leung, Terry Zou, Ng Shui-Ting, Stephanie Che, Lee Kin Shing
release Chn 26.Sep.24,
UK 11.Oct.24
24/China 1h54

Is it streaming?

Opening with a blast of vintage-style Hong Kong action mayhem, this warm-hearted film cleverly captures the feeling that the industry is shifting as veterans are replaced by young upstarts. It's an enjoyable glimpse into the action film world, with snappy characters and lively situations. The plot turns melodramatic along the way, but directors Albert and Herbert Leung playfully nod to the dedication of stunt performers throughout the story.

Notorious action choreographer Sam (Tung) is still haunted by a serious accident on-set when he was younger. Making a movie with his director friend Cho (To), Sam hires aspiring stunt performer Long (Lau) to lead his team. Amid power clashes with leading actor Wai (Ng), who has a history with Sam, Long proves himself to be a skilled stunt coordinator. But the producer keeps trying to cut costs, threatening the big climactic scene. Meanwhile, Sam is neglecting his daughter Cherry (Choi) as her wedding day approaches, like he has done most of her life.

Getting the shot is anything for these cowboy filmmakers, who continually bend rules and put people in danger. This includes both the punchy flashback prolog and, later, an outrageous jewellery heist sequence that Sam audaciously shoots guerrilla style on a crowded street, putting passers-by in danger. So this means that stuntmen are also playing non-stuntmen. Indeed, many of the true stunts in this films take place off the fictional film set. And the story's real themes centre around honesty and reliability, rather than bravery or toughness.

Tung is likeable as the impulsive Sam, even when his hot temper gets the best of him, or when bad decisions jeopardise both his work and family relationships. Much more thoughtful, Lau's Long is just as focussed on his work, but is more aware of its impact on the world around him. This gives the engaging young actor some strong emotional moments along the way. And their evolving friendship is nicely observed.

While some of the grudges and squabbles feel somewhat overplayed, and while Sam's single-mindedness is almost comically out of control, watching Cho's film within the film come together is both entertaining and eye-opening. When the narrative hones in on relationships within the business, it finds some nice resonance. And of course, there's a lot of terrific stunt work on the screen, including a big climactic-redemptive moment. Plus some fun outtakes and a mid-credits finale.

themes, language, violence 11.Oct.24

Superboys of Malegaon
Review by Rich Cline | 4/5

dir Reema Kagti
scr Varun Grover
prd Ritesh Sidhwani, Zoya Akhtar, Reema Kagti, Farhan Akhtar
with Adarsh Gourav, Shashank Arora, Vineet Kumar Singh, Anuj Singh Duhan, Saqib Ayub, Pallav Singh, Manjiri Pupala, Riddhi Kumar, Muskkaan Jaferi, Gyanendra Tripathi, Abhinav Grover, Yash Yogendra
release UK Oct.24 lff,
US Oct.24 tcff, Ind Jan.25
24/India 2h07

TORONTO FILM FEST

Is it streaming?

Relentlessly charming even when it takes a couple of darkly serious turns, this true story from Indian follows a group of friends who set out against the odds to become filmmakers. Terrific on-set sight gags and movie in-jokes keep us laughing, while the narrative is assembled with clear affection. And the engaging actors create plucky characters who are easy to identify with, right up to the moving final scenes.

In the city of Malegaon, Nasir (Gourav) edits together classic movie highlights for the video theatre run by his brother Nihal (Tripathi). When this gets him in trouble with piracy police, Nasir decides to make his own movie with his friends, including cameraman Akram (Duhan), writer Farogh (Singh) and assistant Shafique (Arora), who really wants to act. And their parody movie is an enormous local hit. But Nasir alienates his friends by stubbornly refusing to make something original. And it takes a serious turn of events to bring the gang back together a decade later.

Assembled with affection, the film can't help but keep us engaged. Like most people, Nasir and his cohorts dream of movie careers, but moving to Mumbai will leave them very small fish in a huge pond. The script playfully explores hurdles they face in Malegaon, such as how young women are unwilling to show their faces on-screen, so they hire dancer-diva Tripti (the charismatic Pupala). And Nihal is constantly urging Nasir to settle down with a wife, but he's waiting for his lost love Mallika (Kumar).

These plot threads add layers that help the story resonate strongly. The charming Gourev is terrific as the single-minded Nasir, sympathetic even when everyone turns against him for good reason. His connections are beautifully played, allowing each person to emerge with their own yearnings. Arora is particularly memorable as Shafique, especially when events thrust him to the forefront later on. And the cast's three women (Pupala, Kumar and Jaferi, as Nasir's lawyer intended) hold their own with sparky wit.

While the light-hearted story takes some suddenly intense turns in the final act, it's still a lot of fun to watch these people make their movies. Their inventive low-budget productions are inspiring, as is their determination to achieve something memorable. So when the narrative includes notes about commercial pressures and film industry snobbery, it feels especially knowing and sharp. And the climactic production of their Superman homage is both hilarious and hugely emotional.

themes, language, violence 12.Oct.24 lff

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See also: SHADOWS FILM FESTIVAL