Release date – 15th November, Cert – 12, Run-time – 2 hours 32 minutes, Director – James Mangold

Race car designer Carol Shelby (Matt Damon) and driver Ken Miles (Christian Bale) battle the lead figures of Ford to create a car that will beat Ferrari at the 24 hour Le Mans race.

Ford Vs Ferrari is the better title, that seems to have been one of the main agreed thoughts when it comes to Le Mans ’66, as it’s been labelled in the UK. It seems that the studio have taken the opinion that the 24 hours at Le Mans racing competition is well known enough in the UK for that to be the title, instead of the Ford Vs Ferrari label – which arguably better conveys the competition that the film tries to get across. Following race car designer Carol Shelby (Matt Damon) as he’s tasked by the Ford motor company to build a car in only a matter of months that could beat the consistent winners of the race, Ferrari. Shelby finds himself recruiting driver Ken Miles (Christian Bale) – and somewhat questionable Brummie accent – to help him build the hopeful winning car, despite the disapproval of senior Ford figures, who want to keep a clean image, which the prone-to-outbursts Miles has made a name for. An early scene showing him calling a race official an “arsehole” when his car is apparently not fit to race, something which he quickly fixes with a few hits from a hammer.

“This isn’t the first time that Ford motors has gone to war in Europe” explains Henry Ford II (Tracy Letts) to Shelby as he explains his ambitions in hoping that winning the competition will make his cars more attractive to a younger audience of post-war buyers. It’s lines of dialogue like this that capture the attention of the viewer and bring them into the world of the film; not lines like “cor blimey, did you see that?” However, while the dialogue fluctuates much of the film is rather conventional. The more talky scenes that make up most of the two and a half hour run-time of James Mangold’s latest are filled with a sense of convention, which at times leads to a slight lack of connection with the characters at the centre of the piece. It’s also such moments that make the film really feel like two and a half hours.

What does work though are the racing scenes. The general look and, especially, sound of such moments is engaging, and slightly thrilling. Bringing the viewer in for relatively fast-paced sequences, especially in the extended third act race finale – the definite highlight of the entire film, even if you do have to go through almost two hours of build-up to get to it.

There are enjoyable moments throughout the film, some slight moments of humour, often coming from Bale’s easily agitated figure, even if every attempted beat doesn’t quite work. Emotion or major moments of character development also don’t quite get across either. A moment of Ken talking to his son (Noah Jupe), explaining the perfect lap, doesn’t quite work and almost begins to feel slightly forced, as does much of the emotion or moments of close character bonding, often between Ken and his wife (Caitriona Balfe) or son, that the film tries to get across. Through tensions of whether he should race to earn money, after his car workshop has been forcefully closed down and he has no other major source of income, despite telling his wife that he had retired from racing. The only major thing pushing him on being his son’s equal passion for cars and racing and his own love for the pair.

And it’s clear that the main love and effort for the film has been put into the energy and flare held by the racing scenes, and the majority of moments based around driving a car at a high speed around a track. The editing and sound makes them what they are and very much puts the viewer in the front seat, perhaps not the driving seat but definitely the passenger seat. The racing scenes are the true energy of the film, while what else there is is still lightly enjoyable the convention definitely gets in the way at times, alongside Christian Bale’s slightly wobbly accent.

The racing scenes are the true action and heart of Le Mans ’66, while the rest of the film is perfectly fine it’s deeply rooted in convention and at times feels safe to the point where the two and a half hour run-time begins to be felt.

Release date – 27th March 2020, Cert – 15, Run-time – 1 hour 37 minutes, Director – Lorcan Finnegan

A young couple (Imogen Poots and Jesse Eisenberg) find themselves trapped in a maze of identical houses, forced by a never seen figure to live their lives in one.

From the moment that young-couple Tom and Gemma (Jesse Eisenberg and Imogen Poots) step foot into a creepily symmetrical estate agent, the only member of staff being Jonathan Aris’ robotic Martin, the levels of unease and tension that run throughout Vivarium are firmly established. Throughout the entire film everything never quite feels right, and as the couple soon find themselves stuck in a maze of identical houses. No matter what they try they seem to keep coming across one specific house – the one it seems that the invisible onlookers of the housing estate have designated them to live in.

Soon, the pair find themselves receiving deliveries of tasteless food, packages neatly placed outside their house from more invisible figures, and then a baby. The pair are told, as they become increasingly desperate for escape, that they must bring the baby up and then they can be set free; something which they doubt will actually be the case. The longer the couple spend in the vivarium like residency the more their mental states begin to decline, and they begin to resort to basic animal instincts. While Gemma is able to keep herself slightly sane, Tom finds himself ready to attack, desperate to leave – constantly digging in the front garden in the hope of finding some way of making a tunnel out.

In many ways the slow-burn of the short 97 minute run-time, watching the two central figures slowly go insane and loose their patience and general senses has feelings of The Shining. However, Vivarium is a very matter of fact film, it stays grounded and to an extent relatively realistic, before releasing everything in the final 10-15 minutes. Effectively unnerving, helped by the two strong performances at the centre of the piece, and wonderfully written, tension and mistrust are built up from the very start. In many ways Vivarium shares similar style and ideas with the more horror oriented episodes of Inside No 9. Holding a creepiness and unease that will stick with the viewer long after they’ve left the cinema.

The only thing that the sense of horror gets in the way of is the other tones that the film tries to sporadically introduce. Emotion and humour don’t quite break through in the way that director Lorcan Finnegan and writer Garret Shanley may have hoped. However the general fear factor that the piece so effectively holds is never lost or broken, leading to a crazy, acid-trip like finale filled with scares and originality. The overall film itself might be simple, but there’s no denying the effect that it has. Fuelled by two intense performances and an atmosphere that overflows with creepiness Vivarium is a fantastically made horror filled with tension, fear, insanity and a general state of madness. Nothing will be quite the same by the time it finishes, leaving a cold chill down the back of the viewer long after the credits close.

Insanely creepy and powered by two intense performances, Vivarium is a truly messed-up acid trip akin to an episode of Inside No 9. Taking the viewer for a greatly enjoyable, unpredictable ride of tense madness.

Release date – N/A, Cert – N/A, Run-time – 1 hour 34 minutes, Director – Beniamino Barrese

Once iconic model Benedetta Barzini has the intention of disappearing from the view of the world, however her son, Beniamino Barrese, decides to make one last film of her, despite her protests

Benedetta Barzini has spent the majority of her life in-front of a camera. As a once iconic model she once appeared on the front covers of some of the world’s most famous and influential fashion magazines. However, she now has the intention of disappearing, vanishing from the view of the world to an isolated island of her own. On hearing this her son, director Beniamino Barrese, decides to document his mother in case she disappears, despite her constant protests. It’s evident that Barzini still very much loves what she does and takes her modelling work very seriously, however for someone who is famous for being seen through a lens she tells her son “the lens isn’t you. The lens is the enemy”. She feels tired and simply wants to retire and be left alone.

It’s evident from much of the film that Barazini is a deeply intelligent and thoughtful figure. Her life experiences – some of which are recreated by her son, who hires a number of actresses to take on the persona of his mother in her youth, recapturing old footage or pictures of her – and wisdom shines throughout the film and makes for an utterly compelling subject. And yet amongst all her disheartening upset and anger over the film that’s being made about her she still manages to inject a fair deal of humour into the piece. Her objection against the creation of the documentary varies, at one moment her taking against it can be rather funny, whereas at others it can be genuinely saddening. For both her and her son, who doesn’t want to say goodbye to his mother. The contrasting views of mother and son create for a rather touching and thoughtful final product that never once feels heavy-handed or forceful.

This is a deeply personal piece for Barrese, capturing his relationship with the woman who brought him up, attempting to keep a time capsule of his memories of her. One which connects with the viewer on an emotional level, allowing for them to see the personal lives of the two, their bond and therefore bringing them in for an emotional journey over the course of 94 minutes. 94 minutes which goes by rather quickly as the outside world is forgotten, the only thing that matters is the woman at the centre of the film. By the end the audience is simply consumed by emotion, desperately wanting to know what happens and whether the titular mother decides to go through with her disappearance or not. While she seems adamant that it’s what she’ll do – saying “I don’t give a damn what island, I just want to be able to go away” – the more she’s shown to spend time on the catwalk – moments that are genuinely lump-in-throat tense and emotional – and with her friends you begin to think that she might not actually ever leave, or that she might somehow be trapped in the life she lives.

“It was the first time that somebody wanted me, specifically me. And it felt good” she says about when she was first picked up as a model. Her opinions have changed as she’s gotten older and she’s certainly become far more insightful and interesting. For such a simple basis for a documentary it’s one of the most compelling, investing and emotional docs of the last few years. While the central focus brings in enough emotion and humour to power the film through what truly makes it is the connection and relationship between the mother and her son who documents her. It might be one very personal story for the son/ director, but it connects deeply with the audience and compels them in emotion for almost the entire, quick-flowing run-time.

Engaging, interesting and deeply compelling The Disappearance Of My Mother is a passionate, personal yet welcoming documentary. Flowing with emotion, humour and a wonderfully engaging subject it just clicks and works right from the start.

Release Date – 4th November 2019, Cert – PG, Run-time – 1 hour 41 minutes, Director – Tom Harper

A scientist (Eddie Redmayne) and a widowed adventurer (Felicity Jones) embark on a hot air balloon trip to go higher than any man has ever gone.

1862, the weather as we know can’t be predicted as it is nowadays. Scientist James Glashier is adamant to change the way that it’s done, by going higher into the sky than any man has ever gone in a hot-air balloon. Assisting him is widowed pilot/ adventurer Amelia Wren. From the very start of the film, where Glashier is worried about setting off on time and achieving his scientific discovery, tracking each and every element of the flight, Wren is more concerned with dressing up in bright colours and heavy make-up to put on a show for the crowd. For much of the film this seems to be as much character detail and development that we get for the 101 minute run-time. Not a great deal changes over the course of the unfolding events.

The events of the film are very much split between the events in the balloon, and the risks of going higher, as air runs out and the balloon itself begins to freeze, and flashbacks to how the central pair met. Much like the two leads there’s very much a contrast between the styles of what sometimes seem like two very different narratives. While the flashbacks seem very conventional – a typical period drama of people wanting to achieve their dream despite the disapproving views of other people – the events in the sky are the highlights of the film. The sense of height, while not always being felt, does have an effect, sometimes feeling similar to the main event in Robert Zemeckis’ The Walk.

There are moments where Jones’ character braves her life and climbs up the side of the balloon where there is a genuinely breathless feel. However, it only creates the wish for more moments like this, more impact and connection with the otherwise predictable and conventional piece. The flashbacks very much come in and disturb the flow of the piece, slowing things down, feeling as if they could be put at the very start of the film and told in a much shorter, more concise way. To briefly establish the context and then allow the main action during the flight to take centre stage, even if that is still coated in a, admittedly slightly thinner, veneer of convention; removing some of the potential thrills, until the final act of the piece when the true scale of threat and danger comes into play.

All this not helped by the lack of connection that the viewer feels with the film. While during the key scenes there’s a slight sense of connection the high levels of convention, and feeling that what’s happening has been seen done a number of times before in a better, more ambitious way.

While the two leads, of course, give good performances there’s a great deal of convention to The Aeronauts that blocks a proper connection and doesn’t quite allow it to fly as high as it might hope.

Release date – 13th March 2020, Cert – 15, Run-time – 1 hour 40 minutes, Director – Nick Rowland

Douglas (Cosmo Jarvis) is the tough enforcer for an Irish crime family, however he becomes increasingly torn between his crime life and his actual family, especially when asked to kill for the first time.

“Violence isn’t always in, it’s sometimes just the way a fella makes sense of the world” states former boxer Douglas (Cosmo Jarvis). The tough-man enforcer for the Devers family. A notorious crime family in rural Ireland, led by Barry Keoghan. Douglas’ life almost seems to be dominated by violence, he craves to be back in the boxing ring but after multiple injuries he has to live life by beating those that the Devers family is out for. However, things take a turn for the worst when he’s told to kill for the first time in his life. Douglas finds himself torn between his life of crime and his actual family, including his five year old, highly autistic son, Jack. The contrast between the two lifestyles clearly shown, Douglas’ house is dark and shaded, much like everything he comes into contact with when with the Devers, whereas when spending time with his son things are brightly lit, if slightly grey-washed.

Debut director Nick Rowland does a fantastic job in conveying the true scale of the violence that lines a number of the scenes in the film. Each beat is flinch inducingly tense, bringing in elements of slight discomfort and unease to create a truly impactful feel. Fuelled further by the fast-paced editing and the overall gritty feel of the piece the bloody nature of the film is truly felt, the right sense of darkness being used to enhance the world that Rowland, and screenwriter Joseph Murtagh, creates. As the third act comes into play there are hints of Edgar Wright’s Baby Driver in that once one thing goes wrong it’s all downhill from there. The tension being ramped up to an edge of your seat style finale; where anything can happen.

This all contrasting with the moments of calm that Douglas experiences. He discovers the pure joy of riding horses, something which he begins to have in common with his son – the scenes where he tries but fails to connect being truly upsetting and disheartening. During such moments there’s a genuine sense of uplift, a pure smile comes to the face of the viewer during this time of relief, something akin to therapy. The performances throughout helping to perfectly capture the tone of each scene.

Each performance in the film is truly outstanding, capturing the real essence of each character, adding new layers as the plot progresses. In fact the performances that steal the show are those of the supporting cast – especially Niamh Agar as Douglas’ suffering ex, Ursula. Showing the struggles, stresses and gradual breakdown of the character as she worries about her son’s future – wanting to move to Cork so that she can enrol him in a school that will be able to cater towards his needs more than a standard one would.

As all the fears and worries of Douglas’ life begin to rapidly escalate so does the overall sense of darkness, grit and tension that the film so wonderfully encapsulates. Everything is clearly planned out, thought-through and generally sculpted to heighten the investment and engagement of the viewer within the world created. One that feels grounded and realistic, forming a stronger connection with the deeply conflicted nature of the central figure. When mixed with the believable, yet brutal, nature of violence which is sparingly used and carefully crafted, there’s a lot to enjoy about Calm With Horses. From the clearly passionate input from all the cast and crew to the various effects on the audience. Rowland shows with his directorial feature debut that he’s put a great deal of time and effort into his craft, and it shows to strong effect. Demonstrating great future promise for a director who may very well become the British equivalent of the Coen Brothers.

Dark, gritty and equally emotional there’s a great mixture of feelings poured into the passionately made Calm With Horses. Fulled further by top editing and performances it’s a deeply unflinching drama from a promising rising talent who’s sure to be a huge name in British/Irish cinema very soon.

Release date – N/A, Cert – N/A, Run-time – 1 hour 17 minutes, Director – Nuno Escudeiro

Documentary following the communities who help migrants on the French-Italian border and the actions of the authorities that try to stop them.

There’s a section of the dangerous mountain border of France and Italy where it seems that not even either country knows what area of land belongs to what country. Thousands of migrants and refugees travel through this valley region every year in the hope of finding safety and a new life, helped by the people who live on either side of the border to get to wherever they will be safest. However, the guidance and compassion that such figures give is often put to a stop by the local authorities, doing all they can, even if the actions of those featured in the film are perfectly legal, to put this to a stop.

One such figure, Cédric, has found himself arrested on six separate occasions for trying to help people achieve citizenship and rights. Cédric allows many of the migrants to take residence within his house while he works out what the best way of getting them to a better life is, he’s also the person most involved with the law and makes for a rather interesting focus when he’s on screen; making up some of the best moments that the film has to offer. When making note of the evolution of the law and the way that they act he claims “it isn’t a case of the law evolving, more that they know that they’re acting illegally”. He observes the law in his area and makes note of them, showing the actions they take to swerve their own rules. It’s hinted at that those who help the migrants put themselves in situations as dangerous as crossing the mountains when it comes to dealing with the police, “if you take care of people in trouble… Then you are not the same person anymore” in the eyes of the law.

When it comes to the other focuses of the film there does seem to be a slight imbalance, we get to know some more integral players better than others, or at times some seem to be left out for long periods of time until popping up again after almost being forgotten about. With a short run-time of 77 minutes such short time is split up between multiple people, meaning that sometimes there’s a struggle to properly connect with certain figures. Alongside one or two moments feeling slightly rushed, the first time we see a plan fail doesn’t have the impact the filmmakers may have intended due to not quite having the proper connection with the film at this early stage. Despite this there’s no denying the overall interest that the film creates, and it’s one that will surely encourage some form of debate, especially around thoughtful themes such as whether “we adapt quicker to restrictions of freedom than we do to freedom itself”

Amongst all the debate that the film could encourage and all its subjects have to say about the families and people they come across and help at the end of the day much of The Valley is simply about love and compassion. Caring for others and how often kindness and helping people is a forgotten fundamental principle. The disheartening nature of some of the events that the film presents makes this theme more prominent. When mixed with the simply followed themes of the film, and the short run-time, the final product is a fairly concise, interesting film. It does leave some gaps and it feels like there’s more to be explored; however what we do see says enough and treats the viewer as an equal, managing to successfully show them the handful of people and subjects that it covers and give them even just one thing to take away.

About caring for those around us as much as it’s about immigration and the law The Valley is a subtle, calm yet still slightly disheartening documentary that poses some interesting ideas and questions in its short run-time, even if it doesn’t always manage to form an impactful connection.