MAD MAX (15)
MAD MAX 2: THE ROAD WARRIOR (15)
MAD MAX: BEYOND THUNDERDOME (15)
THE MAGNIFICENT SEVEN (12)
D: Antoine Fuqua
MGM/Columbia/Village Roadshow (Roger Birnbaum & Todd Black)
W: Nic Pizzolato & Richard Wenk [based on the screenplays "Seven Samurai" by Akira Kurosawa, Shinobu Hashimoto & Hideo Oguni and "The Magnificent Seven" by William Roberts]
DP: Mauro Fiore
Ed: John Refoua
Mus: James Horner & Simon Franglen
Denzel Washington (Sam Chisholm), Chris Pratt (Joshua Faraday), Ethan Hawke (Goodnight Robicheaux), Vincent d'Onofrio (Jack Horne), Byung Hun-Lee (Billy Rocks), Haley Bennett (Emma Cullen), Peter Sarsgaard (Bartholomew Bogue), Luke Grimes (Teddy Q)
While not as terrible as the majority of Hollywood remakes which have been churned out over the past decade, this 2016 version of the classic 1960 western (& 1954 samurai original) fails to justify its existence.
The characters may have different names, but the plot doesn't stray too far from the original films path, even chucking in a scene completely stolen from Django Unchained to make Denzel Washington's character a little bit cooler.
The whole point of the 1960 version was to switch genres for an American audience, but this was put into production for monetary gain only, bringing with it a 21st century cast which includes multiple races. Unfortunately, ticking the boxes of political correctness doesn't capture the magic from the original films, and the overall result is quite boring and pointless, neglecting the character-driven element to set up some rather mundane and unconvincing action set pieces.
MAJOR LEAGUE (15)
MAJOR LEAGUE II (12)
MAN ON FIRE (18)
THE MAN WITH ONE RED SHOE (PG)
MANCHESTER BY THE SEA (15)
D: Kenneth Lonergan
Amazon/Roadside Attractions/K Period/Pearl Street (Matt Damon, Kimberley Steward, Chris Moore, Kevin J. Walsh & Lauren Beck)
W: Kenneth Lonergan
DP: Jody Lee Lipes
Ed: Jennifer Lame
Mus: Lesley Barber
Casey Affleck (Lee Chandler), Lucas Hedges (Patrick Chandler), Kyle Chandler (Joe Chandler), Michelle Williams (Randi), Gretchen Mol (Elise Chandler)
Originally intended as a project for Matt Damon (who still served as producer), Casey Affleck delivers the performance of his career as Lee Chandler, a grief-stricken loner who receives the news that he is to be his nephew's guardian following the death of his brother.
Though the film follows a linear narrative of the relationship between the two characters, while some back story unfolds with a series of flashbacks that explain the reasons for Lee's depression and reluctance to occupy himself with social interaction.
The film isn't an easy watch, with Kenneth Lonergan's unsympathetic directorial style dragging you further in to Lee's world. What makes the film magnetic viewing is the excellent performances of Casey Affleck, Lucas Hedges and Michelle Williams.
It wouldn't be too far off the mark to call Manchester By The Sea 2016's equivalent of Ordinary People (qv). It is a solid drama, but you may not wish to subject yourself to repeat viewings.
MANDELA: LONG WALK TO FREEDOM (12)
D: Justin Chadwick
20th Century Fox/Pathé/Videovision/Distant Horizon/Origin (David M. Thompson & Anant Singh)
UK/South Africa 2013
W: William Nicholson [based on the autobiography "Long Walk To Freedom" by Nelson Mandela]
DP: Lol Crawley
Ed: Rick Russell
Mus: Alex Heffes
Idris Elba (Nelson Mandela), Naomie Harris (Winnie Madikizela), Tony Kgoroge (Walter Sisulu), S'Thandiwe Kgoroge (Albertina Sisulu), Riaad Moosa (Ahmed Kathrada), Zolani Mkiva (Raymond Mhlaba)
Idris Elba really commits to the portrayal of Nelson Mandela in this biographical drama, charting his journey from civil rights lawyer during the segregation of Apartheid, his incarceration at Robben Island penitentiary, and eventual inauguration as the president of South Africa. Occasionally his accent wavers and the makeup is quite unconvincing, but aside from that it's an excellent performance. One which should have arguably gained the actor an Oscar nomination for Best Actor.
Naomie Harris is also very good as Winnie Madikizela, the revolutionary activist who would later become his wife.
Based on a 700+ book, the film does rush through a few things which could have taken time, such as the end of Apartheid, which was a hugely significant historical event at the end of 20th Century, and though the first half of the film does focus on Nelson Mandela as a person behind the politics, this gives way as the film progresses as he merely becomes a central figure amongst the changing world around him. In fairness, to squeeze so much history into a 146 minute movie is a noble feat, as Mandela's autobiography could warranted being adapted into a 5 or 6 part mini-series. Enough is covered here to paint an accurate portrayal of a significant historical figure, who himself sadly passed away just a month after the film's premiere.
D: Reginald Hudlin
Open Road/Starlight/Chestnut Ridge (Paula Wagner, Reginald Hudlin & Jonathan Sagner)
W: Michael Koskoff & Jacob Koskoff
DP: Newton Thomas Sigel
Ed: Tom McArdle
Mus: Marcus Miller
Chadwick Boseman (Thurgood Marshall), Josh Gad (Sam Friedman), Kate Hudson (Eleanor Strubing), Dan Stevens (Loren Willis), James Cromwell (Judge Foster), Sterling K. Brown (Joseph Spell)
Chadwick Boseman delivers an excellent performance in this biographical courtroom drama as Thurgood Marshall, a defence attorney and civil rights lawyer who would go on to become instrumental in the Brown vs Board of Education legal case in the mid-1950's, where racial segregation in educational establishments was dissolved. He also went on to become the first African-American Supreme Court Justice, but the events in this film pre-date these two events, instead focusing on a lesser known criminal case in America's Deep South.
Offering his services to African-American's who otherwise would have no means of representation, Marshall takes on the case of Joseph Spell, a black chauffeur standing trial for the rape of his employer's wife, but the lawyer's hands are tied by the presiding judge, and a white, Jewish lawyer, Sam Friedman, is brought in to act as proxy.
Though the court case is where the majority of this story takes place, the case in question has been handled before in other courtroom dramas, albeit slightly differently, and the film doesn't tackle Marshall's bigger achievements at all, and much of the events here are either diluted or dramatised through the PC lenses of modern society, rather than presenting a hard-bitten version of the truth.
Still, the performances are very good, especially from the lead actor, and it's certainly worth a watch.
D: Delbert Mann
United Artists (Harold Hecht)
W: Paddy Chayefsky [based on his television play]
DP: Joseph LaSchelle
Ed: Alan Crosland, Jr.
Mus: Roy Webb
Ernest Borgnine (Marty Piletti), Betsy Blair (Clara), Esther Minciotti (Mrs. Piletti), Joe Mantell (Angie), Augusta Ciolli (Aunt Catherine)
At a mere 91 minutes, this 1955 Best Picture winner still holds the record for being the shortest film to win the Oscars biggest prize.
It's a simple story, adapted from a 1953 television play of the same name also penned by Paddy Chayefsky, telling the story of Marty Piletti, an Italian-American butcher from the Bronx who goes out on Saturday nights looking for love with his best friend, Angie. By chance, he meets Clara, a plain school teacher who his friends and overbearing mother don't seem to like, but all Marty wants is his own happiness.
Though certain elements are dated, the central "love conquers all" theme still stands the test of time and the film began a trend for material originally written for television received a Hollywood makeover. The plot was recycled for 1991 rom-com Only The Lonely, but Ernest Borgnine and Betsy Blair make a far better couple than John Candy and Ally Sheedy.
MARY POPPINS RETURNS (U)
D: Rob Marshall
Disney (Marc Platt, John DeLuca & Rob Marshall)
W: David Magee [based on characters created by P.L. Travers]
DP: Dion Beebe
Ed: Wyatt Smith
Mus: Marc Shaiman
PD: John Myhre
Cos: Sandy Powell
Emily Blunt (Mary Poppins), Lin-Manuel Miranda (Jack), Ben Whishaw (Michael Banks), Emily Mortimer (Jane Banks), Pixie Davies (Annabel Banks), Nathanael Saleh (John Banks), Joel Dawson (Georgie Banks), Julie Walters (Ellen), Colin Firth (William Wilkins), Meryl Streep (Topsy), Dick Van Dyke (Mr. Dawes, Jr.)
Setting a new record of 54 years between the original film and its sequel, Mary Poppins returns to capture the hearts of children and adults alike with more magical adventures.
The original film is considered by many, including myself, an absolute classic, so the bar was set incredibly high and Emily Blunt had some big shoes to fill, replacing Julie Andrews as the title character.
Set many years after the original in depression era London, the Banks children from the original movie are now grown up, Michael with three children of his own (although his wife has passed on) and his sister Jane is a political campaigner for a working class movement. Given a week to save their family home from repossession from the bank, the magical nanny returns to bring a little joy back into everyone's lives.
The plot does copy the stencil of the first movie, but does so in quite a refreshing and original way, helped by Emily Blunt's performance, who does her own thing with the character but still brings a wonderful presence to the role which Julie Andrews did brilliantly in the original. Lin-Manuel Miranda also stars as a lamplighter, much similar to the role of Bert from the original film.
If I were to nitpick, it would be about the pantomime villain bank manager and a few of the casting decisions which seem a bit distracting and totally out of place, but what it does do it does very well, especially in dealing with a theme of loss.
As a fan of the original, it does capture the magic with the visuals, especially in the fantastic production design which recreates Cherry Tree Lane just as it was in the 1964 movie, and the choice of using hand-drawn animation for the visual effects set pieces instead of computer generated imagery. It's just a shame that the songs in this are nowhere near as catchy as memorable as those penned by The Sherman Brothers in the original classic, although it has to be said that the bar was set incredibly high there and only time will tell if the songs in this will carry any weight.
Fans of the original will certainly have nostalgic feelings attached going into it, and I'd understand if some were disappointed with this new vision, and it's difficult to judge how younger children would view this, if they didn't have any affiliation with the original film.
Overall, I didn't think it was super, but it was califragilisticexpialidocious.
THE MASTER OF DISGUISE (PG)
D: Menno Meyjes
Lionsgate/Pathé/Alliance Atlantis/UK Film Council/Kinowelt/Aconit/H2O (Andras Hamori)
W: Menno Meyjes
DP: Lajos Koltai
Ed: Chris Wyatt
Mus: Dan Jones
PD: Ben Van Os
John Cusack (Max Rothman), Noah Taylor (Adolf Hitler), Molly Parker (Nina Rothman), Leelee Sobieski (Liselore), Ulrich Thomsen (Capt. Mayr)
Set in the days following the end of World War I, when Germany is still reeling from defeat and suffering the political implications of the conflict, a Jewish arts dealer strikes up an unlikely friendship with a young Adolf Hitler, in-between his career as an artist and politician.
The film does flirt with Hitler's anti-Semitic outlook without fully exploring it, and does seem to hint at it escalating due to their dematerialising friendship.
Good performances really hold the movie together, especially from Noah Taylor, who would go on to play Der Führer in a television show a few years later. A special mention also has to go to Ben Van Os, for his excellent production design which captures the period with an air of animosity creeping in, just as the fascist regime did at the time.
THE MAZE RUNNER (12)
D: Wes Ball
20th Century Fox/TSG/Temple Hill (Ellen Goldsmith-Vein, Wyck Godfrey, Marty Bowen & Lee Stollman)
W: Noah Oppenheimer, Grant Pierce Myers & T.S. Nowlin [based on the novel by James Dashner]
DP: Enrique Chediak
Ed: Dan Zimmerman
Mus: John Paesano
Dylan O'Brien (Thomas), Kaya Scodelario (Teresa), Aml Ameen (Alby), Thomas Brodie-Sangster (Newt), Will Poulter (Gally), Ki Hong Lee (Minho), Patricia Clarkson (Ava Paige)
Based on a series of young adult novels, The Maze Runner is set in a dystopian future where a group of teenage boys live in a community of their own making which they call The Glade, the only escape from which is through an ever-changing labyrinth which is patrolled by dangerous cyborgs.
Thomas is a newcomer to this society, waking up in an elevator with no memory of who he is and how he got to be sent to the prison community. His presence is met with conflict by one of the teenage members, but the group of boys all band together to plot an escape when a teenage girl enters The Glade for the first time.
The Maze Runner will be as entertaining for teenage boys as Twilight is for teenage girls, but if you're outside the target demographic, you're unlikely to find it amazing.
Still, it's adequately produced, with some good performances, visual effects and some thrilling action scenes, but it's all pretty much Lord Of The Flies meets The Hunger Games for the under 16's. Two sequels followed.
MEAN GIRLS (12)
D: Mark Waters
Paramount/Broadway (Lorne Michaels)
W: Tina Fey [based on the book "Queen Bees & Wannabes" by Rosalind Wiseman]
DP: Daryn Okada
Ed: Wendy Greene Bricmont
Mus: Rolfe Kent
Lindsay Lohan (Cady Heron), Rachel McAdams (Regina George), Lacey Chabert (Gretchen Wieners), Amanda Seyfried (Karen Smith), Lizzy Caplan (Janis Ian), Jonathan Bennett (Aaron Samuels), Daniel Franzese (Damian Leigh), Tina Fey (Ms. Norbury)
A smarter than average teen comedy, featuring Lindsay Lohan's best performance and launching the careers of several other cast members.
Lohan plays the new girl at a high school who falls under the influence of the popular clique and eventually sabotages friendships in the process.
A hugely popular movie since it's 2004 release, its success is mostly due to Tina Fey's insightful script, based on a book which didn't actually have a narrative and was more a self-help guide for young girls. The social observation prevalent through the first half of the movie does subside towards the closure, but it's still a thoroughly enjoyable movie with far more clout than many of the other films which set up a similar premise.
A straight to video sequel followed, but didn't receive the same attention.
MEET DAVE (12)
D: Brian Robbins
20th Century Fox/Deep River/Dune/Regency (Jon Berg, David T. Friendly & Todd Komarnicki)
W: Bill Corbett & Rob Greenberg
DP: J. Clark Mathis
Ed: Ned Bastille
Mus: John Debney
Eddie Murphy (Dave Ming Cheng / Number 1), Elizabeth Banks (Gina Morrison), Ed Helms (Number 2), Gabrielle Union (Number 3), Mark Blucas (Mark Rhodes)
Anyone who read British comics The Beano, The Beezer and The Dandy may remember the strip The Numskulls, in which a human body was a vessel containing tiny people who controlled each body part.
Meet Dave is pretty much a film version of that, with Eddie Murphy playing a spaceship as well as the tiny captain within. The rest of the plot is your usual fish-out-of-water tale, with the bigger Murphy wandering around New York City and becoming more human with the help of Elizabeth Banks kindly single mother.
Though not as bad as some other Eddie Murphy films released around the same time (Norbit, etc.) this is far from his best work.
MEET THE FEEBLES (18)
D: Peter Jackson
Intervision/OPEIU/Wingnut (Jim Booth)
New Zealand 1989
W: Peter Jackson, Fran Walsh, Danny Mulheron & Stephen Sinclair
DP: Murray Milne
Ed: Jamie Selkirk
Mus: Peter Dasent
voices of: Mark Hadlow (Robert the Hedgehog / Heidi the Hippo / Barry the Bulldog), Peter Vere-Jones (Bletch the Walrus / Arthur the Worm / Newspaper Mouse), Donna Akersten (Lucille the Poodle / Samantha the Cat / Dorothy the Sheep), Stewart Devanie (various characters)
Muppets on drugs. That's pretty much the central theme of this movie, which has become a modest cult success following Peter Jackson's rise to stardom and his Lord Of The Rings trilogy.
This black comedy focuses on the perverse shenanigans which go on behind the curtains at a puppet variety show, satirising The Muppets in a rather filthy way.
Enjoyment depends wholly on how filthy your sense of humour is, but it has to be said that the whole film is dirty, even achieving a sickeningly seedy look through its cinematography, production design and puppetry.
As Jackson said upon his Best Director win for Lord Of The Rings: The Return Of The King - The Academy were very wise to overlook this.
MEET THE SPARTANS (12)
D: Jason Friedberg & Aaron Seltzer
20th Century Fox/Regency (Peter Safran, Jason Friedberg & Aaron Seltzer)
W: Jason Friedberg & Aaron Seltzer
DP: Shawn Maurer
Ed: Peck Prior
Mus: Christopher Lennertz
Sean Maguire (King Leonidas), Carmen Electra (Queen Margo), Ken Davitan (Xerxes), Nicole Parker (Paris Hilton / Britney Spears / Ellen DeGeneres / Paula Abdul)
Parody of 300 from the writer-director duo who spent most of the mid-2000's spoofing any films they could. Unfortunately, their direction and writing skills contain no humour or comic timing, resorting to referencing pop culture figures, bad taste gags and puerile jokes, most of which are repeated throughout the movie.
The film was shot in a week. It shows. Easily one of the worst films of 2008.
THE MEG (12)
D: Jon Turtletaub
Warner Bros/Gravity/Flagship/Appelles/Maeday (Lorenzo di Bonaventura, Colin Wilson & Belle Avery)
W: Dean Georgaris, Jon Hoeber & Erich Hoeber [based on the novel "Meg: A Novel Of Deep Terror" by Steve Alten]
DP: Tom Stern
Ed: Steven Kemper
Mus: Harry Gregson-Williams
Jason Statham (Jonas Taylor), Li Bingbing (Suyin Zhang), Rainn Wilson (Jack Morris), Ruby Rose (Jaxx Herd), Winston Chao (Dr. Minway Zhang), Cliff Curtis (James 'Mac' Mackreides)
There's an episode of TV's Family Guy where Peter, the moronic head of the Griffin family, suggest a new idea for a film. It's Jaws, but with a bigger shark, the film's title will be Bigger Jaws. That's what The Meg is.
Set off the coast of Shanghai, because cracking the Orient means more to Hollywood than a decent script or dependant acting nowadays, the plot opens with a group of scientists who unearth a trench on the ocean floor which is considered the deepest point on Earth. The expedition goes wrong and rescue expert Jonas Taylor is brought in to save the day, albeit too late as disturbing the trench has allowed the escape of a Megalodon, a huge shark thought to have been extinct since prehistoric times. Everything that follows is derivative of any shark movie you may have seen since Jaws first emerged onto cinema screens in the 1970's.
The Meg is certainly one of those films you'll know you'll enjoy or not before you even watch it. It's exactly what it says on the tin- Jason Statham fighting a shark.
The acting is atrocious, the dialogue laughable and the plot ridiculous, but with films like Sharknado managing to find an audience, this at least deserves some credit for having some production value. For fans of shark movies or Jason Statham vehicles, this is worth a catch, just don't expect it to be fresh. For me, The Meh would have been a more accurate title.
MIKE & DAVE NEED WEDDING DATES (15)
D: Jake Szymanski
20th Century Fox/TSG (Peter Chernin, Jonathan Levine, David Ready & Jenno Topping)
W: Andrew J. Cohen & Brendan O'Brien
DP: Matthew Clark
Ed: Lee Haxall & Jonathan Schwartz
Mus: Jeff Cardoni
Zac Efron (Dave Stangle), Adam DeVine (Mike Stangle), Anna Kendrick (Alice), Aubrey Plaza (Tatiana), Sugar Lyn Beard (Jeanie Stangle), Stephen Root (Burt Stangle), Stephanie Faracy (Rosie Stangle)
I'm dismayed by the current standard of comedy when all Hollywood want to churn out month after month are low-brow teen-orientated sex comedies brimful with puerile humour, especially when it's more embarrassing than it is funny.
Zac Efron and Adam DeVine play two raucous brothers who are requested by their parents to find dates for their sister's upcoming wedding to prevent them from acting like dickheads and spoiling the day. They succeed in finding Anna Kendrick and Aubrey Plaza, who look wholesome, but turn out to be less better behaved than the boys.
This shoe-on-the-other-foot sort of thing has been done before, as far back as the 1960's, and it wasn't particularly funny then, but it's louder now, and more in-your-face than ever before.
I found the characters incredibly annoying, not helped by immature performances and an infantile script (Anna Kendrick deserves better than this). Personally, I couldn't care less if two absolute wankers get girlfriends or not.
MILE 22 (18)
D: Peter Berg
STX/Huayi Brothers (Peter Berg, Mark Wahlberg & Stephen Levinson)
W: Lea Carpenter
DP: Jacques Jouffret
Ed: Colby Parker, Jr. & Melissa Lawson Cheung
Mus: Jeff Russo
Mark Wahlberg (James Silva), Iko Uwais (Li Noor), Lauren Cohan (Alice Kerr), John Malkovich (James Bishop), Ronda Rousey (Sam Snow)
Director Peter Berg has been dubbed a poundstore Michael Bay by some, which is quite harsh considering he helmed Deepwater Horizon, Lone Survivor and Patriots' Day, all of which were decent movies, and only 2012's Battleship on his resumé is considered a dud... until now.
The film opens with a montage which shows Mark Wahlberg's character James Silva to be some kind of child prodigy-come-adult genius. Unfortunately, this is never shown in the rest of the movie as he just acts like an obnoxious, shouty douchebag who leads a covert government unit and shoots at people every now and then.
His covert group of agents must accompany a political prisoner 22 miles across hostile territory where he awaits extradition, upon which he will reveal information which will prevent a potential terrorist attack.
Wahlberg's aside, the performances are okay, especially Lauren Cohan, but the action scenes are poorly executed, mostly due to the baffling direction and editing choices, which are far too frenetic to actually make out what's going on, and thus must serve only to disguise poor stunt work.
At a mere 94 minutes, at least it's not too big a waste of time.
A MILLION WAYS TO DIE IN THE WEST (15)
MISS PEREGRINE'S HOME FOR PECULIAR CHILDREN (12)
D: Tim Burton
20th Century Fox/TSG (Peter Chernin & Jenno Topping)
W: Jane Goldman [based on the novel by Ransom Riggs]
DP: Bruno Delbonnel
Ed: Chris Lebenzon
Mus: Mike Higham & Matthew Margeson
PD: Gavin Bocquet
Cos: Colleen Atwood
Eva Green (Miss Peregrine), Asa Butterfield (Jake Portman), Ella Purnell (Emma Bloom), Finlay MacMillan (Enoch O'Connor), Lauren McCrostie (Olive Elephanta), Chris O'Dowd (Frank Portman), Terence Stamp (Abraham Portman), Judi Dench (Esmeralda Avocet), Samuel L. Jackson (Mr. Barron)
Fantasy maestro Tim Burton tackles Ransom Riggs occult novel for this magical movie, starring Asa Butterfield as troubled teenager Jake Portman, who travels to a small Welsh town so he can visit an orphanage where his late grandfather stayed as a boy.
He initially discovers that the orphanage is a ruin, bombed during WWII, but is whisked away to a day in September 1943, when the orphanage still stands, run by headmistress Miss Peregrine who uses her magic to replay the day on an endless loop.
The children within the orphanage all have their own special gifts and are referred to as peculiars. Jake discovers that they himself has a unique gift; as monsters are visible only to him and aim to destroy Miss Peregrine's home.
Despite being visually creative and having some good special effects, costumes and production design, the narrative of this movie doesn't flow as neatly as you'd like it to, and probably runs the risk of boring young children who wouldn't understand the time-loop portion of the plot.
Worth a watch for fans of fantasy films or Tim Burton, but it's not amongst his best works.
MISS SLOANE (15)
D: John Madden
EuropaCorp/Filmnation/Archery/Canal+/Cine+/France 2 Cinema (Ariel Zeitoun, Ben Browning & Kris Thykier)
W: Jonathan Pera
DP: Sebastian Blenkov
Ed: Alexander Berner
Mus: Max Richter
Jessica Chastain (Elizabeth Sloane), Mark Strong (Rodolfo Schmidt), Gugu Mbatha-Raw (Esme Manucharian), Alison Pill (Jane Molloy), Michael Stuhlbarg (Pat Connors), Sam Waterston (George Dupont), John Lithgow (US Senator Ron Sperling)
Elizabeth Sloane (Jessica Chastain) takes on US congress in this incredibly America-centric political drama.
As a high-stakes power broker for a top firm, Miss Sloane turns face after being approached by a firearms company to work her magic and make weapons more appealing for women. This culminates in the businesswoman fighting congress and the right to bear arms, an argument which means much more on the other side of the Atlantic than it does in the UK.
A good performance from Chastain does carry the film, but the story itself is likely to be divisive between those who are about the issue religiously, and those who really couldn't care less. Unfortunately, I belong in the latter camp.
A near excellent political thriller set in unnamed South American country amid civil unrest. During a curfew under martial law, a young journalist goes missing and his wife and father unite to discover his whereabouts and discover truths about America's involvement into the military coup.
The performances from Jack Lemmon & Sissy Spacek make this a gripping watch and the taut direction and screenplay by Constantin Costa-Gavras cannot be faulted.
Based on a true story.