When the grieving fiancé (Paula Beer) of a German First World War casualty visits her beloved’s grave in 1919, the sight of a veteran French survivor (Pierre Niney) laying flowers upon it is the last thing she might expect but the first which she meets. Inspired by Ernst Lubitsch’s 1932 film Broken Lullaby, itself based on Maurice Rostand’s ‘L’homme due j’ai tué’ play of two years earlier, such is the set up to François Ozon’s César award-winning Frantz, a heartbreaking tale of love, loss and lies, intertwined with intrigue.
There are a great number of cruelly self-destructive lines in Alien: Covenant. ‘This is a monumental risk not worth taking’ says one character; ‘How did she end up here’ says another. Whereas Prometheus felt like an unnecessary, but successfully atmospheric, origins story to Ridley Scott’s 1979 Alien, the problem with its first sequel is that it adds to the pointlessness only derivation and oddities. The visuals are still impressive, as is Michael Fassbender (the only returner from before) but here is a plot so messy that such a degree of scrutiny is required – to simply fathom what’s going on – that exposed is the plain fact that none of it actually makes any sense.
Sleepless is the 2017 remake of Frédéric Jardin’s Nuit Blanche, released six years ago, that you never knew you wanted. This is, of course, predominantly because you didn’t, but that hasn’t not stopped Baran bo Odar from directing it anyway. Isn’t that nice of him. Whilst the first half is fair enough, if not actively good, it is in Sleepless’ second act that the plot swings from banal to bonkers, before finally bombing in boring.
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