The Man I Love review – Rami Malek needs a lighter touch in Ira Sachs’ 80s Aids drama

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Cannes film festival: Sachs’ film about an HIV-positive actor in the homophobic Reagan-era 80s is well-intended, but Malek’s mannered performance is hard to love This film from writer-director Ira Sachs gives us premium-strength, undiluted Rami Malek – but I have to say that his overripe performance and self-conscious mannerisms here are perhaps even more oppressively insistent for being conveyed relatively quietly in spoken dialogue. And not quietly at all in the singing scenes. Malek is a performer whose style is as distinctive as those of John Malkovich or Jeff Goldblum. But it works best with a light touch in the direction and material. Things never really come together here. The Man I Love is a film about gay culture in 1980s New York, at the height of the reactionary homophobia of Reagan’s America, with HIV-positive men coming to terms with their condition and with the callous bigotry of the political zeitgeist. In one hospital scene, we see the authorities’ icily unsympathetic ...
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Luther: The Fallen Sun review – grisly violence takes starring role

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Feature incarnation of the Idris Elba cop drama sees a ropey but savage snuff-porn plot get too much explicit attention

Neil Cross’s smash-hit BBC TV crime drama now gets its own standalone feature film, with Idris Elba returning as the troubled London police officer John Luther, effectively continuing the story from the end of the fifth season. This may well play very effectively to the show’s fanbase and there’s certainly an alpha supporting cast including Cynthia Erivo, Andy Serkis and Hattie Morahan.

But I have to say – and those squeamish about spoilers and cliches had better look away now – that without the extended context of longform TV, the greater emphasis on explicit, violent horror is a bit exhausting. The serial-killer accessories feel hand-me-down; the Scandi noir touch is spurious and storylines in the movies about evil criminal plans to livestream snuff-porn are frankly always lame and implausible. At the dawn of the internet age, the snuff-internet-porn-themed film actually became its own yucky and naive subgenre, with movies such as Marc Evans’s My Little Eye and Olivier Assayas’s Demonlover, and it doesn’t deserve a comeback now.

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