Animol review – gritty young offenders drama challenges conventional machismo

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Institutional menace and an idealistic take on redemption sit side-by-side in Top Boy actor Ashley Walters’ empathic and occasionally over-earnest film The lawless brutality of a young offender institution is the setting for this British movie written by Marching Powder ’s Nick Love and directed by Ashley Walters. It’s a place where terrified newbies realise they can survive only by abandoning their innocence and decency, and submitting to the gang authority of a psycho top G, naturally involving a horrible loyalty test. This is a place where drugs arrive by drone, where facially tattooed men meet each other’s gaze with a cool opaque challenge in the canteen, and where the cues and balls on the recreation area’s pool table have only one purpose: to give someone a three-month stay in the hospital wing while underpaid guards in lanyards and ill-fitting v-neck jumpers look the other way. Continue reading... from Film | The Guardian https://ift.tt/CLu4l65 via IFTTT
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After 10 years, I'm stepping down as the Observer's film critic. Here are my top films from the decade | Mark Kermode

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As I leave the post, I look back on how cinema has changed since 2013 and, below, pick a favourite movie from each year of my tenure – as well as a turkey

This week, I filed my final column as chief film critic for the Observer. I’m stepping down after exactly 10 years in the role, making way for the brilliant Wendy Ide to take over the reins and put her own inimitable stamp on the paper. A longstanding colleague and friend, Wendy is an exceptional critic and I look forward to reading her insightful and elegant reviews in these pages for years to come. In the meantime, looking back at my own experiences over the past decade, I’m struck by how much the moviegoing landscape has changed.

When I took over from the great Philip French in September 2013, Kathryn Bigelow was still the only woman to have won the Oscar for best director, having made history when she triumphed with her tense war drama The Hurt Locker in 2010. The Academy Awards have, of course, always been inherently ridiculous (remember: Citizen Kane didn’t win best picture, but Driving Miss Daisy did). For better or worse, however, this very American shindig tells us something about the way the mainstream film industry views itself. And since the first Oscars ceremony back in 1929, the Academy has overwhelmingly celebrated and prioritised white male film-makers. Yet in the past 10 years, things have at least begun to shift in encouraging ways.

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