Sense and Sensibility review – blue-chip cast decorates Emma Thompson’s pleasurable Austen adaptation

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Thirty years later, this richly enjoyable film is back with its quality lineup including Kate Winslet and Hugh Grant alongside Thompson herself Emma Thompson won a screenplay Oscar for this buoyant, vibrant, richly enjoyable adaptation of Jane Austen’s novel. Released in 1995, it was directed by Ang Lee and is a movie with the pleasures of a golden age studio picture of the kind made by William Wyler. It was the second half of Thompson’s Oscar double – she won her first one in 1993 for acting in Howards End – and she is still the only person in Academy Award history to win for acting and writing. With marvellous lightness and gaiety, Thompson found a response to Austen’s comic register, expertly marrying it up to the romance, and 1995 now looks like the golden age of Austen adaptation, having also seen the Colin Firth/Jennifer Ehle Pride and Prejudice on television and Amy Heckerling’s Emma-homage Clueless at the movies. Thompson paid due attention to Austen’s unique and toughly real...
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The Shrouds review – David Cronenberg gets wrapped up in grief

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Cannes film festival
Elaborate necrophiliac meditation on loss and longing stars Vincent Cassel as an oncologist who has founded a restaurant with a hi-tech cemetery attached

David Cronenberg’s new film is a contorted sphinx without a secret, an eroticised necrophiliac meditation on grief, longing and loss that returns this director to his now very familiar Ballardian fetishes. It’s intriguing and exhausting: a quasi-murder mystery and doppelganger sex drama combined with a sci-fi conspiracy thriller which comes very close to participating in that very xenophobia it purports to satirise. And among its exasperating plot convolutions, there is a centrally important oncologist who was having a possible affair with the hero’s dead wife and who had also been her first sexual partner as a teenager – but who never appears on camera.

Yet for all this, the film has its own creepy, enveloping mausoleum atmosphere of disquiet, helped by the jarring electronic score by Howard Shore. We are in Toronto of the present or near future in which a wealthy and stylish widower and entrepreneur called Karsh (Vincent Cassel) has founded a restaurant with a cemetery attached: a state of the art burial place where people can bury their loved ones with a new “shroud” whose thousands of tiny cameras can record and transmit real time, 8K pictures of the body’s decay, which you can watch on your smartphone.

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