Beast review – down-and-out MMA fighter film is predictable but still lands punches

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Directed by Tyler Atkins and co-written by Russell Crowe, this Australian feature follows a familiar playbook – but you’ll find yourself surprisingly invested Ah, yes: the promising fighter who could’ve been a contender, could’ve been a champion. But then life intervened: bad decisions were made, promises broken, the wrong paths taken. But what if the past came knocking on his door? What if our long-in-the-tooth hero could have another crack, set things right, get in the ring one more time? To say that Tyler Atkins’ Australian martial arts drama Beast plucks moves from a well-worn playbook is putting it lightly. This is one of those genre films in which nothing surprises in broad terms; it’s the small pivots and deviations that matter. Given the ring of familiarity surrounding everything, I was surprised to find myself as invested in the film as I was, particularly because so many chest-thumping sports movies are already out there, many of which I find about as intellectually engaging ...
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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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