Silence took Martin Scorsese nearly 30 years to make – and it shows

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The period drama set in feudal Japan is an epic of divine proportion, tackling grand questions of faith and colonisation with remarkable fervour Get our weekend culture and lifestyle email The year is 1640. Sebastião Rodrigues (Andrew Garfield) arrives in Japan with fellow Jesuit missionary Francisco Garupe (Adam Driver) to search for their missing mentor, Cristóvão Ferreira (Liam Neeson). There, Rodrigues witnesses how “Kirishitans” – historical Japanese Catholics – must practise their faith in secret because their religion is heresy in Edo-period Japan. As he observes how the Japanese belief differs from his teachings, Rodrigues begins to question his faith. Despite praying ceaselessly, Rodrigues does not hear back from God. Silence, one of Martin Scorsese’s passion projects, was released in 2016 after nearly three decades in development. Scorsese’s dedication mirrors the spiritual journey of his protagonist. Continue reading... from Film | The Guardian https://ift.tt/2SV6T...
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The G review – Dale Dickey is gamechanging gangster granny out for vengeance

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Dickey is a revelation as a harder-than-nails woman exploited by the US’s legal guardian system in an otherwise overcooked thriller

The “G” in this low budget revenge thriller is 72-year-old Ann Hunter. That’s “G” as in “Granny”, a nickname given to her by her granddaughter. The joke is that Ann does not fit anyone’s stereotype of a granny. To call her hard-as-nails would be an understatement: nails can bend, but the G is harder, cold, mean and sarcastic. When she reaches for a bottle, dirty washing stacked up around the sink, no clean glass to hand, she pours her vodka neat into an empty yoghurt pot.

The G is played by character actor Dale Dickey, whose TV credits include Breaking Bad and My Name Is Earl. On film, she’s best known for a supporting part in Winter’s Bone, but I have to confess I didn’t recognise her. Having seen her in action here, I’m a convert. The G is heartless and unlikable, her battered face set in a permanent scowl – and yet Dickey conveys a woman shaped by her experience; there’s a backstory eventually about her childhood in Texas explaining the rage and anger. Her performance is a much-needed plus in a film that would otherwise lack a bit of substance.

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