Any film with Mark Rylance in the lead will be a hit with me. This film, directed by Graham Moore, who wrote with script with Johnathan McClain, doesn’t disappoint (trailer).
Leonard (Rylance) insists on being called a cutter—the man who cuts the fabric for bespoke men’s suits—not a tailor, and trained on London’s Savile Row. But it’s the early 1950s and now he’s in Chicago, where most of his clients are involved in organized crime. Mable (Zoey Deutch) is his assistant, and most of the time the two of them are alone in his shop.
A succession of shady characters use a dropbox in Leonard’s workroom to stash payments and other messages, but he stays out of their business. As he says Mable, “If we only allowed angels to be customers, soon we’d have no customers at all.” When she starts dating the not-too-bright son of a mob boss in the midst of a deadly gang war, trouble invades the cutter’s quiet workroom, and Mable and Leonard may not escape. Clever and entertaining.
Rotten Tomatoes critics’ rating: 85%; audiences: 92%.
The Rose Maker
This French comedy-drama, directed by Pierre Pinaud and written by him with Fadette Drouard and Philippe Le Guay, originated in 2020, but is now appearing in US theaters, with subtitles (trailer).
Eve (Catherine Frot) inherited a rose-growing business from her father and breeds beautiful new varieties. Despite her success, bankruptcy is imminent. She and her assistant Vera (Olivia Cote) need help, and where does Vera find people they can afford? Three people on work-release program from a local prison. They have no horticultural experience, but at least they come cheap. It’s a classic “against all odds” plot, but satisfying.
Rotten Tomatoes critics’ rating: 94%; audiences: 92%.
A super cast (Colin Firth, Olivia Coleman, Josh O’Connor) in a slight film (trailer) set in 1924, about three upper-class British families, two of whom lost sons in World War I. Firth’s character has retreated into bland platitudes, while Coleman, as his wife, is seething with unquenchable rage. The only son left to any of them (O’Connor) has a brief liaison with a maid (Odessa Young), and much of the story is from her perspective then and later, after she becomes a successful writer. It’s dripping with sadness, but the constant use of jump cuts in time and scene seem designed to mask the thinness of the story as translated to film. Directed by Eva Husson and written by Alice Birch, based on a novel by Graham Swift.
Rotten Tomatoes critics’ rating: 77%; audiences: 60%.