The Informer 2020 ****

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Set for a U.S. release in January 2020, The Informer is a tough, old school crime opus that’s been delayed several times, but is well worth the wait. Andrea di Stefano’s thriller is sold on its connections to Sicario and John Wick, but there’s a down-and-dirty feel about the espionage featured here that’s located somewhere bwteen Homeland and John le Carre. Joel Kinnaman plays Peter Koslow, a special ops undercover agent who is embedded in an FBI mission to shake-down drugs elements in the NYC/Polish community. Koslow has a wife (Blade Runner 2049’s Ana de Armas) and kid to protect, so when a routine pick-up of a diplomatic bag full of drugs goes south, Koslow is forced to witness the death of a cop. This brings in interest from the NYPD’s Grens (rapper Common), who is keen to find out how the cop died and who is responsible; Koslow’s handlers (Rosamund Pike and Clive Owens) seek to contain the mess, but Koslow engineers his own passage out via an audacious prison break. Based on the novel Three Seconds by Roslund/Hellstrom, The Informer’s generic title hides a sober, intensely gripping thriller that’s something of an antidote to much of the silver-screen’s childish fare; the fights are brutal and the stakes are high. Look elsewhere for choreography and stunts, because The Informer makes a virtue of feeling like a real-world story. With a well-known cast well used for once, The Informer’s hard-as-nails attitude makes it one of the best thrillers of the year.

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Cold War 2018 *****

Paweł Pawlikowski is a man whose name critics love to invoke, even if they have to to cut and paste it. He seems to have given up wrestling with the text of his Vernon God Little adaptation, but that’s no great loss; the Polish director has a style of his own that doesn’t need to be piggy-backed on another property.  The standard-issue information, that Cold War is shot in black and white, and got an 11 minute ovation at Cannes, would make any prospective viewer’s heart sink; it sounds like the kind of three hour ‘Latvian people arguing at a kitchen table’ snorefest that provides good reason to hate art cinema. Cold War tells, in simple, stunningly composed images, the story of a love story between a musician and the singer who auditions for him. They meet and separate in various countries, across borders, through concerts and dances, until fate finds a way to bring them together ‘until the end of the world’. This is cinematic poetry of the highest order, plain yet lush, riddled with subtle yet jaw-dropping compositions. The black and white photography, so often the banal choice of an art director on a perfume commercial, is truly lustrous, and the leads are luminous; the director discovered Emily Blunt amongst others, and Joanna Kulig and Thomasz Kot should return to our screens again again before long.  The late John McCain’s line about not ‘hiding behind walls’ is relevant here; it’s a timely story about how borders, and politics, can bend and shape our most vital relationships. Given that the same director’s previous film, Oscar-winner Ida, felt more worthy than entertaining, Cold War is a huge personal statement by the director and a scintillating film to watch in HD.