The History of Sound (15)
Directed by Oliver Hermanus
⭑⭑⭑☆☆

SET in 1917 Oliver Hermanus’s exquisite and haunting drama follows a romance over the course of a decade against the backdrop of the power of music and sound. 

It is based on Ben Shattuck’s short story, which he adapted for the big screen, and it centres on Lionel (Paul Mescal) and David (Josh O’Connor) who in 1917 meet at the Boston Conservatory where they bond over their love of folk music. When David returns from serving in WWI he writes to Lionel asking him to join him on a journey through Maine to record and collect traditional songs sung by ordinary people in the isolated rural areas. A love affair ensues between the two young men. 

Mescal and O’Connor are electrifying as these two very liberated men who appear to embrace their sexuality. The pair have extraordinary on-screen chemistry. Their singing is captivating and very impressive. 

The film explores the idea that your first love might also be your greatest and your last. You cannot help but root for Lionel and David even though their love was doomed given the times. This drama also examines how music and sounds evoke memories. 

The singing featured in this slow burning drama is mesmerising and it is interwoven beautifully with Lionel and David’s deepening romance. Even I was entranced by it and I hate anything musical. 

There are some surprising revelations which pose more questions than they answer in this beautifully shot and acted period drama. 

MD

In cinemas January 23

H Is For Hawk (12A)
Directed by Philippa Lowthorpe 
⭑⭑⭑⭑☆

Never have I seen such a realistic portrayal of grief and loss as in co-writer director Philippa Lowthorpe’s powerful and intensely moving adaptation of Helen MacDonald’s memoir. 

Set in 2007 after the death of her father (a joyous Brendan Gleeson), her favourite person, Helen (Claire Foy), a Cambridge academic, pours all her energies into training and bonding with a stubborn goshawk she names Mabel (played by five hawks).  

Foy gives the performance of her career opposite this majestic bird of prey, and I held my breath throughout fearing she was going to be attacked by Mabel at any time. There isn’t much acting involved: rather Foy reacts to her unpredictable scene-stealing partner. It is heart-stopping but extraordinary to witness. Foy is fearless. 

This is such a beautiful and haunting drama. It depicts Helen’s slow mental breakdown while exploring the love between a father and daughter (through flashback), and between Helen, her lifesaving hawk and her best friend (Denise Gough).  

Though grief can strike and overwhelm you at any time this is a hopeful film about human connection and finding solace wherever you can find it. 

MD

In cinemas January 23

Saipan (15A)
Directed by: Lisa Barros D’Sa and Glenn Leyburn
⭑⭑⭑☆☆

THE memorable spat — before the 2002 World Cup in Japan — between the manager of the Republic of Ireland’s football team Mick McCarthy (Steve Coogan) and the enfant terrible of the industry, the perfectionist contrarian Roy Keane (Eanna Hardwicke), makes it to an Odeon near you.

The gist of it was: crap accommodation, no footballs for a few days, rubbish food and the grass on the potholed pitch appeared to be looked after by a grazing goat.

All this, naturally, “got Keane’s goat” in an ascending fashion, until he finally “casts the die” and leaves. The media imploded into a “will he or won’t he play” palaver.

In a recent TV advert a stall holder offers a shopping Keane a bare, dry Christmas tree: “vintage,” he says knowingly, and Keane sighs at the allusion and in-joke.

The film actually is a bit like that tree: for cognoscenti only — preferably with a sense of humour.

MB

In cinemas January 23

Mercy (12A)
Directed by Timur Bekmambetov
⭑⭑⭑☆☆

SET in 2029 where confusion, technology and chaos reigns — much like now — the Mercy court headed by an AI judge gives those with a 92 per cent and over possibility of guilt 90 minutes to prove their innocence. If they can’t they are executed immediately. 

The instigator of this justice system, LA Det Chris Raven (Chris Pratt), wakes up strapped to a chair accused of killing his wife (Annabelle Wallis). All the evidence available to Judge Maddox (Rebecca Ferguson) points to his guilt. He can use the cloud and the web to clear his name. 

Very reminiscent of Minority Report, this proves an intense but fun ride as it unfolds in real time. Ferguson is sublime as the unyielding AI judge while Pratt nails the ordinary guy, a recovering alcoholic who has fallen off the wagon.

While the film examines the perils of AI and big brother watching everyone, confusingly it also makes a case for both. 

MD

In cinemas January 23