The wife of an abusive criminal finds solace in the arms of a kind regular guest in her husband’s restaurant.
The wife of a barbaric crime boss engages in a secretive romance with a gentle bookseller between meals at her husband’s restaurant. Food, colour coding, sex, murder, torture and cannibalism are the exotic fare in this beautifully filmed but brutally uncompromising modern fable which has been interpreted as an allegory for Thatcherism.
The Cook, the Thief, His Wife & Her Lover is a 1989 British-French romantic black comedy crime drama film written and directed by Peter Greenaway, starring Richard Bohringer, Michael Gambon, Helen Mirren, and Alan Howard in the titular roles. The film’s graphic scatology, violence, and nude scenes, as well as its lavish cinematography and formalism, were noted at the time of its release.
The film received largely positive reviews from critics. On Rotten Tomatoes, it currently holds a 90% score based on 39 reviews, with an average rating of 7.4/10. The site’s consensus states: “This romantic crime drama may not be to everyone’s taste, but The Cook, the Thief, His Wife & Her Lover is an audacious, powerful film.” Roger Ebert of the Chicago Sun-Times gave the film four out of four stars, noting that the film’s raw emotion and violent interpersonal conflict was a departure from Greenaway’s typically cerebral and intellectual films.
A “story inside a story,” in which the first part follows a woman named Susan who receives a book manuscript from her ex-husband, a man whom she left 20 years earlier, asking for her opinion. The second element follows the actual manuscript, called “Nocturnal Animals,” which revolves around a man whose family vacation turns violent and deadly. It also continues to follow the story of Susan, who finds herself recalling her first marriage and confronting some dark truths about herself.
Owen Gleiberman of Variety praised the film, stating “Tom Ford’s first film since A Single Man is another winner”, and complimenting the performances of Gyllenhaal, Adams, Shannon and Taylor-Johnson. Steve Pulaski of Influx Magazine gave the film a perfect A+, saying, “Nocturnal Animals is one of the best films of the year. A layered, masterful work of interwoven storylines mixed with crime-drama craft, infused with the same kind of pulsating, West Texas-vibes we saw so beautifully in Hell or High Water, and multilayered storytelling at its finest, the film features gifted actors throwing themselves into performances that require massive versatility between scenes.”
50805_AA_6087 print_v2lmCTRST+SAT3F Academy Award nominee Amy Adams stars as Susan Morrow in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release. Credit: Merrick Morton/Focus Features
Patrick Bateman is handsome, well educated and intelligent. He is twenty-seven and living his own American dream. He works by day on Wall Street, earning a fortune to complement the one he was born with. At night he descends into madness, as he experiments with fear and violence.
American Psycho debuted at the Sundance Film Festival, where it polarized audiences and critics; some showered the film with praise, others with scorn. Upon its theatrical release, however, the film received positive reviews in crucial publications, including The New York Times which called it a “mean and lean horror comedy classic”. Roger Ebert gave the film three out of four stars and praised Christian Bale’s performance as being “heroic in the way he allows the character to leap joyfully into despicability; there is no instinct for self-preservation here, and that is one mark of a good actor”. In his review for the Los Angeles Times, Kenneth Turan wrote, “The difficult truth is that the more viewers can model themselves after protagonist Bateman, the more they can distance themselves from the human reality of the slick violence that fills the screen and take it all as some kind of a cool joke, the more they are likely to enjoy this stillborn, pointless piece of work”. Newsweek magazine’s David Ansen wrote, “But after an hour of dissecting the ’80s culture of materialism, narcissism and greed, the movie begins to repeat itself. It becomes more grisly and surreal, but not more interesting”. In his review for the Village Voice, J. Hoberman wrote, “If anything, Bale is too knowing. He eagerly works within the constraints of the quotation marks Harron puts around his performance”.