Oliver Weir

Film Critic for The Playlist and Screen Anarchy

Favorite films

  • A Moment of Innocence
  • Werckmeister Harmonies
  • Céline and Julie Go Boating
  • City Lights

Recent activity

  • All Quiet on the Western Front

  • Sunshine

  • Bringing Up Baby

  • Oil Gush Fire in Bibiheybat

Recent reviews

  • All Quiet on the Western Front

    All Quiet on the Western Front

    Edward Berger has here recreated not only the unfathomable scale and squalid conditions of the First World War, but also the countless small, life-sustaining comradeships and chance encounters now lost to history. The editing, by Sven Budelmann, is first-rate, elegantly mirroring the disjointedness of the novel, with all its leaps in time and place, to create the effect of not quite knowing how any of these men, let alone the countries to which they swear allegiance, ended up on that…

  • Sunshine


    A film of ludicrous villains and fallacious MacGuffins. Not only does it pretend to a scientific standard that it falls short of, it fails even to remain narratively consistent throughout its largely schematic arc. For example, Capa is apparently the only person outside Icarus who can operate the payload; but, as we see in the final kamikaze sequence, 'operating the payload' is no more complicated than turning a dial (albeit quite dramatically) and then flicking up four switches.

    What's more,…

Popular reviews

  • Play


    Minghella lays waste to middle Beckett. The makeup is too glittery; Rickman sounds like he's stuck in his own throat; and the centrality of the gaze is ruined by the distracting front-on/side-on/close-up shots, despite Beckett's unequivocal prescription that "They [w1, w2, m] face undeviatingly front throughout the play." But all this pales in comparison to Minghella's mistreatment of the play's fundamental photic element.

    For reasons unknown (because too witless) the spotlight is ignored, once again despite Beckett's unambiguous note that…

  • The Banshees of Inisherin

    The Banshees of Inisherin

    An acerb and plaintive deconstruction of the classic male double-act. (See, for reference, the many performative allusions in the film—the burning masks in Colm's house; the success of Colm as the death of Pádraic ('I was thinking about playing this at your funeral'); Pádraic's jealousy at Colm's new fiddler friend—and, as a biographical compliment, McDonagh's admission that the script was primarily written to revive the Gleeson-Farrell duet.) Naturally, the dyad here is more complicated than those it wishes to examine;…