Empire of Light

In cinemas now

Sam Mendes is an undeniably fantastic filmmaker, but this uneven melodrama suggests that he isn’t as skilled a writer. Set in 1980s’ Britain, it is intended as a paean to the unifying power of cinema but wades through far too many competing themes (chiefly mental health and racism) to convincingly convey its central motif.

Also not helping the film’s cause is the unconvincing relationship between its two leads. Michael Ward and Olivia Colman are both stellar talents and own their respective roles, but they do not gel as romantic interests. Indeed, their tryst feels like the most unnecessary addition to an already overstuffed narrative.

Still, Colman and Ward are great to watch and Roger Deakins’ cinematography, though not up to the standard of his admittedly excellent best, means that Empire of Light is always a visual pleasure. It’s just a shame that the remaining components of Mendes’ cinematic love letter do not quite do its subject justice.