REVIEW: CONCLAVE

4/5

The One Pope

120 Mins. Starring: Ralph Fiennes, Stanley Tucci, Lucian Msamati, Sergio Castellitto, Carlos Diehz, Brian F. O'Byrne, John Lithgow & Isabella Rossellini. Screenplay: Peter Straughan. Director: Edward Berger. In: Theatres.

Original cardinal sin. Here are some popes that even Ricky Gervais can't mess with. Even though Gervais' Golden Globe gag was as great as THE roast of Hollywood in his final show as host, Jonathan Pryce's face was right. Keep 'The Two Popes' names out of your f#####g mouth! That Anthony Hopkins co-starring Netflix hit is a straight classic. Yet it's concave in relation to 'Conclave'. The Edward Berger (the amazing, new (Netflix) 'All Quiet On The Western Front') political thriller, scripted by Peter Straughan ('Tinker Tailor Soldier Spy'), based on the book by 'The Ghost Writer's' Robert Harris. A 'Spotlight' on the Catholic Church so good kit even bests the two popes of Jude Law's 'The Young Pope' and 'The New Pope', second series, being John Malkovich. The best religious drama since Paul Scharder's 'First Reformed', armed with an explosive twist in its end, 'Conclave' just might be the best picture of the year. Even if the SAG Award-winning shoo-in (see: Moore, Demi) was pipped to the post at the Oscars by Mickey Madison and the workers of the amazing 'Anora' (see also: more Demi).

The Pope is dead. Long live. And this time, Highlander, there can only be one, unlike the two previous pope productions we just mentioned. This epic ensemble piece features big names doing big things in the form of Ralph Fiennes, Stanley Tucci, John Lithgow and a scene stealing Isabella Rossellini (laminate THAT, Ross!), but it gets even deeper the further you go down the call-sheet. Sex (not that kind, thankfully, as my parents were concerned going into that movie back home, when a couple of old dears coming out of the cinema complained about all the hanky-panky, and words to that effect (they were talking about 'Anora', of course)), scandal and other sordid details, 'Conclave' is a classic in its attention to detail. Finally released in Japan's indie cinemas (like it's still showing in the U.K. Everyman ones), the film is a cinematographer (Stéphane Fontaine) and sound engineer's dream. Thanks to my father's eloquent explanation (seeing it at the same time, albeit across the globe). There is a long speech early on where Ralph Fiennes speaks to a hundred plus cardinals in an old room with a lot of reverberation. Then dialling back the sound, the movie's production filters Fiennes voice so it sounds like he's talking to just you.

Which is very important...because that's exactly what he's doing in a first-person, fourth wall breaking speech that is really a sign of our times and the best since that blockbuster 'Barbie' one boxed up an Oscar nomination for America. You need to hear this, and that, and not read it here. Either way, Fiennes is formidable, 'The English Patient' showing patience and grace under pressure as everything is going up in smoke around him as the world is waiting and looking for the signal of a new pope. Kudos are in order for the people's choice, Stanley Tucci, too. My balding inspo and quite possibly one of the most versatile and vivid acting talents around. I mean, have you seen 'The Lovely Bones', or 'The Hunger Games' (the latter giving me hope for the future)? Pair these two with the inspired Isabella Rossellini, making the most of her moment, like all women in her place, and the always amazing (see the formidable first episode of 'The Old Man', where his back and forth with Jeff Bridges is even better than the geriatric John Wick shtick and tricks) John Lithgow, and you'll have no need for his sad face courtesy of Conan, urging you to wrap it up like Adrien Brody should have, chewing the scenery, like the gum he tossed. This ain't his first rodeo, like his beautiful moment with Colin Farrell, during 'The Penguin's' SAG Award speech.

This church in the wild has grossed over 100 million dollars at the box-office on a budget set barely at 20. This conclave election of secrets and lies is out for the world to see now after its premiere at the 51st Telluride Film Festival. Praised performances. Critics choices. One of the National Board of Review and American Film Institute's top ten films of the last calendar cycle of cinema. "Absolute", as Scorsese would put it in a meme. Tying 'The Brutalist' for BAFTA's (four) and winning a Golden Globe (hey, Rickey") for screenplay, it may have come up short with The Academy, but it was still a major candidate. Just like the supporting character actor performances of aid Brian F. O'Byrne, a heartbreakingly good Lucian Msamati, Sergio Castellitto, ready for an Elvis Costello movie, and a revelatory Carlos Diehz. The final moments are worthy of all our applause, as you won't know the real truth like 'The Da Vinci Code' until the final chapter of this sermon, served with spirit from the Holy Ghost. And like the subtle symbolism of a tortoise in the final frame, this is the slow progress of a new world we can walk to together. One thing in 'Conclave' that needn't be up for debate. TIM DAVID HARVEY.

Further Filming: 'The Two Popes', 'The New Pope', 'First Reformed'.