![]() The melodramatic premise is as old as the hills, which isn’t a problem in itself it was good enough for Salman Rushdie’s ‘Midnight’s Children’, after all. And his latest, for all its careful construction and sweet pockets of feeling, is his glibbest and most morally one-sided film to date. But a certain packaged preciousness is beginning to seep into Kore-eda’s work that wasn’t present in works like 2004’s ‘Nobody Knows’. These films are so relentlessly decent that to criticise them feels akin to stealing Christmas. ![]() An unassuming humanist whose keenest advocates have been known to invoke the sacred syllables ‘Ozu’, Japanese director Hirokazu Kore-eda last visited our screens with 2011’s ‘I Wish’, a winning fable of fraternal reunion with which his latest, ‘Like Father, Like Son’, shares many virtues: a warmly optimistic worldview in the face of significant domestic obstacles, a preoccupation with modern family structures and kids so gosh-darn cute as to make even Cliff Richard leave the cinema feeling broody. ![]()
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