Set in Paris in 1964, Final Portrait tells the story of the meeting between acclaimed writer James Lord (Hammer) and master painter Alberto Giacometti (Rush) and the long journey they both took together to craft a piece of remarkable artwork.

I must first say that I myself was unaware of the work of Giacometti when I first saw this film, but following it I research the artist in great depth. I was fascinated to learn of his story and of how he stunned the contemporary art world of the 1950s and 1960s with his extraordinary genius. Tucci is himself a lifelong admirer of Giacometti’s work and in watching this film you feel his passion for this story and the subject that it explores. With Final Portrait he dissect’s the intention and the madness of what it means to create, and how the idea of creation affects both the lives of the artist (Giacometti) and the subject (Lord).

Key to Final Portrait’s success is Tucci’s selection of his principal cast members, Geoffrey Rush and Armie Hammer. With Rush, he taps into Giacometti’s immense self-loathing that plagued the artist for the majority of his life, and the inadequacy that he felt as a creative. As Giacometti Rush is demanding, temperamental, standoffish, obsessive and depressive. Traits that are all with-in keeping with the real-life Giacometti, and while as an audience member I initially saw Rush, by the end of the film I was only seeing Giacometti. The actor’s performance is so good and is so far from Rush’s own general optimistic outlook on life that to not applaud him for his performance would be criminal.

Juxtaposing Rush’s self-loathing as Giacometti through all of this is Hammer’s portrayal of Lord, who while enamoured by Giacometti’s style begins to falter when he see’s how destructive the artist is in his life. But while it would be easy to see it as a depressing tale, Tucci provides the film with plenty of light-hearted moments, as well as the fascinating conversations that follow between Giacometti and Lord as they work together to create Lord’s portrait. Ultimately what Hammer’s Lord comes to understand is that all this anger and frustration is just a part of Giacometti’s process and that this frustration is driven by his desire to create extraordinary works, which the painter invariably did with Lord’s portrait.

While Final Portrait is essentially a character study of two artists and is not driven by action or movement, Tucci does ground his film in a superb setting. His production design, cinematography and costuming mimics the gorgeousness of the French New Wave. Think Chabrol, Truffaut and Godard, French masters of the art of cinema who created works that were completely elegant and packed out with sizzling style. From the inclusion of vintage cars to Hammer’s mod suits and skinny black ties, Final Portrait is packed out with details that will really resonate with film connoisseurs.

If you want to experience a deep meditation on what it means to be creative then Final Portrait is a film worth experiencing. It will make you ponder how you see forms of creativity, and will make you think about what art, and it’s expression, really means to you.

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Prepare to be entertained with Guy Ritchie’s fabulous new movie, The Man From U.N.C.L.E. Here’s five reasons why this quirky spy film is a must-see:

1. Leading Ladies

Victoria (Elizabeth Debicki) and Gaby (Alicia Vikander) are equal parts deadly and beautiful, and their alluring personalities will pull you in hook, line and sinker. Victoria has the attitude of a villainous Holly Golightly and the looks of Grace Kelly turned bad. She is sixties glamour and deliciously deadly – a true retro femme fatale. Conversely, Gaby is the tomboy turned glamourpuss who must collaborate with Napolean Solo (Henry Cavill) and Illya Kuryakin (Armie Hammer). Gaby is both a little innocent and a little badass, particularly behind the wheel of a car. Both Vikander and Debicki bring beautiful complexity to their respective characters, exuding charm while commanding the audience’s attention.

2. Suave Spies

Henry Cavill and Armie Hammer join forces as the dynamic duo stuck in an unrequited relationship of sorts. Cavill plays a cavalier, charming and occasionally cocky Napoleon while Hammer is the rigid Russian, Illya, who is adamant about always being right. He refuses to be belittled and will engage in any act of heroism where possible. The tension and banter between these two heroes is one of the most entertaining aspects of the film, making the most serious scenes somewhat light-hearted and full of cheek. Both Cavill and Armie do an excellent job, reminding audiences exactly why we fell in love with them at the beginning of their careers.

3. Swinging 60s

While the rise of flower power and geometric prints is not explicitly explored in the film, there is no escape from entering the world of the 60s. It is simply exquisite. From the costumes and colours to the cars and sets, everything about this film screams mid-century chic. The aesthetic is deeply cinematic and rich. Warm earthy tones frame the scenes with mahogany and gold while the music is a mix of Spanish, jazz and swing.

And the fashion! Oh, the fashion! Think big Jackie O sunglasses, mod A-line shifts with vibrant colours and exaggerated prints, finely tailored suits, and slick polished shoes. The Man From U.N.C.L.E. is a sensory explosion of 60s vibes that will leave you wanting more.

4. Spy stunts

Whether it is a car or boat chase, or hand-to-hand combat, the film’s stunts are truly impressive. There is a clever cat and mouse theme underlying the story and even during dire circumstances the film maintains a playful attitude and pokes fun at what is going on. Every action scene is compelling good fun, taking the audience on a journey through the streets of Europe, the middle of the ocean and snowy mountain terrain.

5. Not your average spy film

Seen every type of spy film? Think again. The Man From U.N.C.L.E. is a unique and incredibly clever take on the popular genre. Napoleon and Illya have the gadgets and stealth of a 007 agent, the crafty planning and navigation of Bourne, the cheek of Get Smart, and many playful quips reminiscent of Hitchcockian humour. Showcasing the most exciting elements of any great spy film, it is the perfect balance between heart-pumping action and comedic thrills.

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Set against the backdrop of the early 1960s, at the height of the Cold War, The Man from U.N.C.L.E. centers on CIA agent Napoleon Solo (Cavill) and KGB agent Illya Kuryakin (Hammer). Forced to put aside longstanding hostilities, the two team up on a joint mission to stop a mysterious international criminal organisation, which is bent on destabilising the fragile balance of power through the proliferation of nuclear weapons and technology. The duo’s only lead is the daughter of a vanished German scientist, who is the key to infiltrating the criminal organisation, and they must race against time to find him and prevent a worldwide catastrophe.

The new trailer gives a larger focus to the film’s story, which finds sworn enemies, Napoleon Solo (Cavill) and Illya Kuryakin (Hammer), teaming up to stop the threat of a rogue criminal organisation who have commandeered an atomic bomb. Director Guy Ritchie keeps the old school spy action fast, throwing plenty of twists in the audience’s direction, while also amping up the film’s 1960s era with some very slick production and wardrobe design. In addition to Cavill and Hammer, we’re introduced to Elizabeth Debicki who portrays the stunning yet deadly Victoria Vinciguerra. 

The Man From U.N.C.L.E. looks to be a slickly made spy thriller and is set to bring a good dose of class, and sophistication back to cinemas on August 13.

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