Armageddon Time

Armageddon Time is the rare case where the bitterness overwhelms sweetness, and true enlightenment comes from rejecting nostalgia at every turn.

Preteen drama is amplified by robust and fairly obvious musical choices, but more interesting is the sound design: the city is everywhere, grumbling and fractious, the sound of a short fuse burning out.

Gray’s latest, Armageddon Time, is a flawed work. But it sees the filmmaker at his most vulnerable, as he twists the camera back on himself and asks: of all the paths that brought me here, how many were carved out by my own privilege?

Both young actors give strong performances, which is more than you can say for Jeremy Strong and Anne Hathaway, both laying it on too thick as Paul’s highly strung parents.

Both a coming of age and an exploration of an era, this self-biographical reminiscence feels both regretful and hopeful – a filmmaker trying to make peace. It’s not sugar-coated, but it’s full of love.

The real nourishment comes from unflinching honesty, served with compassion, insight, and a bit of sadness. In that sense, Armageddon Time is a full meal.

James Gray’s autobiographical coming-of-age drama contains a fierce, unsentimental performance from Banks Repeta - and a marvellous 80s New York atmosphere.

Hopkins gives a very winning performance as the grandfather we all wish we had, in this sometimes meandering film.

With Armageddon Time, James Gray eschews nostalgic innocence for a bold film where its young character comes of age in a cold world, where childhood wishes clash with the grime and political tensions of late ‘70s/early ‘80s America.

Rather than serve up a Hollywood coming-of-age with standard dramatic beats, Armageddon Time is a much more fascinating work to grapple with.