Archipelago

Few films in recent years have polarised audiences and critics quite as much as Archipelago, Joanna Hogg's follow-up to her much-lauded debut Unrelated. If the critics have had near-universal raptures over its long, very long, static wide-shots and natural murk, for many audiences it's simply the Emperor's new fashion range – arse-achingly pretentious art-twaddle.

Well, I say it's great: a superbly photographed, acidly funny dissection of class snobbery and familial dysfunction en vacance, where invisible elephants stampede through the guest rooms, and every infinitesimal gesture counts.

The characterisation is spot on, from Hiddleston's painfully wet young man to his moist-eyed mother, filling the watery void of her life with watercolour lessons. Easy targets perhaps, but less fish in barrels and more akin to the lobsters their poor holiday cook prepares: seemingly inert, then writhing in silent agony as Hogg turns up the heat.

We start and finish with the star of this film. The helicopter. Otherwise, this is a rather unremarkable soap of a story that sees a family reconvene on the remote Scilly Isles. You just know that when they have all arrived, familial discord will soon be in the air and although the film certainly looks lovely, the subsequent melodrama develops little substance to the characterisations and is chronically middle-class and pedestrian. Tom Hiddleston is a positive drip as "Edward" delivering his overwritten lines to his sister "Cynthia" (Lydia Leonard) who seems only capable of replying in tones of disdain and contempt. The narrative seems bent on contriving scenarios - both past and present - to force the thing and the characters to become interesting. For Joanna Hogg, it seems she is determined to bring some authenticity to this tale of wealthy people enjoying the privileges and pitfalls of their social status - good or bad! Maybe the title has a (not so) hidden meaning about those folks joined by birth but separated by constant personal maelstroms, but for me it is just far too wordy and up itself with far too much - admittedly beautiful - shots of the scenery. Maybe I just wasn't in the mood - but this just wasn't for me.

Lots of good reviews already here, all with good points.

I wanted more, more development, more info, and wondered if the film was overly autobiographical on Joanna's part. Film, for me, is interesting in that it can reflect life, but that only communicates it to others. Really interesting film explores potentials, unknowns, has a resolution, yes. This is not just good storytelling, nor it is audience fetishism - it is respecting the ability of film to be creatively ergonomic, simply put. We watch films to associate, to belong, we do need some feeding, nothing wrong in that. Portraying sadness and dysfunction isn't enough as I see it in film. The medium deserves us to go further. Make a damned story out of it, the reality behind the story will still be there when we think about it. I wasn't sure Cynthia was really acting, which is nothing to shout about, and it's ironic, the best acting I thought was from Christopher, who isn't an actor. Come on, do film making some justice, work it, don't be afraid of it. But I did enjoy it. And it provoked a lot of comments. I am sure if it was that poor, the bad reviewers wouldn't have watched it all. So watch it. It's a positive thing. Liked it.

A fretful Englishwoman joins her fragile adult children at a familiar vacation spot, a guesthouse on Tresco in the Scilly Isles, for a feast of locally caught lobster, locally shot pheasant and painfully awkward smalltalk. There's plenty of drama, but not much plot in the usual sense. My wife and I didn't get much out of Joanna Hogg's latest film, "Exhibition," but this one, from 2010, was weirdly involving from start to finish.

The troubles of this trio of gentlefolk (including Tom Hiddleston, the reason we decided to watch this film in the first place) may not amount to a hill of beans in this crazy world, but the way the camera lingers after a character's left the room or climbed a staircase, the dim interior light, even the birdsong and dreamlike landscapes (from glacial boulders to spiky subtropical palms) all contribute to the atmosphere of tension and expectancy.

The title "Archipelago" might refer to the Scilly Isles (of which there are over a hundred) but also, I'm guessing, to the characters in this film, who are linked by blood and memory but isolated from one another by some pretty rough currents. (There's a big framed photo, "Storm off Tierra del Fuego," hanging over the mantelpiece when they arrive at the guesthouse; it makes them uneasy and they take it down.) Fans of Alan Ayckbourn and Edward Gorey, as well as Vinterberg and Haneke, might want to take a chance on this one. Tom Hiddleston fans might stop to consider whether this wussy, neurotic, self-doubting Tom Hiddleston is the Tom Hiddleston they first fell in love with.

Archipelago is a most certainly a 'love it or hate it' film which sharply divides opinion. It's not every day you see a film set on the Scillies so it was a must see for me personally. I'd read both good and bad reviews before I saw it so knew largely what to expect and yes, I can understand why many find it difficult and slow with long still takes and angst ridden silences. Agree that the characters are hard to engage with or like and yes it's infuriating and overly pretentious at times.

However, because of, and not in spite of all these things, it ultimately succeeds in its portrayal of a very different type of dysfunctional family and brilliantly conveys the interactive awkwardness between the characters and there's quiet, suppressed comedy in the twaddle they speak.

It generates a unique and almost claustrophobic atmosphere, although being too raw in its lack of script. It's a reminder that wealth and privilege don't necessarily equate to inner happiness - in this case loneliness and bitterness pervade. I felt very slightly on edge throughout. If you have an open mind you will gain much from Archipelago which deserves but probably won't get a wider and more appreciative audience.