Film

Will we even notice if AI replaces screenwriters?

We are edging into the third month of the strike by the Writers Guild of America, called because of shrivelling residual royalty payments from streaming movies and TV, as well as concern about AI such as ChatGPT being used to generate story ideas – and indeed to write scripts. Hollywood’s screenwriters have now been joined by the 150,000 members of the Screen Actors Guild, which was demonstrated very visibly by the cast of Oppenheimer walking out of its UK premiere last week. ‘We are all going to be in jeopardy of being replaced by machines,’ said union president Fran Drescher. Susan Sarandon has said of AI: ‘I would hope that

Should be called Ken: Barbie reviewed

Finally, the Barbie film is here, for which we must be thankful, as the tsunami of pre-publicity meant you probably felt obliged to lock your bathroom door so the trailers didn’t follow you in there. They should have called this Ken but I guess that’s not going to help bring down the patriarchy It’s a film that wants to have it all ways. Let’s parody Barbie but also isn’t she a feminist? There’s of lot of zeitgeist appeasement going on here. But the production values are sensational and there are some excellent jokes, even if Ryan Gosling’s Ken leaves Margot Robbie’s Barbie standing. They should have called this Ken, but

Can Oppenheimer take on Barbie?

This week, two films are released simultaneously that could not be more different. In the pink corner is Greta Gerwig’s Barbie, a 114-minute long exercise in postmodern irony and camp revolving around the exploits of the much-beloved Mattel doll, given life and dragged into the real world. From the first trailer onwards, its mission has been clear: this is contemporary Hollywood at its most glitzy, mixing well-known intellectual property with a starry cast (led by Margot Robbie, who is overdue a hit) and a healthy dose of humour. And in the black corner lies Christopher Nolan’s Oppenheimer, which seems to be another exercise in time-jumping profundity from the most pensive director in cinema,

Mission: Impossible – Dead Reckoning Part One is the action film of the year

It is an unusual compliment to say of what will undoubtedly be the year’s best action film that the experience of watching it is rather like being punched in the face for the better part of three hours. But Mission: Impossible – Dead Reckoning Part One, which arrived in UK cinemas on Monday, is a bruising, visceral and wholly exciting ride that’s about as close as you can imagine to being put in a boxing ring with its star Tom Cruise. If the viewer is pummelled and bludgeoned into an ecstatic state of submission, then that’s the price you pay for this exceptional slice of filmmaking: a thriller that doesn’t just

The death of the sex comedy

After a few years in which she has been largely absent from cinemas – her appearance in Netflix’s climate-change black comedy Don’t Look Up aside – Jennifer Lawrence is returning with, of all things, a raunchy sex comedy, with the punning title No Hard Feelings. It has earned an R-rating in the US and 15 in the UK, and judging by its marketing materials, it is a 21st-century spin on Tom Cruise’s star-making role in Risky Business, focusing on an older woman (yes, Lawrence, at 32, is now classed as such by Hollywood) who is hired by a family via Craigslist to ‘date’ their socially awkward 19-year-old son Percy, ‘date him hard’, and thus introduce him

Anyone for tennis – on film?

With Wimbledon fortnight upon us, what better time to explore tennis on the silver screen? Even more fortuitous is that Aidan Turner’s raunchy Amazon Prime series Fifteen Love will debut this summer, in which the Poldark star plays a tennis coach with a chequered past. Turner also features as moustachioed TV presenter Declan O’Hara (shades of Des Lynam as was) in Disney+’s upcoming adaptation of Jilly Cooper’s Rivals, a show apparently so steamy it needed two intimacy coaches. As an aspirational, largely middle-class game, tennis when depicted in the movies is largely free of the pile-ons, punch-ups and bad language of films about football, rugby and other contact sports. But,

Midsummer movies: what to watch on the longest day

The summer solstice (which falls today) has been a time of celebration and religious rituals since the dawn of mankind. Some associate the event with neo-druidic gatherings at Stonehenge and the like, others with ghastly human sacrifices to placate the Old Gods – while many see the solstice as simply a time to celebrate the longest day of the year with (relatively) innocent folkloric revels. But if you’d rather stay home and watch a film to mark the occasion, here are 15 worth your time. Midsommar (2019) – Netflix, Amazon Rent/Buy Ari Aster’s (Hereditary and upcoming Beau is Afraid) folk horror picture is very much in the vein of The Wicker

Magnificent: Pretty Red Dress reviewed

Pretty Red Dress is a debut feature starring a one-time X Factor winner so, you know, kill me now. But it’s a thin week and I’ll cut it some slack and be kind, like it says on the T-shirts. That was my thinking, because, as is now obvious, I can be a patronising fool. This is a terrific film. It’s original, has heft, is magnificently performed, and it blew me away. The writer-director is Dionne Edwards who, as I also now know, was named one of Screen International’s Stars of Tomorrow in 2019. One of her shorts, We Love Moses, is available on Disney+ and it is totally worth 15

Wikipedia does more justice to this fascinating story than this film: Chevalier reviewed

Chevalier is a biopic of Joseph Bologne, Chevalier de Saint-Georges, whom you’ve probably never heard of, as I hadn’t. He was an 18th-century French-African virtuoso violinist and composer who wowed everyone in his day – in 1779, John Adams, then the American ambassador to France, called him ‘the most accomplished Man in Europe’ – but was erased from history and is only lately being rediscovered. Fascinating, you would think, and he was fascinating. Even a cursory look at his Wikipedia entry is thrilling. But this is not a fascinating or thrilling film. It is handsomely mounted yet strangely bland and strikes too many false notes. I was going to say

Terrifying: Reality reviewed

Reality is an edge-of-your-seat thriller that isn’t like any edge-of-your seat thriller you’ve encountered before. Trust me. It’s a docudrama that isn’t ‘based on a true story’ because it is a true story. It’s an enactment of the FBI’s interrogation of American whistleblower Reality Winner. Taken directly from the transcript of the audio recording, the word-for-word screenplay includes every cough, every ‘um’, every dog bark, every banality, no embellishments. Yet it’s more terrifying than any film that has set out to terrify (see: Sisu). You should trust me on this too. The film is directed with clarity and precision by Tina Satter, a playwright who discovered the transcript online and

Why The Little Mermaid is bad news for cinema

It is disappointing to learn that, after critics and cynical audiences everywhere had sharpened their fish knives in the expectation of the new live-action Little Mermaid film being a catastrophic disaster, early reviews have suggested that it is… fine. It attracted a great deal of attention, and some criticism, for the casting of the black singer-actress Halle Bailey in the lead role of Ariel, on the grounds that sea-dwelling mermaids must, after all, be white-skinned redheads, as she was in the seminal 1989 animated film. Yet Bailey’s performance has been universally acclaimed, with her delivery of ‘Part of Your World’ being singled out for particular praise. The reason why so many

I may never recover: Sisu reviewed

When I went into the Sisu screening I knew only that it was a Finnish film, so was expecting an arthouse drama, maybe featuring bearded men in nice fisherman knits and herrings being salted, rather than this hyper-violent, viciously bloody exploitation flick from which I may never recover. It is a swift 90 minutes and will please those who desire this experience, and it is clever in its simplistic, empty way. But if it’s not your genre, you will almost certainly find yourself praying: ‘Dear God, I’ll never tell another lie if you just make this end.’ The film begins with a title card saying that ‘Sisu’ is a Finnish

Killers of the Flower Moon could be Scorsese’s best film yet

There are a few things in this world that you can truly count on: death, taxes and Taylor Swift’s love life attracting headlines. To their number can be added the certain knowledge that, when Martin Scorsese collaborates with either of his two muses, Robert De Niro and Leonardo DiCaprio, the results are somewhere between fascinating (Gangs of New York; New York, New York) and stone-cold cinema classics (Goodfellas; The Wolf of Wall Street). Yet apart from a droll promotional film for a Macau casino (The Audition), the three men had never worked together. This has, finally, changed, as the trio unite for what looks like another Scorsese crime classic in the form of the

Warm, charming and tender: Are You There God? It’s Me, Margaret reviewed

Are You There God? It’s Me, Margaret is an adaptation of Judy Blume’s seminal young adult novel (1970) about an 11-year-old girl who talks to God about her friends and boys and who she wants to kiss and whether she’ll ever get breasts or menstruate. (This could also be called Are You There, Margaret? It’s Me, Your Period, and I’ll Come When I’m Ready!) Not being the target demographic, I assumed I’d be bored to death but, ever the professional, I drank 12 espressos and 17 cans of Red Bull beforehand. That turned out to be wholly unnecessary. This is a wonderfully charming, warm, tender, pitch-perfect film, much better than

The reinvention of Jude Law

The late director Anthony Minghella made three films with actor Jude Law: The Talented Mr Ripley, Cold Mountain and Breaking and Entering. They would undoubtedly have made more if Minghella hadn’t died at the cruelly young age of 54 in 2008. He referred to the actor as ‘my muse’, but had a more perceptive comment about him too. ‘Jude is a beautiful boy with the mind of a man. A true character actor struggling to get out of a beautiful body.’ For years, Law seemed to struggle with the weight of his good looks, taking on mediocre roles that talent agencies and producers had shoehorned him into. Now, at the age of 50, he

Movies to get you in the Eurovision mood

We might never have taken the Eurovision Song Contest terribly seriously in the UK – but with British Ted Neeley lookalike Sam Ryder winning second place last year and the staging of this year’s event in Liverpool, some are singing to a different tune. This year’s UK entry comes from Mae Muller – ‘I Wrote a Song’ is a serviceable enough generic toe-tapper, but no ‘Puppet on a String’ (Sandie Shaw, 1967 winner) if you ask me. Or even ‘Ooh Aah… Just a Little Bit’, Gina G’s 1996 banger that claimed eighth place in the contest. Ahead of tomorrow night’s final, here are ten movies to get you in the

Deeply moving but bleak: Plan 75 reviewed

Plan 75 is a dystopian Japanese drama about a government-sponsored euthanasia programme introduced to address Japan’s ageing society. Aged 75 or over? Agree to die and we’ll give you $1,000 to spend as you like in your last days! With a collective funeral thrown in for free! Actually, it’s not sold aggressively like that, as this is an understated film. But, despite the hopeful ending, it is so sad and bleak that if you didn’t feel minded to take $1,000 before, you may feel like taking it afterwards. You could spend it on a spa break and a deluxe sushi platter, which is one of the options, if that takes

Cannes 2023: 10 films to watch out for

This year’s Cannes Film Festival promises to be interesting viewing, with a record number of female directors in contention (a stark contrast to the 2023 Academy Awards) and a greater than usual representation of old-guard auteurs (including Martin Scorsese, Wim Wenders, Ken Loach and Finnish maverick Aki Kaurismäki). Fans will no doubt be enthused by the return of Jonathan Glazer (Sexy Beast) with his first picture since 2013’s acclaimed Under the Skin. I can’t say Glazer’s choice of material – Martin Amis’s 2014 concentration camp novel Zone of Interest – particularly grabs me, but the director’s work is always worth checking out. This year’s blockbuster spot, meanwhile, will be taken

The best coronations in literature

‘In her big, white dress the Queen looks like a balloon that’s about to float up to the roof of Westminster Abbey and bob about up there amongst the gilded arches and roof bosses. To prevent this happening people keep weighing her down with cloaks and robes, orbs and spectres, until she’s so heavy that bishops and archbishops have to help propel her around.’ This is the coronation of Elizabeth II in 1953 as described by one-year-old Ruby Lennox in Kate Atkinson’s Behind the Scenes at the Museum. These observations might seem preternaturally advanced from a narrator not yet old enough to walk and talk, but that is consistent for

Crowning moments: coronations in the movies

Before Westminster Abbey opens its doors on Saturday, what better way to get in the spirit than to explore the storied history of coronations in the movies? The sheer spectacle of a monarch’s formal coronation has an inherently cinematic aspect – and it’s one that motion pictures have long exploited. Here are ten films to savour before the event: The Lord of the Rings: the Return of the King (2003) – NOW, Amazon Rent/Buy Impressive as King Charles III’s coronation is sure to be, it’s unlikely to match the crowning of Aragorn (Viggo Mortensen) as King Elessar in the final instalment of Peter Jackson’s Lord of the Rings trilogy. After