By the time a film franchise arrives at its seventh and penultimate instalment, you probably know if it is something you enjoy or not, or at least I would hope so.
This is, I should confess, not a film I meant to see. I meant to see Harry Potter, but turned up for the screening in the right place at the wrong time — a week early, I’m such a schmuck — and had to take what was showing, which was You Again, with the tag line: ‘What doesn’t kill you...will marry your brother.’ Instantly, I doubted the veracity of this — I can’t put my finger on what made me doubtful, I just felt it in my bones, and called my brother. ‘Jon,’ I said, ‘if I had athlete’s foot and it didn’t kill me, would you marry it?’ ‘No,’ he said. ‘And I’m already married to Mary, as you know.’ I do know this, just as I know that, if you can’t trust a film’s tag line, there may be trouble ahead.
Mike Leigh’s latest film feels cruel and is uncomfortable to watch which isn’t necessarily a bad thing — you can’t expect cinema to offer only comfort and warmth, my dears; cinema is not like the lobby of a country-house hotel — but it does make it a rather horrible experience.
So, a funny thing happened on the way home from the screening: I bumped into Paul Whitehouse, who has a cameo in Burke and Hare, and congratulated him on an extremely convincing tumble he takes down two flights of stairs (it hits just the right note, somewhere between the pantomime and The Exorcist).
Red is not a very good film and neither does it try to be.
Without warning, Tomas Alfredson jumps up and starts wading about the room like a water bird treading over lily pads.
Oliver Stone hits back at his critics
Really? This was necessary? Why? What’s the point? OK, I suppose revisiting Wall Street all these years later is timely, given the banking crisis and resultant global meltdown.
Although Made in Dagenham is far from perfect and has a particular fondness for those impromptu speeches which turn out to be stirringly spot-on, it is so warm-hearted and affectionate it wouldn’t be right to take against it.
Julie Powell wrote Julie and Julia, a book (and now a film) in which she described her attempts to cook a huge number of recipes by the cookery writer Julia Child.
Chaplin’s Girl, by Miranda Seymour
Love Child, by Allegra Huston
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