I’m not sure that everything wrong with the world can be blamed on Twilight — but most of it can. Ever since those oh-so-dreamy vampire stories first set hearts a-fluttering and cash registers a-ringing, Hollywood has been looking out for other fantasy yarns to strip down and hawk to 13-year-old girls. And now it has
Switch is a French action thriller starring that lumbering wooden legend of French cinema, Eric Cantona, and it’s awful, but at least it is one of my favourite kinds of awful film: so awful it’s a triumph. If I were ever invited to lecture at film school — remarkably, I have yet to receive such
When the late Ken Russell published his autobiography in 1989, he called it A British Picture. That title could just as easily describe The Devils, his 1971 adaptation of Aldous Huxley’s The Devils of Loudun, relating the true story of supposed demonic possession among Ursuline nuns in north-west France in 1634. Here is a world-class
Totally unexpectedly, as I don’t like Brit gangster films particularly — so many sociopaths, so little time — I loved, loved, loved, loved, loved Wild Bill and, for those of you who are slow on the uptake, let me say four times more: I loved, loved, loved, loved it. It may not even be a
We Bought a Zoo — in which a family buys a zoo — does what it says on the tin and if you like this sort of film you will like this and if you don’t you won’t, and you have to ask yourself why you buy The Spectator every week? It’s for analysis like
Bel Ami is based on Guy de Maupassant’s 1895 novel of the same name about a young man who sleeps himself to the top of Parisian society — I once slept myself to the top of Parisian society, but by the time I got there I was far too exhausted to properly enjoy it —
The first and perhaps only thing to really say about Hunky Dory is that it is anything but. It is not hunky dory at all. Instead, it is half-baked and tiresome. I’d had rather high hopes for it. It’s a ‘let’s-put-on-a-show!’ film set in a Welsh comprehensive during the long hot summer of 1976 —
This week A Separation, Asghar Farhadi’s deceptively simple domestic drama, added the Oscar for Best Foreign Language film to its trophy case. Its success abroad has been attributed largely to its universally recognisable premise; unlike much Iranian cinema, Farhadi’s film feels modern, offering an intimate snapshot of social divisions in present-day Tehran. Most Western audiences
A young Indian entrepreneur, Sonny (Dev Patel), has a brilliant idea: to open a hotel that caters for the ‘elderly and beautiful’ British tourist. He plans, in other words, to exploit that pot at the end of the service industry rainbow, the ‘grey pound’. Sonny fakes some photographs depicting what he hopes his hotel will
Unless I am Extremely Dim & Incredibly Thick, which is always a possibility — you think I don’t know? I do — this Stephen Daldry adaptation of Jonathan Safran Foer’s 2005 novel Extremely Loud & Incredibly Close just doesn’t seen to have any point, and is sentimental and banal as well as very, very long
The Muppet Show was my favourite TV programme when I was growing up, but this film, the first in over a decade? Not so much, even though it is fun in parts. I liked it terrifically at the beginning, and loved seeing Kermit again, and Miss Piggy, with her ‘pork chop’ (‘Hi-yah!’) and Gonzo and
Carnage is Roman Polanski’s adaptation of Yasmina Reza’s hit stage play The God of Carnage, in which two sets of parents get together to discuss an altercation between their 11-year-old sons in the hope that they can figure it out sensibly, and all hell breaks loose. I have my reservations. I’m not convinced the play
The Descendants is a comedy-drama about a dysfunctional family — is there any other kind of family? I’ve yet to meet one — made by Alexander Payne, who also made About Schmidt and Sideways, but whereas I warmed to those films, I could not warm to this. I liked it. I enjoyed it. I did
W.E. is Madonna’s second outing as a film director, and this tells ‘the greatest royal love story of the 20th century’ via two women separated by more than half a century: Wallis Simpson (Andrea Riseborough) and a modern-day New Yorker, Wally Winthrop (Abbie Cornish), a society wife who becomes obsessed with Mrs Simpson when her
The latest film by the Turner Prize-winning artist and now acclaimed film-maker Steve McQueen is an electrifying snapshot of the life of Brandon, a sex addict, played by Michael Fassbender. Shame (released this week) is McQueen’s second feature and follows his 2008 debut Hunger, about the Irish Republican hunger-striker Bobby Sands, which also stars Fassbender.
Steven Spielberg’s version of War Horse is like an extended Sunday afternoon episode of Black Beauty gone mad via the first world war, just so you know, and although it made me cry this is no endorsement. I rarely cry in real life but have been known to howl in the cinema, even when I’m
Firstly, my review of 2011, which I was going to do in photographs until I realised I didn’t take any, and then in animal thumbprints, but they are quite rubbish. My dog, for example, looks nothing like a dog. So I will spare you my review of last year — my giraffe is getting there,
Every so often a film comes from the left field and plays a complete blinder and The Artist is such a film. It is also glorious, delicious and an unalloyed joy and if you don’t go see it you are a bigger fool than I thought you were, which is going some. It’s a film
The Iron Lady is a better performance than it is film, although I suspect the performance will carry the day. My good friend Meryl Streep, whom I have personally witnessed making pie with her very own Meryl hands, is awesome, flawless and magnificent, etc. but the film itself is peculiarly glib and superficial and somehow
Puss in Boots was the surprise hit character — the standout sidekick — of the second Shrek movie, and went on to tickle us in Shrek the Third and Shrek Forever After. Sleek, foolish, vain and blessed with the all-butter voice of Antonio Banderas, he was the roving ginger tom whom audiences wished to take