Film

Propulsive, funny – and what a car chase: One Battle After Another reviewed

Is Paul Thomas Anderson’s latest as good as everyone is saying? That it has a run time of nearly three hours and I didn’t drop off, and didn’t have to fight dropping off, may say it all. But if you want more, I can also vouch that One Battle After Another is funny and fantastically propulsive, and it also, I should add, reinvents the car chase – which I don’t believe any of us expected to see in our lifetimes. So while you can search for a deeper meaning if you want (many have), you can also simply enjoy it. (I give you permission.) The car chase at the end?

Emma Thompson is surprisingly convincing as the star of this action thriller

Dead of Winter is an action thriller starring Emma Thompson and you have to hand it to her. Has such a thoroughly ordinary, sixty-something-year-old woman (no superpowers) ever carried an action thriller before? Not that I can think of. That’s not to say it’s devoid of clichés. I think we all know that it’s best to steer clear of cabins miles from anywhere. But it’s well made, tense, fun, and if you’ve longed to see an ordinary, sixty-something-year-old woman brandish a gun or put a claw hammer through someone’s foot you will not be disappointed. Directed by Brian Kirk, from a script by Nicholas Jacobson-Larson and Dalton Leeb, it’s set

Is Grey Gardens the greatest documentary ever made?

A middle-aged woman wearing what looks like Princess Diana’s infamous ‘revenge dress’ and a balaclava from an IRA funeral approaches the hole in the floor. The raccoon that lives there, clearly used to her presence, looks up expectantly. Sure enough, the woman empties a bag of dry food into the hole. The scene is framed by the intricate fluted wainscotting of the room’s door frame. I am not exaggerating when I say I believe it to be one of the great scenes of modern cinema. The vignette comes from Grey Gardens, the Maysles brothers’ cult documentary, which turns 50 this autumn. Like many great documentaries – from Tiger King to 

A Big Bold Beautiful Journey is anything but

A Big Bold Beautiful Journey is, I have to tell you, anything but. I should have trusted the trailer. When I caught this, my first thought was ‘heck, that looks bad’. Stupidly, I was not put off. The film is written by Seth Reiss (co-writer of The Menu) and directed by Kogonada (if you haven’t seen After Yang, more fool you). And it stars Margot Robbie and Colin Farrell. It can’t be that bad, surely? Reader, I swear to you, it is. The direction is prosaic and sentimental while Robbie and Farrell have zero chemistry, not a squeak It’s a romantic fantasy about two people who have resolved to stay

Lower your expectations for Spinal Tap II

This Is Spinal Tap is now such a deserved comedy behemoth that it’s easy to forget how gradual its ascent to generally agreed greatness was. Only over the years did so many lines and scenes from a low-key 1984 mockumentary about a heavy-rock band (amps that ‘go to 11’, a tiny Stonehenge, a classically inspired piece called ‘Lick My Love Pump’) become part of our lives. Spinal Tap II: The End Continues, by contrast, comes amid a loud fanfare – which may be part of the problem, because the result certainly doesn’t live up to expectations that are inevitably sky-high. Then again, the sad truth is that it mightn’t have

Peter Sellers and the comic tragedy of The Producers

It’s October 1994 and I’m rooting around in a garage in a non-descript LA neighbourhood, a few blocks from 20th Century Fox. The garage is piled high with clothes, cameras, audio tapes, reels of film and, in pride of place, a Nazi storm trooper helmet. This was the last resting place for a mountain of paraphernalia belonging to comedy legend Peter Sellers, who was born 100 years ago today. The house was owned by Sellers’s widow, Lynne Frederick, who had been found dead there just six months earlier. Now her mother lived there alone and was the keeper of the trove. After several G&Ts together, she agreed to allow me access.

Fails to outshine the original: The Roses reviewed

The Roses is a remake of The War of the Roses (1989), the diabolically funny black bitter comedy that was directed by Danny DeVito and starred Kathleen Turner and Michael Douglas as a couple who start out in love, then hate each other like poison, and once their battle is under way it’s no holds barred. You remember the dinner-party scene and what he did to the fish course? You remember him sawing the heels off all her shoes and her serving him that liver pâté on crackers? (Let’s just say: no pets were spared.) Of course you remember. Will you remember this ‘reimagining’ in 36 years? It has an

Loving salute to a book I wouldn’t touch: The Thursday Murder Club reviewed

Richard Osman’s The Thursday Murder Club, which is set in a retirement village and features pensioners solving murders, was a publishing sensation. (There are now four books in the series, with combined sales of more than ten million copies.) I’ve never read it. ‘Cosy crime’, as it’s called, is either your bag or it isn’t. This adaptation, however, feels exactly like the book that I haven’t and would never read. I hope Mr Osman et al. will take this as praise. In other words, the film knows what it is doing, who it is for, and fans will, I’m convinced, be delighted. It’s reminiscent of Enid Blyton’s The Famous Five,

Alien: Earth is wantonly disrespectful to the canon

I once spent a delightful weekend in Madrid with the co-producer of Alien. His name was David Giler (now dead, sadly, I’ve just discovered) and he’d hit upon the bizarre idea of trying to get my anti-eco-lunacy book Watermelons made into a Hollywood movie. The film project never came off but I did learn an important lesson in our time together, hanging out in nice restaurants and pretending to work: if you want a happy life cushioned from financial care, the secret is to wangle yourself percentage points of a successful franchise. Another example of this is Franc Roddam, with whom I once spent an even stranger weekend in Accra,

Woody Allen without the zingers: Materialists reviewed

Celine Song’s first film, the wonderful Past Lives (2023), earned two Oscar nominations. So expectations were riding high for Materialists. Perhaps way too high. And, yes, it’s a letdown. It feels like an early Woody Allen but blunter, shallower, with no zingers, and a lead character that’s hard to care about. Dakota Johnson is our lead, playing a matchmaker who has two dreamboats (Chris Evans, Pedro Pascal) vying for her hand and throughout I was thinking: I should have your problems, love.  Should she be seduced by Harry’s penthouse or return to broke John? (Harry! He has silk sheets!) It’s billed as a romcom but those who expect that will

A mafia drama like no other

The Kingdom is a mafia drama like no other. It’s directed by Julien Colonna whose father was a Corsican mob boss who died in 2006 (officially in a car crash although it’s generally believed he was ‘whacked’). And it’s told through the eyes of a young girl. Think of it as The Godfather from the point of view of a teenage Connie Corleone. Or The Sopranos from the perspective of Meadow. Or just take it for what it is, which is tense, brilliant and rivetingly convincing. The film is set in Corsica in 1995 at a time when the island was experiencing deadly mob feuds as well as intense conflicts

The harrowing true story behind Barry Lyndon

Stanley Kubrick’s swooningly gorgeous film, Barry Lyndon, has just been re-released in cinemas to mark its 50th anniversary. Much ink has been spilled about its hypnotic beauty, its lavish attention to historical detail, its dreamy, luscious, candlelit photography. Yet William Thackeray’s bitingly satirical novel of the same name is often neglected – as is the true, harrowing story that inspired it. The book Barry Lyndon (first published in 1844) bore its genesis from the story of a real adventurer, Andrew Robinson Bowes, whose cruelty to his wife, the Countess of Strathmore, was notorious. Born Andrew Robinson Stoney, he rose to the rank of a lieutenant before marrying an heiress; after

Be warned: the new Naked Gun is actually funny

As the lights went down for The Naked Gun – the ‘legacy sequel’ to the spoof cop franchise – I found myself praying: ‘Please God, let it be deliciously and relentlessly stupid or I will be heartbroken.’ I was not hopeful. I never am when it comes to a ‘legacy sequel’. What they usually mean by ‘legacy sequel’ is: a ‘reboot’. But within the first few minutes I heard a strange noise and felt a peculiar sensation and realised I was laughing. It happened quite a few times more, in fact.  I was as surprised as anybody. Even though the third act drags a bit and Liam Neeson is no

I watched it between my fingers: Bring Her Back reviewed

The Australian twins Danny and Michael Philippou started off as YouTubers known for their comically violent shorts – Ronald McDonald Chicken Store Massacre (2014) has accrued 67 million views. They then raised the money to make their first feature. This was the quietly disquieting Talk To Me (2022), which cost $4.5 million and made $92 million. Bring Her Back (they like three-word imperatives, these lads) is their second and it may not be as successful. It stars Sally Hawkins and this isn’t, alas, horror at its most fun, inventive and camp. This is horror horror: gory, grisly and one that properly goes for it at the end – which, if

Jurassic Park Rebirth is the dumbest yet

Midway through Jurassic World Rebirth the scientist character played by Jonathan Bailey, whom we can all immediately spot as a scientist (he wears glasses), tells us that intelligence is not especially useful for a species. Look at dinosaurs, he continues, ‘who are dumb but survived for 165 million years’. These Jurassic films have been going for 32 years so intelligence may not be necessary for the long-term survival of a movie franchise either. More worryingly, as each of these films is dumber than the last it could go on for ever. I say all this as a fan of the first film who has been perpetually disappointed ever since. This

The politics of horror

Everyone forgets the actual opening scene of 28 Days Later, even though it’s deeply relatable, in that it features a helpless chimp strapped to a table and forced to watch doomreels of ultraviolence until it loses its little monkey mind and eats David Schneider. But it’s eclipsed by the famous sequence that follows where Cillian Murphy wakes in a hospital bed to find that he has slept through a deadly pandemic and the ensuing collapse of civilisation. As Murphy drags his not-yet-world-famous cheekbones through an eerily abandoned metropolis, we see Piccadilly plastered with the names and faces of the missing and the dead. Audiences in 2002 were reminded of the

Magnificently bloodthirsty: 28 Years Later reviewed

First it was 28 Days Later (directed by Danny Boyle, 2002), then 28 Weeks Later  (Juan Carlos Fresnadillo, 2007) and now Boyle is back at the helm with 28 Years Later, which is, as I understand it, the first in a new trilogy. This post-apocalyptic horror franchise could go on for ever. As the last film was generally (and rightly) regarded as a desultory cash grab, there is much riding on this one. The verdict? It’s entertaining but not outstanding. The biggest surprise is its tonal swerve into sentimentality. Jodie Comer and Ralph Fiennes, however, bring character and heft and, just to put your minds at rest, yes, it’s as

Darkly comic samurai spaghetti western: Tornado reviewed

Tornado is a samurai spaghetti western starring Tim Roth, Jack Lowden and Takehiro Hira (among others). Samurai spaghetti westerns aren’t anything new. In fact, we wouldn’t have spaghetti westerns if it weren’t for the samurai genre – Sergio Leone’s Fistful of Dollars (1964) was, as Clint Eastwood conceded, an ‘obvious rip-off’* of Akira Kurosawa’s Yojimbo (1961) – yet this may be the first one set in 1790 and filmed in Scotland. It may also be the first one to feature thick woollens and tweed. That makes it sound twee which it isn’t. It’s a super-bloody revenge story filmed in just 25 days with a running time of 90 minutes. We

Literate and sensitive romance: Falling Into Place reviewed

Falling Into Place is a love story written by Aylin Tezel, directed by Aylin Tezel, and starring Aylin Tezel. That’s a lot of Aylin Tezel so I was nervous going in. What if it’s too much Aylin Tezel? What if Aylin Tezel and I don’t get along? Who even is Aylin Tezel? But I knew within the first few minutes we were in safe hands and I was set to like this Aylin Tezel. In Falling Into Place she’s created a literate and sensitive romance that is allowed to unfold gently. If it’s ‘high-octane action’ you’re after, then your better bet this week is Ballerina, the John Wick spin-off. This

A remarkable story: The Salt Path reviewed

The Salt Path is an adaptation of the best-selling book by Raynor Winn. It tells the true story of how she and her husband, Moth, lost their home and lost all their money. At one point they go to a bank to withdraw all their funds: £1.38. And if that wasn’t bad enough he’s then diagnosed with an incurable neurodegenerative disease. So what do they decide to do? They decide to embark on a 630-mile walk along the South West Coast Path. Isn’t that what any of us would do, given the circumstances? It is a remarkable story and while this may well frustrate those who like a juicy plot