Film

With an added ‘The’ for extra gravitas, Matt Reeves’ fresh take on The Batman is picking up generally favourable notices both for the movie and Robert Pattinson’s interpretation of the character, which apparently makes Christian Bale’s dour Bruce Wayne a happy-go-lucky scamp in comparison. The Spectator’s Deborah Ross wasn’t convinced by yet another dark twist on the superhero but elsewhere the film has received solid reviews. The Caped Crusader has seen many iterations on film, the most recent being Ben Affleck’s constipated billionaire, which never really caught on with audiences. Christopher Nolan’s three motion pictures (Batman Begins, The Dark Knight and The Dark Knight Rises) raised the bar for both Batman films and

The trope of a loner, either new in town or returning from years away, who is forced to confront the corruption and violence of the bad guys now in charge, is a familiar storyline in both film and TV. Westerns such as Shane (1953) and the classic TV series Kung Fu (1972-75) revolved around this scenario, but it also plays out in a variety of other settings ranging from Ancient Rome (Gladiator, 2000) to outer space (Soldier, 1998). And all points between. Amazon’s Jack Reacher adaptation is only the latest in this long line of wrong-righting protagonists and has been picking up positive reviews for beefy star Alan Ritchson’s depiction of the

Every now and then you watch something that makes you realise how much the likes of Netflix have skewed our viewing habits. While the kings of streaming may have injected more money into Hollywood than ever before, they’ve also stacked the deck yet further in favour of the celebrity blockbuster, the big and the bombastic. Quieter, subtler films all too often disappear into the ether. You can understand Netflix’s position. What better way to attract the fleeting attention of the scrolling viewer than with a glimpse of the likes of Leonardo Di Caprio or Benedict Cumberbatch? Throw in a big, juicy concept – like an imminent asteroid collision – and

‘There’s no such thing as bad snow, just bad skiers’ (Popular skiing saying) The 2022 Olympics have to an extent been overshadowed by diplomatic boycotts over host nation China’s alleged human rights abuses. The US, UK, Canada, Australia, Lithuania, Kosovo, Belgium, Denmark, and Estonia will not be sending any ministers or officials. Other countries (New Zealand, Austria, Slovenia, Sweden, and the Netherlands) cite Covid concerns for the lack of official representation. Whether boycotting the event will have any discernible effect is debatable. France’s President Macron certainly doesn’t think so: ‘I don’t think we should politicise these topics, especially if it is to take steps that are insignificant and symbolic.’ On a

Last week, the nominations for the BAFTA film awards were announced and very swiftly afterwards the annual chorus of lamentation started up. For whatever poor old BAFTA does, a vocal segment of film fans and critics alike will declare themselves unhappy. BAFTAs-bashing, it can often seem, is how those in cultural circles like to keep themselves warm and entertained in the darkest and dullest months of the year. As if that weren’t enough, hot on BAFTA’s sweaty heels come the Oscar nominations, providing the opportunity to grumble on an international scale. As recently as 2020, grave accusations of ‘whitewashing’ were levelled at the British Academy, when it somehow managed to

Are black and white films making a comeback – or did they ever really go away?  With Belfast, The Tragedy of Macbeth, Passing, Mank and Roma all generating critical buzz, they are certainly having a moment. Even after the advent of colour motion pictures, black and white movies continued to be made, chiefly for economic (lower cost stock) and aesthetic reasons. Some present-day directors have even released monochrome versions of their colour movies, including The Mist (Frank Darabont, 2008) Logan: Noir (James Mangold, 2017) and Guillermo del Toro’s remake of 1947’s Nightmare Alley (2021). Why is the Black and White format growing in popularity? For a few directors, it can be a pretentious device,

After some lengthy troughs and fallows, iconic Spanish director Pedro Almodóvar is enjoying a purple patch with critical acclaim for 2019’s autobiographical Pain & Glory and his new picture Parallel Mothers. Star Penélope Cruz is tipped to have a good chance of winning the Best Actress Academy Award for her performance as middle-aged mother-to-be Janis Martinez. But if anyone believes that advancing years (he turned 72 last September) have tamed the provocateur, they should think again, as the film’s theatrical release poster (featuring a lactating nipple) was temporarily censored by Instagram. Although not many people in the UK actually pay to see his films, it’s probably fair to say that

Netflix’s adaptation of Robert Harris’ political thriller Munich – The Edge of War attempts in part to rehabilitate the reputation of former Prime Minister Neville Chamberlain (played by Jeremy Irons), popularly believed to be the architect of appeasement in relation to Hitler’s Germany. Nick Cohen, in the pages of The Spectator attempted with some success to rebut the revisionist apologia for Chamberlain. To my eyes, the crux of the matter is whether taking stronger measures against Hitler at the beginning of his dictatorship would have deterred him – or that Chamberlain’s accommodations with the Nazis provided vital time to build up Britain’s armed forces and acclimatise public opinion to conflict

Billionaires (especially of the tech variety) are constantly in the news. From the ‘space’ exploration antics of Messrs Bezos, Musk and Branson to the guilty verdicts recently handed out to Theranos founder Elizabeth Holmes and of course, the possibility of criminal charges against former POTUS Donald Trump (who still claims billionaire status, despite wife Melania’s current yard sale). Elizabeth Holmes will be the subject of Adam (Don’t Look Up) McKay’s upcoming biopic Bad Blood, with Jennifer Lawrence playing the suspiciously baritone-voiced grifter. Incidentally, Mark Rylance played tech billionaire Peter Isherwell in Don’t Look Up (2021), a character owing an obvious debt to the oddly enunciating trio of Musk, Zuckerberg, and