Film

All’s well that ends well: TV’s most satisfying finales

As national irritation continues to simmer over what many viewers felt was the disappointing denouement to BBC1’s hit police drama Line of Duty, here’s a look at ten shows that bowed out on a more satisfying note. A good ending is comparatively rare, as the tendency in TV is to squeeze every last drop out of a hit series until audiences are in terminal decline; witness AMC’s The Walking Dead, which continues to limp on. In contrast to shows that drag on beyond their natural lives, many felt that Game of Thrones’ final 8th season was a rush job, prompted by the desire of showrunners David Benioff and D. B. Weiss

Audiences don’t want woke: comic-book writer Mark Millar interviewed

Mark Millar has a raging hangover but he couldn’t be more chirpy or enthusiastic. ‘People say they get worse as you get older but I get reverse hangovers where I feel amazing. I wake up at four or five and I’m ready to go!’ I’ve caught him on a Sunday morning, on his way to Mass, after an exhausting three weeks in which he has been doing up to 45 interviews a day to promote Jupiter’s Legacy, his blockbuster superhero series for Netflix. He ought to be nervous: this is his first big project off the blocks since (in 2017) the studio bought up his publishing company Millarworld for a

This film deserves all the awards and praise: Nomadland reviewed

Nomadland won multiple Oscars including Best Picture, Best Director and Best Actress, and if there’d been an award for Best Film In Which The Woman In Her Sixties Isn’t The Least Developed Character In The Screenplay, Hallelujah, About Time, it would have scooped that too. Not much competition, regrettably, but you have to admire the film just for that, plus there is much to admire generally. It is based on the non-fiction book Nomadland: Surviving America in the Twenty-First Century by the journalist Jessica Bruder, who spent months living with older Americans who, out of economic necessity, eke out a living while travelling from place to place for seasonal employment.

What we can learn from the noughties teen movie

There’s a movie scene forever etched into the minds of young adults. It’s probably as vivid as our parents’ recollection of the moon landing, or Maxwell House ads. In American Pie, hopeless high-schooler Jim decides to copulate with an apple tart. You don’t think he’s going to do it, but he does. And then, because the filmmakers know we’re on the ropes, they show us the mangled remains in the dog bowl. It’s also a moment that truly embodies the ‘gross-out Teen Comedy’, Hollywood’s fleeting junk food binge that began with the release of American Pie in 1999 to Road Trip, 10 Things I Hate About You, all the way

8 crime mini-series to watch this weekend

Kate Winslet’s latest drama, Mare of Easttown, has been winning praise from critics and viewers alike. The seven-part series, currently available on Sky Atlantic, is a reminder that – in a world of sprawling box-sets – the old-fashioned crime mini-series still packs a serious punch. Here are eight others worth a watch: Your Honor, Sky Atlantic/NowTV There is a class of actor who can sell a new show on their face alone. And judging by the promo campaign for Your Honor – which features little more than the pensive mug of its star – we can safely assume that Bryan Cranston has now reached its level. First the obvious point: Your Honor

Kubrick’s Napoleon – the greatest movie never made

Two centuries ago — on 5 May 1821 — Napoleon Bonaparte died in a rat-infested house. The fallen Emperor had spent his final years exiled on the British outpost of St Helena. Yet Napoleon’s ignominious last act was only the beginning of his legend. A recent data-driven study, published by Cambridge University Press, crowned him the second most significant figure in history, after Jesus no less. Stanley Kubrick, the virtuoso director of 2001: A Space Odyssey and The Shining, considered Napoleon the most interesting individual who ever lived. Kubrick’s passion project — never produced — was a biopic of the conqueror. He predicted it would be the ‘best movie ever

10 cult films that missed out at the Oscars

It’s no great secret that the Oscar for Best Picture has been awarded to some puzzling choices over the years. Way back in 1944, the musical comedy Going My Way won the award, rather than Billy Wilder’s classic Film Noir Double Indemnity. Then flash forward to 1952 when Cecil B. DeMille’s tiresome circus picture The Greatest Show on Earth trounced High Noon, whilst in later years Dr Strangelove lost to My Fair Lady, Rocky outdid Taxi Driver and (notoriously) Driving Miss Daisy ran over My Left Foot. In recognition of this, here’s a purely personal look at ten times when the Academy Award for Best Picture went to a dubious choice, and

It will do your head in: Black Bear review

Black Bear is one of those indie dramas that is meta on so many levels you can either sit with it afterwards or, if you’re weak like me, you’ll immediately turn to the internet for an explanation and may even find yourself buried deep in one of those Reddit threads that will make you wish you’d had the strength to just do the sitting. This is a compelling film in its way, and it’s well performed, with a surprising reset midway through, and you don’t have to fully understand a film to enjoy it. But if I’m honest? I do feel a little bit cheated when an interpretation or ending

Best served cold: 10 films about revenge

The plot of Academy Award nominated Promising Young Woman (finally available to watch on Sky Cinema and NOW TV) centres on Cassie who adopts a novel approach to avenging the rape of her friend. Revenge has featured as a key theme in literature and drama virtually since writing began, from Euripides (Medea) and Seneca (Thyestes) to Shakespeare (Titus Andronicus), Alexandre Dumas (The Count of Monte Cristo) and more recently Gillian Flynn (Gone Girl). The Jacobean era (1603-25) saw an intense interest in retribution as the subject matter for plays, with a fair few still performed to this day, works such as The Duchess of Malfi (John Webster), ‘Tis Pity She’s a Whore (John Ford) and The

Clever, funny and stomach-knotting: Promising Young Woman reviewed

Promising Young Woman is a rape-revenge-thriller that has already proved divisive but is a wonderfully clever, darkly funny, stomach-knotting — my stomach may never unknot — exploration of what #notallmen seem to get: it isn’t OK to have sex with a woman who has had a few too many and isn’t in a position to give consent. Unless, of course, she is also out late at night and wearing a short skirt in which case: asking for it. We all know that. This is written and directed by the extraordinary polymath that is Emerald Fennell, who was head writer for the second series of Killing Eve, has collaborated with Andrew

Eat. Sleep. Repeat: 10 films that play with time

Over the recent long months of lockdown, many may feel that they are stuck in their own personal Groundhog Day. With working from home and the few opportunities for travel or socialising, life, for some, has become a matter of dull routine. It’s somewhat of a surprise, then, that the well-worn genre of the time loop movie, where protagonists are doomed to live one single day time after time, is striking a chord. Recent comedy Palm Springs has had plenty of attention from critics, perhaps because it resonates so strongly with our lockdown experience. On the face of it, this genre is a recipe for monotonous viewing, but it is to the credit of

The necessary politics of Promising Young Woman

Last month there occurred an event so culturally seismic that it made, well, a barely perceptible dent on the news headlines. Not just one but two actual women were nominated for the Best Director Award at the Oscars, a category that has for many years now been open to five nominees. It was the first time that two women have ever made it into contention in the same year and, by their audacious presence at the top table, Emerald Fennell (Promising Young Woman) and Chloé Zhao (Nomadland) have at a stroke increased the number of women the Oscars have ever nominated for this prize from five to seven. (Only one,

Riveting and heartbreaking: Sound of Metal reviewed

The multi-Oscar-nominated Sound of Metal stars Riz Ahmed as a heavy-metal drummer whose life is in freefall after losing his hearing. Ahmed learned to play drums for the part. And he learned American Sign Language. And he learned to perform with white noise in his ears. However, he did not have to learn how to be riveting because, if you’ve followed his career, you’ll know he’s been that since day one, and he is magnificently, powerfully, heartbreakingly riveting here. If he doesn’t win the Oscar I’ll be furious. That counts for nothing, I know. But it had to be said. It is directed by Darius Marder, who co-wrote the screenplay

The Mozarts of ad music

It’s Christmas 2020 and Kevin the Carrot is on a mission. Snow swirls, ice glistens and roast turkeys and cold cuts wait on the table, bathed in cosy firelight. The visual symbols of Christmas are all present and correct in the big Aldi seasonal advert, but what pulls them together is the music. A hint of John Williams on a solo horn, a burst of swashbuckling rhythm; symphonic strings as our vegetable hero makes it home. It’s all there, sumptuously scored and precisely gauged to make you feel that in 30 seconds, you’ve experienced an epic. And then, of course, to go out and buy parsnips. ‘I was lucky, because

The best cop dramas to rival Line of Duty

As the sixth series of Line of Duty heats up, the good old police procedural drama is clearly back in fashion. If you need an additional fix before the next helping from AC-12, here are our favourite cops on television: Jimmy McNulty, The Wire As a rule of thumb, fictional cops tend to gravitate towards two moral archetypes: rule-breaking mavericks at one end and corrupt cynics at the other. But David Simon’s seminal work about the city of Baltimore blew that spectrum wide open, showing its various police teams as every bit as complex and compromised as the criminals they pursued. At the heart of it all is Jimmy McNulty: the

Zippy and stylish, with a glint of mischief: William Forsythe’s The Barre Project reviewed

In the early Noughties there was a Hollywood subgenre (by which I mean a few cult movies, each with terrible sequels) about ballerinas who shake off their classical shackles and liberate the cool girl within. The crown jewel is Center Stage, in which an aspiring prima sticks it to her ballet masters after they affront her with some light criticism of her turnout. She’s not some faceless, uptight swan! She’s a free spirit who dances for fun, as signalled by the presence of not one but two Jamiroquai songs on the soundtrack. When Tiler Peck strutted on screen to James Blake’s ‘Buzzard & Kestrel’ in the opening minutes of The

Why is cinema obsessed with remakes?

The game is afoot! Yes, yet again! Hot on the hob-nailed heels of Enola Holmes, the Netflix film about the great detective’s younger sister, comes yet another spin on Sherlock. This time the streaming service brings us The Irregulars, a gaggle of Victorian urchins hired by Dr Watson to investigate crimes with a supernatural element. Elementary, you might say. Though I won’t, because it’s so tired and clichéd. And this convoluted Conan Doyle cash-in isn’t just jumping the shark — the producers of The Irregulars are so far gone, they’ve cleared the wall of the orcas’ tank and have beached themselves in the carpark. ‘Whatever is it like in your

What Chariots of Fire can teach us about identity politics

Next week marks the 40th anniversary of Hugh Hudson’s Chariots of Fire, the Oscar-winning true tale of Olympic glory which captured the affections of critics and mass audiences alike. Fondly cited by everyone from Maggie Thatcher to Joe Biden, parodied by Mr. Bean, beloved and bemoaned for its Vangelis score and heightened slow-mo cinematography, Chariots reliably jerks tears from most filmgoers of a certain generation. Yet, four decades on, the film has lost none of its vitality, even for the newcomer. Indeed, so far from being a faded relic of its era, it still crackles with a sharp and nuanced screenplay that offers particularly apt food for thought in a

10 conspiracy thrillers to watch this weekend

Whilst the genre has never gone out of fashion, the 1970s were seen by many as a Golden Age of the paranoia-thriller, with Watergate, the Vietnam War and speculation about the Kennedy assassination leading to classics such as The Parallax View (1974), Three Days of the Condor (1975), Winter Kills (1979) and others. For this piece, we will look at more recent conspiracy-driven motion pictures, which have all used technological advances and the ‘surveillance society’ as a way of ramping up the paranoia. Interestingly, there is a propensity for certain actors to turn up in this particular film genre – stars such as George Clooney (Syriana, The Men Who Stare at

The fossil-hunting is more interesting than the sex: Ammonite reviewed

Ammonite is writer-director Francis Lee’s second film after God’s Own Country, one of the best films of 2017, and possibly the best film about a closeted gay Yorkshire sheep farmer falling for a migrant worker ever. This is another unlikely romance, but set in the 19th century between the real-life palaeontologist Mary Anning (Kate Winslet) and real-life Charlotte Murchison (Saoirse Ronan), whose wealthy husband had an interest in geology. Mary and Charlotte were friends yet there is no historical evidence they had an affair. This is all poetic licence but told so poetically you will substantially buy it, albeit with a few reservations. Plus it’s Winslet and Ronan and while