Film

Thursday

Deborah Ross

If you ever want to sleep again, step away from Joker

Judy is in cinemas this week and so is Joker and if you have to choose between the two, then it’s Judy every time. I would even add: step away from Joker. Step away, and step away now, if you know what’s good for you. It may be a masterpiece or it may be irresponsible trash — there is some controversy here — but either way it is so bleak and so dark and so upsetting the words ‘bleak’ and ‘dark’ and ‘upsetting’ don’t really cover it, and you may never be able to sleep again. Strange as it may be, the film about the wounded Hollywood chanteuse driven to

Thursday

Deborah Ross

You may not wish to kiss the ground when you finally leave the cinema, but I did: The Goldfinch reviewed

The Goldfinch is an adaptation of the Pulitzer Prize-winning novel by Donna Tartt that centres on a great work of art, unlike this film, which isn’t. A great work of art, that is. This is more a flat, forgettable, colour-by-numbers job, plus it is long (150 minutes, for the love of God) and drags so listlessly it seems even longer. It’s a film with nothing to say, and boy does it take its time not saying it. This had all its ducks in a row, credentials-wise. The director is John Crowley (Brooklyn), the screenplay is by Peter Straughan (Tinker, Tailor, Soldier, Spy) and the cinematographer is Roger Deakins, who could

Thursday

Tanya Gold

The untold story of Judy Garland

Judy Garland is now a myth, a paradigm and a warning: don’t let your daughter on the stage! It’s the cognitive dissonance that is thrilling and awful, like a child that dies: Dorothy kicked off her ruby slippers and turned to Benzedrine. It is a narrative that erases Garland as surely as the drugs ever did. When I think of Garland, I don’t think of the chaos, born at MGM Studios where they drugged her to make her slender and biddable. They called her the ‘little hunchback’ and because she was schooled with Elizabeth Taylor and Ava Gardner she believed it. I marvel at the music. She was extraordinary, not

Deborah Ross

Painful, funny — and with a brilliant twist: The Farewell reviewed

The Farewell is a quiet film that builds and builds and builds into a wonderful exploration of belonging, loss, family love, crab vs lobster, and hiding feelings, even though it may be tough to hide yours and you’ll shed a tear or two. I know I did. It is written and directed by Lulu Wang, who was born in Beijing but emigrated with her family to America when she was six, and it is loosely a memoir. The film opens in Changchun, a city in China’s northeast, with an elderly woman being diagnosed with stage four lung cancer and given maybe three months to live. This is Nai Nai (Zhao

Thursday

Deborah Ross

Extremely predictable and extremely dull: Downton Abbey reviewed

The much-anticipated film version of Downton Abbey has arrived and I suppose you could describe it as the Avengers Assemble of period drama, where everyone turns up and just does it all over again, but minus the throat kicks in this particular instance. Also, it’s critic-proof and the fans will race to see it even though it is, in truth, extremely predictable as well as extremely dull. Lady Mary? Wasn’t she interesting once? Didn’t she kill a Turk with sex? Why is she now so blah? Some throat kicks would have been welcome, actually. More throat kicks and fewer of Carson’s moralistic pep talks might have worked wonders. The film

Thursday

Deborah Ross

Is this film saying relationships between teachers and kids are OK? Scarborough reviewed

Scarborough is a small British film but it will give you a very big headache. Its subject is teachers who have relationships with pupils and it’s well directed and well performed — Jodhi May is always worth the price of a ticket whatever — but I’m still trying to work out what it has to say. That these relationships are sometimes OK? That they never are? That we shouldn’t judge? God, I hate cinema when it makes you think. And gives you these big headaches. The film is based on the play by Fiona Evans, first staged at the Edinburgh festival and then at the Royal Court in London. Adapted

Thursday

Laura Gascoigne

Why did Mrs Lowry hate her son’s paintings?

‘I often wonder what artists are for nowadays, what with photography and a thousand and one processes by which you can get representation,’ L.S. Lowry muses in Robert Tyrrell’s 1971 documentary. ‘They’re totally unuseful. Can’t see any use in one. Can you?’ I can: as fodder for biopics. Cinemato-graphers have always been inspired by painting, but the appeal of the artist’s biopic lies less in the representation than the lifestyle: mainly the sex. Kirk Douglas’s Vincent van Gogh demonstrates his ‘lust for life’ in the trailer for Vincente Minelli’s 1956 film with what would now be considered a sexual assault on Jeanette Sterke as his cousin Kay; Charlton Heston’s Michelangelo

Deborah Ross

Sensational: The Souvenir reviewed

Joanna Hogg’s films are the antithesis of popcorn entertainment so if it’s not the antithesis of popcorn entertainment that you seek, you may be better off going elsewhere. Her latest, The Souvenir, is about a young woman finding herself and her own voice, and is semi-improvised and I know someone who hates her films — ‘like watching paint dry,’ I was told — but if this is so, I have never seen paint dry so enthrallingly. I was fascinated throughout, in fact. This is her fourth film after Unrelated (2007), Archipelago (2010) and Exhibition (2013), and it is her best, I think. (Although I will always have a very soft

Alexandra Coghlan

Why are so many operas by women adaptations of films by men?

Opera’s line of corpses — bloodied, battered, dumped in a bag — is a long one. Now it can add one more to the list: the broken, abused body of Bess McNeill. The heroine of Lars Von Trier’s uncompromising 1996 film is a curious creation. Striving against the restrictions of her austere, Presbyterian community on a remote Scottish island, she marries oil-worker and ‘outsider’ Jan. But when an accident on the rig leaves him paralysed, a promise to her husband and a bargain with God leads her into increasingly degrading and dangerous sexual encounters. Savant or innocent, saviour or sacrificial victim — Von Trier leaves it unclear. Composer Missy Mazzoli

Thursday

Colin Grant

Why a whole new generation of young Europeans are turning to old-school reggae

A camera sweeps across the verdant, shimmering beauty of Jamaica before descending on to a raffishly charming wooden house built into the hills. We’re at a music studio where four of the pioneers who gave birth to reggae are congregated to record a new album. ‘It’s tranquil, a real feeling of nature, just birds, trees and the wind,’ says 71-year-old Ken Boothe, whose seductive voice is smooth as rum, just as it was in 1974 when ‘Everything I Own’ stormed the British charts. Boothe is one of the stars of a beguiling new documentary, Inna De Yard, about the rise and fall of roots reggae, which reached its peak in

Deborah Ross

Unlike the Tarantino, this has humanity, sympathy and generosity: Pain and Glory reviewed

Pedro Almodovar can sometimes be overly flamboyant if not out-and-out nuts — let us never talk about I’m So Excited! ever again — but his latest film, Pain and Glory, is wonderfully restrained and all the better for it. Partly autobiographical, it’s about ageing, and the reckoning that always comes with that — when you know you’ve had most of your life, how do you keep living it? — as told with the kind of humanity and sympathy and generosity you don’t ever see in a Tarantino film, say. (Are we still arguing about the Tarantino film or have we moved on?) The film stars Antonio Banderas as Salvador Mallo,

Thursday

Deborah Ross

Age of innocence?

Quentin Tarantino’s latest film, Once Upon a Time in Hollywood, is a sprawling tale set in Hollywood in 1969, against the backdrop of the Manson murders, so it’s not a meditative, rural parable, just to be clear. No changing seasons, autumnal leaves, frosty mornings or any of that. Instead, he’s trying his hand at combining retro pop culture, violence and revenge fantasy… OK, it’s business as usual and, as usual, it has been hailed as ‘a masterpiece’ in some quarters and yet another ‘woman-hating’ travesty in others. The truth, as ever, lies somewhere in between. Violence-wise, you only have to brace yourself for the last 15 minutes, when all hell

Thursday

Jasper Rees

The Boss goes to Bollywood

Once upon a time two men sat in a New York bar lamenting the state of Broadway. So they decided to play Fantasy Musical. Several beers down they came up with a weird hybrid: a jukebox musical that injected the songs of Blondie into the plot of Desperately Seeking Susan. Somehow this botched centaur stumbled all the way to the West End, where it joined that throng of musicals that should have stayed on the drawing board. Blinded by the Light is a Bollywood-style musical comedy set in the Pakistani community of Luton that takes as its soundtrack the oeuvre of Bruce Springsteen. No drunk blokes in a bar could

Thursday

Deborah Ross

No snapshot

Ritesh Batra had a smash hit with his gentle romance The Lunchbox (2013) and then made a couple of less impactful English language films, The Sense of an Ending and Our Souls At Night. But now he has returned to India with Photograph, which is another romance and it is slow, slow, so very slooooooow. I am a fan of non-action films, as we know, but here the longueurs have longueurs which, in turn, have longueurs, plus the characters are so internalised they are essentially inscrutable. I wanted to shake them all and implore: ‘For God’s sake, just say or do something!’ It is set in a gorgeously filmed Mumbai

Thursday

Deborah Ross

Unequal in love

Marianne & Leonard: Words of Love is Nick Broomfield’s documentary chronicling the muse-artist relationship between Marianne Ihlen and Leonard Cohen. Her name comes first because Broomfield wished to tell her story but, even so, this could be titled Marianne & Leonard: And A Lot More On Him. Hard to fathom what the point is, really. As Broomfield was also her lover, I even thought: is he not just using her all over again? Still, it will appeal to Cohen fans — and who isn’t one? — plus you do get to see him shaving while off his head on acid, which is fascinating. How did he not ever cut himself?

Thursday

Deborah Ross

Beauty and the beasts | 18 July 2019

The Lion King is Disney’s photorealistic CGI remake of the beloved, hand-drawn 1994 original that, for many children, offered a first introduction to the idea of patriarchal monarchy. (Relax. I’m not going down that road today. Just not in the mood.) And already it’s been trampled underfoot by many critics. It ‘monetises nostalgia’. It is ‘unnecessary’. It’s a ‘glorified tech demo’ from ‘a greedy conglomerate’. It is all those things, maybe, but I was mostly entranced anyhow. Also, I don’t understand why the two films can’t happily co-exist. Why have one film about patriarchal monarchy when… no, still not in the mood. Sorry. But I expect I’ll be business as

Thursday

Stuart Jeffries

‘I merge into the background, me’

‘I live completely anonymously,’ whispers Jim Broadbent down the phone from Lincolnshire. Nonsense, I counter. You’re one of the most recognisable actors in this united luvviedom. ‘Am I?’ he asks gently. Oh come on. You’re Bridget Jones’s dad, Del Boy’s arch-enemy Roy Slater, Lord Longford campaigning for Myra Hindley’s parole, dotty antiques-shop owner Samuel Gruber in the Paddington films, Game of Thrones’s Archmaester Ebrose, testy but lovable W.S. Gilbert in Mike Leigh’s Topsy-Turvy, and the blackmailer who unacceptably shakes down Maggie Smith’s eponymous Lady in the Van. I best know Broadbent as Prince Albert in Blackadder’s Christmas Carol (1988), trying to go incognito among the commoners by passing himself off

Deborah Ross

The invisible man | 11 July 2019

The Brink is Alison Klayman’s documentary portrait of Steve Bannon, Donald Trump’s former chief strategist (he shaped the ‘America First’ campaign, proposed the Muslim travel ban, etc.) and former boss of Breitbart News, the place where unsuccessful white men go to whine. The film follows him for 15 months from the autumn of 2017 as he attempts to organise far-right European parties into a ‘populist nationalist’ movement, and you may wish to look away when Nigel Farage smarms all over him as it’s not a pretty sight. (I’m a delicate flower, so could only watch from behind my hands.) But it is not insightful and, alas, utterly fails to capture

Thursday

Deborah Ross

Meet the folks

Midsommar is the latest horror film from Ari Aster, who made Hereditary, which starred Toni Collette and was a sensation. That was a domestic, claustrophobic scenario packed with jump scares — well, jump-ish scares; I wasn’t that scared, actually — whereas this is pastoral and relies more on building a quiet dread. It’s set in the remote countryside where a pagan community has its own superstitions and rituals and ‘elders’ and a maypole — and they are never good news, maypoles. This is clever and gripping in its own right, but it is also familiar and will certainly put you in mind of The Wicker Man. That is, the 1973

Thursday

Deborah Ross

All you need is love | 27 June 2019

Yesterday is the latest comedy (with sad bits) from Richard Curtis, directed by Danny Boyle, about an unsuccessful singer-songwriter, Jack, who wakes up to discover that he’s the only one who remembers the Beatles so can now steal all their tunes, if he’s of that mind. Unusually for Curtis, the lead is an Asian and there is no Bill Nighy (not a sign, not a whiff), which is an advance. And there are some funny moments — when Jack first plays ‘Yesterday’ to some friends, one sniffs: ‘It’s not exactly Coldplay, is it?’ But. It’s all intertwined with a romance that is not just generic but also intolerable. Strangely, I’ve