Film

Great novels rarely make great movies, but for half a century one director has been showing all the others how it’s done. James Ivory has worked his magic on all sorts of authors, from Kazuo Ishiguro to Henry James, and this week the finest of all his adaptations returns to the big screen. ‘A film that’s almost two and a half hours long, non-stop talking, set in the Edwardian era — who would have thought that would be such a huge success?’ says Ivory, on the phone from his home in upstate New York. Yet somehow, this taciturn director turned a wordy novel by E.M. Forster into a gripping drama.

Edgar Wright’s Baby Driver is an action, heist, car-chase film that is said to reinvent the action, heist, car-chase film. But as you can’t have an action, heist, car-chase film without action, heists and car chases, you may wish to ask yourself: how much do I like action, heist, car-chase films in the first instance? And that’s the bottom line, I suppose. This action, heist, car-chase film is also about the soundtrack, as the story is told through the… ears? of Baby (Ansel Elgort), a getaway driver who doesn’t just enjoy music, but needs it. He rarely takes his earbuds out. He can’t perform unless he’s listening to Blur, Beck,

How do you follow a film like Shoah? The nine-hour Holocaust documentary, released in 1985 after 11 years of work and 350 hours of interviews — with survivors and perpetrators, saviours and collaborators, historians and bystanders — is considered one of the greatest films ever made. For decades, director Claude Lanzmann kept returning to the subject, raking over the same material, finding it impossible, maybe indecent, to move on. Of the five documentaries he has made since Shoah, four were substantial footnotes to the original, extended — and often extraordinary — out-takes from the acres of unused footage. But Lanzmann did have an answer to the question of what to

The star of this film is the music, composed by Lorne Balfe. I really liked it, which was just as well, because it plays for about half the 98 minutes, while a superannuated Churchill, played by Brian Cox, moons about on beaches, deeply penitent for his catastrophic authorisation of the Gallipoli disaster in which a quarter of a million Allied troops lost their lives on the beaches of Turkey. It is the summer of 1944, and an apparently almost pacifist Churchill is timidly begging Eisenhower and Montgomery not to go ahead with the Normandy landings. He dreads the loss of life, you see. Not being a Churchill scholar, indeed being,

Oh, Pirates of the Caribbean, I have given you every chance down the years. Every chance. I am always hopeful. This may be the one that has a proper story I can follow, I have told myself. This may be the one in which Johnny Depp even bothers to act, I have told myself. This may be the one that doesn’t make me wish I’d stayed home where I could be doing something more interesting and fulfilling, like sorting laundry or cleaning out the fridge. When will I ever learn? When? Pirates, you’re on film five now, and I don’t understand. Well, I do and I don’t. You’re one of

The title is ironic. The end is not happy for Michael Haneke’s bourgeois French family, whose hamper of festering secrets the Austrian director unpacks with glee. His twelfth feature, which is vying for an unprecedented third Palme d’Or at this year’s Cannes Film Festival, features an acting masterclass from French veteran Jean-Louis Trintignant as Georges Laurent, a dotty patriarch who has lost the will to live. For added piquancy Haneke has set his latest tale in the northern French city of Calais where po-faced immigrants stroll silently about the streets – their lack of menace no doubt intended as a counterpoint to the dastardly doings of the Laurent family. The significant youngest member

Jean-Luc Godard’s famous dictum was: ‘all you need for a movie is a girl and a gun’. In Redoubtable, French director Michel Hazanavicius’s jaunty biopic of Godard, set during the student insurrection of 1968, which premièred yesterday at Cannes Film Festival, there is plenty of the first and none of the latter. The girl is Anne Wiazemsky, Godard’s teenage bride and one-time muse, who wrote an elegant memoir of their time together, Un an après, which is the basis for Hazanavicius’s film. Wiazemsky’s role is taken by French-English actress Stacy Martin who reveals almost as much flesh here as she did in Lars von Trier’s Nymphomaniac. Though, it must be said,

‘Are you enjoying the Biennale?’ is a question one is often asked while patrolling the winding paths of the Giardini and the endless rooms of the Arsenale. It is not easy to answer. The whole affair is so huge, so diverse and yet — in many ways — so monotonous. Like the EU, an organisation with which it has something in common, La Biennale di Venezia believes in the principle of subsidiarity. Therefore individual nations are allowed to do what they like within their own pavilions. However, there are also strong homogenising forces at work — so much of what is on view in the national pavilions and elsewhere tends

There are bigger entities landing at your local multiplex this week. An ancient indestructible franchise is re-re-(re-)booted in Alien: Covenant. In Jawbone, it’s seconds out for yet another boxing movie. Miss Sloane is that non-staple of the repertoire, a glossy feminist thriller about public relations. Something there for almost everyone. But there’s also a low-budget British film called The Levelling, which has a very Brexit-y theme — the travails of the farming industry — so let’s pull on our wellies and have a gander. The title alludes to the Somerset Levels, in the news in 2014 when rivers rose to drown the nether parts of southern England. ‘Save our village,

Two 16-year-old schoolgirls from a sink estate in Bradford find fun and happiness by shacking up with a middle-aged married man — if you’ve never seen it, it sounds like the worst movie ever made. Yet Rita, Sue and Bob Too was a delight, one of the best British films of the 1980s, and this month it’s being rereleased in a new restoration by the BFI. I saw it when it first came out, in 1987, and fell head over heels in love with it. At last, here was a film about working-class life that wasn’t glum. Watching it again, 30 years on, it still feels just as fresh and

Gemma Arterton’s new film, Their Finest, is about second world war propaganda. Her character, who is bookish and sensitive, is allowed — because of war — to write film scripts. She discovers two girls — two ordinary, pale, unhappy girls — who steal their father’s boat and sail to Dunkirk for the rescue. She thinks this story will swell hearts: and so she, and her collaborator (Sam Claflin), make a British Casablanca about Dunkirk. They know there must be loss, or nothing has value. I marvelled over two things in Their Finest, even as I dislike the title. First, how the pale, unhappy girls are transformed, for the film inside