Oscars

The diversity agenda is killing cinema

The film world is atoning for its crimes against diversity. On screen, strong women are supplanting Disney princesses. Superheroes, once uniformly white and male, are turning multicultural. Gay intrigue is edging out heterosexual romance. Away from the camera, bankable stars force studios to employ minority personnel by adding ‘inclusion riders’ to their contracts. Film-makers must repent ancient mis-speaks, beg forgiveness and denounce peers accused of transgressions. Abuse allegations against Woody Allen may be unproven, but actors who have taken his shilling disown him and donate their tarnished earnings to #TimesUp. Unsurprisingly, the current awards season reflects these rectifications. Of the eight nominations for best picture Oscar, six boast diversity credentials.

Why we need to cancel the Oscars to save the Oscars

Oscar has a problem, and I say that as a fan. If I could, I’d take one of those famous statuettes by its tiny golden hand, and show it a happy life in the bars, restaurants and movie theatres of its native Hollywood. But, clearly, others don’t feel the same way. The number of people who tuned into the Academy Awards last year was the lowest it has been for eight years. Even the traditional box office boost for victorious movies isn’t necessarily worth as much as it used to be. Viewing figures and box office receipts are, however, only the visible tip of what is a deeper problem: the

The edge of reason

My husband, usually a cool customer, watched Free Solo from behind his fingers, sometimes jumping up from the sofa and backing away from the TV. Audiences at Imax showings have behaved the same way, rising to their feet, clenching their sweaty fists as they watch  Alex Honnold, a 33-year-old rock climber from Sacramento, make his way up El Capitan, 2,700 vertical feet of granite in Yosemite National Park. Free Solo is a documentary, the story of Honnold’s record-breaking climb, and the reason for the excitement is that he does it ‘free solo’, without ropes or aid of any kind. It’s just Alex, his shorts, his shoes, a bag of chalk,

All the lonely people

Can You Ever Forgive Me? is a true story based on the 2008 memoir of Lee Israel, the writer who turned her hand to forging literary letters and who became, as she puts it, ‘a better Dorothy Parker than Dorothy Parker’. So it’s that story, but it also isn’t. That story is here but the real story, I would say, is about loneliness and alcoholism and two outsiders who, in a Midnight Cowboy sort of way, form a friendship at a desperate time. And it is rivetingly moving on this count, as are the performances from Melissa McCarthy (Oscar-nominated) and Richard E. Grant, also Oscar-nominated. (Great, although it does now

Roma is being celebrated for all the wrong reasons, writes Slavoj Žižek

My first viewing of Roma left me with a bitter taste: yes, the majority of critics are right in celebrating it as an instant classic, but I couldn’t get rid of the idea that this predominant perception is sustained by a terrifying, almost obscene, misreading, and that the movie is celebrated for all the wrong reasons. Roma is read as a tribute to Cleo, a maid from the Colonia Roma neighbourhood of Mexico City working in the middle-class household of Sofia, her husband Antonio, their four young children, Sofia’s mother Teresa, and another maid, Adela. It take place in 1970, the time of large student protests and social unrest. As already

Man bites man

Matteo Garrone’s Dogman, which is Italy’s entry for the foreign language Oscar next year, is bleak, unflinching, oppressive, masculine (very), violent (shockingly) and basically everything you’d expect me to hate. Except I didn’t. It is out of the ordinary. It has a magical central performance. It is tense, as you wait for the little man to face down the big man, if he does. Plus there are lots of lovely dogs, which always helps, and none are harmed. Aside, that is, from the yapping chihuahua thrown into a freezer to shut it up. So there is that, too. Garrone, who is known for the terrific Gomorrah, and also the highly

Wild at heart | 15 March 2018

There is a culty YouTube video shot three years ago on the laptop camera of Ruben Ostlund. It shows the film director listening live as the nominations for the Academy Awards are announced from Los Angeles. The tension mounts as they approach the foreign film category. Alas, Force Majeure from Sweden isn’t nominated. Ostlund disappears off screen to sob and mewl. This year, there was a sequel to the video, but with a happier ending: the director’s latest film The Square was nominated for an Oscar. These mini-movies, like the rest of Ostlund’s oeuvre, are funny but subtly savage. He is a provocateur who trades in discomfort. You watch with

The 2018 Oscars were indulgent, overlong, and weirdly amateurish — again

It was always going to be difficult for this year’s Oscars to balance politics and entertainment, the sweeping declaration with the plunging cleavage. The host, Jimmy Kimmel, got through his opening routine well enough, and without showing his cleavage either, but the strain was already showing. The décor and the script were like a moral split-screen. We were told to celebrate ninety years of the Oscars, while disapproving of nine decades of exploitation and sleaze, some of it practised by people sitting in the audience at the Dolby Theater. What we got was easy jokes about Harvey Weinstein and Donald Trump, and pompous announcements that it was time to send

Hollywood stars have lost their shine

Reading the lip-smacking reports of the latest troubled celebrity relationships  (Jennifer Aniston and Justin Theroux definitely high and dry, Cheryl Cole and Liam Payne allegedly on the rocks) I couldn’t help musing that stars – and more specifically, the place they occupy in our mass psychological landscape – have very much changed since the first mass-market celebrities emerged. The film stars of the fledgling Hollywood truly were worshipped as higher beings; a tribe of Pathan Indians opened fire on a cinema when they were denied entry to a Greta Garbo film while women committed suicide when Valentino died. Their marriages were regarded as heavenly unions; their romantic sunderings as tragedies.

‘I never had anything against Nancy’: coffee and cookies with Tonya Harding

The film I, Tonya, has been well-received and is even up for an Oscar or two. I’m pleased about that because I’ve met Tonya Harding and her story has always fascinated me, not least because to watch her skate in the run up to the 1994 Olympics (particularly in Oakland, California in 1991 at the Ladies Free Skate competition) is to witness sport, art and sheer guts come together in an unfathomable holy trinity. It all went terribly wrong, of course, and she became the most reviled ice skater in the world. Just to recap, six weeks before those Olympics, Harding’s bodyguard, acting on instructions from her already ex-husband, Jeff

Toby Young

The most politically correct Oscars ever?

Last year, the Oscars came in for quite a bit of criticism within the American film community. The problem wasn’t that the nominees were too worthy, or the speeches too long. Nor was it that some of the best films of 2015 – Star Wars: The Force Awakens, The Martian, Steve Jobs – were snubbed. Nor did anyone complain that the picture that received the most nominations – The Revenant – was a three-hour snorefest starring the finger-wagging environmentalist Leo DiCaprio. No, the reason for all the grumbling was that the 88th Academy Awards weren’t politically correct enough. The good burghers of Hollywood got on their high horses about the

Relative values

Lady Bird is a semi-autobiographical film written and directed by Greta Gerwig with a plot synopsis that need not detain us as it is basically only this: girl has a mum. (Or: girl has a mum, and sometimes they row and sometimes they don’t.) But thus far it has won near universal critical praise, two Golden Globes and five Oscar nominations, thereby proving there is mileage in girls and their mums, and box office in girls and their mums, and that girls and their mums can be more than mere afterthoughts. In this respect, Lady Bird may, in fact, be quite the rare bird. It’s set in Sacramento, California, in

His dark materials | 16 March 2017

The enticingly subversive films of Paul Verhoeven were very tempting to me as a schoolboy. When I hit 14, the Dutch director released RoboCop and the excitement among me and my friends at catching two hours of unmitigated ultra-violence reached fever pitch. He did not disappoint. That was in 1988 and it was interesting later on to read several newspaper articles accusing Verhoeven of having made a fascistic screed in favour of zero-tolerance law enforcement. This was not something any of us had considered up to that point, but satire, yes, even back then we had an inkling of what that was and RoboCop seemed to fit the bill nicely.

Donald Trump and the end of the age of celebrity

The ongoing war between Donald Trump and the Hollywood A-list has entered a new and unpredictable phase. Celebrity criticism of Trump — keenly anticipated as the chewy takeaway from last week’s Academy Awards ceremony — was instead overshadowed by a celebrity cock-up. Thanks to a mix-up of the sacred envelopes, presenters Warren Beatty and Faye Dunaway temporarily awarded Best Picture to La La Land, rather than the real winner, Moonlight. The result was an unforgettable tableau of confusion at the ceremony’s crowning moment. Trump had earlier let it be known that he wasn’t watching. Like a kid talking too loudly about his maths project while the others are getting ready

Toby Young

It’s never good news when I trend on Twitter. The Oscars was no exception

When Kingsley Amis won the Booker prize for The Old Devils in 1986, he said that he had previously thought of the Booker as a rather trivial, showbizzy sort of caper, but now considered it a very serious, reliable indication of literary merit. It was a joke, evidently. Indeed, when he said it during his acceptance speech he grinned from ear to ear, just to make it crystal clear that he was being ironic. But it didn’t do any good. In a BBC round-up of the events of the year, the presenter said that Amis had won the distinguished literary prize in spite of having previously disparaged it. This was

The Spectator’s Notes | 2 March 2017

Chief Constable Simon Bailey, who heads Operation Hydrant, the police investigation of ‘non-recent’ child abuse cases, now says that paedophiles who view images of child abuse should not be prosecuted, because police cannot cope with the numbers involved. Mr Bailey is wedded to the doctrine that someone who says he is an abuse victim must automatically be believed. The result, said Sir Richard Henriques in his scathing report on Operation Midland, is that the criminal justice system totters: ‘Chief Constable Bailey’s argument ignores the consequences of false terminology.’ Another consequence is that the child abuse statistics, unchecked, explode. Mr Bailey will not admit his error and so, in order to

Jenny McCartney

Star power

The ongoing war between Donald Trump and the Hollywood A-list has entered a new and unpredictable phase. Celebrity criticism of Trump — keenly anticipated as the chewy takeaway from last week’s Academy Awards ceremony — was instead overshadowed by a celebrity cock-up. Thanks to a mix-up of the sacred envelopes, presenters Warren Beatty and Faye Dunaway temporarily awarded Best Picture to La La Land, rather than the real winner, Moonlight. The result was an unforgettable tableau of confusion at the ceremony’s crowning moment. Trump had earlier let it be known that he wasn’t watching. Like a kid talking too loudly about his maths project while the others are getting ready

Barometer | 2 March 2017

And the losers are… La La Land was mistakenly announced as winner of the Oscar for best picture before the error was corrected in favour of the film Moonlight. Some other announcements which went terribly wrong: — In 2015 Miss Universe host Steve Harvey announced Miss Colombia as the winner. Two minutes after she had been crowned Harvey came back on stage to apologise that he had misread the card and in fact Miss Philippines had won. — In January 2016 Heart FM newsreader Fiona Winchester mistakenly announced that David Cameron, then prime minister, had died, before correcting herself and saying that David Bowie had died. — In December 2015

Toby Young

Why didn’t I listen to the Old Devil?

When Kingsley Amis won the Booker prize for The Old Devils in 1986, he said that he had previously thought of the Booker as a rather trivial, showbizzy sort of caper, but now considered it a very serious, reliable indication of literary merit. It was a joke, evidently. Indeed, when he said it during his acceptance speech he grinned from ear to ear, just to make it crystal clear that he was being ironic. But it didn’t do any good. In a BBC round-up of the events of the year, the presenter said that Amis had won the distinguished literary prize in spite of having previously disparaged it. This was