Deborah Ross is the chief film critic of The Spectator
Bad Lieutenant: Port of Call — New Orleans 18, Nationwide My dears, whatever else you are doing this week you must set aside time to see this film, which is lunatic but also extraordinary and riveting. It’s directed by Werner Herzog and stars Nicolas Cage and if it is of a known genre, it is
Robin Hood 12A, Nationwide Ridley Scott’s Robin Hood is ‘the untold story of the man behind the legend’, and if it had remained untold I do not think it would have been a tragedy. At nearly two and a half hours it is horribly long. (If they ever ask me to give a talk at
Four Lions 15, Nationwide Four Lions is Chris Morris’s comedy — comedy of terrors? — about a group of home-grown Muslim suicide bombers, an idea so thrillingly audacious that, when I first read about it, I thought, as you probably did: where is Mr Morris going to hide? In Salman Rushdie’s sock drawer? But while
Iron Man 2 12A, Nationwide Iron Man 2 is a mighty dog’s dinner, which would be OK — or, as my dog Mr Woofie puts it, ‘Don’t knock it till you’ve tried it’ — but it is also fantastically boring. It’s the sort of boredom that starts at pore level and then seeps its way,
The Ghost 15, Nationwide Cemetery Junction 15, Nationwide The Ghost is Roman Polanski’s adaptation of Robert Harris’s best-selling political thriller, and while it’s probably tosh, it is top-notch, classy tosh of the most satisfying kind: taut, neatly plotted, atmospheric and exceedingly well acted. Pierce Brosnan even puts some effort in, for once — well done,
The Infidel 15, Nationwide I wish, wish, wish, wish, wish I had liked The Infidel better. I wanted to like it. I longed to like it. And I did think it would be a hoot. It’s written by David Baddiel, a thoughtful, clever and witty writer (usually). It stars Omid Djalili, who has a lovely,
Kick-Ass, 15, Nationwide Kick-Ass is a comic-book adventure that has already upset the Daily Mail — would you believe? — with its extreme violence and the fact that a 12-year-old girl uses the word that is See You Next Tuesday although, if you can’t make Tuesday, I’m thinking Thursday would also be fine. But is
The Blind Side 12A, Nationwide The Blind Side — or ‘The Blahnd Sahd’, as they would say in Tennessee — is so ghastly and annoying and creepy I implore you to steer well clear. I know, I know, it’s based on a true story, Sandra Bullock won an Oscar for her performance, and it’s already
The Scouting Book for Boys 15, Key Cities This week, I should probably have seen Old Dogs starring John Travolta and Robin Williams as ‘two best friends who have their lives turned upside down when they’re unexpectedly charged with the care of six-year-old twins’ but I saw the trailer on TV and couldn’t do it.
Shutter Island 15, Nationwide The Girl with the Dragon Tattoo 18, Nationwide. Martin Scorsese’s Shutter Island is really rather outrageous. Thunder! Lightning! Crazies! Cliff drops! Creepy scientists! Nazis! It’s a madhouse thriller that plays like a wildly cranked-up B movie which, being Scorsese, must mean he intended it to play like a wildly cranked-up B
Alice in Wonderland PG, Nationwide Tim Burton’s Alice In Wonderland is kind of a joy but it is not a fully-fledged joy, hence the ‘kind of’, in case you were wondering. Mixing live action with CGI, it is sensationally gorgeous to look at — beautiful! Ravishing! Dazzling! — and it does have its wonderfully inventive
Crazy Heart 15, Nationwide Crazy Heart is the film in which Jeff Bridges plays a broken-down, washed-up, boozy country music singer who may or may not be saved by the love of a good woman (Maggie Gyllenhaal) and while I wanted to love this film, and strived to love this film, and hadn’t really contemplated
A Single Man Nationwide, 12A A Single Man is noted fashion designer Tom Ford’s debut feature film and while it is distractingly over-designed — every table lamp looks as if it had its own personal stylist — it is also a true and proper account of bereavement, grief, loss and loneliness. I can see I
Invictus, 12A Nationwide Gosh, Clint Eastwood will keep thinking of new ways to impress us, the cheeky little monkey. First it was the Dirty Harry and the spaghetti western characters and then he shifted to the director’s chair and ever since it’s been one different thing after another: Unforgiven; Mystic River; Million Dollar Baby; Flags
Precious 15, Nationwide Claireece ‘Precious’ Jones is a 21-stone, illiterate, black, 16-year-old girl with a father who rapes her — not every day, but still — and a mother so insanely abusive that she throws televisions at her and force-feeds her hairy pig’s feet. (Not every meal, but still.) Precious has already had one child
A Prophet 18, Nationwide A Prophet is an astounding, wholly gripping French film which is both a prison drama and a gangster thriller, and my guess is that, when it comes to the best foreign film category at this year’s Oscars, it’ll be between this and Michael Haneke’s White Ribbon. Obviously, I cannot say which
Up in the Air 15, Nationwide 44 Inch Chest 18, Nationwide Up in the Air is gorgeous and wondrous and intelligent and elegant and freshly funny and moving and exquisitely constructed and I beseech you to get off your sofa and go see it. I am so serious about this I will not only say
The Road 15, nationwide The Road is based on Cormac McCarthy’s post-apocalyptic novel and, as far as roads go, this one is long, hard, brutal, pitiless and profoundly horrible, plus there doesn’t seem to be much reward for sticking with it. It is very much like the North Circular in all these respects, unless you
Nowhere Boy 15, Nationwide from 26 December Firstly, the year in review — it was good, thanks — and now on to Nowhere Boy, the surprisingly conventional first feature-length film from visual artist Sam Taylor Wood. It is perfectly accomplished, and pleasing enough, but it’s not going to blow your socks off, even though the
Where the Wild Things Are PG, Nationwide Here is what you most need to know about this film: it isn’t a patch on the book. Usually, I wouldn’t put it like that. Indeed, as I have said before, and wouldn’t need to say again if only I could trust you had paid attention the first