Subscribe: Film | guardian.co.uk
http://www.guardian.co.uk/rssfeed/0,,16,00.xml
Added By: Feedage Forager Feedage Grade B rated
Language: English
Tags:
continue reading  continue  director  drama  film  it’s  movie  reading  related  review –  review  story  time   
Rate this Feed
Rate this feedRate this feedRate this feedRate this feedRate this feed
Rate this feed 1 starRate this feed 2 starRate this feed 3 starRate this feed 4 starRate this feed 5 star

Comments (0)

Feed Details and Statistics Feed Statistics
Preview: Film | guardian.co.uk

Film | The Guardian



Latest Film news, comment and analysis from the Guardian, the world's leading liberal voice



Published: Fri, 26 May 2017 11:26:27 GMT2017-05-26T11:26:27Z

Copyright: Guardian News and Media Limited or its affiliated companies. All rights reserved. 2017
 



Wonder Woman director Patty Jenkins: ‘People really thought that only men loved action movies’

Fri, 26 May 2017 05:00:03 GMT2017-05-26T05:00:03Z

As the first female director of a Marvel or DC film, Jenkins has gently reinterpreted the superhero genre, bringing love and compassion to the world of fights and fantasy

At a sunbaked studio lot in LA’s Culver City, a table laden with red and blue cake pops styled with miniature fondant headbands is drawing smiles: superheroes, in small and edible form. They are tiny and temporary (gone in a gulp), which is especially pleasing when you accept them for what they are – homage to something huge and potentially lasting.

The new Wonder Woman movie, with its images of sword-wielding Gal Gadot now all over billboards, buses and social media feeds, is aiming to do for superhero movies what the excellent and feminist Mad Max: Fury Road did for action blockbusters. It’s progressive yet crowdpleasing, faithful to the tenets of the genre yet wise to its own absurdities. In short, it’s a game-raiser for reasons beyond the fact that it is also the first ever Marvel or DC movie to be directed by a woman. She is 45-year-old Patty Jenkins, a soft-hearted hard-ass who has waited nearly 15 years for this moment. Jenkins is also only the second female director to command a budget of more than $100m.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/58fef77a821ebae1c088bf0bdcd36afce7e2ab88/0_265_7608_4566/master/7608.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=0ce30ed16206228997f4f7450dd949c3




Tsunambee, Clowntergeist and Haunted Airplane: bad Cannes films posters

Fri, 26 May 2017 05:00:03 GMT2017-05-26T05:00:03Z

Probably not coming to a cinema near you: rabbits with chainsaws, plus-size cops and the remains of Nicolas Cage’s career

Most people think of the Cannes film festival as a home for daring arthouse cinema and A-list actors. But, deep in the bowels of the Palais des Festivals, there is another Cannes that no one talks about, where distributors desperately try to hawk awful-sounding movies that may not actually exist, with awful-looking posters full of has-beens and never-weres. Here’s the pick of the worst films at the festival this year. Pray you never have to sit through any of these …

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/0b3acb81c4fb25eff75f6a4a1ab10145a3195482/30_370_672_403/master/672.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=abf8c33ba1b4f94b747b84193de06052




Sachin: A Billion Dreams review – love letter to cricket's sultan of swing

Fri, 26 May 2017 05:00:03 GMT2017-05-26T05:00:03Z

Documentary film-maker James Erskine’s soft-hitting look at Indian star Sachin Tendulkar will appeal to cricket denizens and casual spectators alike

Prolific sports documentarian James Erskine (Pantani, The Battle of the Sexes) here takes on his most ambitious project yet: a study of Sachin Tendulkar – the closest thing Indian cricket has to a living diety – played out over Test session duration to soaring AR Rahman compositions. Much as last year’s biopic did for MS Dhoni, Erskine positions Tendulkar as a modernising influence, an upwardly mobile, middle-class boy driving his country into the 21st century; his ascendancy coincides with the global TV rights boom, reflected in enthralling match footage that progresses from wobbly VHS images to super-HD Indian Premier League coverage. The world wanted to watch Sachin bat.

Certain sections land somewhere between admiring and naggingly authorised. Erskine soft-pedals around Anjali Tendulkar’s decision to abandon her medical studies to become a full-time wife, Sachin’s apparently fraught relations with India’s ever-byzantine Board of Control for Cricket, and the pressures of delivering for fans who think nothing of torching a stadium upon an upper-order collapse. Adherents should, however, be sated by the basic combo of heavy-hitting archive and carefully placed lifestyle detail: the revelation that Tendulkar is a Dire Straits devotee cues a montage of his majestic batting – in a deft edit-suite flourish – to Sultans of Swing.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/7605c850bc61d04ef7d7f58d2e2bd3402cd96bd1/0_35_5088_3053/master/5088.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=683d3311a7e0a9bc4365471ddfdb91aa




L'Amant Double review – camp-classic status beckons for François Ozon's softcore silliness

Thu, 25 May 2017 21:00:43 GMT2017-05-25T21:00:43Z

The director of Jeune et Jolie returns with another slice of erotica-lite, in this tale of an ex-model in therapy who ends up with two lovers – who are twins

The softcore silliness and lite-erotic stylings of François Ozon’s horribly middleweight psycho-suspense thriller may yet give it camp classic status, like a super-porny version of Roald Dahl’s Tales of the Unexpected.

There’s admittedly a cheeky wit to the opening visual gag, which converts a gynaecological image into a crying eye. And it has what future cultural historians may come to think of as the best female strap-on scene since Myra Breckinridge. Who knows?

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/1022fd43b167c3c29b30452b913e6eaf75bedc1d/6_0_2037_1222/master/2037.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=8bff85746c71e0efa099eba58378d2bf




I Am Not a Witch director Rungano Nyoni: ‘The chief Whatsapped his people to find our star’

Thu, 25 May 2017 16:29:12 GMT2017-05-25T16:29:12Z

The Welsh-Zambian director’s debut feature is premiering at Cannes: an everyday story of choosing between life in a travelling witch camp or being transformed into a goat

At the heart of I Am Not a Witch, a Zambian-set highlight of this year’s Cannes Festival, is an eminently relatable dilemma: should you remain living as witch in a travelling camp for tourists? Or liberate yourself, and thus risk being magically transformed into a goat as punishment? Who hasn’t wrestled with that one at some point or another? “That’s a choice I feel like I, as a woman, make all the time,” says Rungano Nyoni, the film’s Zambian-born, Cardiff-raised director. She laughs. “Shall I become a goat? Or shall I become a woman and live with all the injustices and difficulties that come with it?”

In Nyoni’s conversation, as in the society she depicts on film, metaphor and literal truth can sometimes become entwined. It is one of the qualities that makes her debut feature, a satire about a nine-year-old girl who is accused of witchcraft, so beguiling. The selection of I Am Not a Witch for the festival’s directors fortnight is a particular achievement for a first-time feature director, since this section is a breeding ground for future auteurs. It is the afternoon before she is due to fly out to France, though, and Nyoni says she is still struggling to relax into her success: “I’m more nervous than anything … it’s waiting to see it in front of an audience. That either reassures you or makes you even more nervous, so I think that’s when I’ll know.”

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/a462e1dfe764b387d9223a0a5fd782895e6f184e/0_197_2953_1772/master/2953.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=357f60b5fedf32f63b6a902ae21567c4




Glaad report shows film studios still failing with LGBT representation

Thu, 25 May 2017 14:47:25 GMT2017-05-25T14:47:25Z

An analysis of films released in 2016 shows that Hollywood hasn’t managed to increase the number of LGBT characters with TV still providing more diversity

Major film studios have failed to increase LGBT representation in 2016, according to a new report released by Glaad.

Related: After the Moonlight fades: what's next for LGBT cinema

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/39f122d4bf49c7274bfb64f8ceb26e016b09d86a/0_55_3000_1800/master/3000.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=0e7de00ef9df7f8d588d0e87e4f55900




In the Fade review – ninja heroine Diane Kruger marooned in feeble revenge drama

Fri, 26 May 2017 10:06:50 GMT2017-05-26T10:06:50Z

Fatih Akin’s drama about a woman whose husband is killed in a terrorist bomb attack is an uncompelling and evasive treatment of a very contemporary subject

Fatih Akin’s mediocre revenge drama In the Fade is the TV movie of the week: feebly uncontentious and un-contemporary.

It is about a white German woman whose Turkish husband is killed, along with their young son, by a terrorist bomb-blast. When the bullshit criminal justice system fails to convict the swaggeringly unrepentant culprits, this woman completes the half-finished samurai tattoo she has on her side, and resolves to take matters into her own hands; her late husband’s extended family and community having apparently fallen silent on the subject of legal or illegal means of redress. They are written out of the story, leaving the field clear for the blonde avenger.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/e533ee51eb78a5dc9ffe6441cb06febcf6c5d691/283_0_5532_3322/master/5532.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=aceb03f1f90dd38df40a5537c6d0155f




The Other Side of Hope and The Red Turtle: the best films in the UK this week

Fri, 26 May 2017 09:00:07 GMT2017-05-26T09:00:07Z

Two lonely souls remind us what it is to be European, while a soothing tale of nature and humanity is told through a parable in the vein of Robinson Crusoe

Kaurismäki’s gorgeous alternative universe of 1950s retro stylings, eccentric characters, deadpan comedy and universal cigarette-smoking houses two escapees: a mournful Syrian asylum seeker and a dour, divorcing Finnish restaurateur; fellow lonely souls whose salvation reminds us what it is to be human, and European.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/aefdb6f365b7265abbb133faff349763b87ed1dd/0_0_1280_768/master/1280.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=86cef6158769b1af460d8233fd07e72b




It Was Fifty Years Ago Today! review – the Beatles' Sgt Pepper … without the tunes

Fri, 26 May 2017 06:30:04 GMT2017-05-26T06:30:04Z

This documentary about Sgt Pepper’s Lonely Hearts Club Band picks up where Ron Howard left off – without any of the band’s music or even images

Related: The Beatles: Sgt Pepper 50th Anniversary Edition review – peace, love and rock star ennui

It’s not easy to make a documentary about the greatest album in history when you don’t have access to a single note of the music, but this documentary forges on and cashes in regardless, perhaps assuming its target audience already knows the band’s back catalogue (or won’t realise there’s no Beatles music in it). It cannily picks up the story where last year’s “official” doc – Ron Howard’s Eight Days a Week – left off: the pivotal year of 1967, when the band gave up touring, recorded Sgt Pepper and met the Maharishi. This history is raked over by greying, second-tier talking heads in granular detail, right down to the design of the “get well soon” card John Lennon drew for George Harrison’s sister-in-law. But without the supporting music, or even images, there’s a dancing-about-architecture feel to the whole exercise. A good 10 minutes is devoted to the album’s iconic sleeve design, for example, without ever showing the sleeve itself.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/72c550b3758576f7484d9af7a48df54affc33e53/0_26_4386_2632/master/4386.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=22ded495f7fde641b3748e6aef356689




Cannes 2017 day nine: Robert Pattinson and Lindsay Lohan on the red carpet – in pictures

Thu, 25 May 2017 20:21:47 GMT2017-05-25T20:21:47Z

Tonight’s big film was the crime comedy Good Time starring Pattinson, along with a special screening of the new series of David Lynch’s Twin Peaks

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/94c2747f1359a41785d56f61572d880b3532d7e9/0_103_4673_2804/4673.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=8eee7c486cd033e3e41820fc5116b531




The Merciless review – so unpredictable it forgets to be interesting

Thu, 25 May 2017 16:53:50 GMT2017-05-25T16:53:50Z

A relentless, bloody crime opera, with far too many plot surprises and narrative jumps, but charismatic young actor Yim Si-wan shows promise

Byun Sung-hyun’s Bulhandang has the English title The Merciless, and this is an example of truthful advertising. By the end of this relentless, sprawling and bloody crime opera it may be you who is on your knees, begging for the damn movie to just hurry up and end it.

Drawing elements from Donnie Brasco, A Prophet, Heat and Infernal Affairs, The Merciless begins on the day Jo Hyun-su (Yim Si-wan) gets released from prison and is picked up in conspicuously bling-ish fashion by his underworld mentor Han Jae-ho (Sul Kyung-gu). We expand out from that point, both backwards and forwards (with some additional jumps to add confusion) for an increasing series of “aha!” revelations about everyone’s true motives. The first time it’s clever; by the end it’s a joke.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/89602dc09bd8658edf750e14ce6e3dff8bce47ec/0_198_4240_2545/master/4240.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=6e4035bd40f0090ed2b3bfb894970ee3




12 Jours review – a devastating glimpse into broken souls

Thu, 25 May 2017 15:37:15 GMT2017-05-25T15:37:15Z

Raymond Depardon’s documentary follows a judge who must decide whether psychiatric hospital patients can be allowed back into society

A young woman stares across a table at the judge who is reviewing her case. Her gaze is both searingly intense and curiously blank. Holding herself preternaturally still, muscles tensed against the turmoil of emotions, she pleads to see the two-year-old daughter who has been removed from her care. “Not all the time, I accept that. But just to change her diaper, to love her.” If there’s a more achingly sad moment in any film of the 2017 Cannes film festival, it’s hard to imagine what it could be. For 12 Jours, veteran documentarian Raymond Depardon (Modern Life, Journal de France) turns his lens on to the desperate, broken souls of the patients who have been involuntarily committed into the care of a Lyon psychiatric institution.

Related: A Gentle Creature review - brutally realist drama offers up a pilgrimage of suffering

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/1dbf594e183ebe5428fe88c82784c55908b4753c/0_0_3598_2160/master/3598.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=42e98efc6d5e5abe0b03f512825df55b




Brigsby Bear review – The Truman Show meets Room in overly whimsical comedy

Thu, 25 May 2017 15:25:34 GMT2017-05-25T15:25:34Z

A children’s TV show produced for an audience of one – a kidnap victim – pushes the narrative plausibility, but that won’t stop it becoming a festival hit

Inevitably evoking comparisons with Unbreakable Kimmy Schmidt, Room, The Truman Show, Dogtooth and Bad Boy Bubby (but not as funny, sincere, resonant, original or weird, respectively, as any of the above), whimsical comedy Brigsby Bear revolves around a young man named James (Kyle Mooney) who has been raised in a desert bunker by Ted and April (Mark Hamill and Jane Adams) ever since they kidnapped him when he was a baby. Ted and April tell him that the air outside is toxic, breathable only through a gas mask, but they can all survive so long as James keeps topping up the bicycle-powered electric generator and doing his maths homework. Sort of like a Steiner school but without the organic food and self-righteousness.

Related: Good Time review - Robert Pattinson sticks up for his brother in chaotic heist movie

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/d59e9134e3fe1844b281c06f792fc4e0df45ed2b/69_0_1330_798/master/1330.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=44fccfc67f476b0aaf6bb5dfcb8eee45




I Am Not a Witch review – straight-faced satire on Zambian witchcraft casts a spell

Thu, 25 May 2017 13:58:10 GMT2017-05-25T13:58:10Z

First time feature from Welsh-Zambian director Rungano Nyoni is a charming study of an orphan whose supposed magic powers are a goldmine for venal officials

Zambian-born Welsh director Rungano Nyoni has delivered a pulsingly odd and strikingly original debut: a tale of dogma, prejudice and corruption in the country of her birth. It’s a strange witches brew of deadpan farce and arthouse stillness that some will find exasperating, and it’s not without its missteps; but there’s a confidence and clarity of vision that’s hard not to admire, especially for a first feature.

Events open with Shula (Maggie Mulubwa), a shy and inexpressive orphan, being accused by her fellow townspeople of witchcraft: one woman has alleged that she made her trip over while carrying a bucket of water, and a man has backed up her allegation with his own account of the girl chopping of his arm with an axe. (Said arm has miraculously reattached itself by the time he makes this claim.) A gloriously droll police officer indulges these accusations with a mix of apathy and outright disdain, but the will of the people is clear, and Shula is exiled from the town.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/d2b51cfe24337660bed955cdb55244affeb52e0a/184_72_840_504/master/840.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=aad74c3971a764898eee803a1dff5284




Good Time review - Robert Pattinson sticks up for his brother in chaotic heist movie

Thu, 25 May 2017 10:37:57 GMT2017-05-25T10:37:57Z

Pattinson turns in a strong performance as a career crim in the Safdie brothers’ exciting, if sometimes bewildering take on Elmore Leonard-style crime dramas

Related: A Gentle Creature review - brutally realist drama offers up a pilgrimage of suffering

Law And Order is a favourite TV show for a lot of people in this film. But what can those two exotic concepts mean to them? The Safdie brothers have directed a sometimes funny, sometimes bewildering odyssey of crime-chaos and crime-incompetence, co-written by Josh Safdie and Ronald Bronstein; they borrow some tropes and images from Elmore Leonard.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/c4a24d074ddfdd4facf5b0455656a9663eb5ac84/624_0_2961_1780/master/2961.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=3b2170e61c39f03a48dfe40b455f4bb9




Netflix series The Get Down reportedly axed as Baz Luhrmann says he will focus on film

Thu, 25 May 2017 02:32:07 GMT2017-05-25T02:32:07Z

Australian director describes hip-hop show’s revival as unlikely and says ‘the simple truth is, I make movies’

The Netflix series The Get Down has been cancelled after just one two-part season, according to Variety, with director Baz Luhrmann taking to Facebook to describe an exclusivity deal that became a “sticking point” for Netflix and Sony Pictures Television, precluding him from working on a new film project.

The show – an extravagant US$120m retelling of the founding of hip-hop, executive produced by Grandmaster Flash and narrated by the rapper Nas – was plagued by a revolving door of crew and beset by a series of delays. By the time it premiered in August 2017, to a polarised critical reception, it had become the most expensive series in Netflix’s history; but when part two debuted in April, the buzz had largely died down.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/a2ab3303ab517be01580f7cc4924d7ebf01bbd23/0_125_3000_1799/master/3000.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=4c4a44ad3bc44dc2dbf63a30604daa40




Nicole Kidman: I will work with a female director every 18 months

Wed, 24 May 2017 11:01:31 GMT2017-05-24T11:01:31Z

Actor makes pledge as part of an effort to improve the number of women working behind the camera in film and television

Nicole Kidman has pledged to work with a female director at least once every 18 months as part of a wider effort to increase the number of women filmmakers in Hollywood.

Related: The Beguiled review – Sofia Coppola contrives hilariously fraught feminist psychodrama

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/97248611d68c2143b2ce60697d90167f52e176c6/0_23_2468_1480/master/2468.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=f69f64ef12cdde0723793c4e2694a8d4







Top Gun 2 is 'definitely happening', says Tom Cruise

Wed, 24 May 2017 00:17:15 GMT2017-05-24T00:17:15Z

Actor confirms sequel to 1986 classic with filming to begin ‘probably in the next year’

Tom Cruise has confirmed rumours that a sequel to 1986 classic Top Gun is in the works, with filming to begin “probably in the next year”.

He revealed the news while on a promotional tour for his upcoming film Mummy, telling Australian morning show Sunrise, “It is definitely happening.”

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/26ecd563102477320503639cbfd716fce744d4f2/0_248_2368_1419/master/2368.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=e2613646632ccdccf16ba7c85236f154




'You were a magnificent Bond': Pierce Brosnan leads tributes to Roger Moore

Tue, 23 May 2017 14:48:41 GMT2017-05-23T14:48:41Z

The enduringly popular 007 actor has died at 89, and figures from across the world of entertainment and showbusiness have paid tribute

Related: Roger Moore – Saint, Persuader and the suavest James Bond – dies at 89

Stars of film, television and music have paid tribute to Roger Moore, the James Bond and The Saint actor, who died on Tuesday aged 89. A statement for his family said that Moore passed away “after a short but brave battle with cancer”.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/545541f74915bd2155d553ccecc2acbc3a5335f4/0_303_1243_745/master/1243.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=98bce899dfff30b8f450609291e838bd




King Arthur topples Alien: Covenant to reign supreme at UK box office

Tue, 23 May 2017 14:14:26 GMT2017-05-23T14:14:26Z

Guy Ritchie’s historical romp debuted to middling reviews and underwhelming ticket sales but came up against weak opposition from Snatched and Colossal

Buzz on King Arthur: Legend of the Sword may have been pretty flat following its weak performance in the US and other territories the previous weekend, but Guy Ritchie’s Middle Ages actioner nevertheless managed to nab the top spot at the UK box office, dethroning Alien: Covenant. It did so courtesy of fairly uninspired debut takings of £2.5m. That’s the lowest gross for a No1 film so far this year, and also the lowest since early September 2016, when Sausage Party held on to the top spot in a weak field of new releases led by Ben-Hur.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/cd1342db60c8ad362a2e84cbdf34b5c5427dc9fc/472_0_2000_1200/master/2000.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=843443fcc1a09ab49667b1b925fa6cf9




Roger Moore – Saint, Persuader and the suavest James Bond – dies aged 89

Tue, 23 May 2017 14:05:37 GMT2017-05-23T14:05:37Z

The much-loved English actor, who made his name on the small screen before taking on the mantle of 007, has passed away in Switzerland

Related: Irreverent and knowing as James Bond: Sir Roger Moore obituary

He was the epitome of the suave English gent, quipping sweatlessly in a bespoke three-piece suit, who enjoyed an acting career spanning eight decades. On Tuesday, Roger Moore’s children announced his death at the age of 89 in Switzerland, saying: “he passed away today ... after a short but brave battle with cancer”.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/5c78532371247b7cefc890c67231ee59e04d0fd5/0_41_3504_2102/master/3504.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=493aeeff68085380dfb630c203eede05




Justice League: Zack Snyder quits movie after daughter kills herself

Tue, 23 May 2017 13:00:44 GMT2017-05-23T13:00:44Z

Director known for Man Of Steel and 300 steps down to support his family, with Joss Whedon lined up to complete film

Director Zack Snyder has stepped down from working on Justice League to support his family following the suicide of his daughter.

Snyder, who has directed many film adaptations of comic books including 300, Watchmen, Man Of Steel and Batman v Superman: Dawn Of Justice, has spoken about his family tragedy for the first time.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/b911afe52306d6def989c74bb68b30d0a79daceb/0_215_1788_1073/master/1788.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=f4f1007eb44f05469723ca094322f697




A meme come true: Rihanna and Lupita Nyong'o to star in film based on tweet

Mon, 22 May 2017 20:49:31 GMT2017-05-22T20:49:31Z

Selma director Ava DuVernay will direct film for Netflix after joke movie pitch about photo of stars goes viral, with a script from Insecure breakout Issa Rae

Rihanna and Lupita Nyong’o are set to star in a buddy movie for director Ava DuVernay after a tweet of the two went viral.

The Grammy-winning singer and Oscar-nomimnated actor were pictured together at a Miu Miu fashion show in 2014, which was then used as part of a joke movie pitch on Twitter in April.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/8fd64c5e85d62d7c9600d9333dc50a6558f53826/1459_646_1311_787/master/1311.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=37ca79f410d18671c24d56f374d3aa13




King Arthur: Legend of the Sword review – Guy Ritchie's cheerful den of medieval dodginess

Tue, 09 May 2017 18:03:54 GMT2017-05-09T18:03:54Z

The Sherlock Holmes director has conjured up an entertaining rollercoaster that crashes through Arthurian legend, with only the occasional stall

Guy Ritchie’s cheerfully ridiculous Arthur is a gonzo monarch, a death-metal warrior-king. Ritchie’s film is at all times over the top, crashing around its digital landscapes in all manner of beserkness, sometimes whooshing along, sometimes stuck in the odd narrative doldrum. But it is often surprisingly entertaining, and whatever clunkers he has delivered in the past, Ritchie again shows that a film-maker of his craft and energy commands attention, and part of his confidence in reviving King Arthur resides here in being so unselfconscious and unconcerned about the student canon that has gone before: Malory, Tennyson, Bresson, Graham Chapman, John Cleese, Eric Idle etc. Instead, Ritchie launches into an all-purpose tale of medieval brigands and scofflaws. It’s more of a laugh than Antoine Fuqua’s solemn take in 2004.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/6488fe1a1b5c8b9c3cb523d67b9df15de77110a5/468_0_2000_1200/master/2000.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=59f444713823dbe6edf3047b7f37d03f




Absolutely Anything review - cheap and cheerless sci-fi comedy

Thu, 13 Aug 2015 21:15:10 GMT2015-08-13T21:15:10Z

Simon Pegg plays a teacher endowed with godlike powers and Robin Williams, in his final film role, supplies the voice of a dog. But it’s far from funny

The second word of the title should be “appalling”. It sure isn’t the best way to mark the first anniversary of Robin Williams’s death: this was his very last screen credit, as the voice of an unfunny dog.

There’s a blue-chip cast here, and it’s directed by Terry Jones; the Pythons have cameos, as creepy alien creatures. But this low-budget Brit film is just depressing, a sub-Douglas Adams sci-fi comedy which looks like mediocre kids’ TV with a dismal script and cheap’n’cheerless production values.

Continue reading...


Media Files:
https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2015/8/12/1439374508000/a63fa05c-20fc-490c-a45d-7498aefd9352-2060x1236.jpeg?w=460&q=55&auto=format&usm=12&fit=max&s=85bcd670d2af4f57827a1c8bd7a80ba0




Julian Rosefeldt's Manifesto review – 13 Cate Blanchetts in search of a meaning

Tue, 08 Dec 2015 23:31:24 GMT2015-12-08T23:31:24Z

Australian Centre for the Moving Image, Melbourne
The words of Futurists, Dadaists and Communists are stolen from the page and given new life by Blanchett playing a teacher, homeless man, mourner and mother in the Berlin-based artist’s latest multi-screen installation

There’s a clinking of champagne glasses, and Cate Blanchett moves to address an affluent crowd. Reading from cue cards in her hand, she praises the great art vortex and describes the poor as detestable animals. “The past and future are the prostitutes nature has provided,” she adds. The crowd chuckles politely.

The scene plays out on one of 13 screens dangling from the ceiling at the Australian Centre for the Moving Image (ACMI) in Melbourne for the world premiere of Julian Rosefeldt’s multi-channel video work Manifesto.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/a1042364e598e24b92d294d9de68fe98bd0b0aec/0_0_6104_3663/master/6104.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=122af05d307d97e96ab93c1b911d4f9c




Whisky Galore! review – twee, comfy-cardigan film-making

Sun, 26 Jun 2016 18:15:21 GMT2016-06-26T18:15:21Z

Gillies MacKinnon’s remake of the classic postwar Ealing comedy is light on laughs and feels out of place in 2016

The Edinburgh film festival kicked off with Tommy’s Honour, a gently old-fashioned yarn about a 19th-century Scottish golf champion that may have induced mild stirrings of patriotism. Now the festival is aiming to repeat the trick with a remake of Alexander Mackendrick’s fondly remembered 1949 Ealing comedy Whisky Galore!, an adaptation of Compton Mackenzie’s novel that itself drew on real events.

Like the original, it sets out to be a celebration of canny Scots outwitting humourless (and partly English) officialdom: a ship runs aground on a fictional Hebridean island during the second world war and the locals do their best to liberate some of the thousands of whisky bottles in its cargo. Cue cat-and-mouse shenanigans as the home guard try to reinforce wartime discipline and prevent imbibement above and beyond the quota level. Two weddings are simultaneously planned, involving the daughters of the leading whisky filcher.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/96edd69bf7800cf3a6df0e92c6e9c8a9f9f4aa87/259_103_3647_2189/3647.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=10730300f63b1f5e7b451053c0bb6452




The Fate of the Furious review - Vin Diesel and Dwayne Johnson ensure franchise still has va-va-vroom

Mon, 10 Apr 2017 22:22:50 GMT2017-04-10T22:22:50Z

The latest instalment of the car-based action thriller – also called Fast & Furious 8 – has lost none of its zip, and even gained Charlize Theron, Jason Statham and Helen Mirren

The resurgence of Fast and the Furious from straight-to-DVD-destined three-wheeler to multiplex monolith has been one of the more unlikely cinematic successes of recent years. This was a franchise that, with 2006’s endlessly lampooned Tokyo Drift, looked less in need of a tune up than to be scavenged for parts and left up on bricks. Five instalments later and it’s as close to a bankable vehicle as it gets in Hollywood.

Of course, cynical sorts might suggest that the untimely death of Paul Walker midway through filming of Fast and Furious 7 gave the series a sympathetic second-look from audiences that might have otherwise abandoned it. That though would underplay the strangely appealing alchemy of the franchise in the past several instalments, which has seen it evolve from a gruff drag race B-movie to something far more universal: a turbocharged mix of cars, quips and explosions, with just the merest hint of sentimentality to keep the date-movie crowd sweet.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/fb432bc83bc0e152e8faf12ff892535aebb30ad2/0_93_3344_2006/master/3344.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=5bdc6f977acfe05c28aefaf4c2bec7ab




A Quiet Passion review – Cynthia Nixon gives Emily Dickinson the soul of a poet

Thu, 06 Apr 2017 14:30:06 GMT2017-04-06T14:30:06Z

Terence Davies’s elegant film benefits from a terrific performance by Nixon, who makes the reclusive 19th-century poet seem radiant with loneliness

In this film, Cynthia Nixon has the face of someone with a secret. She plays the poet Emily Dickinson, and her face is fever-bright with irony and wit, then loneliness and fear. You can see how emotions are somehow stored in that face provisionally, being refined and saved for later – for the poetry she writes during the night. It is a face that changes as she grows older and moves along the spectrum of genius, publishing little or nothing, angry about the non-consolation of “posterity”. Terence Davies’s film and Nixon’s tremendous performance reminded me of WH Auden saying that Matthew Arnold “thrust his gift in prison till it died”. It isn’t Dickinson’s gift for poetry that gets thrust in prison but her gift for love, and not thrust by her, either. Her poems are periodically quoted by Nixon in voiceover and, with these shrewd selections, Davies may be playfully suggesting that their seductive rhythmic canter has a tiny technical echo with Longfellow, whom Emily professes to despise.

Emma Bell plays the young Emily, who is agnostic and free-thinking, and bullied at a tyrannically puritan Christian school from which she is miraculously rescued by her warm and kindly family, to be welcomed into a protective and relatively liberal circle. She grows to adulthood – a process represented in a strangely eerie digital transformation of her photographic portrait – and is portrayed by Nixon from then on. Jennifer Ehle is excellent as her affectionate sister Vinnie; Duncan Duff is their adored brother Austin, a lawyer who marries Susan Gilbert (Jodhi May), a woman who confesses with sisterly intimacy to Emily how the conjugal duties are to be endured in exchange for the blessings of family. Austin grows to despise himself for shirking military service in the civil war, at the insistence of their kindly but stern father Edward, played by Keith Carradine.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/15dc26f7c1956d2b9647c0ac90b52fb857e3ee19/69_0_1331_801/master/1331.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=576647b65acb5282740d1ebcc5013d3c




The Lost City of Z review: Charlie Hunnam slow-burns down the Amazon, leaving Sienna Miller at home

Mon, 13 Feb 2017 19:00:21 GMT2017-02-13T19:00:21Z

James Gray’s introspective tale of adventurer Percival Fawcett’s obsession with a lost Amazonian city is a twist on the familiar Conrad jungle narrative

James Gray brings a characteristically muted, slow-burn intensity of purpose to this odd, interesting period drama. It is based on the true story of Col Percival Fawcett, a British explorer and army officer of the last century who became obsessed with what he was convinced was a lost city he called “Z”, deep in the Amazon jungle: a vanished civilisation overlooked by the historical and archaeological establishment. For his screenplay, Gray has adapted the 2005 New Yorker article and subsequent book about Fawcett by David Grann. It’s a curious film in some ways, taking what could be an exciting epic adventure in the style of David Lean and turning it into something introspective, slightly morose and anti-climactic. Yet there is a persistent, beady-eyed intelligence at work.

Gray’s film shows that Fawcett’s involvement in Amazon exploration has its origin in his being asked by the Royal Geographical Society to act as an honest broker in a border dispute between South American states about where national territories began and ended, which in turn arose from exploitation of local resources. But while there, Fawcett rises above commercial concerns and even the traditional thrill of imperial prestige. He finds fragments of pots and evidence of ruined sculpture, which triggers a lifetime’s obsession and a need to prove himself to the snobs and prigs who had looked down on him for being not quite top drawer. His Amazon journeys happen as storm clouds of war are gathering; the trips are in some ways driven by the same misplaced romantic need to prove masculinity and hardihood – but also a need to avoid and escape, to turn one’s back on the squalor of conflict.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/dddeca16f7416f5c4eb0e50ad66f6d36e4110c4f/434_0_8145_4887/master/8145.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=d2b2ac5a1fb570a452bf8a6fb3b26073




Norman: the Moderate Rise and Tragic Fall of a New York Fixer review – Richard Gere ups his game in iffy film

Mon, 05 Sep 2016 10:30:11 GMT2016-09-05T10:30:11Z

The actor gives a strong performance as a desperate social climber in this fractured drama that works best as a flawed character study

Quietly and usually without much of an audience, Richard Gere is having a bit of a moment. Unlike his similarly aged peers Liam Neeson and Bruce Willis, he’s rejected the senior stuntman route and instead made the decision to embrace his older self, taking on roles that are reliant on his age, often uncomfortably so. In Time Out of Mind, he played a homeless man struggling to reconnect with his estranged daughter, in The Benefactor he was an unhinged philanthropist making amends for his tortured past and, well, he even joined the cast of The Second Best Exotic Marigold Hotel.

Related: Wakefield review: two hours with Bryan Cranston in an attic is less fun than it sounds

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/4881cf43e60a8a6ed7c915443989f29dd322e0f2/62_0_938_563/938.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=070b57050ebd3e9325ab11a381cf8d57




Tommy's Honour review – well-pitched performances bring golf biopic up to par

Fri, 24 Jun 2016 14:26:33 GMT2016-06-24T14:26:33Z

This story of teenage golf sensation ‘Young’ Tom Morris is a decent rather than dazzling film to open the Edinburgh film festival, kept on course Peter Mullan and Jack Lowden as father and son

Jason Connery – son of Sean – is still probably best known for his mid-1980s stint in the TV series Robin of Sherwood, but he’s been directing features for a few years now: mostly obscure sci-fi and thrillers, but this, his fifth, has got a modicum of wider interest to it. Tommy’s Honour is a conventional, old-fashioned, biopic of early golf champ “Young” Tom Morris, who remains the youngest ever winner of the British Open as a 17-year-old in 1868, and who succumbed to an appallingly early death just seven years later.

Morris is portrayed with enthusiasm and no little charm by Jack Lowden, who channels a sort of bristling young lion challenge towards his father, “Old” Tom Morris, played with gravelly, bearded dignity by Peter Mullan. Old Tom is the deferential club professional, little more than a skilled servant to the top-hatted members, while Young Tom is a modern-style athlete who expects to be well rewarded for his accomplishments. Their combative relationship not only provides the meat of the film’s drama, but also allows the film-makers to get across some (fairly sledgehammer) points about the social mores of the time.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/e1864d2b8aed22a0473dea7a386f60d87938bf77/0_4_955_573/955.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=c94f90113192a1fd6fecf50abdbcfd1a




Life review – Jake Gyllenhaal hits the retro rockets for sub-Alien space horror

Wed, 22 Mar 2017 00:01:20 GMT2017-03-22T00:01:20Z

Gyllenhaal and Ryan Reynolds play members of a scientific team investigating material from Mars that turns out to contain a hostile life-form

Like the anonymous phone call in a horror film that turns out to be coming from inside the house, Life is a sci-fi thriller about a contamination crisis: a crisis that goes on pretty much uninterruptedly for around an hour and three quarters. It’s a serviceable, watchable, determinedly unoriginal film starring Jake Gyllenhaal about a parasite-predator in a spaceship, a creature which can only survive by feeding off a pre-existing host. The expressions on the spacepersons’ faces here may give a guide to the feelings of Ridley Scott and everyone involved with the 1979 classic Alien when they see it. Life is indebted to Alien, to say the least, although its final, perfunctory hint of a conspiracy doesn’t approach Alien’s powerful satirical pessimism.

Related: Jake Gyllenhaal to play anarchist joining the fight against Isis

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/d04ff7973026b032953c085eb7f55779a52a5ee0/434_9_2516_1510/master/2516.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=4a9c55e324ab6e9f0af8a0db258e819c




Power Rangers review – colour-coded superpowers revealed in goofy origins story

Tue, 21 Mar 2017 23:12:30 GMT2017-03-21T23:12:30Z

It may be the most unlikely and least welcome superhero movie of the year – or even the decade – but this reboot actually benefits from lowered expectations

You can rationalise and contextualise and say that the Marvel effect means any Lycra-clad saviour with an iota of brand recognition is now apt for revival in some format. Once the lights dim, however, nothing can prepare you for the ontological strangeness of watching a Power Rangers movie in 2017. Especially one that is – forgive me if my voice rises an octave here – not entirely terrible? That is, in fact, basically harmless, if you don’t object to feeding your kids pop-cultural leftovers, with odd flickers of charm besides? In an age of hype, some films are bound to benefit from massively reduced expectations; this would be one of them.

Related: Power Rangers features first gay screen superhero

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/4fb0c0abfae56ff939d4abe11707868643b348e1/61_0_702_421/master/702.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=33bacb863d96fdd6e3fb0002b2a868e4




CHiPs review – timid, off-colour cops-on-bikes remake

Fri, 24 Mar 2017 08:00:27 GMT2017-03-24T08:00:27Z

This comic-ironic remake of the old TV show never quite thrums into life, and contains a few horribly misjudged moments

Here comes yet another addition to the “ironic film remake of a beloved 70s/80s TV series” genre, which is starting to look as dated as the shows it purports to send up. Updating the cops-on-bikes action drama of the same name, ChiPs stars Michael Peña in the old Erik Estrada role of Ponch, a sex-addicted FBI agent who is tasked with rooting out police corruption by going undercover in the California highway patrol unit. There he’s paired up with idiot-savant rookie Jon Baker (Dax Shepard, also the film’s director), whose guilelessness is counterbalanced by a remarkable gift for riding motorbikes. Soon the pair are on the trail of a dirty cop (Vincent D’Onofrio, entirely wasted in a gruff, underdeveloped role), bickering and blowing stuff up as they go. When placed next to the gleeful postmodernism of the 21 Jump Street films, this feels remarkably timid, its humour built around off-colour gags (including one desperately poorly judged Oscar Pistorius joke) and the mildly homophobia-tinged bromance between Ponch and Baker. Shepard and Pena do at least throw themselves into proceedings with elan, but they can’t prevent CHiPs from seeming a distinctly second-gear affair.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/3ae77378d9ecc16e56d3bc5472078aa5748294c3/0_80_2400_1440/master/2400.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=d09a3352743f337acc983d9a6f390946




I Called Him Morgan review – jazz star's story comes in from the cold

Mon, 12 Sep 2016 10:22:00 GMT2016-09-12T10:22:00Z

Kasper Collin’s spellbinding documentary reveals the tender and tragic tale of hard bop trumpeter Lee Morgan and his common-law wife Helen

With the best jazz recordings you recognise the beginning and know where it’s going to wind up, but it’s the road there that’s unpredictable. To that end, Kasper Collin’s I Called Him Morgan isn’t just the greatest jazz documentary since Let’s Get Lost, it’s a documentary-as-jazz. Spellbinding, mercurial, hallucinatory, exuberant, tragic … aw hell, man, those are a lot of heavy words, but have you heard Lee Morgan’s music? More importantly, do you know the story of his life?

Lee Morgan may have been one of the most important trumpet players in jazz, but he doesn’t have the household name status of Louis Armstrong, Dizzy Gillespie or Miles Davis. Unfortunately, like Bix Beiderbecke and Clifford Brown, he died way too young. While Morgan’s output as the leader of his own working group is outstanding (may I recommend to you The Sidewinder, The Gigolo or perhaps even The Rumproller) he was also a linchpin member of the classic Blue Note sound overseen by producers Alfred Lion and Francis Wolff and engineer Rudy Van Gelder.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/25ad172b1a8aa6b5503fd7bbeed55d93f4e0a48d/26_0_778_467/778.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=b75ed950e7d550e0916352b18d8628e0




Wilson review – Woody Harrelson and Laura Dern in mostly charmless adaptation

Tue, 24 Jan 2017 04:47:47 GMT2017-01-24T04:47:47Z

The filmic take on Daniel Clowes’ graphic novel wants to stand up for the weirdos – but instead makes you yearn for silence

That annoying creep who sits next to you on an otherwise empty bus and won’t stop talking? How would you like to spend an entire movie with him? Don’t worry, it’ll end with life lessons about the importance of family. Wait, come back!

OK, it’s not all bad. Wilson, an adaptation of Daniel Clowes’ graphic novel of the same name from The Skeleton Twins’ director Craig Johnson, at least features an adorable terrier. But, she dies. Oh man, I keep screwing this up!

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/6245723b8d0d1a028b2a74ca1b63c05c21dc62bb/0_0_4877_2928/master/4877.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=d193d7be54f827f9185162561fa05004




Beauty and the Beast review – Emma Watson makes a perfect Belle in sugar-rush romance

Fri, 03 Mar 2017 17:00:07 GMT2017-03-03T17:00:07Z

Watson star cuts a demure, doll-like figure in Disney’s live-action remake, which features an outbreak of starry cameos and the world’s briefest gay reveal

The world’s most notorious case of Stockholm syndrome is back in cinemas. Disney now gives us a sprightly, shiny live-action remake of its 1991 animated musical fairytale, Beauty and the Beast, with Emma Watson as Belle, the elfin beauty from a humble French village whose poor old dad (Kevin Kline) is imprisoned by a wicked beast who lives in a remote castle. This is in fact a once handsome prince (played by Downton Abbey’s Dan Stevens), transformed into a monster by an enchantress as a punishment for his selfishness, while all his simpering courtiers were turned into household appliances such as candles and clocks. Belle offers to be his prisoner in her father’s place. Gradually the grumpy, soppy old Beast falls in love with her and she with him.

Everyone warbles the classic 1991 showtunes by composer Alan Menken and lyricist Howard Ashman, and there is a sugar-rush outbreak of starry cameos at the very end, from A-listers who are given full status in the final curtain-call credits. The whole movie is lit in that fascinatingly artificial honeyglow light, and it runs smoothly on rails – the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/6949f09304610d065410852bd527449c71504709/448_284_4404_2643/master/4404.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=7749962cf119372048a69262e17516ae




T2 Trainspotting review – choose a sequel that doesn't disappoint

Thu, 19 Jan 2017 22:48:37 GMT2017-01-19T22:48:37Z

Danny Boyle’s followup to the cult 1996 hit isn’t quite as quick and extraordinary as the original, but it is a funny, moving ode to middle-aged male disillusion whose risks pay off in spades

Danny Boyle’s T2 Trainspotting is everything I could reasonably have hoped for – scary, funny, desperately sad, with many a bold visual flourish. What began as a zeitgeisty outlaw romp in the Uncool Britannia of the 1990s is now reborn as a scabrous and brutal black comedy about middle-aged male disappointment and fear of death.

It reunites the horribly duplicitous skag-addicted non-heroes of the first movie about twentysomethings trying to get off heroin in Edinburgh, and finding that they have nothing very much to put in its place. In that film, I often hid my head in my hands, unable to watch scenes about dead babies and diving into gruesome lavatories. Now it’s the sight of desolate men’s faces that made me want to look away: stunned by the realisation that their lives are coming to an end.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/c78ca57c84f5152fb07500bdcabbaaacf834d81d/1012_648_3111_1866/master/3111.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=4a2a91e8204d6c268b6f1f70eca07ea4




Song to Song review – Terrence Malick returns to form with lyrical love triangle

Sat, 11 Mar 2017 16:30:39 GMT2017-03-11T16:30:39Z

The divisive film-maker adds story to swirling camerawork as Rooney Mara, Michael Fassbender and Ryan Gosling cross paths in the Texas music scene

Some artists just see the world differently. Terrence Malick, the secretive and mercurial film-maker whose recent output has been, it’s fair to say, divisive, has a very specific lens. In Malickville, time swirls with a beautiful, melancholic rush of imagery, dizzying the senses at every turn. Malick’s life must be exhausting if every walk across the kitchen to pour a cup of tea is such a moment. But if that is your perception, or what you want to project out into the world, then I guess you have to go for it. This time it pays off.

Related: Is Terrence Malick ahead of his time or out of date?

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/04086dd732ecae526c7528c450dd786f0ca008d7/0_43_3504_2102/master/3504.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=ac3cd6e05f3dbe27e481dbae2d5482ce




Burn Your Maps review: if the kid from Room wants to be Mongolian, let him

Fri, 09 Sep 2016 15:27:27 GMT2016-09-09T15:27:27Z

Jacob Tremblay and Vera Farmiga (as his understanding mother) are irresistible in this strange tale, premiering at Toronto, of a young boy with goats on the brain – it’s just a shame the film isn’t as interested in the locals as they are

Few actors working in Hollywood today have a more expressive face than Vera Farmiga. With a crooked smile or a slightly tilted head, she has the uncanny ability to convey complex emotions in even the briefest reaction shot. Lucky we are, then, that this newest film, Burn Your Maps, offers a rich character, roiled in tumult, and plopped in an extraordinary setting. This isn’t to say this movie is a masterpiece, but it’s one that doesn’t just tug on the heartstrings it yanks on them like a streetcar passenger afraid he’ll miss his stop.

We open in suburban Chicago, where young Wes (Jacob Tremblay) has for some reason become fascinated with everything Mongolian. He watches YouTube videos, is teaching himself the language, listens to throat-singing and takes his older sister’s Uggs and makes them into shepherd’s boots. It’s all very cute, and images of him riding around on his bicycle with goats and eagles made from toilet paper are adorable.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/15a71170e95c134e0b84762536a2bdb70ad42fa4/0_63_945_567/945.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=c8544be284472c6b9a4f07904ade52f1




The Belko Experiment review – gory workplace horror promotes nastiness

Wed, 15 Mar 2017 11:00:28 GMT2017-03-15T11:00:28Z

An enjoyably manic shocker about an office full of employees forced to kill one another uses dark humor and extreme violence to grab attention

Ever have one of those days when you feel like killing your coworker? How about all of them? How about all of them but in a creative array of graphically violent ways? If this is starting to sound like a thought process you often have but perhaps wisely keep secret from others then you’ll probably get a sadistic kick out of this nasty little horror.

Related: Get Out: the film that dares to reveal the horror of liberal racism in America

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/93b54c1426ae63c8a65f14b1391aa5917f184356/0_398_8688_5213/master/8688.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=34dc1207d9f4c996cdf7f8b9709ab4db




Kong: Skull Island review – only de-evolution can explain this zestless mashup

Thu, 02 Mar 2017 22:00:28 GMT2017-03-02T22:00:28Z

Tom Hiddleston’s talents are lost in this jumbled jungle caper that repeatedly indulges in anti-climax and silliness

Deep in the distant jungle … the undergrowth stirs, the lagoons froth, the branches shake and a huge monster rears terrifyingly up on its haunches, blotting out the sun. Run for your lives! It’s a 700 ft turkey, making squawking and gobbling noises and preparing to lay a gigantic egg.

This fantastically muddled and exasperatingly dull quasi-update of the King Kong story looks like a zestless mashup of Jurassic Park, Apocalypse Now and a few exotic visual borrowings from Miss Saigon. It gets nowhere near the elemental power of the original King Kong or indeed Peter Jackson’s game remake; it’s something Ed Wood Jr might have made with a trillion dollars to do what he liked with but minus the fun. The film gives away the ape’s physical appearance far too early, thus blowing the suspense, the narrative focus is all over the place and the talented Tom Hiddleston is frankly off his game. Given no support in terms of script and direction, he looks stiff and unrelaxed and delivers lines with an edge of panic, like Michael Caine in The Swarm.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/d7cd779a94b7ec3293a385addc8add22b0c8e836/436_0_1999_1200/master/1999.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=e0d5312d88d482fbfc935dee8a40599a




Personal Shopper review: Kristen Stewart's psychic spooker is a must-have

Mon, 16 May 2016 21:38:59 GMT2016-05-16T21:38:59Z

Cannes gets its first marmite sensation with Olivier Assayas’s uncategorisable – yet undeniably terrifying – drama about a fashion PA trying to exorcise herself of her dead twin

Is Kristen Stewart the fifth ghostbuster? Questions like that are liable to pop into your mind watching this captivating, bizarre, tense, fervently preposterous and almost unclassifiable scary movie from Olivier Assayas. It’s a film which delivers the bat-squeak of pure craziness that we long for at Cannes, although at the first screening some very tiresome people continued the festival’s tradition of booing very good films.

Personal Shopper had that undefinable provocative élan that reminded me a little of Lars Von Trier’s Breaking The Waves. It is actually Assayas’s best film for a long time, and Stewart’s best performance to date – she stars in a supernatural fashionista-stalker nightmare where the villain could yet be the heroine’s own spiteful id. Is it The Devil Wears Prada meets The Handmaiden (also in Cannes) with a touch of Single White Female?

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/897cd00dafdaee10c7708ce19608ec4890b28b3b/181_0_5397_3240/5397.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=82f2b9bb42a16df698affe1a1d84afe9




My Scientology Movie review – Louis Theroux gets smart with the cult church

Thu, 06 Oct 2016 14:30:56 GMT2016-10-06T14:30:56Z

All sorts of weird stuff starts happening as Theroux reiterates the sheer nastiness of the organisation in his provocative documentary

The Church of Scientology is a deeply strange organisation and, appropriately enough, Louis Theroux has made a strange film about it. It works as a companion piece to another documentary, the one that I think is the definitive takedown: Alex Gibney’s Going Clear: Scientology and the Prison of Belief, from 2015. It’s an interesting, if flawed piece of work; Theroux’s opaque manner masks an uncertainty as to exactly what he wants to say, and he finally seems to turn on his own chief witness.

Theroux’s Scientology movie is undoubtedly a smart piece of what could be called improv-ocation. He shows up in LA, advertising his intention to film a series of scripted and unscripted scenes recreating key moments from the life of the Scientologists’ sinister chief, David Miscavige. (Theroux may here have been inspired by Josh Oppenheimer’s modern-classic documentary about the Indonesian tyranny, The Act of Killing.) He will audition actors, film the audition process, and use as his adviser a famous apostate and whistleblower, former Scientologist enforcer Marty Rathbun – a man now hated in the church for his betrayal.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/caa59b3b33488eafd24c8d386f420f00d44bde12/162_0_1530_918/master/1530.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=1d417cf2d2314a5f7069dfa6e93e7a00




Raw review: I didn't faint in classy cannbibal horror – but

Wed, 21 Sep 2016 16:54:29 GMT2016-09-21T16:54:29Z

The flesh-eating movie that had them requiring ambulance intervention in Toronto never lets up. It’s also a complex drama of adulthood, sex, conformity, hazing, body image and lust

Julia Ducournau is a 33-year-old first-time feature director who makes her worryingly brilliant debut with this saturnalia of arthouse horror. At the Toronto film festival, it had audiences dry-heaving and indeed wet-heaving in the aisles and the cinema lavatories. This is the sort of film which pundits are often keen to label “black comedy” as a way of re-establishing their own sang-froid. In the same tongue-in-cheek spirit, it has been called coming-of-age drama. There is a grain of truth in both of these labels. It is a film about cannibalism, and has clearly been influenced by Jorge Michel Grau’s We Are What We Are, John Fawcett’s Ginger Snaps, and perhaps especially Marina de Van’s body shocker In My Skin – which incidentally featured a young Laurent Lucas, a veteran of extreme French cinema who also turns up here.

Related: Cannibal horror film too Raw for viewers as paramedics are called

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/8d40d83e9535d75c386489e0669151f5d4726ec8/49_161_4918_2951/master/4918.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=cca0b49d830d83e2ff86853cbee49300




Logan review – Hugh Jackman's Wolverine enters a winter of X-Men discontent

Fri, 17 Feb 2017 21:30:21 GMT2017-02-17T21:30:21Z

The third and final Wolverine film is a poignant study of ageing and infirmity, as the arthritic mutant holes up in Mexico with a declining Professor Xavier

Superpowers are one thing, but no-one said they were immortal. What happens when superheroes get old? Actually, what happens when, like many non-superheroes, they arrive at late middle-age without a partner, in ill health, and with an ageing parent to look after? Or parent-figure anyway. You find yourself asking these questions watching this surprisingly engaging, but downbeat – and also violent – X-Men movie from the Marvel stable. It is more like a survivalist thriller than a superhero film, and signals its wintry quality with the title itself. It’s like seeing a film entitled Banner or Parker or Kent. With the approach of death, maybe super identity is cast off. Superpowers start to fade along with ordinary powers.

Related: Does Brie Larson's Captain Marvel signal a new era of superhero diversity?

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/7f9d6c8aa75a98f7e334b205f161d682122a83ab/0_98_1649_989/master/1649.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=55bd94afcccae9cfdbc0c4241d251e18




Headshot review – ultra-violent Indonesian action-thriller

Thu, 02 Mar 2017 22:30:29 GMT2017-03-02T22:30:29Z

Bad guys go on the rampage in this stylish and excessively gory iteration of the action genre

This Indonesian action film unfolds a story as old as time, or at least as old as film noir, in which a bad man (the undeniably charismatic Iko Uwais) experiences a trauma so severe (shot in the head, thrown into the sea) he wakes up with amnesia and somehow a completely different personality (which seems unlikely from a neurological point of view). Nerdy-cute medic Ailin (Chelsea Islan) nurses him back to health in the hospital and names him Ishmael after the narrator of Moby-Dick, which she happens to be reading at the time.

The film-making owes far less to any literary antecedents than it does to the kind of ultra-violent, stylish action films made in Hong Kong and Korea. As such, it’s a very good iteration of the genre, with moody lighting, razor sharp editing and great fight sequences, but be advised that only the strongest of stomachs need apply: it is excessively gory and amoral, even by the standards of such fare, with lots of blood-letting, eye-gouging and murder achieved with assorted implements of destruction including, at one point, a chopstick to the head.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/26b14286961e4cb0458d68fb420233f87e2e139f/0_168_2700_1620/master/2700.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=f42900c075359b1e8c42a48762d85d0d




Table 19 review – divorce yourself from this unfunny wedding comedy

Wed, 01 Mar 2017 15:55:41 GMT2017-03-01T15:55:41Z

Anna Kendrick, Lisa Kudrow and Stephen Merchant are all wasted in an embarrassingly tone-deaf film filled with thin characters and bad writing

At weddings – or at least at weddings in the movies – there’s that moment when the officiant says: “If anyone knows of a reason to prevent this marriage, speak now or forever hold your peace.” I only wish I could have been present when so many actors I admire said “I do” to this tone-deaf, embarrassing motion picture.

To be fair, there is a kernel of a good idea in Table 19. It’s all set at a wedding, where beloved family and friends are close to the action at tables one, two and three. In the back, and close to the bathrooms, is the table of “randoms”, the guests invited out of social obligation who ought to have had the decency to send their regrets.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/f616990df82979f14b4aae5625f34c7e7a0ed8f7/0_369_5174_3105/master/5174.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=0e19ff3e4e522f68b0418815173f2a96




Get Out review – white liberal racism is terrifying bogeyman in sharp horror

Wed, 22 Feb 2017 20:35:28 GMT2017-02-22T20:35:28Z

Writer-director Jordan Peele masterfully combines incisive social commentary with genuine, seat-edge suspense in film exploring evils of American suburbia

There’s a great, often under-appreciated, history of social commentary within the horror genre. From John Carpenter’s politically charged They Live to Bryan Forbes’ haunting adaptation of The Stepford Wives, Ira Levin’s icy take on the male fear of second-wave feminism, scares and satire used to arrive simultaneously. But somewhere along the way, that tradition has been jump-shocked out of its seat, popcorn flying, and replaced with vapidity, an impatient teenage audience force-fed predictable thrills over a story that might provoke or inspire debate.

Related: Get Out: the horror film that shows it's scary to be a black man in America

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/ffd3cd831d3f1b777997b87d06790e503b6b4544/0_23_2250_1350/master/2250.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=fedbdbf7522082f76b8010830e27ce48




Bitter Harvest review – timely but uneven Ukrainian famine drama

Thu, 23 Feb 2017 23:30:16 GMT2017-02-23T23:30:16Z

Despite honourable intentions, this film addressing the Stalin-inflicted 1932-33 genocide in Ukraine is at times embarrassingly bad

At least Bitter Harvest’s release date is relatively timely, given the recent focus in the news on Russia’s brutally aggressive, expansive ambitions. Putin may be accused of killing, but he’s got nothing on Joseph Stalin who instigated the genocide via famine of some 10 million Ukrainians in 1932-33, an atrocity now known at the Holodomor. This drama by director/co-writer George Mendeluk is one of the very few western films to address the subject, and while one may applaud the intention, the execution is markedly uneven.

Max Irons stars as Yuri, a Cossack’s son with dreamy eyes and notable daddy issues who deeply loves feisty local beauty Natalka (Samantha Barks). Not long after their marriage, Stalin (incarnated by Gary Oliver in cutaway scenes, practically twiddling his bushy, fake moustache) comes to power and the tractors of death start ploughing up the land. The dialogue is at times embarrassingly bad, and the death of practically every principal supporting character is marked by a shot of some prop being splattered with metonymic blood. On the other hand, the period details are impressive and must have cost a pretty kopiyka or two, and the film benefits visually from being shot on location.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/3ce98be27af9ded1cf09a9f9a57fc2273786e900/154_0_3196_1918/master/3196.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=81deb5a22cd6a4848aaa492d6884b9fb




The Great Wall review – lavish Chinese spectacle

Sun, 19 Feb 2017 08:00:03 GMT2017-02-19T08:00:03Z

The country’s most expensive co-production to date is a visual treat, complete with a grizzled Matt Damon, but don’t expect any complex plotting

On the hunt for precious “black powder”, rogue mercenaries William Garin (a grizzled-looking Matt Damon) and Pero Tovar (Game of Thrones’s Pedro Pascal) are captured by The Nameless Order, an ancient military operation occupying the Great Wall of China. The order are preparing to battle the mythical Tao-Tie – giant, green, lizard-y looking monsters that are resurrected every 60 years to teach the Chinese a lesson about unchecked greed and swarm the wall in their millions.

Commander Lin (the film’s sole speaking female character, played by Jing Tian) takes a shine to William, pointing out their similarities. However, though both are dab hands with a bow, the two fight for different reasons; he for food and money, she for trust and honour, a lesson William inevitably learns by the film’s conclusion (perhaps making an oversimplified case for Chinese communism).

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/79ae5160a3136088633845d231a8d303e90a19ea/0_66_4700_2820/master/4700.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=b889ec6c7df38233d6e384e08d0af60b




A Cure for Wellness review – evil spa horror has eels, incest and aqua aerobics

Tue, 07 Feb 2017 14:00:16 GMT2017-02-07T14:00:16Z

An alternately intriguing and frustrating chiller has flashes of elegance but settles for unhinged hokum with bizarre results

An understandably forgotten mini-trend in the 80s was the strange idea to set horror films in gyms. Granted, the decade was generally monopolized by a sudden obsession with working out, but audiences weren’t that pumped with the prospect of seeing sweaty youths get crushed to death by weight-training equipment in films like Death Spa and Killer Workout.

Related: Rings review – spooky Ringu reboot smoothly reinvents the wheel

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/09256de5aa308892a6e53af594bf010b46d829fb/0_89_2048_1229/master/2048.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=8c6fca9fcddce30ad0459ca08597b4c7




Fifty Shades Darker review – submissive sequel offers little light relief but lots of washing

Fri, 10 Feb 2017 07:43:13 GMT2017-02-10T07:43:13Z

EL James’s panting couple are back – but director Sam Taylor-Johnson is not – in this daft yet dull S&M soap

Related: The seven most wonderfully ridiculous moments in Fifty Shades Darker

This is a chaste age at the cinema. La La Land may be sold on its leads’ sizzling chemistry, but Ryan Gosling and Emma Stone remain strictly zipped throughout. Film fans in search of titillation are unlikely to be sated by Loving’s snuggles or Moonlight’s angsty, unseen intimacy. In tilting for Oscars, contenders are emulating the statuettes’ anatomy.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/b1457e663a2032f76158f6504e648b4f44a95c0e/0_0_1400_840/master/1400.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=d230844cf39c61057df07deec6dbb70b




The Lego Batman Movie review – funny, exciting and packed with gags

Thu, 09 Feb 2017 23:00:35 GMT2017-02-09T23:00:35Z

This sophisticated pop culture adventure set in a world of Lego bricks just might rescue DC Comics’ battered reputation

Growing inexorably in awesomeness, the Lego movie empire delivers another fantastically funny and highly sophisticated pop culture adventure, though with only a hint of the first film’s existential angst. (Gotham City is said to be built on thin planks over a void that smells of “dirty laundry”. Like a kid’s bedroom, maybe?) The Lego Batman Movie might even rescue DC’s battered reputation and persuade audiences to feel good about Suicide Squad, Harley Quinn and the idea of Batman fighting Superman. In a world made of Lego bricks, Batman – voiced with basso profundo severity by Will Arnett – is a super-successful crime fighter who battles terrible loneliness back at Wayne Manor: superb scenes of poignant emptiness. This film incidentally has the most devastating use of Harry Nilsson’s One (Is the Loneliest Number) since Paul Thomas Anderson’s Magnolia. The Joker (Zach Galifianakis) is wounded by Batman’s refusal to commit to an exclusive hero-villain combat relationship: Batman hurtfully says that he prefers to “fight around” with Bane, Superman and the like. So Joker devises a wicked plan that forces Batman to swallow his loner pride and ask for crime-fighting help from his stepson Dick Grayson (Michael Cera), butler Alfred (Ralph Fiennes) and new Commissioner Barbara Gordon (Rosario Dawson). It’s packed with gags and smart allusions. Why can’t non-Lego movies be as funny, exciting and weirdly moving as this?

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/06cca84dfacc4f0f5120a6b1432f4dc07b7883c9/64_0_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=ad43e704d9604123c55b3920630e7034




A United Kingdom review: Rosamund Pike and David Oyelowo in fine romance

Fri, 09 Sep 2016 22:30:14 GMT2016-09-09T22:30:14Z

A strange, shameful chapter of history is dusted off by Amma Asante to make this earnestly stirring Empire drama

With terrific warmth and idealism – and irresistible storytelling relish – director Amma Asante gives us a romantic true story from our dowdy postwar past. And with some style and wit, she even revives the spirit and showmanship of Richard Attenborough, who I think would have really enjoyed this gutsy movie.

It’s a tale of star-crossed lovers with the bigoted British government playing a particularly shabby and nasty House Of Capulet: a story of imperialism, bully-ism, and Westminster functionaries passing off their taboo horror of interracial marrying as a matter of realism and political expediency.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/07a5b78ae6d4fb08139f1d960b0ab60b8abfbbfe/61_0_1000_600/1000.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=7a826aba1910ff56e1b786a3ca4fa71d




The Lure: mermaid musical a splashy distraction until lack of story seems fishy

Sun, 24 Jan 2016 16:17:23 GMT2016-01-24T16:17:23Z

This Polish vampire musical featuring mermaid siblings seems to have it all – but after a while the wackiness gets weary and even the foam seems thin

Agnieszka Smoczynska’s tale of sibling mermaids could possibly be the strangest film in this year’s world cinema competition. Marta Mazurek and Michalina Olszanska star as two sirens, Golden (Olszanska) and Silver (Mazurek), who swap swimming, seduction and hunting men for a life as star turns at a seedy gentleman’s club.

Looked after by the club’s matriarch Krysia (played by Kinga Preis) they use their vocal ability to draw the crowds (their act is called The Lure), but there are a couple of problems with their adopted lives. The first is that Golden can’t stop chomping on the vital organs of the male townsfolk, and the other is that Silver has managed to fall in love with her band’s bass player.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/c75c14b09110bd0ec60b258424d2c6171aef18e3/0_0_897_540/master/897.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=da15645bd5b4b0f77d18f6615b3f0a45




Rings review – spooky Ringu reboot smoothly reinvents the wheel

Fri, 03 Feb 2017 18:07:26 GMT2017-02-03T18:07:26Z

F Javier Gutiérrez’s update of the Japanese cult horror flick comes up with a fair mystery and an admirably loopy finale featuring swarming cicadas

Circles within circles. It’s been 15 years since The Ring, Gore Verbinski’s American translation of the cult Japanese horror Ringu, which means an entire generation of westerners might not have been scared or bored to death by the sight of lank-haired spooks emerging from the gogglebox. This update for the era of iPhones and .MOV files has very quickly to acknowledge that the VHS players that perpetuated this curse circa the millennium are now practically occult items, less likely to be found occupying cherished home-cinema space than collecting dust, along with Ouija boards in junkshops.

Related: Ghost in the system: has technology ruined horror films?

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/f3e7b787303f7cb8ec27288ac5ebf977c841fbe6/214_44_828_497/master/828.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=351e895fe1ad81f56c0ac1d055a7e198




The Wizard of Lies review – Robert De Niro's Bernie Madoff drama is a cheat

Fri, 19 May 2017 10:30:05 GMT2017-05-19T10:30:05Z

A prestige production, also starring Michelle Pfeiffer, asks the audience to sympathize with a self-pitying criminal without explaining exactly why

Who needs The Wizard of Lies, a new made-for-TV drama about the wreckage left by Bernie Madoff’s devastating Ponzi scheme? Based on New York Times journalist Diane Henriques’s account of the Madoff affair, The Wizard of Lies is a toothless and psychologically simplistic tragedy about Bernie’s impact on his immediate family, particularly wife Ruth (Michelle Pfeiffer), and sons Mark and Andrew (Alessandro Nivola and Nathan Darrow). Madoff (Robert De Niro) is humanized in this context, since he’s portrayed as a clueless sociopath who does not understand the extent of the damage he’s caused, and only superficially empathizes with people he thinks he cares about.

Related: New old money: why hating the super rich remains small screen gold

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/2b7ae87dccbb0212e08764080c082e8cf1ec04d4/116_521_3631_2179/master/3631.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=205321b9cb47955aec6bd0303665c876




Baahubali 2: The Conclusion review – joyous action epic soars

Fri, 28 Apr 2017 18:28:29 GMT2017-04-28T18:28:29Z

The second part of India’s most expensive film ever is a jaw-dropping blockbuster that combines nimble action with genuine heart

2015’s Baahubali: The Beginning, the impressive first chunk of India’s most expensive film yet, built towards a literal cliffhanger, with a strongman knifed in the back by a trusted associate on the mountain it had taken just shy of three hours to climb. Not untypical of a film hungrily synthesising centuries’ worth of sacred and secular myths, that shock was always going to be tricky to top – so it’s a relief to report that The Conclusion opens with a no less jawdropping set-to between the
hero’s mother and a stampeding elephant. Here, once again, is thunderous spectacle unlikely to be surpassed in several summers, and clinching proof of writer-director SS Rajamouli’s position among world cinema’s boldest imagemakers.

Related: Baahubali: The Beginning review – fantastic bang for your buck in most expensive Indian movie ever made

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/a07d81d594084c473d0026203bd7fe16fb49f1f2/0_0_2880_1728/master/2880.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=1ed0695a2924171339358998dc1630b5




The Circle review – Emma Watson and Tom Hanks face off in empty techno-thriller

Thu, 27 Apr 2017 15:59:16 GMT2017-04-27T15:59:16Z

The Harry Potter alumna missteps after the $1bn success of Beauty and the Beast with a Dave Eggers adaptation that swaps initial intrigue with vapidity

There’s something quite perfectly pitched about the release of The Circle. First, in a landscape overflowing with headlines proclaiming that “this is the BLANK we need right now”, an adaptation of Dave Eggers’ cautionary tale about the dangers of a life consumed by an over-reliance on one’s digital footprint remains ever prescient. Second, it’s anchored by Emma Watson, coming off the back of the phenomenal success of Beauty and the Beast, and she’s joined by John Boyega, his first role since his charming breakout turn in Star Wars: The Force Awakens. Finally, it’s arriving on the edge of the summer season, aiming to engage our brains before they get pummeled into submission by a parade of shiny effects-driven epics with little interest in raising questions other than: wasn’t that explosion, like, totally sick?

Related: Emma Watson: feminist to the core or carefully polished brand? | the Observer profile

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/8d94c58c85a9c4a1ade0b8b95915eea8d5b3d906/0_179_2844_1707/master/2844.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=5d60885645cb5cff8cc99cdb5ae8e3c1




The Lovers review – Debra Winger impresses in nuanced tale of infidelity

Sun, 23 Apr 2017 02:00:00 GMT2017-04-23T02:00:00Z

The Oscar-nominated actor stars with Tracy Letts in a well-observed film about a cheating couple who fall in love with each other again after years of marriage

For an extended period throughout the 80s and early 90s, Debra Winger was one of the most successful female actors in the industry, scoring three Oscar nominations and appearing in films, such as An Officer and a Gentleman, Terms of Endearment, and Shadowlands. But in 1995, after co-starring with Billy Crystal in Forget Paris, she took a hiatus. While she claimed it was a decision based on a simple desire for time off, many saw it as an indication of how Hollywood treats women over the age of 40, her choice of roles clearly drying up.

Related: Don't call it a comeback: the actors set to return to the A-list in 2017

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/9e938a6b26b771288153bed4fbac3f09dadde823/116_0_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=d51c55e3a7762be22e606be5629c5955




Sandy Wexler review – Adam Sandler's 90s-set comedy is strange yet strangely likable

Fri, 14 Apr 2017 15:05:10 GMT2017-04-14T15:05:10Z

The actor’s latest film for Netflix is filled with annoyingly unfunny moments yet there’s a charm that’s tough to resist

With the artistic freedom given to him by his eight-picture Netflix deal, Adam Sandler has made his All That Jazz. The puerile comic despised by most critics wears his heart on his sleeve for Sandy Wexler’s very-long-for-an-Adam-Sandler-movie run time of two hours and 10 minutes. The result borders on outsider art, with scenes that stretch way past their warranty, and a tone that wobbles from immature slapstick to inelegant, spasmodic tugs at the heartstrings.

Related: Don't call it a comeback: the actors set to return to the A-list in 2017

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/561c68e9723b592e1a6757e4562c2e1f44ab7c15/0_295_6066_3640/master/6066.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=328e4de9929a79908467df99c049c6ad




Patti Cake$ review – Juno meets 8 Mile in formulaic crowd-pandering indie

Thu, 16 Mar 2017 19:21:50 GMT2017-03-16T19:21:50Z

Despite success of being picked up by Fox Searchlight, this tale of a white female rapper in New Jersey opts for audience-pleasing indie formula over authenticity

Every year at Sundance, the studios (or their indie sister companies) impatiently wait for the breakout hits: the films that cause widespread laughing, crying, screaming, tweeting or preferably all of the above. The titles that cause the most fervent reactions are then snapped up, repackaged and sold to a mainstream audience with enthused quotes like “You’re going to LOVE this movie”. The process, which has unearthed some gems in the past, has grown tired and shamelessly transparent.

The films that are miraculously “saved” from what’s seen as an ignoble fate in – clutches pearls – arthouse cinemas no longer feel quite as fresh, their very existence seemingly tailored to slither into this cynical machine. Audiences are becoming wise to this too. Recent big-money acquisitions, such as Dope and Me, Earl and the Dying Girl, have felt a little too slickly engineered and both were inevitable box office disappointments.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/a7f8a0db2cdb47a919014ae06bec8b0e505a303b/0_0_750_450/master/750.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=a5f3143c781a0c9122d15b6a45d514dd




The Most Hated Woman in America review – Melissa Leo lifts messy biopic

Tue, 14 Mar 2017 21:30:12 GMT2017-03-14T21:30:12Z

A gripping performance from the Oscar-winner isn’t enough to save a tonally awkward take on the true story of a woman taking on religion in 50s America

The Most Hated Woman in America, a biopic of Madalyn Murray O’Hair, wins the award for inspiring my swiftest personal pivot from film-watching to Wikipedia-checking. The instant the closing credits hit I raced to my laptop with supersonic speed: wait, did this actually happen?

Related: Song to Song review – Terrence Malick returns to form with lyrical love triangle

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/60b342772cdab8e31a1715dc07f4b6b4711da54b/0_0_5760_3456/master/5760.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=ca4495220a0e943c7f0cdd9cfdfc95ce




Burning Sands review – grim drama uncovers brutal hazing at black fraternity

Fri, 10 Mar 2017 12:00:04 GMT2017-03-10T12:00:04Z

A strong young cast, including Moonlight’s Trevante Rhodes, anchors a tough look at toxic masculinity on campus for Netflix

“It’s easier to build strong children than repair broken men.”

It’s a Frederick Douglass quote frequently, and accurately, used in the bleak college drama Burning Sands which shows that a) in 2017, we’re still struggling to teach boys how to grow into decent, well-adjusted men and b) he really is getting recognized more and more.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/69f8470cc2da8b87792e5237140f53190e159deb/161_111_1624_974/master/1624.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=798236b010d30f2a0159c06f3bd64afa




The Force review – admirably layered police documentary falls short at climax

Fri, 27 Jan 2017 21:46:48 GMT2017-01-27T21:46:48Z

Outstanding access and an unobtrusive approach almost make up for some unexplored leads and an anticlimactic ending

Debuting as it did at 2017’s Sundance Film Festival, it is very difficult not to compare The Force to another documentary in this year’s class, Whose Streets? The guerrilla-style Whose Streets? is an expressive, urgent note sent from underground. The Force, in comparison, is the official story.

Related: City of Ghosts review: could be the definitive Syria documentary

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/b56837cb2e410fe588c146594b0002b53880b0f9/92_3_700_420/master/700.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=e31af81dfb0a914259b49b6d73304580




Newness review: swipe left on this shallow dating drama

Thu, 26 Jan 2017 21:11:49 GMT2017-01-26T21:11:49Z

Nicholas Hoult and Laia Costa are a dull millennial couple addicted to Tinder in this visually slick yet emotionally vapid take on modern relationships

The young people today – they can’t stop screwing! Well, if this movie is any indication, anything is welcome if it keeps these people from talking.

Newness, the latest from director Drake Doremus, is a gorgeously shot film with an emphasis on beautiful people in closeup, striking interior design and impressionistic shallow focus. The screenplay, unfortunately, is equally shallow, and that’s a bit of a problem when it wants so hard to make a grand pronouncement about The Way We Live Now.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/88fd707dbc235e3603f719fb95f8e30ecaf8ffd5/0_117_1836_1102/master/1836.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=18e6703c37b9d19b04b0348361f696a4




Rebel in the Rye review – JD Salinger drama catches attention but sinks into cliche

Wed, 25 Jan 2017 20:30:47 GMT2017-01-25T20:30:47Z

Nicholas Hoult plays the author in a watchable but shallow take on creativity and the process of writing a classic

The first shot in Rebel in the Rye is of a broken down man staring at the Central Park carousel. This isn’t an adaptation of The Catcher in the Rye and it isn’t quite a biopic of its author, JD Salinger. It’s more like a “making of” story, the long struggle to get the novel about the disaffected teen in a red hunting cap on to the page and out into the world. Though this telling has more than its share of well-worn story beats that Salinger’s hero Holden Caulfield might accuse of being phoney, there are enough occasional insights into the creative process, as well as juicy tidbits about the secretive Salinger, to make this a very agreeable, if at times shallow, watch.

Related: Wilson review – Woody Harrelson and Laura Dern in mostly charmless adaptation

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/260ebf05e10816469b23672f2de5cfd6ffaed196/0_0_3600_2160/master/3600.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=bac65de51bea43f118fd8a6336370ff3




Beach Rats review – Brooklyn bro faces his sexuality in quietly powerful drama

Tue, 24 Jan 2017 03:30:35 GMT2017-01-24T03:30:35Z

Broody tale of a young man struggling to come to terms with his own desires avoids cliche and provides a poignant and authentic character study

The fascinating complexities of the coming out experience have been largely underrepresented on the big screen, strange given the strong dramatic potential for both eroticism and torturous inner struggle. But recently, Barry Jenkins’ deservedly lauded heartbreaker Moonlight gave much-needed insight and tenderness to this journey while also exploring the damaging effects that performed hyper-masculinity can have.

Related: Call Me By Your Name review: A Bigger Splash director makes waves with superb gay romance

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/53674dec353daf038ecfd239a6b446fe8cf7e3a8/0_34_780_468/master/780.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=02de02d6fe2fad8008dd3dbfc3e5509c




The Polka King review – Jack Black shines in a weirdly enjoyable film

Tue, 24 Jan 2017 01:58:18 GMT2017-01-24T01:58:18Z

Based on the life of disgraced polka sensation Jan Lewan, Jacki Weaver, Jason Schwartzman and Jenny Slate round out a wacky comedy that’s full of heart

There are three things you can always count on: death, taxes and that any movie with Jason Schwartzman playing a clarinet can’t be all bad.

The Polka King, a return to Sundance for Maya Forbes and Wally Wolodarsky after Infinitely Polar Bear, is definitely wacky, perhaps even a little zany, but as the pre-title card and closing credits photos remind us, this is based on a true story. That fact serves as a considerable engagement engine, as this is the type of story where, if someone told it to you, you might say, “Man, they ought to make a movie about that!”

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/787944ad510980bcf8917462537f2e82519acef7/0_29_2048_1229/master/2048.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=1cf855def41eab7326d7942313d942ff




Beware the Slenderman review – documentary on a deadly meme

Mon, 23 Jan 2017 15:35:15 GMT2017-01-23T15:35:15Z

A harrowing and nuanced look at the notorious online figure who inspired two 12-year-old girls to stab their friend

Due to an over-reliance on shock sensationalism, the true crime genre had been mostly discarded by documentary film-makers and relegated to tawdry late-night television. But it’s experienced something of a respectable makeover in recent years, thanks to the phenomenally successful Serial podcast, the Netflix breakout Making a Murderer and the critically adored OJ: Made in America, which is currently favorite to win the best documentary Oscar next month.

Related: Inside Netflix’s Amanda Knox: ‘She was cast as a she-devil’

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/306704eb8b11d1860f72ed0381be9df24ea2f4d3/76_0_1480_888/master/1480.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=ef373d4e4cd700b507b9cb732fe39d42




The Yellow Birds review – Iraq war PTSD made beautiful but baffling

Sun, 22 Jan 2017 14:36:43 GMT2017-01-22T14:36:43Z

French director Alexandre Moors has a strong cast and excels at creating mood. Alas, his big reveal cannot dispel the fog of the Iraq war

Terrence Malick’s The Thin Red Line proved that you could make a beautiful movie about war. The Yellow Birds, a Sundance premiere from French director Alexandre Moors, is the first attempt at a beautiful movie about post-traumatic stress disorder.

The most memorable parts of this Iraq war drama are those detached from the overall story. The Bible-quoting soldier pouring salt over a scorched battlefield, the decision-making when a patrol group discovers a body bomb, a pre-assault interview in which soldiers are asked if this is the most important day of their life.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/dc8e8718cd723538ca9a0dc7888565e0e065f295/162_0_1788_1073/master/1788.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=e999875ff781892aca5a773bd7c64b98




Mudbound review – a masterly, meaningful tale from America’s divided past

Sun, 22 Jan 2017 14:18:32 GMT2017-01-22T14:18:32Z

Premiered on Saturday, a day of million-woman marches, Dee Rees’s masterful film of racial divide in 1940s Mississippi says much that we all might heed

“I dreamed in brown,” Carey Mulligan’s Laura McAllan recalls in voiceover, commenting from some unknown point in time about a life on a farm in the Mississippi delta. It’s a life spent in struggle with the land, one bad crop away from hardship, only clean on Saturdays, forever sweeping death from her doorstep. “The country life,” she calls it.

It’s not just Laura whose thoughts we hear in Mudbound, Dee Rees’s masterful adaptation of Hillary Jordan’s 1940s-set novel. This is a giant of a story, very much the soul of America in microcosm, and as such each of the players deserves and gets our sympathy. Well, everyone except Pappy, Laura’s racist father-in-law whose interment in a hastily dug grave bookends the story.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/c199f507d2e0a263ad97880291befb468eea6d51/0_65_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=e86931aa00c03a8fb9850b5e06598302




Person to Person review – Broad City star underused in meandering ensemble indie

Fri, 20 Jan 2017 23:00:19 GMT2017-01-20T23:00:19Z

Abbi Jacobson is a reliable comic presence but she’s lost in this slight tale of disparate characters over a single New York day

While Sundance has become a trusted, and often forgotten, launchpad for vital genre offerings (in previous years The Blair Witch Project, Saw, The Witch and The Babadook all premiered at the festival), it’s mainly associated with quirky low-budget indies that warrant use of the heinous term “dramedy”. The often overwhelming number of films that neatly fall into this bracket means that some fall by the wayside, their entire reason for existing boiled down to a Park City premiere.

Related: Al Gore's Inconvenient Sequel to open Sundance in acutely political year

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/05dcc620f56514b9159c5edce128038ffcbb8067/64_4_953_572/master/953.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=60636393f033c16868deac21c99b5a3c




How Conor McGregor was the role model for King Arthur: Legend of the Sword – video

Thu, 18 May 2017 05:30:17 GMT2017-05-18T05:30:17Z

Guy Ritchie’s take on the Arthurian legend stars Charlie Hunnam as the mythical British monarch – here Ritchie and Hunnam explain how MMA fighter McGregor was crucial in their conception of the character, and how the film keys into traditional forms of storytelling. King Arthur: Legend of the Sword is released on 18May in Australia and 19 May in the UK

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/f715c30078a53afe9e4a7aa8ccd52940702be35a/60_0_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=0db95739442f9313a0feebdf524997f7




Jimmy Fallon makes mashup of speeches by Trump and Legally Blonde star – video

Wed, 17 May 2017 14:21:04 GMT2017-05-17T14:21:04Z

On Wednesday’s The Tonight Show, Jimmy Fallon creates a mashup of Donald Trump’s speech on Saturday at Liberty University and a speech by Elle Woods (played by Reese Witherspoon), from the 2001 film Legally Blonde. The speeches by Trump and Woods appear to use very similar lines

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/c827834454ef2ca2ebfc983ba743712f7373cc81/0_134_3000_1800/master/3000.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=e5b421c6472b14a48df72e6cd9b81066







Labour party election broadcast produced by Ken Loach – video

Mon, 15 May 2017 17:59:25 GMT2017-05-15T17:59:25Z

Labour released its latest election broadcast on Monday, featuring a profile of Jeremy Corbyn. The video was produced by award-winning film director Ken Loach. In the broadcast, Corbyn said:I love this country ... but people are not at ease. There’s inequality, there’s injustice, there’s anger’

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/f8c66f79bba919f3456dc7c0acf2ed5bb4e68670/120_0_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=312e0797b4d8e32cdc46b6910a3d4e73




Jessica Chastain: 'We need more female film critics. 90% are male' - video

Thu, 11 May 2017 11:02:22 GMT2017-05-11T11:02:22Z

Political thriller Miss Sloane stars Jessica Chastain as a cutthroat DC lobbyist who faces off against the US gun lobby. Here director John Madden discusses why the film’s story is likely to divide America, while Chastain questions the gender imbalance in the film industry in both directorial and critical roles, and reveals why she is so fond of playing trailblazers and outcasts

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/c8940d73bf624c455fa4bf39f14ab05a38a314b7/211_57_1566_940/master/1566.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=4d4b987e38b091b6c42f0b9e457ca006




Alien: Covenant trailer: Ridley Scott returns with sci-fi thriller – video

Wed, 10 May 2017 17:39:13 GMT2017-05-10T17:39:13Z

Director Ridley Scott returns to the helm of the Alien franchise with his latest offering, Alien: Covenant, the sequel to the 2012 Prometheus prequel. Starring Michael Fassbender, Katherine Waterston and Billy Crudup, the sci-fi thriller follows the crew of a ship that lands on an uncharted planet, before a hostile alien life form forces them into a deadly fight for survival

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/52e4a6595d17ab7b49a448e95bb37edc98ec5a27/0_57_4096_2457/master/4096.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=755817600fa43e63b9c8d6d513406507




Emma Watson: acting doesn’t need separating into two categories – video

Mon, 08 May 2017 08:42:03 GMT2017-05-08T08:42:03Z

Emma Watson accepts MTV’s first genderless film award for her performance in Beauty and the Beast on Sunday night in Los Angeles. Speaking at the MTV Movie & TV awards from the Shrine Auditorium, Watson praised the award, saying acting is about focussing on the human experience and not gender. The second award of the night — Best Actor in a Show — went to Millie Bobby Brown of Netflix’s “Stranger Things”

Emma Watson wins first gender-neutral acting prize at MTV movie awards

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/222148bfeef3134982f3f2e7db7e73a3b1122db8/424_268_4708_2825/master/4708.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=5ff2dbbe050089a381f425d0064ca1cb




Richard Roxburgh and Margaret Pomeranz join fight against Fairfax cuts – video

Mon, 08 May 2017 04:13:25 GMT2017-05-08T04:13:25Z

A group of Australian actors, dancers, writers and comedians – including Charlotte Wood, Zoe Coombs Marr and Marieke Hardy as well as Pomeranz and Roxburgh – have joined a video campaign calling on Fairfax management to reconsider slashes to its arts coverage. The company has announced 125 jobs will be abolished, and it is believed that will include all dedicated arts, film and books writers at the Age and the Sydney Morning Herald

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/858d3b5d1ac6403beed9e3633a3e71b3bea7b595/82_0_1323_794/master/1323.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=9c007250cea14ad5a4438fcdfb65be36




Timothy Spall on McGuinness and Paisley's friendship: 'It was almost preposterous' – video

Fri, 05 May 2017 10:59:45 GMT2017-05-05T10:59:45Z

Political drama The Journey depicts the unlikely partnership of two former enemies: unionist politician Ian Paisley, portrayed by Timothy Spall, and IRA commander-turned-peacemaker Martin McGuinness, played by Colm Meaney. The pair discuss the political legacy of their characters and the future of Northern Ireland

  • The Journey is in UK cinemas now, and is released in US cinemas on 16 June
Continue reading...


Media Files:
https://i.guim.co.uk/img/media/29761b7c1312548fb272ac4be12849c09f620749/120_0_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=81b3ba7791e803c509e9d66b419b6aac




'There are gay characters in the Marvel Universe': Guardians of the Galaxy Vol 2 cast and crew interviewed – video

Mon, 01 May 2017 06:00:21 GMT2017-05-01T06:00:21Z

Chris Pratt, Karen Gillen, Michael Rooker and director James Gunn talk about the sequel to the hit superhero comedy, the latest from the comic-book stable which features the ‘adorable’ Baby Groot. Guardians of the Galaxy Vol 2 is out now in Australia and the UK and 5 May in the US

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/ef200095d532959a26fffe1206d04a66851c6180/25_0_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=9e27672838df2d8880692b5fa33793c3




LA mayor heralds La La Land Day with acrobat dancers at City Hall – video

Wed, 26 Apr 2017 09:02:26 GMT2017-04-26T09:02:26Z

Los Angeles mayor Eric Garcetti has proclaimed 25 April as La La Land Day, in honour of the Oscar-winning Hollywood musical which uses the city as a backdrop for its elaborate song-and-dance routines. Marking the occasion were acrobats suspended by ropes who danced across the facade of City Hall

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/9cc36b56f350489e02056db9b69d1914fcd297f8/136_251_2745_1646/master/2745.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=0879d366164db4c82a97b0b70346bf4b




'It's a feminist message': Gemma Arterton and Bill Nighy on Their Finest - video

Fri, 21 Apr 2017 15:53:39 GMT2017-04-21T15:53:39Z

Historical comedy-drama Their Finest is an affectionate ode to morale-boosting British Ministry of Information films of the second world war. Gemma Arterton stars as a young copywriter who is brought in to work on a film about the Dunkirk evacuation, while Bill Nighy is a fading matinee idol hoping for one last star turn. The pair discuss the role played by women in the war effort, the timely nature of their film and the challenges of doing a Welsh accent.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/27f0b3ecc121108a63437d16881097c9f4d59b54/120_0_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=14c9a63ddffbf6e7a839b917c07eb1d3




'It was a goofy mistake': Warren Beatty on the Oscars fiasco, Rules Don't Apply and Donald Trump - video

Thu, 20 Apr 2017 13:07:23 GMT2017-04-20T13:07:23Z

Veteran actor-director Beatty has made his first film since 1998 with comedy-drama Rules Don’t Apply, in which he plays reclusive movie mogul Howard Hughes. He discusses the changes he’s seen in his half-century in Hollywood, the mix-up that led him to deliver the wrong Best Picture envelope at the Academy Awards and why it’s important not to be distracted by presidential propaganda

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/abd7744a85183b2a4dba62226e12b524084ac433/60_0_1800_1080/master/1800.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=9c8299158c50853c9a6fb746b2c7edd9




Watch the trailer for Star Wars: The Last Jedi – video

Fri, 14 Apr 2017 17:46:30 GMT2017-04-14T17:46:30Z

The trailer for Star Wars: The Last Jedi is unveiled at the Star Wars Celebration fan event in Orlando, Florida on Friday. Episode VIII of the Star Wars saga, written and directed by Rian Johnson, follows on from 2015’s The Force Awakens

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/111906c48c1e60d17a09c37b1c9561ed78148de9/967_0_2859_1716/master/2859.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=9e7a268b7916b8466df156b86bd7f5a5




What we learned from Vanity Fair's Star Wars: The Last Jedi issue

Wed, 24 May 2017 18:38:23 GMT2017-05-24T18:38:23Z

The magazine’s latest issue offers an in-depth look at the highly anticipated sequel. From Leia’s role to the remote planet of Ahch-To, here’s what it revealed

The closer we get to the release of Star Wars: The Last Jedi this December, the more JJ Abrams’ achievement on The Force Awakens begins to crystallize. That cliffhanging final scene – with Daisy Ridley’s Rey reaching out to a mute, disbelieving Luke Skywalker on the remote planet of Ahch-To – left Rian Johnson with the perfect platform to go deeper into the new Star Wars galaxy in part two. Vanity Fair’s latest issue offers an in-depth look at the highly-anticipated sequel to Abrams’ blockbuster megalith. Here are six takeaways from the magazine’s extensive behind-the-scenes view.

Related: 40 years of Star Wars – why the blockbuster saga is the greatest soap opera in the galaxy

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/111906c48c1e60d17a09c37b1c9561ed78148de9/967_0_2859_1716/master/2859.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=9e7a268b7916b8466df156b86bd7f5a5




Meme team: after Rihanna-Lupita, what if other viral moments became movies?

Wed, 24 May 2017 15:07:06 GMT2017-05-24T15:07:06Z

A joke about a picture of Rihanna and Lupita Nyong’o is set to become a movie – so maybe there’s more money to be made from scouring the web for viral pitches

Aspiring film-makers on the verge of giving up: take heart, for we now know exactly what Hollywood wants. Forget nimble storytelling or twist endings – if you really want your project to get off the ground, you need to do a good meme.

Related: A meme come true: Rihanna and Lupita Nyong'o to star in film based on tweet

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/5ffd761e1bfd29e6fb4a058f9209f4d3b7336744/432_177_2688_1613/master/2688.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=131b38e927b4677db45cf2d2cf6f3743




How to stage a Hollywood comeback

Wed, 24 May 2017 11:00:17 GMT2017-05-24T11:00:17Z

Avoiding tabloid headlines, choosing the right director and knowing your eccentricities are just a few of the secrets to Nicole Kidman’s reinventionFor all intents and purposes, the 70th Cannes film festival belongs to Nicole Kidman. She has four offerings this year and seems to be a virtual one-woman invasion on the Croisette. She’s the ruthless head of a girls’ seminary in Sofia Coppola’s The Beguiled; she reigns as the intergalactic punk monarch Queen Boadicea in How to Talk to Girls at Parties; she goes deadpan in high-concept head-scratcher, The Killing of a Sacred Deer, from The Lobster director Yorgos Lanthimos. She also forcibly integrates TV into the festival by virtue of her star power with a turn in season two of Top of the Lake. Related: Nicole Kidman in Cannes: her tortuous journey to Queen of the Croisette Continue reading...[...]


Media Files:
https://i.guim.co.uk/img/media/325845c6dd607fcfe2263905d1df9a73fa66c50c/75_77_3128_1877/master/3128.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=54adfe7c77c9570df924b18de84bd493







No Tarantino, no Statham and no Fellini … what films should you never watch on an airplane?

Thu, 18 May 2017 16:45:31 GMT2017-05-18T16:45:31Z

People love watching films at 30,000 feet. But are they watching the wrong ones? Almost certainly

Few decisions in life are more difficult than selecting which movie to watch on an airplane. This is especially true if you are a bona fide film aficionado, a moviegoer with high standards. In this case, you must act judiciously, taking preemptive measures against the airline itself.

If you wait until you have taken your seat before deciding what you are going to watch, you have left yourself at the mercy of the airline, and deserve whatever happens to you. The viewing menu will invariably include a wide array of films you have already seen and do not need to see again. Things like North by Northwest and The Shawshank Redemption and Dumb and Dumber.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/9a7221aeb93a282fdf936a85a260000390f29bb4/0_61_2096_1258/master/2096.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=b14cb7918a73bbb4545cd63ba4b7bb00




Epic fail: why has King Arthur flopped so badly?

Tue, 16 May 2017 18:54:31 GMT2017-05-16T18:54:31Z

Blockbuster King Arthur: Legend of the Sword is projected to make a loss of up to $150m. It’s a tale of poor planning, poor timing, and jaded viewers

It was supposed to be one of the summer’s biggest blockbusters – a gritty reimagining of the Arthurian legend, boasting big-budget special effects, a rising Hollywood star in British actor Charlie Hunnam and a big-name director in Guy Ritchie. But King Arthur: Legend of the Sword has instead become one of the year’s biggest flops after a disastrous opening weekend at the global box office.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/1f902c52330a081cd8747148dbe8e5901b8b17a5/0_6_4240_2545/master/4240.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=a9ecb7a36f93df71c691e61478b168e4




Beatle overboard! The best, and worst, rock star film cameos

Tue, 16 May 2017 05:00:05 GMT2017-05-16T05:00:05Z

As Paul McCartney dons hat and beard for the new Pirates of the Caribbean movie, we review past poptastic moments in movie history

Related: How Labyrinth led me to David Bowie

A fifth Pirates of the Caribbean movie is about to drop anchor, even if attempts to raise its profile have been overshadowed by the scuttlebutt surrounding Johnny Depp’s financial affairs. Perhaps to help get the good ship Salazar’s Revenge (AKA Dead Men Tell No Tales) back on an even keel, Paul McCartney recently used the #PiratesLife hashtag to confirm his appearance in the swashbuckling cinquel. The alarming sight of the world’s most affable hitmaker sporting crusty dreads studded with skull beads suggests Macca might be a less-than-perfect fit for Jack Sparrow’s grog chorus. For musicians, there is an art to making a successful film cameo. Here are the rockers who did good, and bad.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/4e1b92ec6e0ca3fc3a60b423b9cddce04279d2be/43_43_734_440/master/734.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=d85c097aa059e9406868140f370d3aff




Why Netflix's 'skip intro' feature is bad news for classic films

Mon, 15 May 2017 17:58:41 GMT2017-05-15T17:58:41Z

The ability to avoid watching the opening credits of certain titles is a sign that the company lacks reverence for cinema history

For a certain type of person, showing up to the movies a few minutes late is no big deal. You avoid a few trailers you’ve probably already seen online, and, in the worst case scenario, you miss the opening credits. Then there are those of us who will shush you the second the studio logo comes onscreen. Maybe we learned it from Alvy Singer, Woody Allen’s character in Annie Hall, who refuses to go into a foreign film when Annie arrives to the theater two minutes late. “We’ll only miss the titles,” she points out. “They’re in Swedish.”

Related: Why post-credits scenes are slowly ruining blockbusters

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/fe67a8578a6e2ca003d42d2344e63747e36275ef/0_231_3504_2103/master/3504.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=7f34e3f23149fce8e10e6f8da61ac4e7




Stand down: when comics make unfunny big-screen comedies

Fri, 12 May 2017 15:22:30 GMT2017-05-12T15:22:30Z

Amy Schumer’s mother-daughter movie Snatched has opened to largely negative reviews – and it’s not the first time a comedian has failed to add humor to a cinematic venture

For stand-up comics, there were always two paths to stardom: become a talk-show host or a create a hit sitcom. If “movie star” is conveniently absent from that equation, it’s because the list of brilliant comics whose genius did not translate to the silver screen is long and filled with some of our greatest talents. Even those who do find success in film – like the late Robin Williams, who won an Oscar and gave a handful of indelible performances – had more than a few false starts early in his career (The Survivors, The Best of Times, Club Paradise).

Related: Snatched trailer: Amy Schumer and Goldie Hawn get kidnapped

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/f0b612a69aae0b9b17d844a04708c02ce80324d1/0_0_5000_3000/master/5000.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=4179a9c0259b39ad556e9433df75e2c6




Alien: Covenant brings dastardly David and gore galore, but few answers – discuss with spoilers

Fri, 12 May 2017 11:00:16 GMT2017-05-12T11:00:16Z

The latest Alien chapter engineers more gruesome ways to dispose of humans and incubates enough new loose threads to sustain debate for some time to come

  • This article contains spoilers for both Alien: Covenant and Prometheus

It’s been five long years since Ridley Scott’s Prometheus left us hanging, desperate for answers to its achingly nebulous questions. Who created mankind? Who are the alien race of human-like Engineers, and why do they seem to hate us? Who created the xenomorphs? What’s that funny black goo stuff that seems to turn everything it touches into something monstrous? And why would someone trying to escape from a giant rolling wheel not simply run to one side or another to avoid being crushed to death?

In truth, sequel Alien: Covenant only answers some of these posers. But the critics seem to be impressed nonetheless, with the movie picking up a solid 76% “fresh” rating on the review aggregator Rotten Tomatoes. Here’s a chance to give your verdict on the movie’s key talking points.

Continue reading...


Media Files:
https://i.guim.co.uk/img/media/9324f3fcaea9605e663c9d6e2b0456f1fdecbc61/133_0_1387_832/master/1387.jpg?w=460&q=55&auto=format&usm=12&fit=max&s=ed169d5742f3f82766fa08cf7905f7b2