Spectator Life

Artificial intelligence (AI) has rarely been out of the headlines over recent months, creating foreboding that computers will soon be an existential threat to humanity. Movies have long anticipated this, beginning almost a century ago with Fritz Lang’s dystopian classic Metropolis (1927). Seven years earlier, Czech writer Karel Čapek’s stage play R.U.R. – Rossumovi Univerzální Roboti (Rossum's Universal Robots) introduced the world to the concept of conscious artificial beings. Here’s a look at artificial intelligence in ten movies: The Forbin Project (1970) https://www.youtube.com/watch?v=kyOEwiQhzMI Joseph Sargent’s (The Taking of Pelham One Two Three) picture is something of a hidden gem, and could be – as they say – ‘eerily prescient’.

With its inbuilt suspense, twists and turns – not to mention its many opportunities for scenery-chewing – the courtroom drama has long been a staple of cinema. Although plots tend to concentrate on capital cases, there are a fair few where reputational damage, corporate malfeasance, freedom of speech, education, religion, sexuality, race, military justice, politics and discrimination drive the proceedings. Here are some of my favourites: Inherit the Wind (1960) I am more interested in the ‘Rock of Ages’ than I am in the age of rocks. Frederic March as Creationist Matthew Harrison Brady https://www.youtube.com/watch?

Holly Willoughby returned to the This Morning sofa yesterday with a brief scripted statement on the fall of her long-time co-presenter Phillip Schofield:   I imagine that you might have been feeling a lot like I have – shaken, troubled, let down, worried for the wellbeing of people on all sides of what’s been going on, and full of questions, you, me and all of us at This Morning gave our love and support to someone who was not telling the truth, who acted in a way that they themselves felt that they had to resign from ITV, and step down from a career that they loved.

‘I do not think we do our children any favours by pretending that slavery didn’t exist,’ wrote Royal Academy of Dramatic Art chair Marcus Ryder, in a blog about the newly remade Disney adaptation of Hans Christian Andersen’s fairytale The Little Mermaid. ‘Setting the fantastical story in this time and place is literally the equivalent of setting a love story between Jew and Gentile in 1940 Germany and ignoring the Jewish holocaust,’ he wrote.’ Not to be outdone, the singer Paloma Faith wrote on Instagram after she’d been to watch the remake that, ‘As a mother of girls, I don’t want my kids to think it’s OK to give up your entire voice and your powers to love a man’.

It is disappointing to learn that, after critics and cynical audiences everywhere had sharpened their fish knives in the expectation of the new live-action Little Mermaid film being a catastrophic disaster, early reviews have suggested that it is… fine. It attracted a great deal of attention, and some criticism, for the casting of the black singer-actress Halle Bailey in the lead role of Ariel, on the grounds that sea-dwelling mermaids must, after all, be white-skinned redheads, as she was in the seminal 1989 animated film. Yet Bailey’s performance has been universally acclaimed, with her delivery of 'Part of Your World' being singled out for particular praise. The reason why so many are disappointed that we do not have a Cats­­-level disaster on our hands is twofold.

There are a few things in this world that you can truly count on: death, taxes and Taylor Swift’s love life attracting headlines. To their number can be added the certain knowledge that, when Martin Scorsese collaborates with either of his two muses, Robert De Niro and Leonardo DiCaprio, the results are somewhere between fascinating (Gangs of New York; New York, New York) and stone-cold cinema classics (Goodfellas; The Wolf of Wall Street). Yet apart from a droll promotional film for a Macau casino (The Audition), the three men had never worked together. This has, finally, changed, as the trio unite for what looks like another Scorsese crime classic in the form of the three-and-a-half-hour epic Killers of the Flower Moon.

The late director Anthony Minghella made three films with actor Jude Law: The Talented Mr Ripley, Cold Mountain and Breaking and Entering. They would undoubtedly have made more if Minghella hadn’t died at the cruelly young age of 54 in 2008. He referred to the actor as ‘my muse’, but had a more perceptive comment about him too. ‘Jude is a beautiful boy with the mind of a man. A true character actor struggling to get out of a beautiful body.’ For years, Law seemed to struggle with the weight of his good looks, taking on mediocre roles that talent agencies and producers had shoehorned him into. Now, at the age of 50, he has embraced middle age and the greater opportunities for versatility it offers.

We might never have taken the Eurovision Song Contest terribly seriously in the UK – but with British Ted Neeley lookalike Sam Ryder winning second place last year and the staging of this year’s event in Liverpool, some are singing to a different tune. This year’s UK entry comes from Mae Muller – ‘I Wrote a Song’ is a serviceable enough generic toe-tapper, but no ‘Puppet on a String’ (Sandie Shaw, 1967 winner) if you ask me. Or even ‘Ooh Aah… Just a Little Bit', Gina G’s 1996 banger that claimed eighth place in the contest. Ahead of tomorrow night’s final, here are ten movies to get you in the mood for Eurovision 2023 – films where the plucky underdog (almost always) triumphs.

This year’s Cannes Film Festival promises to be interesting viewing, with a record number of female directors in contention (a stark contrast to the 2023 Academy Awards) and a greater than usual representation of old-guard auteurs (including Martin Scorsese, Wim Wenders, Ken Loach and Finnish maverick Aki Kaurismäki). Fans will no doubt be enthused by the return of Jonathan Glazer (Sexy Beast) with his first picture since 2013’s acclaimed Under the Skin. I can’t say Glazer’s choice of material - Martin Amis’s 2014 concentration camp novel Zone of Interest – particularly grabs me, but the director’s work is always worth checking out.

Before Westminster Abbey opens its doors on Saturday, what better way to get in the spirit than to explore the storied history of coronations in the movies? The sheer spectacle of a monarch’s formal coronation has an inherently cinematic aspect – and it's one that motion pictures have long exploited. Here are ten films to savour before the event: The Lord of the Rings: the Return of the King (2003) – NOW, Amazon Rent/Buy https://www.youtube.com/watch?v=r5X-hFf6Bwo Impressive as King Charles III’s coronation is sure to be, it’s unlikely to match the crowning of Aragorn (Viggo Mortensen) as King Elessar in the final instalment of Peter Jackson’s Lord of the Rings trilogy.

If Dracula is about anything, he’s about sex. Renfield, in theatres now, is the latest revamp of the Transylvanian bloodsucker mythos, and it is not about sex. In fact, it is a thoroughly sexless movie which might be why, despite some gusto performances and gloriously icky make-up effects, Renfield is a flaccid, directionless affair.  There is an early red flag that signals where the movie is going. Nicholas Hoult as the titular minion and Nicolas Cage, playing fiction’s most feared set of fangs, are laying low in an abandoned hospital in New Orleans, having fled there after a nasty run-in with some vampire hunters in the old country. Famished for fresh blood, Dracula demands that Renfield bring him ‘a busload of cheerleaders’. ‘Female cheerleaders?

‘Remember your training Grace, get the rifle.’ We’re only moments into the opening episode of the superb new police procedural Blue Lights when we are reminded this is a very different cop show. In Northern Ireland, where it is set, policing the semi-skimmed peace still carries the additional risk of being ambushed by terrorists. Being tooled up, even for a traffic stop, can be a matter of life and death.   Any of us who have worn a uniform while wet behind the ears can empathise with the struggle of these three new officers Grace and Stevie, her mentor – and possibly more as the series develops – are two central characters in a six-part BBC drama that manages to humanise the lives of the men and women in the Police Service of Northern Ireland without mawkishness.

The award-winning Succession is many things. Now in its fourth series, it has been compared with a Renaissance painting, a Greek tragedy, a Jane Austen novel, and a psychoanalytical allegory of trauma responses (Kendall – fight; Connor – flight; Shiv – fawn; Roman – freeze). Ultimately, however, it is a Shakespearean series. The writers may have swapped the battlefield for the boardroom and armies for anxious shareholders, but the show’s character studies and themes – power, family, politics, betrayal, revenge – are Shakespearean in their complexity and circularity. Only instead of soliloquies, we have a lot more raised eyebrows, death-stares and ‘uh-huhs'. There’s even a playwright called Willa.

Afew weeks ago, news broke that Paramount was planning to embark on a remake of Alfred Hitchcock’s Vertigo with a starring role for Robert Downey Jr. You are forgiven if your reaction is one of deep scepticism. What can possibly be gained by remaking a film widely regarded as the apex of the art form? What director today can step into the shoes of the Master of Suspense? And who would ever mistake the star of Iron Man for Jimmy Stewart?  Gut reactions of this sort remind us of the scorn with which remakes in general are usually – sometimes unfairly – met. After all, remakes are considered by all fair observers to be inherently synthetic and unoriginal, right?

You’ll know where you are with Ted Lasso – the third season of which has just started on Apple TV – as soon as you hear the Marcus Mumford co-written theme song. It peddles a sort of sub-Coldplay uplift, with a lot of big, meaningless anthemic 'yeah's in the chorus. Bright, accessible, catchy and instantly forgettable, you still enjoy hearing it every time you watch a new episode. And that’s the show in microcosm: cheery, amusing and utterly inconsequential. Yet somehow the Jason Sudeikis vehicle has become not only Apple TV’s biggest hit to date, but the most Emmy-nominated comedy in recent years.

In our risk-averse, deeply fearful age, the idea of one of the most popular shows on any streaming service being a black comedy about a serial killer who has an unfortunate penchant for murdering the women he falls in love with might be something of a tough sell. But the bloody exploits of Joe Goldberg, a bookstore worker-turned-university-professor, who has so far terrorised the denizens of New York, California and London, have run to four immensely popular seasons on Netflix, with a likely fifth and final instalment in the next year or two. Not bad for a series that – intentionally or otherwise – treads a fine line between hilarity and horror, its essential ridiculousness jostling against its near-nightmarish central conceit.

Farces, satires and straight slapstick comedies about extremely wealthy people have made popular entertainment for centuries. In film, the most notable example is Jean Renoir’s The Rules of the Game (1939), in which a group of upper-middle-class French people gather at swanky events, culminating in an affair that ends in a mistaken identity shotgun death, one that will be reported to the police as 'nothing more than an unfortunate accident'. HBO’s Succession, which returns to Sky Atlantic with a fourth season on Monday, has followed an even wealthier group of people, even more self-absorbed, distorted and cut off from the outside world than Renoir’s overzealous swingers and servants whistling past the future graveyards of Vichy.

The received wisdom that the Oscar for Best Picture always goes to mainstream, generally inoffensive ‘quality’ pictures is only partially true. There have been multiple exceptions to this – and increasingly so over recent years, with an influx of younger Academy voters and a desire to be seen as more progressive than in the past. Who knows what it might mean for this year’s Best Picture nominees – which are All Quiet on the Western Front, Avatar: The Way of Water, The Banshees of Inisherin, Elvis, Everything Everywhere All at Once, The Fabelmans, Tár, Top Gun: Maverick, Triangle of Sadness and Women Talking.

In 1969, for my seventh birthday, I was taken – dragged, probably – ‘up west’ to the theatre to see a musical. As I recall, it didn’t fill me with joy to be going, but it turned out to be fantastic. The songs, the acting, the dancing: it was great fun. Then we went for pasta in Soho, which was also a special event in those days. More importantly, though, I think it was the first time I became truly aware of a vital part of my identity: that I was here because decades earlier my great-grandfather had arrived on these shores, driven out of his native Russia by a pogrom, the ethnic cleansing of Jews across that vast country.

In 1969, Henry Beard and Douglas Kenney, future founders of National Lampoon, published a satirical takedown of J.R.R. Tolkien’s Lord of the Rings, entitled Bored of the Rings. It holds up remarkably well today as a closely observed parody of Tolkien’s more windy stylistic tics. One critic, David Bratman, remarked: 'Those parodists wrought better than they knew. I think it is highly significant how close Tolkien came to inadvertently writing the parody version of his own novel – and how completely, in the end, he managed to avoid it.

If you share a Netflix account with a friend, relative, colleague, in-law, neighbour or ex whose password you happened to crack, your viewing days may be numbered. The streaming service is planning to fight back against password-sharing – by charging an extra fee to subscribers who let friends and family from other households use their account. In a post this month, Netflix emphasised that ‘a Netflix account is intended for one household’, adding: ‘We’ve always made it easy for people who live together to share their Netflix account with features like profiles and multiple streams. While these have been hugely popular, they’ve also created confusion about when and how you can share Netflix.

I never made it to the end of Martin McDonagh’s The Banshees of Inisherin, which won four Baftas on Sunday and has been tipped for further success at the Oscars next month. Inisherin is a fictional place that apparently translates as 'Island Ireland'. I know it’s probably churlish of me, but, being Irish, I was turned off by the film’s maudlin sentimentality mixed with self-obsession, self-harm, child abuse, wanton violence, dead pets and suicidal ideation. It bothered me that the film trotted out as many Oirish stereotypes as were in Gone With the Wind, released in 1939. Let me list some of the most obvious of these at the outset.

In December 1996, audiences lining up to see a teen horror picture starring Drew Barrymore, from the director of A Nightmare on Elm Street, got the shock of their lives. Not only was Barrymore, the best-known actor in the film, murdered in the first 15 minutes, but the opening set-piece was arguably the most shocking moment in movies since Janet Leigh had met a grisly end in the shower in Psycho. As Barrymore is stalked, first by telephone and then in person, by a sinister masked killer, the tension and horror build to virtually unbearable levels before its horrific climax. The rest of the film lived up to its opening, but for sheer, never-to-be-forgotten chutzpah, the beginning of Scream is indelible.

The secret of any great sitcom is the delicate balance of sit and com. Mess the 'sit' bit up and you lose the 'com'. Del Boy without Nelson Mandela House is as unthinkable as Alan Partridge without his 'grief hole' (aka the Linton Travel Tavern), which is why both of these characters eventually came unstuck. Sending the Grace Brothers' employees on holiday to Costa Plonka in the 1977 Are You Being Served? feature-length comedy fell flat because, devoid of petty department store politics, the characters had no reason to exist – thus audiences felt cheated.  Remove tightly written characters from their uncomfortable surroundings and viewers stop caring.

The romcom genre has a decidedly mixed record, often becoming a lazy way for stars to cash in on their popularity – with less than loveable results. Witness the career of Matthew McConaughey, which could have been described as ‘Death by romcom’ (Failure to Launch, The Wedding Planner, Fool’s Gold etc) until his 2011 comeback with Killer Joe. Gerard Butler also tried his hand with a slew of mediocre pictures (Playing for Keeps, The Bounty Hunter, The Ugly Truth etc), before reverting to action flicks. But once in a while, the chemistry is just right and everything falls into place. Here’s my pick of ten alternative romantic comedies that avoid the saccharine pitfalls that often blight the field. You People (2023) – Netflix https://www.youtube.com/watch?

Reading that Madonna has decided to cancel the film about her life that she has been working on for the past two years, I felt a pang of sorrow. The biopic sounded like the biggest vanity project ever attempted – and thus promised to be an excellent ‘mock-watch’, as I’ve named the cinematic equivalent of the ‘hate-read’. In the specific case of biopics (always an easy thing to get wrong when one person imitates another, often with hilarious results), perhaps ‘sham-shaming’ is even better. Madonna was reported to be directing, producing and co-writing the film with the Oscar-winning screenwriter Diablo Cody, who has since moved on to the live-action Powerpuff Girls, obviously keen to get to grips with some real women of substance.

If the 20th century was the age of the common man, the 21st is the age of the common man’s confounding. Between shambolic politics, culture wars and actual war, nothing is turning out quite as well as anyone expected. What was meant to be an era of freedom and enlightenment seems to have become the opposite.   Nowhere is this more evident than in the way we interact with one another. In what feels like the blink of an eye, discourse, and by extension society, has taken up residence on the internet. The pace of the outrage cycle has gathered such speed that we must always be finding something new to be incensed by. Social media has made us myopic, scrutinising everyone and everything until we find or invent reasons to clutch at our collective pearls.

The Tomb Raider franchise seems to have been a graveyard for oddly overqualified people. Angelina Jolie played the character of Lara Croft twice after winning an Oscar, and subsequently Alicia Vikander gave the English aristocrat-turned-global adventurer a go. Neither left much of a mark – which is why it is all the more surprising that Fleabag creator and star Phoebe Waller-Bridge is to write the scripts for a new Amazon series based on the video game. It has been wryly observed that, despite her heroics in the forthcoming Indiana Jones film, Waller-Bridge herself is not expected to play Lara Croft. That’s a disappointment for those of us who would enjoy a mixture of arch smirks to the camera and jokes about kinky sex from the globe-trotting, shorts-clad daredevil.

The Last of Us may be remembered as the point when Hollywood’s approach to video game adaptations finally changed. In this, it’s as significant a creative development as Jon Favreau’s Iron Man was in creating a new formula for Marvel superhero movies. The series, which began on Sky Atlantic last week, is set 20 years after a fungal pandemic wiped out modern civilisation. Joel (Pedro Pascal) is a smuggler hired to get 14-year-old Ellie (Bella Ramsey) out of a quarantine zone and across a post-apocalyptic America. It's based on a 2013 video game developed by Naughty Dog. For decades, moviemakers have struggled to create live-action films based on the intellectual property of video games.