Film

Thursday

Deborah Ross

The definitive Diana doc? Possibly not: The Princess reviewed

The Princess, a new documentary film, is the first re-framing of the Princess Diana story since it was last re-framed, about ten minutes ago, and before it will be re-framed again, probably by Tuesday. We’ve had The Crown recently, and Spencer, and our favourite, Diana: The Musical (‘It’s the Thrilla in Manila but with Diana and Camilla’), and there are several upcoming books, one of which, R is for Revenge Dress, ‘explores the celebrated life of Princess Diana through the alphabet’. To those who say the poor woman should be left to rest in peace, I would say: F is for Fat Chance. But is this the definitive documentary we’ve all been waiting for? Possibly not. https://www.youtube.com/watch?

Friday

Stephen Arnell

What to watch on Paramount+ and will it rival Netflix?

Wednesday saw a new entrant into the streaming world with the UK debut of Paramount+. The launch event in London on Tuesday didn’t hold back on star power, with Kevin Costner, Sylvester Stallone, Gillian Anderson, Viola Davis, David Oyelowo, Michelle Pfeiffer, Chiwetel Ejiofor, Bill Nighy, Naomie Harris and Jessica Chastain all in attendance. Unlike BritBox and Apple TV, who have built up content slowly, Paramount+ have decided to come out all guns blazing with their programming. Apple TV+ boasted a limited slate of big-name originals when it kicked off in November 2019, but the likes of The Morning Show, See and For All Mankind were starry but not especially enthralling, as the service took time to find its feet with Ted Lasso, Severance, Mythic Quest, and Slow Horses.

Thursday

Deborah Ross

The hips are electric but you will be willing it to stay put: Baz Luhrmann’s Elvis reviewed

Elvis is Baz Luhrmann’s biopic of Elvis Presley and it’s cradle to grave but told at such a gallop you’ll be willing it to stay put even if it’s just for two minutes. You may even be begging: Baz, come on, just hold still. But no, we’re off again. I’ve had fever dreams that have been less delirious. But on the plus side, even if it’s never deep or enlightening, it has a fizzing energy, and because it doesn’t dwell on anything, we don’t dwell on fat, sad Elvis at the end. Which is a relief. https://www.youtube.com/watch?v=Gp2BNHwbwvI Because it doesn’t dwell on anything, we don’t dwell on fat, sad Elvis at the end. Which is a relief The film opens as it means to go on. That is, flashily.

Tanjil Rashid

The man who changed Indian cinema

At 6ft 4½in tall, Satyajit Ray was head and shoulders above his countrymen. His height was unheard of among Bengalis, ‘a low-lying people in a low-lying land’, as the colonial saying went. With his stature, jawline and baritone voice, he might have been a Bollywood hero. Instead, he chose to tower over the world of art-house cinema, a directorial giant among the likes of Bergman, Kurosawa and Fellini, alongside whom he is credited with inducting cinema into the temple of high culture. His standing was secured with his first film, Pather Panchali, which premièred at New York’s Museum of Modern Art in 1955. India then only churned out musicals which, as Ray later put it, ‘present a synthetic, non-existent society’.

Friday

Stephen Arnell

Ten thrillers that channel Jason Bourne

Amazingly, at least to this reviewer, the first film in the popular Bourne franchise was released 20 long years ago. A fresh-faced Matt Damon (then aged 32) played the titular character (real name David Webb), a memory loss-afflicted master assassin with more than a little red in his ledger. In Robert Ludlum’s Bourne novels JB is masquerading as a hit man to infiltrate a terrorist cell, unlike the film series, where he actually is former assassin with many kills. Richard Chamberlain (The Thorn Birds) played an older, less intense Bourne (he was 54 at the time), hewing closer to the novel in a largely forgotten 1988 TV movie, which is currently available to watch on YouTube.

Thursday

Deborah Ross

It’s wholly impossible to look away: Good Luck to You, Leo Grande reviewed

Good Luck to You, Leo Grande stars Emma Thompson as a retired, widowed religious education teacher in her sixties who books sessions with a sex worker (Daryl McCormack) because, for the first time in her life, she would like to experience good sex. Her husband was a roll on, roll off sort of fella, she’s never slept with anyone else and her body, she says, ‘feels like a carcass I’ve been dragging round all these years’. You have to admire her courage. I don’t think I’d even have the courage to book a hotel room for two hours in the afternoon. I’d probably pay for the night so that no one would know. Or would a week be safer? Written by author and comedian Katy Brand, and directed by Sophie Hyde, this is a riveting film and an important one.

Taki

The magic of black and white films

He is a rich English lord with a very large house and his wife is a beautiful American with a mid-Atlantic accent. The lord is portrayed by Herbert Marshall, a screen idol of the 1930s and 1940s, his wife by Norma Shearer, a Hollywood superstar whose eyes alone enslaved men and whose figure caused me sleepless nights as a schoolboy, if you know what I mean. Then there is a suitor, Robert Montgomery, the patrician American heartthrob, who plays a rich drunken playboy who pursues Norma. But he does it with class and elegance, without a trace of toxic masculinity, a modern feminist broadside that didn’t exist among the upper classes back then. Okay, it’s a movie. But it’s one that kept me up until 3.30 a.m.

Friday

Stephen Arnell

The tricky business of music biopics

Along with films about real life authors, poets, comedians and artists, biographies of musicians are notoriously difficult to translate successfully to the cinema screen. Why? Writing and painting aren’t inherently cinematic; live music has more visual potential (hence the greater number of motion pictures). But the challenges of lip-synching and the existence in most cases of plenty of original concert footage raise the stakes for any actor prepared to take on such a role. There's a real danger of performances falling into pastiche and mimicry. Directors face an even greater predicament when music rights are refused, as was the case with the recent Stardust (2021) where actor/musician Johnny Flynn had to come up with songs in the style of David Bowie.

Thursday

Deborah Ross

It’s taken me days to uncringe: All My Friends Hate Me reviewed

All My Friends Hate Me is a film about a university reunion weekend and should you have an upcoming university reunion weekend, I’d duck out if I were you. No good will come of it. This is social anxiety as horror (almost) and you won’t just cringe for the full 90 minutes, you will violently cringe. It may take you days to uncringe. It’s a clever film, and surprising, and compelling. Yet it is also an endurance test. You won’t regret seeing it, but you will be so glad when it’s over. https://www.youtube.com/watch?

Sam Kriss

The art of extinction

In one of Italo Calvino’s fables, a single dinosaur survives the extinction of his kind. After a few centuries in hiding, he comes out to discover that the world has changed. The ‘New Ones’ who have taken over the planet are still terrified of dinosaurs; they tell each other terrifying stories about the time when the reptiles ruled the world, or secretly fantasise about being brutalised by them, but they don’t recognise the survivor for what he really is. They no longer know what a dinosaur looks like. The newcomer is given a name – the Ugly One – and invited into their society. Eventually, they find a heap of dinosaur bones in a melting glacier, and take their new comrade to gawp at it.

Sunday

William Cook

The timeless mystery of Charlie Chaplin

Eleven years ago, I was summoned to the Manoir de Ban, a huge white house overlooking Lake Geneva, to meet Michael Chaplin, Charlie Chaplin’s oldest surviving son. Charlie Chaplin had lived here for the last 24 years of his life. Now the house was empty, and the family wanted to turn it into a museum. I doubted it would ever happen, but I was keen to look around the house and I was eager to meet Michael. Chaplin’s biographer, Simon Louvish, had called him ‘the family rebel’. Michael had written a frank teenage memoir called I Couldn’t Smoke the Grass on My Father’s Lawn. The house was all shut up, but Chaplin’s looming presence was everywhere.

Wednesday

Cindy Yu

The closing of the Chinese mind

I was born in Nanjing five years after the Tiananmen Square protests. By then, records of the demonstrations and the Communist party’s brutal suppression had been scrubbed clean. So Tiananmen was not part of the national conversation when I was growing up. I only fully grasped what had happened when I visited Hong Kong in my early twenties (that would be harder now under the city’s new national security law). Tiananmen isn’t just absent from history books; the Chinese authorities keep an eye on literature and film, so anything that’s politically subversive is censored or driven underground and abroad. One film that fell victim to this regime is Lan Yu, which I recently saw for the first time at a screening in Soho.

Deborah Ross

A self-regarding take on I’m-not-sure-what: Bergman Island reviewed

Bergman Island sounds, on first acquaintance, like a theme-park attraction. Roll up, roll up! Let us speed you through the shed where Max von Sydow is weeping and then plunge you downwards until you come face to face with a priest struggling with his faith. Then you’ll twist hard left – hold on! – to encounter Liv Ullmann suffering from a series of nightmares in which God appears graceless and indifferent. Or is God dead? To be fair, I’d probably go on such a ride. It may be more exciting than this, and over more quickly. That’s possibly too harsh, but this film is certainly most self-regarding. Written and directed by Mia Hansen-Love, it is a meandering, literary, dreamy, inconclusive take on I’m-not-sure-what. It’s not wholly unbeguiling.

Friday

Stephen Arnell

Ten films to rival Top Gun Maverick

After over a year of delays, Tom Cruise’s keenly anticipated sequel to the iconic Top Gun (1986) is released on 25 May. TG: Maverick’s seat-of-your-pants aviation sequences have whetted the appetite of both fans and non-fans for the picture, which has picked up almost universally positive reviews. https://www.youtube.com/watch?v=7SvPJ0oEWR0 Not unexpectedly for Cruise, he handled some of the flying himself in the picture, returning as Pete ‘Maverick’ Mitchell, a US air force test pilot and flight instructor, purposely stuck at the rank of captain to indulge his addictive 'need for speed.'Cruise dials down the cockiness of the first picture to deliver a more mature, nuanced take on Maverick – although he retains his authority-bucking attitude.

Thursday

Daisy Dunn

Boldly and brilliantly unoriginal: Kermode and Mayo’s Take reviewed

Last April Fools’ Day, Mark Kermode and Simon Mayo wound up their award-winning film review show on BBC Radio 5 Live after 21 years on air. A little more than a month later they are back with Kermode and Mayo’s Take, a podcast so similar in flavour and format that you could call it an up-yours to their critics. While Mayo stressed that it was their decision to go their own way – ‘we have decided, and to be clear: that’s no one else has decided’ – he was slightly more candid about his experience in an interview with the Radio Times a few weeks ago. People of my generation have grown up with Kermode and Mayo, and were as surprised as any by their departure. But we needn’t fret.

Deborah Ross

Quietly devastating: Benediction reviewed

Terence Davies’s Benediction is a biopic of the first world war poet Siegfried Sassoon told with great feeling and tenderness. The result is quietly powerful, quietly devastating and, happily, is not afflicted by the usual clichés that afflict this genre. Sassoon never, for example, crumples what he’s just written and throws it across the room. For this we must be grateful, and are. The film juggles two timelines, with the young Siegfried played by Jack Lowden – once a rising star, it is probably now fair to say he has fully risen; he is wonderful here – and the old Siegfried played by Peter Capaldi.

Craig Raine

The nightmare of making films about poets

Television and film are popular mediums. Poetry has never been popular. This is Sam Weller’s father in Pickwick Papers, when he discovers his son writing a valentine, alarmed it might be poetry: Poetry’s unnat’tral; no man ever talked poetry ’cept a beadle on boxin’ day, or Warren’s blackin’, or Rowland’s oil, or some o’ them low fellows; never let yourself down to talk poetry, my boy. In 1994, I made a short film about Kipling. The director, Tony Cash, a man with a first-class Oxford degree in Russian, objected to a two-second reference to Aristotle’s ‘pity and terror’ in my script. ‘If you mention Aristotle, they [the TV audience] will think you’re an arsehole or an idiot.

Friday

Stephen Arnell

The art of the love triangle: from Conversations with Friends to Closer

The BBC3/Hulu 12-part adaptation of Sally Rooney’s debut novel Conversations with Friends (2018) comes hot on the heels of the success of Normal People (2020) – the author’s second work (2018). Normal People surprised some with its graphic but sensitive depiction of sex but won over even older viewers (well my mum liked it) due to the finely drawn characters and convincing acting by the two leads, relative newcomers Daisy Edgar-Jones and Paul Mescal. Indeed, for Edgar-Jones, Normal People has provided a calling card with producers, leading to her being cast in comedy-thriller Fresh (2022, Disney+),  true crime drama Under the Banner of Heaven (2022, FX) and upcoming adaptation of Where the Crawdads Sing.

Thursday

Christopher Howse

Should have been even longer with less gore: The Northman reviewed

In Rus, which we now call Ukraine, Amleth (Alexander Skarsgard) begins his pursuit of revenge. A sea captain who later aids him is called Volodymyr. But these incidentals have no relevance to the current war, except in one aspect that I want to come on to. Though the film’s hero is called Amleth, the original of Shakespeare’s Prince Hamlet, you can forget Elsinore. The director Robert Eggers’s world in The Northman is that of the Norse sagas, of corpse-eating ravens, runes, mud, gore, human sacrifice and sudden violence. One of the runes on the title cards between scenes is named after the word for ‘ulcer’. The sun never shines. It is surprising that, in their wet homespuns, everyone isn’t shivering.

Friday

Stephen Arnell

The subterfuge movies that rival Operation Mincemeat

Until recently a ‘special military operation’ typically referred to a particular action/plan rather than all-out war. Unless you happen to live in Putin’s Russia, that is. John Madden’s (Shakespeare in Love) take on the real-life Operation Mincemeat is a solid entry in the canon of WWII movies that concern themselves with a particular military objective and the various forms of subterfuge that are used to achieve it. The plot of Operation Mincemeat centres on a ruse designed to distract the Germans from the Allied invasion of Sicily in 1943 by secreting false plans for the landing in Greece on a civilian corpse kitted out as a Royal Marine courier.