With The Killer, will David Fincher return to his former greatness?
From our US edition
The keepers of the Fincher flame have been disappointed in recent decades
Alexander Larman
Alexander Larman is an author and the US books editor of The Spectator.
Tuesday
Monday
What does Dune: Part Two’s postponement mean for the movies?
From our US edition
Audiences want to go and see films, but the writers’ strikes are denying them the chance
Monday
The rise of the comic murder mystery
From our US edition
The perfect comfort viewing in these rather more treacherous times
Friday
Maureen Ryan exposes the Hollywood horror show
From our US edition
At the end of Burn it Down , it’s hard not to wish that the industry could simply be shut down and rebooted all over again
Monday
Is the Musk-Zuckerberg cage match off?
From our US edition
The debacle played up to caricatures of both men
Monday
Why didn’t William Friedkin get much credit when he was alive?
From our US edition
There’s more to the late director than The Exorcist and The French Connection
Tuesday
Paul Reubens lived life on his own terms
From our US edition
His strange talent was one that Hollywood could never quite handle
Monday
Oppenheimer and the triumph of Christopher Nolan
From our US edition
The director has made a lot of people a lot of money, so he is allowed to do what he likes
Wednesday
Can Oppenheimer take on Barbie?
This week, two films are released simultaneously that could not be more different. In the pink corner is Greta Gerwig’s Barbie, a 114-minute long exercise in postmodern irony and camp revolving around the exploits of the much-beloved Mattel doll, given life and dragged into the real world. From the first trailer onwards, its mission has been
Why What We Do in the Shadows works
From our US edition
A vampire sitcom that doesn’t suck
Monday
Arnold Schwarzenegger is back
From our US edition
With a new Netflix documentary and series, the actor is ubiquitous once again
Friday
What’s happening with the SAG-WGA strike?
From our US edition
We may be seeing the death throes of cinema as we know it
Wednesday
Mission: Impossible – Dead Reckoning Part One is the action film of the year
It is an unusual compliment to say of what will undoubtedly be the year’s best action film that the experience of watching it is rather like being punched in the face for the better part of three hours. But Mission: Impossible – Dead Reckoning Part One, which arrived in UK cinemas on Monday, is a bruising,
Monday
Napoleon heralds the return of the man’s movie
From our US edition
The recreations of the battles of Austerlitz and Waterloo, among others, look peerless
Friday
The death of the sex comedy
After a few years in which she has been largely absent from cinemas – her appearance in Netflix’s climate-change black comedy Don’t Look Up aside – Jennifer Lawrence is returning with, of all things, a raunchy sex comedy, with the punning title No Hard Feelings. It has earned an R-rating in the US and 15 in the UK, and
Wednesday
Sound of Freedom goes where mainstream Hollywood doesn’t dare
From our US edition
It shares with Taken a belief that vulnerable, impressionable children should not be allowed out of their parents’ sight, for fear of the worst happening
Wednesday
With Flamin’ Hot, Hollywood again makes a hero of the businessman
From our US edition
Remember when Big Business was the bad guy?
Monday
Where did it all go wrong for Harry and Meghan?
Even for those of us who are not well disposed towards the Duke and Duchess of Sussex, it is hard not to wish – occasionally – that they might catch a break. Yet apart from Harry’s well-judged and unostentatious appearance at the coronation, things have gone from bad to worse over the past six months
Sunday
Why is George Orwell so difficult to pin down?
From our US edition
The writer is an easy man to admire and sympathize with, but a hard one to like
Friday
Even Spotify has tired of Meghan and Harry's schtick
As Oscar Wilde said of the death of Little Nell, you would have to have a heart of stone not to laugh. During Prince Harry’s recent travails in court he was given the in-depth public interrogation about ‘his truth’ that he has never faced before. As if this were not enough to disturb the equilibrium
