Alexander Larman

It is possible that there are A-list Hollywood stars who enjoy fame less than Joaquin Phoenix, but it would be hard to find them. The impression the man formerly known as Leaf Bottom gives is that any kind of public appearance is a miserable chore. It's as if he would rather be swimming through sewage than presenting awards at the Oscars, glad-handing at film premieres, giving interviews — oh, how he seems to hate giving interviews! — or any of the hundred and one other obligations that any leading actor faces today. Yet he continues to make fascinatingly offbeat choices that have kept him firmly at the top of filmmakers’ wish lists for decades. Joaquin Phoenix is a rare figure in an increasingly homogenized industry. Imagine if Johnny Depp had never made Pirates of the Caribbean.

I have a confession, or perhaps a boast. I have never played the roleplaying game Dungeons and Dragons, and now, at the grand old age of forty-one, I doubt I ever shall. But there’s no doubt it’s a cultural phenomenon that has long since transcended any suggestion of being the preserve of adolescents, literal and overgrown alike. Since it was created in 1974, sales of the game have grossed billions, and it has been played by tens if not hundreds of millions of people worldwide. To be an aficionado is to find yourself in broad company — but how does that translate at the movies?  The first answer to this question came in 2000, when a film that starred Jeremy Irons as the villainous Mage Profion was released in cinemas.

When Peaky Blinders creator Steven Knight’s adaptation of Dickens’s A Christmas Carol aired on FX in 2019, it was very quickly decided that, whatever it was, it wasn’t Dickens. From Guy Pearce’s foul-mouthed Scrooge to a scene in which Mrs. Cratchit strips and offers Ebenezer sex in exchange for money to buy the medicine she needs for her son Tiny Tim, it was a strange combination of would-be gritty social realism and hysterical prurience. It was not well-received in the United States: Salon’s comment that it was “short on joy and very, very, very long on purgatorial slogging” was typical.

The arrest of Jonathan Majors last weekend, which resulted in his being charged with several assault and harassment misdemeanor charges — despite his lawyer announcing he is “completely innocent and is probably the victim of an altercation with a woman he knows” — is one of the more surprising developments in recent popular culture. Majors, who recently appeared as the arch-villain Kang in the latest Marvel picture Ant-Man and the Wasp: Quantumania, has been progressing steadily towards superstardom for some time, starring as the antagonist in the third Creed film and appearing in a series of ads for the US Army. Those commercials have since been pulled, with a spokesman declaring that the Army was “deeply concerned by the allegations.

Throughout his career, director Quentin Tarantino has been admirably consistent about his ambition to make ten films — no more, no less — and then move on to other fields. He once stated, “I like that I will leave a ten-film filmography… it’s not etched in stone, but that is the plan. If I get to the tenth, do a good job and don’t screw it up, well that sounds like a good way to end the old career.” He was savvy enough to include a caveat: “if, later on, I come across a good movie, I won’t not do it just because I said I wouldn’t.” He concluded, “But ten and done, leaving them wanting more — that sounds right.

It was ordained months ago that this year’s Academy Awards were going to be dominated by Everything Everywhere At Once, and so it has proved spectacularly. The film has taken seven awards, including Best Film, Best Director, Best Actress, Best Screenplay and Best Supporting Actor. While I was not one of the fans of the duo Daniels’s picture — multiverse spanning fantasy films are not exactly my bag, whether they’re made by Marvel or the hipper-than-hip indie company A24 — it’s still a distinctive and original work of cinema, albeit less likely to be regarded as a future classic than Todd Field’s magnificent Tár, which went home empty-handed. It may well be that Tár’s magnetic star Cate Blanchett lost to EEAO’s Michelle Yeoh for reasons of optics as much as ability.

When Mel Gibson’s ultra-violent, ultra-religious Passion of the Christ made $612 million worldwide, it was not earning its money from teenagers looking for a night out. Despite its R rating, churchgoers were being bused to theaters by the millions, thanks to the heavy support it received from evangelical Christian groups. Everyone from Billy Graham and Jerry Falwell to Pat Robertson and Chuck Colson came out in support of the film, although the Pope’s supposed endorsement — "it is as it was" — was denied by the Vatican. Yet faith-based films have quietly been big business in Hollywood for decades now.