Deborah Ross is the chief film critic of The Spectator
Bong Joon-ho’s Parasite won the Bafta for best foreign film and is up for six Oscars and it is an involving drama. And satire. And thriller. And comedy. And allegory. And it is fabulous and enthralling on all those counts. It works on every level which is, perhaps, fitting for a film about levels and
Bong Joon-ho’s Parasite won the Bafta for best foreign film and is up for six Oscars and it is an involving drama. And satire. And thriller. And comedy. And allegory. And it is fabulous and enthralling on all those counts. It works on every level which is, perhaps, fitting for a film about levels and
The Lighthouse stars Willem Dafoe and Robert Pattinson (and a very nasty seagull) in a gothic thriller set off the coast of Maine in 1890, and it’s terrific. Mad, but terrific. It is gripping, intense, extraordinarily written — someone is accused of smelling like ‘curdled foreskin’ at one point — and is about two fellas
Armando Iannucci’s adaptation of Charles Dickens’s David Copperfield is a romp told at a lick, and while it’s fun and likeable with fantastic casting — Hugh Laurie as Mr Dick is especially sublime — it is not particularly immersive or memorable. It’s 600 pages squashed into just under two hours so it’s bound to feel
Terrence Malick’s A Hidden Life is a historical drama based on the true story of Franz Jäggerstätter, an Austrian who refused to fight for the Nazis in the second world war and was later beatified by the Catholic church. It isn’t peak Malick as it’s linear rather than associative — let’s not pretend we aren’t
Sam Mendes’s 1917 is the first world war drama that this week won the Golden Globe for best film and also best director and there is no arguing with that, ha ha. In fact there has been plenty of arguing with that. Some critics say that it feels like a videogame. ‘Turns one of the
There have already been several film adaptations of Louisa May Alcott’s beloved 1868 novel Little Women, and why not? After all, who ever gets tired of Jo burning off Meg’s hair? But the latest, from Greta Gerwig, is so clever and spirited and vigorous and engaging it knocks all the others into a cocked hat.
Ordinary Love stars Lesley Manville and Liam Neeson as a long-married couple whose lives are disrupted when she is diagnosed with breast cancer. Not very Christmassy, you might think, but it’s not a ‘cancer story’, as has been said in some quarters, it’s a love story, told profoundly and beautifully and honestly rather than cloyingly
The Two Popes stars Anthony Hopkins and Jonathan Pryce — that’s two reasons to buy a ticket, right there — as Pope Benedict XVI and his successor Pope Francis I, and it is wildly entertaining, so now you have a third reason too. True, it does, as others have noted, shy away from directly tackling
Noah Baumbach’s Marriage Story is a drama about the breakdown of a marriage and it is, at times, devastatingly painful. ‘Divorce,’ says a lawyer at one point, ‘is like a death without a body.’ It’s certainly not the most fun you’ll ever have at the cinema — although it is witty and there are some
The Irishman is Martin Scorsese’s three-and-a-half-hour epic — a mobster-a-thon, you could say — starring Robert De Niro, Al Pacino, Joe Pesci and a light sprinkling of Harvey Keitel (he’s only in a couple of scenes). It’s based on the true, late-life confession of Mafia hitman Frank ‘The Irishman’ Sheeran and, while gangster flicks can
Maleficent: Mistress of Evil is the sequel to the 2014 film Maleficent, and it will certainly come as a relief to all those who, in the interim, have been worried that Disney might let a potential franchise go unexploited. Did that keep you awake at night, as it did me? Well, now we can all
The Day Shall Come is a second feature from British satirist Chris Morris and like the first, Four Lions, it is a ‘comedy of terrors’, you could say. But this time, rather than a group of hapless home-grown Muslim suicide bombers we’ve decamped to America and it’s the FBI that will do anything to get
Judy is in cinemas this week and so is Joker and if you have to choose between the two, then it’s Judy every time. I would even add: step away from Joker. Step away, and step away now, if you know what’s good for you. It may be a masterpiece or it may be irresponsible
The Goldfinch is an adaptation of the Pulitzer Prize-winning novel by Donna Tartt that centres on a great work of art, unlike this film, which isn’t. A great work of art, that is. This is more a flat, forgettable, colour-by-numbers job, plus it is long (150 minutes, for the love of God) and drags so
The Farewell is a quiet film that builds and builds and builds into a wonderful exploration of belonging, loss, family love, crab vs lobster, and hiding feelings, even though it may be tough to hide yours and you’ll shed a tear or two. I know I did. It is written and directed by Lulu Wang,
The much-anticipated film version of Downton Abbey has arrived and I suppose you could describe it as the Avengers Assemble of period drama, where everyone turns up and just does it all over again, but minus the throat kicks in this particular instance. Also, it’s critic-proof and the fans will race to see it even
Scarborough is a small British film but it will give you a very big headache. Its subject is teachers who have relationships with pupils and it’s well directed and well performed — Jodhi May is always worth the price of a ticket whatever — but I’m still trying to work out what it has to
Joanna Hogg’s films are the antithesis of popcorn entertainment so if it’s not the antithesis of popcorn entertainment that you seek, you may be better off going elsewhere. Her latest, The Souvenir, is about a young woman finding herself and her own voice, and is semi-improvised and I know someone who hates her films —
Pedro Almodovar can sometimes be overly flamboyant if not out-and-out nuts — let us never talk about I’m So Excited! ever again — but his latest film, Pain and Glory, is wonderfully restrained and all the better for it. Partly autobiographical, it’s about ageing, and the reckoning that always comes with that — when you