Deborah Ross

EPiC: Elvis Presley In Concert is a concert documentary that grew out of the 65 boxes of unseen Las Vegas performances discovered by Baz Luhrmann while researching his 2022 biopic Elvis. As I have little interest in ‘the King’ I approached with a heavy heart. But now? I’m abundantly interested. In fact, I’ve shifted from indifference to thinking that if I could see one musical artist live at their peak it would have to be him. He’s that electrifying. A warning, however: it’s a 12A. ‘Elvis picks up a bra thrown on to the stage during a concert performance and puts it on his head,’ notes the BBFC. I wish I’d had the chance to throw a bra that he’d put on his head. Hopefully, it would have been one of my nicer ones that day. They are of varying quality.

Kleber Mendonca Filho’s The Secret Agent, which is about an academic on the run during Brazil’s brutal military dictatorship, won two Golden Globes, and has been nominated for four Oscars, and it’s truly special even if it is languorous and sprawling. It is one of those long films (two hours and 40 minutes) populated by so many characters you may well find yourself praying: ‘Please let me keep track of who’s who.’ Do hang on in there. It will all come right and be so worth it. The house is run by Dona Sebastiana, who may now be my favourite film character ever The film is set in 1977 which, an intertitle tells us, with some understatement, was a period of ‘great mischief’. It has an opening scene that will likely become iconic as it’s so brilliantly tense.

Emerald Fennell’s ‘Wuthering Heights’ had purists losing their minds from the get-go.  They lost their minds at the casting – Margot Robbie is too old for Cathy; Jacob Elordi is too white for Heathcliff – and then lost their minds at the trailer, which is all heaving bosoms and kinky vibes set to Charli XCX beats. But Fennell has made it clear that it is her vision of Emily Brontë’s novel, hence the quotation marks around the title, and that she wants it to feel as she felt when she first read the book at 14 years old. I was willing to cut her considerable slack but did her 14-year-old self, I had to wonder, make it to the end? Who, in their right mind, would sell it as a Valentine’s date film if they had? I may be on #TeamPurist here.

The documentary Melania, which follows the first lady in the 20 days leading up to her husband’s 2025 presidential inauguration, has already been savaged by critics. It is ‘shallow’ and ‘a shameless infomercial’ and ‘designer taxidermy’, and according to Variety, ‘if they showed this on a plane people would still walk out’. It is, it’s true, a film that could have been authored by Hello! magazine, but isn’t there some value in seeing how someone wants to be seen? There’s also no shame in being in it for the rich lifestyle porn – on that count it delivers handsomely. I was hanging on to every detail, from what will be served at the inauguration dinner (golden eggs and caviar) to the width of the ribbon on her hat. (Should it be narrowed? Will it be?

Richard Linklater’s Nouvelle Vague dramatises the (chaotic) making of Breathless (1960), Jean-Luc Godard’s French New Wave classic. It’s a film about a film, told mostly in the manner of that film, with the same kind of liveliness. Godard is as impossible to comprehend by the end as he was at the beginning  It isn’t necessary to watch Breathless first by the way, although why not? It’s widely available on streaming platforms and, while it remains one of the most influential movies of all time, it’s just 90 minutes long. Christopher Nolan take note. You too, James Cameron. (His latest Avatar is three hours and 20 minutes, for heaven’s sake.) Linklater certainly recreates the look, feel and sound.

H is for Hawk is an adaptation of the bestselling memoir by Helen Macdonald who, following the sudden death of her beloved father, channels her grief through the training of a goshawk, Mabel. The film stars Claire Foy, who is superb, as is the nature photography, but is it right, keeping a wild animal captive, and depriving it of its natural behaviours because it helps you in some way? What’s in it for this gorgeous bird, I kept wondering. The cruelty is never addressed. This is solely about human need. We’re not even told who plays Mabel, so I can’t say what she has been in before or whether she has won any awards. (I would hope so; she is magnificent.

Rental Family stars Brendan Fraser as an out-of-work American actor living in Tokyo. He accepts employment with an agency that gets performers to play roles in real people’s lives. You may need a friend, for example, or a mourner should you fear your funeral will be sparse. (Tell me about it.) Fraser won an Oscar for a dark performance in The Whale but in this he’s back as a lovable, good-hearted everyman. (Is there anyone who does that better, aside from Tom Hanks?) Fraser plays Phillip, who arrived in Tokyo seven years before to star in a toothpaste commercial and has never left. Presumably, there is nothing, and no one, calling him home. He lives alone in a tiny, dimly lit apartment. His displacement and isolation are firmly established visually.

Hamnet is an imagined account of William Shakespeare’s marriage to Agnes (Anne) Hathaway, their unspeakable grief at the death of their son (the titular Hamnet) and how this may have inspired Shakespeare to write Hamlet. It stars Paul Mescal and an extraordinary Jessie Buckley, who will likely win every award going, yet be warned: it does do everything it can to make you cry. You can hold out and hold out and refuse to be emotionally manipulated, as you’re better than that, but when Max Richter’s ‘On The Nature of Daylight’ kicks in at the end you will give up the fight. Take a hanky if you do not wish to deploy your sleeve.

Song Sung Blue is a musical biopic of the real-life Milwaukee couple who formed a Neil Diamond tribute act and never hit the big time, or anywhere near. At its heart is a love story – one that is beautifully told. It stars Hugh Jackman and Kate Hudson, who is so sublime that we may even opt to forgive her for How to Lose a Guy in Ten Days and similar. The only real downside is that it will leave you with an earworm of ‘Sweet Caroline’ (‘bom, bom, bom’) for the rest of your born days. A Hollywood biopic wouldn’t normally give such a couple the time of day so what’s the story? The story is that the filmmaker Greg Kohs was in Milwaukee working on a project in the early 1990s when he encountered Mike and Claire Sardina performing Diamond songs as the duo Lightning and Thunder.

The Christmas film Goodbye June marks Kate Winslet’s directorial debut. It’s based on a screenplay by Joe Anders – the 21-year-old son she had with Sam Mendes. I would like to be gracious about it. But it would help if it were a better film. It’s about four, fractious adult children who are forced to gather at the bedside of their dying mother. The cast is so formidable it should be a slam-dunk festive weepie. But the characters are, alas, too thinly sketched, while their various trajectories take us into the kind of banal, maudlin territory most suited to a Call The Midwife special. On a more positive note, however, if your idea of Christmassy fun is watching Helen Mirren slowly peter out while snow softly falls outside, you will be well served.

Noah Baumbach’s Jay Kelly stars George Clooney as a handsome movie star playing a handsome movie star who has an identity crisis and is forced to reflect on his life. It’s being sold as a Hollywood satire, but it’s far too affectionate to be biting, and contains moments where it drowns in schmaltz. For a director of Baumbach’s calibre (Marriage Story, The Squid and the Whale, Frances Ha), it all feels like very low-hanging fruit. That said, it’s not such an ordeal to spend a couple of hours in the company of Clooney as the golden Tuscan sunshine beats down (it’s mostly filmed in Italy). I found I could cope.

Left-Handed Girl is a Taiwanese drama about a single mother who moves back to Taipei with her two daughters to run a noodle stand in the night market. It’s one of those films where the stakes don’t appear that high – will the mother make the rent this month?; will the littlest daughter settle at her new school?; what’s grandma’s game? – yet we become so attached to this family and their survival it will all matter a great deal. It also features an adorable pet meerkat, GooGoo, and I doubt you’ll see a better film starring an adorable pet meerkat called GooGoo this year. I’d bet my life on it.

The Thing With Feathers is an adaptation of Max Porter’s acclaimed novella about a widower who is left to raise his two sons after his beloved wife’s sudden death and whose grief is embodied in the form of a monstrous, giant black crow. It stars Benedict Cumberbatch, who gives his absolute all, but while the film deploys psychological horror tropes it’s too mired in a pit of despond to be anything other than a misery fest. Also, while the crow works as metaphor in the book (it’s a rather wonderful book, as it happens), on film it’s a disaster. Unless, that is, you too see grief as a big talking bird that is very clearly a fella in a costume. Crow, aside from clearly being a fella in a costume, is also, it turns out, from Lancashire The film opens on the day of the funeral.

Nuremberg is one of those films that falls short on everything it wants to be and everything it could be. It’s a historical drama, set just before the trials, where an American psychiatrist (Rami Malek) is charged with assessing whether Hermann Göring (Russell Crowe), Hitler’s second in command, is fit to stand trial and to ascertain what his defence might be. This should be electric and terrifying and take us inside the Nazi mind. In other words, I had expected a tense two-hander. But it’s serviceable rather than inspired, plodding rather than tense, its running time (two and a half hours) trying. (Keep a Red Bull to hand.) It also takes some horrible missteps. Mrs Göring, sympathetic? Please.

Guillermo del Toro’s Frankenstein stars Oscar Isaac (Baron Victor Frankenstein) and Jacob Elordi (‘the creature’) and retells the basics of Mary Shelley’s story – man creates monster, man rejects monster, monster goes off on one – with high-camp sumptuousness. Del Toro’s spin is to include a redemptive arc, plus he throws in some invented characters. ‘The creature’, meanwhile, is portrayed with great sympathy, as a soulful, mistreated innocent. In other words, there’s no Boris Karloff lumbering around in that blazer a size too small with a bolt through the neck. It opens with a Danish expedition-ship stuck in the Arctic ice and the crew rescuing an injured Victor.

Bugonia is the latest film from Yorgos Lanthimos (The Favourite, The Lobster, Poor Things) and it’s about a conspiracy theorist who kidnaps a pharmaceutical boss. It’s extremely wacky – possibly in a good way, still not sure. You certainly get value for money; it smashes together several genres (absurdist comedy, sci-fi, thriller, body horror) and takes a swipe at everything from capitalism and conglomerates to echo chambers and internet rabbit holes. But whether it adds up to much or has anything to say, also still not sure. It has a script by Will Tracy (Succession, The Menu) and is a remake of the 2003 Korean cult favourite Save The Green Planet!.

Springsteen: Deliver Me from Nowhere is a biopic of ‘the boss’ starring Jeremy Allen White. It is not cradle to grave and do not expect the usual crowd-pleasing beats. There isn’t a single montage. Instead, it focuses on 1981, the making of his sixth album, Nebraska, and his mental troubles at that time. This will doubtless satisfy the completists. But non-completists – I could have named only two of his songs, tops – may wonder if it’s that interesting. Also, as White’s performance isn’t a million miles from tortured chef Carmy in Disney+’s The Bear I kept expecting him to put down his guitar and go tweeze micro-herbs on some fancy dish. This may be a problem. ‘I know who you are,’ says a fan. ‘That makes one of us,’ he replies.

Is Paul Thomas Anderson’s latest as good as everyone is saying? That it has a run time of nearly three hours and I didn’t drop off, and didn’t have to fight dropping off, may say it all. But if you want more, I can also vouch that One Battle After Another is funny and fantastically propulsive, and it also, I should add, reinvents the car chase – which I don’t believe any of us expected to see in our lifetimes. So while you can search for a deeper meaning if you want (many have), you can also simply enjoy it. (I give you permission.) The car chase at the end?