Deborah Ross is the chief film critic of The Spectator
Three films for you this week, amazingly, and they are all at the smaller, independent end of the spectrum because I’ve had my fill of mainstream blockbusters, at least for the minute, and probably know all I will ever need to know about evil villains who wish to take over the world. (Just take it
To see or not to see, that is the question, just as it is always the question with us — I believe our relationship may be caught in what is generally referred to as a ‘rut’ — but I shall answer all the same and my answer is this: Anonymous is a ‘not see’ and
We Need to Talk About Kevin was a horrible book and this is the horrible screen adaptation of that horrible book, and whether you will want to see it or not will, I suppose, depend on how much you are prepared to revisit that horror. At this point I’d love to say you needn’t bother,
So, The Three Musketeers, and one for all, and all for one, but I wish it were every man for himself, and they’d all decided to call it a day and go their separate ways. This is a film of no charm whatsoever and I’d advise you to steer clear, walk the other way, keep
Tyrannosaur is very much in the British working-class miserablist tradition in the sense that it is full of masculine fury and the women who take the brunt of it, and if this does not sound an attractive proposition, it’s because it isn’t, and never is, but, as far as these unattractive propositions go, this is
Ho-hum. Another week, another batch of secret agents, and while I have nothing against secret agents personally — they are generally willing to die for their country, which is nice, although probably quite tiring — The Debt never equals the sum of its parts. It has a blinding cast (Helen Mirren, Tom Wilkinson, Ciarán Hinds)
The basic problem with I Don’t Know How She Does It is that we are meant to sympathise with a rich woman who has an absolutely amazing life and great hair and is nannied to the hilt and I Don’t Know How To Do That. How do you do that? Can you take classes? If
This adaptation of John le Carré’s 1974 novel is so beautifully executed and so visually absorbing and so atmospherically hypnotic that I wonder this: would it have been awfully greedy to have hoped to have wholly understood it, too? I thought the plotting might be an issue — what do I know about spying? Me,
I love the story of Jane Eyre more than life itself, which has never been much cop but, infuriatingly, I could not love this adaptation. I say ‘infuriating’ because what it does right it does very right. It is stunningly mounted, for example, with ferocious landscapes and howling winds and the sort of storms that
Fright Night (3D, which we shall just ignore) is a remake of the 1985 vampire movie of the same name and, while it’s not the most fun I’ve ever had, it’s not the least either. Fright Night (3D, which we shall just ignore) is a remake of the 1985 vampire movie of the same name
Project Nim is a story about man and chimp in which chimp comes out of it well, man does not and, I’m warning you, it’s fascinating, but not pretty. The starting point is an Oklahoma lab in 1973 when Nim, a male baby chimp, is taken from his mother at a fortnight old and sent
Horrid Henry (3D, like we care) is the first big-screen adaptation of Francesca Simon’s bestselling children’s books, and if you would like to save yourself a trip to the cinema you can recreate the experience at home by tuning into some super-noisy, busy, brightly coloured Saturday-morning kids’ TV programme while simultaneously bashing your head between
Beginners is a romance, sort of, and I thought I would love it, wanted to love it and strived to love it with every fibre of my being bar those that are currently enjoying a mini-break at Champneys — don’t worry, they are paying their own way; my fibres always do. Beginners is a romance,
Cell 211 is a brilliantly ingenious Spanish prison drama and I would recommend it even though I didn’t see so much of it. Cell 211 is a brilliantly ingenious Spanish prison drama and I would recommend it even though I didn’t see so much of it. I might even have seen as little as 40
Terrence Malick’s The Tree of Life is his fifth film in 38 years (what a lazybones!) and travels way beyond what I can think about, or any of us can think about, which may be its point. Terrence Malick’s The Tree of Life is his fifth film in 38 years (what a lazybones!) and travels
Larry Crowne is horrible, just horrible, and I urge you to avoid it like the plague. It’s a ‘rom-com’ starring Tom Hanks and Julia Roberts and if you thought you can’t go wrong with Hanks and Roberts, two of the greatest screen presences alive, here is proof that you can. This is stilted, lifeless, bears
It’s so rare I want to shout about anything from the rooftops but I do want to shout from the rooftops about The Ruby Dolls and their latest show, Rubies in the Attic, which takes cabaret and shapes it into something so original that if you can catch it you must. It’s so rare I
Life in a Day is one of those films that shouldn’t work at all, and actually doesn’t work on paper. Life in a Day is one of those films that shouldn’t work at all, and actually doesn’t work on paper. On paper, it sounds boring as hell. Person One: ‘Shall we go and see the
I’ll say this for DreamWorks: when it latches on to a concept it doesn’t let it go. I’ll say this for DreamWorks: when it latches on to a concept it doesn’t let it go. There have been four Shreks (with a spin-off, Puss in Boots, due in November), it’s preparing a third Madagascar, it has
I have zero interest in motor racing and zero interest in cars generally yet this documentary about the Formula 1 driver Ayrton Senna knocked me for six, which I think is a cricketing metaphor but can’t say for sure, as I also have zero interest in cricket. I have zero interest in motor racing and
