Deborah Ross

The White Ribbon 15, Nationwide Michael Haneke’s The White Ribbon, which won the Palm d’Or in Cannes, is coldly manipulative and, in a way, probably quite facile but, God, it is good. It is so powerfully intriguing that, for 143 minutes, I did not shift in my seat, yawn, sigh, strain to read my watch or even drift into thinking what we might have for dinner (I’d already decided, anyhow; chops). It is set in a small village in Protestant northern Germany just before the first world war and, like Haneke’s other work — Hidden (Caché, 2005); The Piano Teacher (La Pianiste, 2001); Funny Games (er...

Bright Star PG, Nationwide The most curious thing about Jane Campion’s Bright Star is that I did not cry, even though I was certain I would. I always cry in films. I cry at the drop of a hat. I cry when it only looks as if a hat might drop. I am continually alert for all hat-dropping possibilities. I cried when Rachel returned to Ross in Friends, and that’s an American sitcom. On TV! And this is about the love affair between John Keats and Fanny Brawne, which began when he was 25 and she was 18, and finished with his death from tuberculosis at 25. This story is sadness itself, and yet I did not cry, unless a very slight welling-up towards the end counts, which I don’t think it does.

An Education 12A, Nationwide An Education is based on the memoir by the journalist and interviewer Lynn Barber, with a screenplay by Nick Hornby, and, although the word from all the various festivals has been that it is wonderful, I know you will not believe it unless you hear it from me so here you are: it is wonderful. I am even hoping that now we’ve had the book and the film it isn’t the end of Ms Barber spin-offs, and that there may be a dedicated theme park or, failing that, at least an action doll. I don’t know what form it would take exactly, but would expect it to really kick butt, and probably smoke quite a lot.

Fantastic Mr Fox PG, Nationwide Fantastic Mr Fox is actually no more than So-So Mr Fox, if that, and I was pretty bored right from the get-go. The animation is beautiful, the attention to detail is a thing of wonder — with enough mise-en-scènes to keep even the most fanatical mise-en-scène-ists happy — but the story is a mess, the script is banal and, as visually stunning as it all is, it just doesn’t seem to have any kind of soul. I don’t know what Roald Dahl, who wrote the original story, would say, but I’m betting it’s something along the lines of, ‘Clear off. I’m busy. Don’t come back.’ He was always quite grumpy, by all accounts, although you wouldn’t know it from this.

Away We Go 15, Nationwide Away We Go is a comic drama directed by Sam Mendes (American Beauty, Road to Perdition, Revolutionary Road) and it’s sweet, I suppose, but it’s also oddly inconsequential, fake and annoying. It’s a sort of road movie, following the journey of an expectant couple who travel the US in search of the perfect place to put down roots and raise a family. And what does this journey teach them? According to my press notes, they ‘realise they must define home on their own terms’, which has to be good. I mean, imagine if they hadn’t realised that, and had defined it on Gilbert & George’s terms, and what a scatological nightmare that would be.

(500) Days of Summer 12A, Nationwide (500) Days of Summer is a Hollywood romantic comedy with (unnecessary and annoying brackets) in the title just so we know it’s quirky, which it rather is, but it’s so in love with its own quirkiness it gets tiresome after a while. It’s just not as clever as it thinks it is although, having said that, I should point out it’s been a huge commercial and critical hit in America so maybe I’m just getting too old for dating movies generally. Or, as my five-year-old niece recently put it to me: ‘Deb, why are you all cracked around the eyes?’ Kids, couldn’t eat a whole one and all that, but still, what a bitch! Alternatively, and just to prove I can also do quirky: ‘what a (bitch!

The Taking of Pelham 1 2 3 15, Nationwide The Taking of Pelham 1 2 3 is a remake of the 1974 film which starred Walter Matthau and Robert Shaw — remember the ending; the sneeze and the gesundheit? — and I don’t know how this remake got off the ground exactly, but I’m imagining the initial meeting went something like this: Film Executive #1: ‘Let’s remake The Taking of Pelham One Two Three but do it dumber.’ Film Executive #2: ‘How much dumber?’ Film Executive #1: ‘Much, much dumber. And we’ll finish with an armed face-off instead of a sneeze. You can’t get less clever than that.’ Film Executive #2: ‘Great! I love it!

Antichrist 18, Nationwide As you probably already know, Antichrist has been called ‘disgusting’ and ‘depraved’ and ‘the most offensive film ever made’, although I don’t personally get what all the fuss is about. Yes, there is extreme violence. Yes, there is explicit, penetrative sex. Yes, there is a genital mutilation scene involving rusty scissors. But, come on, doesn’t this happen in homes up and down the country all the time? Just the other day, in fact, I found my teenage son lounging on the sofa — as usual! — while mutilating his genitals — as usual! — and I had to say to him, ‘Can’t you ever think of anything else to do? What do you think we bought that PlayStation for? To gather dust?

Public Enemies 15, Nationwide  Public Enemies is Michael Mann’s film about the last year in the life of American bank robber John Dillinger (as played by Johnny Depp) and it just kind of drags. I think it may be because unlike other films of this type following outlaws of this type — Bonnie and Clyde, Butch and Sundance, but not Renée and Renato, who have plenty to answer for but are not outlaws of any type, so of no relevance — it doesn’t ask you to take sides; doesn’t invite you to warm to Dillinger and hope he somehow gets away. Look, there is much to admire in this film. It is sublimely elegant. The cars are beautiful. Johnny Depp is lush.

Dominic West is the actor who plays the homicide cop Jimmy McNulty in the HBO series The Wire and if you don’t watch The Wire you are a big, big dummy, as it has to be the best thing on television ever. And if you do? Then you will know this: while one fully appreciates the programme’s epic exploration of urban decay and dark, difficult socio-political themes, when sexy McNulty takes off his shirt and has his way with a lady on the bonnet of some car, wey-hey! Only kidding. It’s the epic exploration of urban decay and dark, difficult socio-political themes that get me every time. You know that, right? Or, as I might say in The Wire-speak: ‘You feel me, yo?’ And as I might also add: ‘You come at the king, you best not miss.

Year One 12A, Nationwide Year One is the latest Jack Black comedy and while I would not wish to put you off — my job is to gently guide, not instruct — it is fantastically bad and you’d be mad to go see it. Anything would be better, and more amusing. Self-harming in a bathroom for 96 minutes would be better, and more amusing. I even thought, part-way through, ‘God, I wish I was self-harming in some bathroom somewhere. It would be better, and more amusing.’ You may, of course, disagree, and I’m always open to that, even though it means you are wrong and that you really should keep quiet until you know what you are talking about. Seriously, people would like you a lot better if you did.

Telstar 15, Key Cities Telstar is a biopic about the ‘ground breaking’ 1960s song writer and independent record producer Joe Meek, but unless you know a lot about Joe already — and, I confess, I didn’t — you’re never that clear about what ground he broke exactly. If you fancy seeing this film, I would even recommend you look up Mr Meek on Wikipedia before you go. Some people distrust the site but I don’t. As it is, it currently has me down as a journalist and a part-time lingerie model, and you know what? I am a part-time lingerie model. Generally, I don’t like to talk about it, as it always seems like boasting, but I do have a great figure.

Looking for Eric 15, Nationwide Looking for Eric is Ken Loach’s latest film, and while one worships Ken Loach generally and his early work in particular — Cathy Come Home; Family Life; Kes; all of which will still blow your socks off today — I’m just not at all sure about this. I mean, it’s fine, and it’s good-natured enough, and it has its moments but it just seems disappointingly unoriginal; a sort of cross between The Full Monty and Play It Again, Sam leading to a finale that is so sentimental it goes beyond mawkish and may even be the full mawk. Listen, I can do the full mawk. I can take it. Didn’t I cry at the end of Marley & Me and didn’t I cry buckets? I suppose that, in this instance, I just expected something more truthful.