Deborah Ross

Leatherheads PG, Nationwide Leatherheads is George Clooney’s third outing as a director and the first in which he plays a starring role, and it must have looked good on paper, just as anything with George Clooney’s name attached to it probably looks good on paper. A musical based on the plumbing-supplies aisle in B&Q would probably look good with George Clooney’s name attached to it, plus top Hollywood actresses would likely vie to play the U-bend or plunger. But there are dangers, I suppose, in not having to fight to get projects made and just how dangerous this can be is frighteningly evident in Leatherheads, a slovenly, timid, strenuously studied movie that takes forever to get nowhere, uninterestingly.

Son of Rambow 12A, nationwide Son of Rambow is the tale of two young boys — one from a strict religious background; the other a troubled troublemaker — who come together to shoot a backyard version of Rambo: First Blood to enter it into the BBC’s Screen Test competition. It is a British film, set in some English suburb in the early Eighties, and it is chock-a-block with all the things that usually make films like this work very happily indeed: slapstick; fantasy; derring-do; friendship; getaways on bicycles and scrappy underdogs triumphing over horrid adults.

Beaufort 15, Key Cities Beaufort is the Israeli war film that won the Silver Bear at Berlin and was nominated for an Oscar for best foreign language film and it is very, very dull. After I had seen it I sent a friend to see it who is much more war-literate than I am and afterwards he said, ‘Thanks. It was very, very dull.’ What, then, does this mean for the Bear that is Silver and the nomination that is Oscar? It’s the rubbish tip for them, my dears; the rubbish tip. It has to be because as you know, and as my more war-literate friend now knows to his cost, I am never wrong. I even quite liked Margot at the Wedding when everyone else said it was rubbish. I do wish all the other critics would get with the programme.

Lars and the Real Girl 12A, Nationwide Lars and the Real Girl is a comedy which tells the story of an introverted, emotionally backward loner (Ryan Gosling, in bad knitwear and anorak) who believes a sex doll is real and introduces her to the local community as his girlfriend. It all sounds gorgeous, as if it is going to be wonderfully distasteful — how could it not be? — but, disappointingly, it just isn’t nearly distasteful enough. This is a shame, particularly if you have been waiting a long time for a decent film featuring bad knitwear and a sex doll, as I have. It is set in some unnamed American Mid-western town and opens in church on a Sunday with the preacher saying that there is only one true law: ‘Love each other.

The Other Boleyn Girl 12A, Nationwide The Other Boleyn Girl, based on the bestselling historical romance by Philippa Gregory, stars Natalie Portman as Anne Boleyn and Scarlett Johansson as the other girl, her ‘plainer’ sister Mary, which, considering Scarlett Johansson has just been voted the most beautiful woman in the world, must be a lesson in Hollywood logic in and of itself. Still, do not despair, at least not until you are ten minutes in, at which point, if you are still awake, you will be despairing like crazy while wishing you’d stayed in.

Margot at the Wedding Nationwide, 15 Margot at the Wedding is one of those unsettling and bothersome films which will bother and unsettle you during, afterwards and possibly for much of the next day, like a flea in the ear. If this is your sort of film, then you will like it and if you don’t — if you like to put a film behind you the moment you leave the cinema, and go for chips — then you probably won’t. I’m not saying one sort of film is better than the other, just what this is, so you know. And now you know that?

The Bucket List 12A, Nationwide As Rob Reiner should know better and Jack Nicholson should know better and Morgan Freeman should know better, what you have here is a film which has to make you ask: how come they didn’t? You’d think one, at least, would say somewhere along the line: ‘Thanks, but if it’s all the same to you, I think I’ll count myself out of this lazy and condescending package.’ I don’t get it, but at least I napped though a sizeable chunk in the middle. Yes, I did feel cross at myself when I woke up, although only when I realised there was still some way to go.

There Will Be Blood 15, nationwide Juno 12A, nationwide There Will Be Blood (oh, yes) stars Daniel Day-Lewis as Daniel Plainview, a late-19th-century American oilman whose own view could not be plainer: find oil, beat off the competition, buy the land, drill it, get rich. And that’s about it, not that it matters. It’s the genius — a word that should never be used lightly; which is why I hope you can see I just used it heavily — of Day-Lewis’s performance that will keep you with it. Day-Lewis is, surely, every actor’s actor, even though they all probably hate him at some level. ‘If Day-Lewis is making a movie this year, then I am not.

Cloverfield 15, Nationwide Cloverfield is tiresome, dumb and horrid, and just in case you didn’t get that I’ll say it again: this film is tiresome, dumb and horrid. Don’t go. Do anything but go. Don’t be swayed, as I was, by the fact that on its opening day in America it grossed $16 million, grossed a further $41 million on its opening weekend — making it the most successful January release of all time — and has since grossed $56 million worldwide. Don’t be swayed into thinking there must be something in it, because there isn’t. It’s a monster movie that not only fails as a monster movie — I’ve been more scared on the teacups at the fair — but also fails at having anything to say.

After the cheerlessness and brutality of No Country for Old Men, I’m not sure a film about a serial killer is just what you want. Sweeney Todd: The Demon Barber of Fleet Street 18, nationwide After the cheerlessness and brutality of No Country for Old Men, I’m not sure a film about a serial killer is just what you want. I may even be up to here with bloody films about bloodless people. Why not a nice film about nice people doing nice things, like crocheting for the poor? How hard can that be? True enough, Sweeney Todd is a musical, but this doesn’t exactly lighten the mood which, if you are as vigilant and smart as I am, you will spot right from the beginning when slicks of scarlet blood ooze from the opening credits. Hello, Dolly! Now that was a nice musical.

No Country for Old Men 15, Nationwide No Country for Old Men, adapted by Joel and Ethan Coen from Cormac McCarthy’s novel, is not for the squeamish or easily spooked, or at least should not be for the squeamish and easily spooked. I am both — in spades — yet found it almost ecstatically absorbing. This is not to say I liked it. But neither is it to say that I didn’t. It’s not a film that asks to be either liked or disliked. It just is, branding itself on to you like a heated iron. It is set in Texas, in 1980, on the USA–Mexico border where the men are men (‘Quit yer hollerin’,’ they say to their womenfolk) and the desert landscape is vast and dry and desolate.

Charlie Wilson’s War 15, Nationwide Mike Nichols’s latest film is a mixed bag and a stuffed bag and, incredibly, none the worse for either. In its rat-a-tat, rapid-fire 95 minutes you get bombings, mines, refugee camps, casualties, hot tubs, Playboy cover girls, arms dealers, cocaine, scandal, Tom Hanks’s naked butt (surprisingly delicious; peachy), CIA agents, world presidents — and all in a movie that is partly serious political satire and partly just a hoot. A film about America’s covert funding of the mujahedin in Soviet-occupied Afghanistan a hoot? Listen, I know a hoot when I see one, and this is a hoot. OK, so who is this Charlie Wilson and what exactly is this war? Good question. Top marks.