Cinema

The Lion King is Disney’s photorealistic CGI remake of the beloved, hand-drawn 1994 original that, for many children, offered a first introduction to the idea of patriarchal monarchy. (Relax. I’m not going down that road today. Just not in the mood.) And already it’s been trampled underfoot by many critics. It ‘monetises nostalgia’. It is

The Brink is Alison Klayman’s documentary portrait of Steve Bannon, Donald Trump’s former chief strategist (he shaped the ‘America First’ campaign, proposed the Muslim travel ban, etc.) and former boss of Breitbart News, the place where unsuccessful white men go to whine. The film follows him for 15 months from the autumn of 2017 as

Midsommar is the latest horror film from Ari Aster, who made Hereditary, which starred Toni Collette and was a sensation. That was a domestic, claustrophobic scenario packed with jump scares — well, jump-ish scares; I wasn’t that scared, actually — whereas this is pastoral and relies more on building a quiet dread. It’s set in

Yesterday is the latest comedy (with sad bits) from Richard Curtis, directed by Danny Boyle, about an unsuccessful singer-songwriter, Jack, who wakes up to discover that he’s the only one who remembers the Beatles so can now steal all their tunes, if he’s of that mind. Unusually for Curtis, the lead is an Asian and

Nearly 25 years on from its immaculate birth, Toy Story — like Wagner’s Ring, like John Updike’s Rabbit novels — has become a tetralogy. Do we need another one? Isn’t it time for Woody the toy cowboy to stuff that hat on a peg and stop hanging around kids? The short answer is no.  Though

Diego Maradona, Asif Kapadia’s take on the poor boy from the slums of Buenos Aires who became a footballing god, is gripping if heartbreaking. It’s one of those scenarios where a stunning natural talent is exploited rather than protected. He even put me in mind of Judy Garland (minus the large and devoted gay following).

Late Night is a comedy starring Emma Thompson as a chat-show host in America whose ratings are in decline and who hires her first female writer. This is Molly, who is welcomed by the bank of male writers, not. They initially mistake her for someone who has come to take their food orders and greet

Sunset is French-Hungarian writer-director Laszlo Nemes’s follow-up to his astonishing Oscar-winning debut, Son of Saul. This time round the film is set as the Austro-Hungarian Empire is on the brink of collapse, and it is confounding, but not in a good way, as it’s as turgid as it is baffling. I’ve seen it twice now,

There have been claims that Rocketman, the biopic of Elton John, is ‘cheesy’ and ‘clichéd’, but, in truth, you do want these films to be a bit cheesy and clichéd. (In Bohemian Rhapsody if a record executive had never cried: ‘Nobody wants to listen to a six-minute opera song with words like “Galileo” in it!’

You don’t come across too many films from Colombia, but every few years one wriggles its way through the festival circuit and on to an arthouse screen, fingers crossed near you. Any film that survives that Darwinian journey will be robustly fit for purpose. Such is Birds of Passage (original title: Pajaros de verano), which

Each December in Washington DC, the Kennedy Center Honors anoints five performing artists who have contributed to American life. In 2015 one of the inductees was Carole King, to whom Janelle Monáe and James Taylor sang nicely in tribute. Then on came Aretha Franklin in a floor-dragging fur coat. She placed her handbag on the

Tolkien is a biopic covering the early life of J.R.R. Tolkien (Nicholas Hoult) and it is not especially memorable. I’m even forgetting it as I’m trying to remember it. Yes, it’s one of those. Come back, come back, I need to remember you at least until the end of this review. But, no, it’s fading,

Bel Canto is an adaptation of the Ann Patchett novel first published in 2001, which I remembered as being brilliant and unputdownable, even if I recalled only a few of the details — hostages, an opera singer; that was about it. So I found it on the bookshelf and read it again, which was daft.

Fans of Paolo Sorrentino’s Il Divo, The Great Beauty (which won an Oscar) and his HBO series, The Young Pope, will have been keenly anticipating Loro, his take on the life and times of Silvio Berlusconi, the media tycoon and former Italian prime minister who has been involved in one lurid scandal after another. But

Jessie Buckley is the actress who, you may remember, was ‘phenomenal’ in Beast — I am quoting myself here so it must be true — and she is also phenomenal in Wild Rose. She plays a Glaswegian, ex-jailbird single mum who dreams of Nashville and making it as a country star and, good grief, the

Alice Rohrwacher’s Happy as Lazzaro sets out as a neorealist tale of exploited sharecroppers, but midway through the story it falls off a cliff (literally) and returns as magical realism, although we mustn’t hold that against it. Or should we? I was sad to see the first narrative go, frankly — come back! Come back!

Dumbo is an elephant we can’t forget. More than 70 years since Disney’s 1941 film, the big-eared baby is still the most famous pachyderm on the planet. Director Tim Burton has dared to enter the ring with this iconic grey beast and remake the Disney classic not as a cartoon, but as live action. In

Us is a second feature from Jordan Peele after his marvellous debut Get Out, which was more brilliantly satirical than scary and may well be the best ever horror film for non-horror people (i.e. me). Us has also garnered five stars everywhere, as well as, at the time of writing, a 100 per cent rating

Captain Marvel is the 654th film in the Marvel franchise — the figure is something like that, I think — and as the first one to be female-led it was mercilessly trolled before its release by the fan boys. ‘This movie is gonna bomb like no other and they only have themselves to blame,’ was