Cinema

You will have registered the buzz surrounding La La Land and clocked its seven Golden Globe wins and 11 Bafta nominations. However, I know you won’t believe it’s wonderful unless you hear it directly from me, so here you are: it’s wonderful. Mostly. It’s wonderful, with a few caveats. I feel bad about the caveats

A Monster Calls is a fantasy drama about a young boy whose life is crap, basically. His mother is sick. His father has scarpered. He is being bullied at school. He may also have an itch he can’t get at, for all we know. (Always hateful, that.) But he finds an ally when the ancient

Comfort and joy. That’s what the song talks about, and that’s what the classic Christmas movies deliver. Whether it’s Die Hard (1988) or It’s a Wonderful Life (1946), Home Alone (1990) or White Christmas (1954), we enjoy these films, in part, because they are so comfortable. Time and tradition have made them as familiar as

A United Kingdom is based on the greatest love story you probably didn’t have a clue about. I know I didn’t. It’s based on the true story of Seretse Khama, heir to the African kingdom of Bechuanaland (now Botswana), and Ruth Williams, a typist, who fell in love in 1940s London and married despite everyone

Indignation is an adaptation of Philip Roth’s 2008 novel and amazingly, for an adaptation of a Philip Roth novel — see the recent dog’s dinner that was American Pastoral, for example — it may even be worth two hours of your time. (Depending on what you would otherwise be doing with that time; I wouldn’t

Arrival is a big budget sci-fi film with a smaller, more pensive, cleverer film trying to get out, which has to be an improvement on a dumb film with an even dumber film trying to get out, as in the manner of Interstellar, say. So we have that to be thankful for, at least. The

The Light Between Oceans is one of those films that comes issued with a handy how-to-use manual. Shudder as hero arrives on remote Australian island to man lighthouse. Cheer when in swift dash to mainland he secures hot bride to join him. Grimace when her womb proves incapable of holding anything in for a whole

As a documentary-maker, Werner Herzog is a master of tone. His widely parodied voiceovers — breathy, raspy, ominous — are cunningly ambivalent. The interviews he conducts are seldom less than strange, often shocking, and the pacing and tenor of his films are subtly modulated. Never more so than here. Lo and Behold is divided into

I, Daniel Blake is a Ken Loach film about a Newcastle joiner who can’t work but faces a welfare bureaucracy that won’t listen, humiliates him, grinds him down, so it’s fun, fun, fun all the way. Yes, it is that Ken Loach film, but as that Ken Loach film is more powerful than most other

As a general rule, I would not wish to spend nearly three hours in a mini-van with young people who turn up the music real loud. As a general rule, being the age I am, I would go to any lengths to avoid such an experience. But American Honey is a film by Andrea Arnold

You will surely have seen the posters for The Girl on the Train with Emily Blunt staring from a train window beneath the question: ‘What did she see?’ I don’t know …buddleia? Bindweed? The occasional abandoned supermarket trolley? That is all most of us see from trains and while it’s true that buddleia, bindweed and

Free State of Jones is an American Civil War drama ‘inspired’ by the life of Newton Knight, who led an armed rebellion against the Confederacy in Jones County, Mississippi, and one rather wishes that that was all it was about. Directed by Gary Ross (Seabiscuit, The Hunger Games), and starring a whiskery, leathery Matthew McConaughey,

I can’t say I care for zombies particularly or even understand them — OK, they’re the living dead, but what do they have against the living living? Why do they always want to bite their faces off? — and I can’t say I cared for The Girl With All the Gifts either. This is an

Bridget Jones’s Baby is the third outing for our heroine as played by Renée Zellweger, whose cosmetic work to face has received more media attention than the film itself, but we will try to counteract that here. So, on this occasion, Bridget finds herself pregnant but does not know if the father is our old

I had been wondering where Gorgeous George Galloway might pop up next. Defenestrated from his seat in Bradford West, humiliated in the London mayoral elections — where he received 1.4 per cent of the vote — and no longer apparently an attractive proposition to the reality TV producers, his public life seemed sadly to be

Woody Allen has made a film nearly every year in the four decades since the release of the award-winning Annie Hall. Every one is hailed as a potential return to form, and of course some definitely are. Blue Jasmine, say. Possibly Midnight in Paris. How do the late-era Allens compare with the earlier ones? It’s

Everything about Julieta feels totally Almodóvarian. It’s a family saga that smoothly blends tragedy and levity, with exquisite performances from a company of passionate actresses. It looks carefully ravishing. Many of the director’s abiding themes are here: terminal illness, sudden death, a mother’s love for her child, men hanging about the fringes. And yet it