Film

Never fully comes to life, alas: Mr Burton reviewed

Mr Burton is a biopic of Richard Burton’s early years and an origins story, if you like. It stars Harry Lawtey as young Richard and Toby Jones as Philip Burton, the inspirational teacher whose name he would take. It’s a fascinating story. In essence, Richard’s drunkard father sold him for £50. But the film is too devoted and sedate to fly as a cinematic event. It has the feel of a Sunday evening television drama. Nothing wrong with that – although you could just stay home on a Sunday evening and watch television if that’s what you’re after. Cheaper, and much less bother. There’s too little Manville here for my

I genuinely feared The End would never end

Joshua Oppenheimer’s The End is a ‘post-apocalyptic musical’ starring Tilda Swinton and Michael Shannon that is being sold as a ‘bold vision’. And as you know I’m all for bold visions – except perhaps ones that go on for two and a half hours (I genuinely feared The End would never end) and give the impression throughout of being like a premise in search of a story. The musical, however, does definitively answer one question: can Swinton and Shannon carry a tune? Spoiler: not really. This is the first dramatic feature from Oppenheimer who is best known as the documentarian behind two stunning films about the 1960s Indonesian genocide (The

John Hemingway and the lost world of Angels One Five

You will doubtless have read the news and possibly even an obituary of Group Captain John ‘Paddy’ Hemingway, the last of ‘the Few’, who died this week at the great age of 105. That he lived beyond the age of 21 is little short of miraculous, of course – given that he was shot down no fewer than four times in just a fortnight during the Battle of Britain, which claimed the lives of 544 pilots out of nearly 3,000 who fought for Fighter Command. Without the victory their service and sacrifice brought, it’s highly likely that the outcome of the second world war would have been reversed. Therefore Group

Irresistible: Clueless, at the Trafalgar Theatre, reviewed

Cher Horowitz, the central character in Clueless, is one of the most irritating heroines in the history of movies. She’s a rich, slim, beautiful Beverly Hills princess obsessed with parties, boys and clothing brands. According to her, the world’s problems can easily be settled by using the solutions she applied to the seating plan at her dad’s birthday dinner. But Cher is also a creation of genius because she draws us into her life and makes us understand the raw, damaged reality that lies behind her superficial perfection. She’s not a privileged brat. She’s all of us. At the start of this musical remake, Cher takes us on a tour

Who wants a ‘girl boss’ Snow White?

Disney’s new Snow White is a live-action remake of the beloved 1937 classic that was cinema’s first full-length animated feature and is still regarded as Walt’s greatest masterpiece – even if fans of The Jungle Book will always have something to say about that. It stars Rachel Zegler, which set the cat among the pigeons, as she is Latino so doesn’t have ‘skin as white as snow’. However, because I’m not a stickler for ‘historical accuracy’ when it comes to fictional characters in fairy tales, this didn’t bother me. The problem with the film isn’t that it’s gone ‘woke’, it’s that it contains workaday narrative, blandly generic characters and a

Toby Young

The curse of Disney’s Snow White

One of the early decisions David Zaslav made after becoming the CEO of Warner Bros Discovery in 2022 was to cancel the release of Batgirl, a summer blockbuster the studio had spent $90 million making. According to industry insiders, Zaslav thought the politically correct reimagining of the comic book character, whose best friend in the film is played by a trans actor, would be box office poison. Better to take the tax write-off, he decided, than spend tens of millions of dollars trying to market the film to an American public that was fed up with being lectured by virtue-signalling Hollywood liberals. Incidentally, the highest-grossing film of 2022 in the

Will I be sidelined by AI?

I’ve been head down for the past few weeks, preparing for my one-man show. The title is catchy – Nigel Havers Talking B*ll*cks. I’m not sure this was a good idea because in every interview that I have done, I’ve been told that we can’t use this word on air. I seem to hear nothing but four-letter words on the TV these days, so I hadn’t realised that people would mind the bollocks. It seems to be more offensive than the entire four-letter cannon. I am obviously not down with the kids. I have never done anything like this before and have been worrying about three things: will anyone come;

Cartoonish, sub-Armando Iannucci comic caper: Mickey 17 reviewed

Mickey 17 is the latest film from the South Korean writer-director Bong Joon-ho, who won an Oscar for Parasite and made Snowpiercer and Okja. It’s a dystopian sci-fi satire starring Robert Pattinson twice over (all will be explained) but while it initially kicks some decent ideas around, it eventually descends into a cartoonish, sub-Armando Iannucci comic caper with, as far as I could ascertain, nothing fresh to say. It’s not the biggest disappointment I’ve had in my life but it’s up there. The film is set some time in the future and Pattinson plays Mickey 17, a crew member on a space-colonisation mission who, in the opening sequence, has fallen

How Armando Iannucci lost his edge

The BBC celebrated one of its own on Monday night. Armando Iannucci was treated to a fawning retrospective by Alan Yentob, and it opened with a crass piece of TV trickery. ‘Armando Iannucci is not an easy man to pin down,’ said Yentob, as if his quarry were a master criminal or an international terrorist. ‘For ten years, I’ve been trying to talk to one of Britain’s greatest comic talents.’ Iannucci, in his heyday, would have enjoyed dissecting this sort of bombastic hyperbole. This week, he connived in the hoax. Yentob ran through Iannucci’s CV. He was raised by affluent Glaswegians (plenty of colour photographs suggesting a comfortable income), and

Why Roman gladiators were the first feminists

Chiselled out of stone in around the 1st century AD, the scene in this image gives a powerful snapshot of the excitement of gladiatorial combat. In this carving found in Turkey – once a key part of the Roman empire – the opponents face each other head-on, with a look of grim determination. From behind their curved rectangular shields, both appear ready to lunge with short stabbing swords. However, this gladiatorial fight differs from what you might expect in one crucial way: both opponents are women. Look closely enough and you will see the gladiator on the left has her long hair in a plait which snakes down to a bun at the

Pamela Anderson is a thing of wonder: The Last Showgirl reviewed

The Last Showgirl stars Pamela Anderson as a Las Vegas dancer who has reached the end of her career (too old). And she is wonderful, a revelation. I’d like to say I saw it coming but I did not. Did you? When she was doing all that bouncing in slo-mo along the beach in Baywatch did you ever think: Pammy’s going to make a fine dramatic actress one day? But she’s better than the film itself. It would be flimsy without her – plus her own backstory adds a whole other layer. ‘What you sold was young and sexy,’ her character is told at one point, ‘you aren’t either any

Make Bond great again

One of the great recurring James Bond tropes is to make it look as though 007 has actually been killed before the film’s title credits. You Only Live Twice, From Russia with Love and Skyfall all begin with Bond in a position where his demise seems inevitable. Of course, he always turns up alive. (Quite what the rest of the film would consist of if he didn’t is anyone’s guess: perhaps Moneypenny dealing with probate or M arranging one of those ghastly direct cremations.) Now, however, we may have reached a danger from which even Bond cannot wriggle out. Amazon, the company responsible for one of the biggest flops in

Proudly dumb – and all the better for it: The Monkey reviewed

The monkey is an organ-grinder’s monkey toy. Wind up the key jutting out of its back, and its lips will part to reveal two rows of yellow grimacing teeth. Then its clockwork arms will wheel up and down, banging a little drum as fairground music plays. And then someone nearby dies in an extremely gory freak accident. Maybe their head will be sliced off in a knife-twirling incident at a teppanyaki restaurant and slide gently on to the grill. Maybe they’ll fall through the stairs and into a box of fishhooks and then set their head on fire over a gas hob, and then run outside and impale themselves on

Strangely moving: Bridget Jones – Mad About the Boy reviewed

Bridget Jones: Mad About the Boy is the fourth outing for our heroine as played by Renée Zellweger and I was not especially hopeful. Who can still be bothered? Particularly after that silly Thai jail business (second film) and then all that flailing about in the mud at a music festival (third). But this takes you right back to when you did care. The franchise (this time directed by Michael Morris) seems to have finally grown up a bit, and explores loss and grief with surprising depth. That said, it still knows exactly what it is, and what to deliver, and is in touch with its former self via nostalgic

The thankless art of the librettist

Next week, after the première of Mark-Anthony Turnage’s new opera Festen, the cast and conductor will take their bow. All being well, there’ll be applause; and then a brief lull as the creative team takes the stage. There’s often a ripple of curiosity in the audience at this point, because it’s rare that we get to see just how many people it really takes to make an opera. Standing near the composer will be Lee Hall, the writer of Billy Elliot and The Pitmen Painters, and now part of the most maligned – and indispensable – profession in all of music. He’s the librettist. In short, Hall wrote the words,

Extraordinary: The Seed of the Sacred Fig reviewed

The Seed of the Sacred Fig is by the Iranian filmmaker Mohammad Rasoulof and all you need to know is that it is extraordinary. What you don’t need to know, but may like to know, is that Rasoulof, who has already been imprisoned multiple times by the authorities, filmed it clandestinely while directing remotely from an undisclosed location and then had to flee Iran on foot. The journey was extremely complicated and dangerous and took 28 days. You could never accuse Rasoulof of taking filmmaking lightly. But that’s not the bottom line. The bottom line is: it’s enthralling cinema. The film follows a family in Tehran. Iman (Misagh Zare) is

London needs the Prince Charles cinema

The suggestion that the Prince Charles cinema in London’s West End could be closed down was the least surprising news of the week. This sort of thing, fuelled by soaring property values, has been happening in Soho and its periphery for three decades now and shows no sign of relenting. The Prince Charles isn’t strictly in Soho, being just south of Shaftesbury Avenue, but it has always felt like it belonged there, with the other left field, misfit and seedy enterprises that gave the place its character and reputation. It was built in 1962 but, on the edge of Chinatown, was just too far off the main drag of Leicester

Miserable but compelling: Mike Leigh’s Hard Truths reviewed 

Pansy is meant to be a sympathetic figure, but I felt sorrier for those who had to put up with her The central character in Mike Leigh’s Hard Truths is Pansy (Marianne Jean-Baptiste), an angry, bitter, late middle-aged woman who rages against everyone and everything. Against her husband, her son, chuggers, dogs in coats, shop assistants, babywear with pockets: ‘What’s it going to keep in its pocket?’ Everyone, Leigh has said, ‘knows a Pansy’. Or is one, he might have added. Or is in touch with their inner Pansy. Why does babywear have pockets? This is not a cheerful film and, as with Leigh generally, there is no neat redemptive

A feel-good classic: The Armie HammerTime Podcast reviewed

Relive with me and enjoy again the downfall of Armand Douglas Hammer. If you remember, Hammer’s Hollywood career had been going as smoothly as anything: there was his 2010 breakthrough playing the Winklevoss twins in The Social Network, his turn as Leonardo DiCaprio’s no. 2 in Clint Eastwood’s J. Edgar, the 2018 Golden Globe for Call Me By Your Name. By 2020 he was a GQ cover star: ‘Soul seeker. Scene stealer. Leading man.’ And cannibal, allegedly. In January 2021 an anonymous Instagram account called @houseofeffie posted screenshots supposedly showing Hammer’s texts to a woman. ‘Thinking of holding your heart in my hand and controlling when it beats,’ the message

Jolie good: Maria reviewed

Maria is a film by Pablo Larrain, who appears to have a soft spot for the psychodramas of legendary women (Spencer, Jackie) and has turned his attention to the prima donna Maria Callas. It stars Angelina Jolie, who trained as an opera singer for the role, God bless her, and while her voice is sometimes blended with Callas’s – isn’t that like adding ordinary plonk to a Château Lafite? – it still feels like karaoke, albeit karaoke of the most elevated kind. It’s not Mamma Mia!. It’s not your standard biopic either. This is Larrain, remember. Plus linear cradle-to-grave narratives are no longer in vogue – even though I wish