Film

Indiana Jones and the absurdity of Hollywood de-ageing

This week, in homes across the land, there is one guarantee: somewhere, someone will be watching one of the Indiana Jones films, and it’ll likely be the first or the third in the series. Raiders of the Lost Ark and Indiana Jones and the Last Crusade are little less than perfect seasonal comfort food: witty, exciting, stuffed full of indelible characters and unforgettable set-piece action scenes. These films stand as those rare pictures that, however many times you watch them, continue to be fabulously entertaining. The others in the franchise – Temple of Doom and Kingdom of the Crystal Skull – are less effective, and the latter has become a byword for mediocrity. Yet all are, at their

The best Oscar Wilde films

It is 122 years this week since Oscar Fingal O’Flahertie Wills Wilde died – in exile, poverty and disgrace – at Paris’s shabby St Germain Hôtel d’Alsace. His last words were said to be: ‘My wallpaper and I are fighting a duel to the death. One or the other of us must go.’ Despite Wilde’s precipitous fall from grace and the ignominy heaped upon him (his children had to change their surname to Holland), within a relatively brief time his plays were revived and books reissued to renewed popular acclaim. And more than a century later, that appeal hasn’t faded: this year in England alone, The Importance of Being Earnest toured the north

‘Luxury’ cinemas are a horror show

‘I know,’ I said to my friend recently. ‘Let’s see a film!’ We booked the Everyman Kings Cross, the only cinema that happened to be showing what we wanted to watch at a convenient time and location. You might already be familiar with the Everyman concept. According to the chain, it’s ‘redefining cinema’ with an ‘innovative lifestyle approach to our venues, where you swap your soft drink for a nice glass of red wine and a slice of freshly made pizza served to your seat’. And apparently it’s popular – an Everyman opened in September in Egham, Surrey, bringing the total to 38, and another one is announced for Durham

The truth about the curse of the pharaohs

George Edward Stanhope Molyneux Herbert, 5th Earl of Carnarvon, was bitten on the cheek by a mosquito some time in early March 1923. The bite became infected. By April he was running a high fever, had pneumonia in both lungs and his heart and respiratory systems were failing. He died in a Cairo hospital on 5 April. His death came less than six months after Howard Carter, the Egyptologist whose excavations Carnarvon was funding, first discovered evidence that there was an undisturbed tomb in the Valley of the Kings in Thebes. That was on 4 November 1922 – 100 years ago this month. A few days later, Carter, Carnarvon and his

Pure scorn without wit or insight: Triangle of Sadness reviewed

The latest film from Ruben Ostlund received an eight-minute standing ovation after its screening in Cannes and also won the festival’s top prize, the Palme d’Or, and this has left me entirely baffled: what, the film I’ve just seen? The one where every scene is far too long? The one billed as a ‘satirical black comedy’ even though the targets are easy and it doesn’t say anything and I didn’t laugh once? That film? I should add, it’s not for the emetophobic. One of the scenes that goes on far too long involved so much vomiting that I could only watch the bottom 5 per cent of the screen. Ostlund

Blonde shows a Marilyn Monroe robbed of motherhood

Andrew Dominik’s film Blonde, a story of Marilyn Monroe’s life based on an adaptation of a Joyce Carol Oates novel, has been the subject of much divisive discourse on both sides of the Atlantic. Caren Spruch of Planned Parenthood told the Hollywood Reporter that she sees the film as ‘anti-abortion propaganda’. A tweet that went viral said filmmaker ‘Andrew Dominik didn’t even try to conceal his anti-choice views and hatred for Marilyn’. She is more profitable as a maiden than she is as a mother, and so she is robbed of that transformation by countless men – those who lust for her and those who earn from her While the divisiveness of the

Harry Styles’s behind is the only draw: My Policeman reviewed

My Policeman is a forbidden love drama starring both Harry Styles – whose bid for movie stardom continues apace – and his naked bottom. The bottom is good. Ten out of ten for the bottom, particularly during a scene in Venice when the light from the window casts it in a golden, buttery glow. But otherwise, this is an average, meek and soporific endeavour which hits quite a few bum notes of the kind that aren’t ideal. It is based on the novel by Bethan Roberts, which in turn was inspired by the romantic life of E.M. Forster, who had a long-term relationship with a married policeman who suffers a

The sexing-up of Emily Brontë

In a month that has seen more than its fair share of chaos, I had hoped the release of the first-ever Emily Brontë biopic would at last offer some cause for celebration. But Emily, which arrived in cinemas this week, has provided quite the opposite.  Frances O’Connor’s directorial debut focuses on a fling between Emily (played by Emma Mackey) and her father Patrick’s dishy assistant curate William Weightman (Oliver Jackson-Cohen), suggesting that their racy romance inspired Wuthering Heights.  Not only is there no evidence that this relationship took place, but there are clues that it was actually the youngest of the sisters, Anne, who caught Weightman’s eye. Charlotte wrote that Weightman ‘sits opposite

Ravishing, daring biopic of Emily Brontë: Emily reviewed

The life of Emily Brontë is an enduring object of fascination. So small, the life, so sparse, so limited. Yet it delivered those magnificent poems and Wuthering Heights. How could this be? Genius, I suppose, paired with a vivid interior life. But as neither of those are cinematic, Emily imagines what could have led her to write as she did. It’s a ‘speculative biopic’, and modern, but there’s no Billie Eilish on the soundtrack or breaking of the fourth wall or jokey intertitles or any of those larks, which is a mighty relief. Instead, it’s daring, and ravishing. If you’d asked me if Emily might have ever tried opium, or

Is Will Smith too toxic to be taken seriously?

After 9/11, American comedians found themselves in a tricky situation. Make fun of any of the usual standbys of their trade – politicians, authority figures, Rudy Giuliani, anyone who wore a badge for a living – and they were liable to be shouted down in an angry chorus of: ‘Too soon!’ Yet if all the jokes they could tell were sanitised and tame, their reputations would decline in an instant. It was a bold comic who tried to argue that telling jokes was a natural human response to disaster; many audiences simply refused to find things funny. Will Smith now finds himself in a similar position. The one-time Fresh Prince

Unforgettable story, forgettable film: The Lost King reviewed

The Lost King is a comedy-drama based on the 2012 discovery of the remains of King Richard III beneath a Leicester car park. It’s a terrific story, an unforgettable story, but a fairly forgettable film. It’s directed by Stephen Frears, stars Sally Hawkins (as Philippa Langley, the amateur enthusiast who was proved right despite being sneered at by archaeology experts), and yet it’s somehow underpowered. There’s King Richard, in his cloak and crown, sitting at her kitchen table with his really bad hair True, it offers one of my favourite lines of the year – ‘Boys… Mum’s found Richard III!’ – yet it never quite springs into life. Still, it

The secrets of London by postcode: W (West)

It’s the area that unites James Bond, Rick Wakeman and both Queen Elizabeths. In the first of our series looking at the quirky history and fascinating trivia of London’s postcode areas, we explore the delights to be found in W (West) – everything from fake houses to shaky newsreaders to dukes who are women… Answer: the other Tube station whose name contains all five vowels is Mansion House.

Don’t Worry Darling’s flawed feminism

Don’t Worry Darling, the highly anticipated psychological thriller directed by Olivia Wilde, has arrived in cinemas after months of online gossip and speculation about its production. The controversies include: an alleged affair between the director and main actor, Harry Styles, who also happens to be one of the most famous pop stars on Earth; the firing – no, sorry, ‘replacing’ – of the originally cast main character (Shia LaBeouf was switched for Styles); a reported fall-out between lead actress Florence Pugh and Wilde, which led to Pugh not doing any publicity for the film; and a bizarre TikTok theory that Kiki Layne and Ari’el Stachel were hired to meet the

Pleasantly untaxing: Mrs Harris Goes to Paris reviewed

Mrs Harris Goes to Paris is a comedy-drama based on the 1958 novel by Paul Gallico about a cheerful, kind-hearted Battersea charlady who falls in love with a couture dress from Dior, decides she must have one of her own, and off she goes. If you are in the mood for something pleasantly untaxing you will be pleasantly untaxed This is a familiar type of British film. It’s similar in spirit to, say, Florence Foster Jenkins or Paddington or The Duke or that golf one with Mark Rylance. It isn’t but could have been directed by Stephen Frears. It stars Lesley Manville but it could have starred Julie Walters. We

No one wants a more sensitive James Bond

Men do not come to see James Bond movies for the sensitive brooding of an ageing spy. They come for the car, the bikini and the volcano. This is apparently lost on some people in Hollywood – the same people who occupy the unfortunate position of actually making James Bond movies. The Daily Telegraph reports: ‘The next James Bond films will have bigger roles for women and a more sensitive 007, according to the producers.’ Variety quotes producer Barbara Broccoli saying ‘Bond is evolving just as men are evolving’, adding: ‘I don’t know who’s evolving at a faster pace.’ I have a difficult time believing that any fan of James Bond ever expressed a desire

A David Bowie doc like no other: Moonage Daydream reviewed

Moonage Daydream is a music documentary like no other, which is fitting as the subject is David Bowie. If it’s David Bowie, make it special or just don’t bother. And this is special. It’s an immersive, trippy, hurtling, throbbing two hours and 15 minutes. If Disneyland did a Bowie ride, this would be it. Yet it isn’t shallow. There are some real insights. Bowie was cool and sexy and beautiful, but also somehow aloof and otherworldly, an enigma, never everyday. I can imagine Paul McCartney at home and I can imagine Mick Jagger at home. But I have never been able to imagine David Bowie at home, turning to Iman

Gore-fest meets snooze-fest: Crimes of the Future reviewed

You always have to brace yourself for the latest David Cronenberg film, but with Crimes of the Future it’s not the scalpels slicing into flesh or the mutant dancer with sewn-up eyes (and mouth) or even the filicide (oh, boy) you have to brace yourself for. In this instance, the most shocking thing is that it’s so muddled and dreary. It’s a gore-fest, true enough, but it’s a gore-fest that is mostly a snooze-fest. That’s what you need to brace yourself for. I first became acquainted with Cronenberg when, as a young teenager, I bunked off to see Shivers (1975) and while every film since (The Fly, Crash, Eastern Promises,

Why must film delight in making us feel stupid?

‘What did the rampant chimp have to do with any of it?’ I squawked in bewildered disappointment to a friend at the end of Nope, the long-awaited third film from Oscar-winning writer-director Jordan Peele. I had hastened in great excitement to see Nope on the first day of its cinema release, hoping for a work that would rival Peele’s sparkling debut Get Out in its idiosyncratic mash-up of razor-sharp social commentary and horror. Instead, I paid £14.20 to sit through 130 minutes of barely explained peril that were resolved in a manner that was even less clear. Peele, I concluded sadly, had crossed over to the dark side of artists

Trump and the art of compromising material

When the FBI raided Donald Trump’s Mar-a-Lago estate, they found a file titled ‘Info re: President of France’. Many have speculated (with no little encouragement from Trump himself) that it contains illicit details of Emmanuel Macron’s sex life.  Whatever the truth about this particular cache, political kompromat has long been a source of great drama – both on and off screen. Some bring it upon themselves – Gary Hart blew his chances of securing the US Democratic presidential nomination in 1988 by inviting reporters to dig up dirt on him (‘Follow me around, put a tail on me. You’d be very bored’). They promptly did – and the events surrounding the 51-year-old

In praise of Jodie Comer

She’s got all the trappings of superstardom: killer looks, a clutch of awards and £4.5 million in the bank. But mention ‘Jodie Comer’ to your friends and you’re bound to get a few blank stares. The British actress, best known for playing super-stylish assassin Villanelle in the BBC series Killing Eve, has yet to become a household name. And, like many in her growing legion of fans, I want to know why. This month I saw Jodie, 29, in Prima Facie, her debut West End play. It’s a masterpiece of a monologue in which she confronts gruelling issues including sexual assault, misogyny and bias in the criminal justice system –