Deborah Ross is the chief film critic of The Spectator
We Live in Time is a rom-com (of sorts), starring Florence Pugh and Andrew Garfield. They have terrific chemistry and elevate the material by around 1,000 per cent (a conservative estimate), but it’s still deeply annoying. It’s a weepie – a cancer story as well as a love story; at some screenings tissues were handed
Queer, which is based on the novella by William S. Burroughs, is the latest film directed by Luca Guadagnino (Call Me by Your Name, Challengers) and stars Daniel Craig as an American expat who is gay, horny, sweaty, drug-addled and becomes infatuated with a younger man. It’s not exactly Christmassy, but it is very Burroughsy,
Nightbitch stars Amy Adams as a mother who is so full of rage about her loss of identity it makes her feral and she starts turning into a dog. It’s weird and there is nothing I can say to make it sound less weird – she grows a tail! Extra nipples! – but it’s actually
Conclave is a papal thriller based on the 2016 novel by Robert Harris and it stars a magnificent Ralph Fiennes. If he doesn’t win an Oscar I’ll eat my hat and also yours. Luckily, the film is also well written, smart, taut and visually stunning. You’d think the costume designer (Lisy Christl) wouldn’t find too
Sean Baker’s Anora won the Palme d’Or at Cannes and is hotly tipped to win big at the Oscars and I know you won’t believe it’s as good as everyone is saying it is until you hear it from me so here you are: yes, it’s as good as everyone is saying it is. All
It’s nearly 25 years since Ridley Scott’s Gladiator came out and you’ve probably been wondering what happened to the little boy in that film. I know I have. I can’t say it’s kept me up at night, but at the back of my mind it’s always been: where is Lucius, son of Maximus, nowus? Well,
Heretic is the latest horror film from writer-directors Scott Beck and Bryan Woods (A Quite Place) and stars Hugh Grant, now enjoying the villainous chapter of his career. (See: Paddington 2, The Undoing, The Gentlemen, etc.) Here, he plays a fella who imprisons two young Mormon missionaries as he seeks to torment and terrify them
The Room Next Door is Pedro Almodovar’s first film in the English language and if it is his last we can probably live with that. The film, which is adapted from a novel by Sigrid Nunez, stars Tilda Swinton and Julianne Moore, who are terrific whatever they do, and it is aesthetically divine (the knitwear,
The Apprentice is a dramatised biopic of Donald Trump, covering his early business years. He has called the film ‘FAKE and CLASSLESS’ and ‘garbage’ – but he wishes it well. I’m pulling your leg. ‘It will hopefully “bomb”,’ he has said. He hasn’t seen it, as far as anyone knows – I wish I could
Joker: Folie à Deux is the sequel to Joker (2019), and you have to admire Todd Phillips for returning with a jukebox musical, co-starring Lady Gaga, and not giving fans what they expected – or wanted. (There were quite a few walkouts where I saw it.) It feels like a film that hates its audience.
Aaron Schimberg’s A Different Man is ‘a darkly comic psychological thriller’ that plays like an inverted Beauty and the Beast. What happens when the handsome prince turns out to be not all that? The three central performances are magnificent, and there’s a wry absurdist humour at work but unless you’re a fan of body horror
Megalopolis, which draws parallels between the fall of the Roman empire and modern-day America, is a film by Francis Ford Coppola – and it couldn’t, in fact, be more by Francis Ford Coppola if it tried. He wrote, produced, directed and self-financed it ($120 million; ouch) and even found the time to be its greatest
The Critic is a period drama starring Ian McKellen as a newspaper theatre critic famed for his savagery and it did sound as if it had all the makings of an entertaining and nicely savage little film. But through a surfeit of plot, it rather loses the plot, and the result is a surprisingly bland
Firebrand is a period drama about Henry VIII’s sixth and final wife, Catherine Parr. It is sumptuously photographed – it’s as if Hans Holbein were behind the camera – and magnificently costumed. And Jude Law is tremendous as the monstrous, ailing Henry but be warned: it doesn’t play fast and loose with the facts so
The Terminator is James Cameron’s first film, made a star of Arnold Schwarzenegger, is celebrating its 40th anniversary – there’s a 4K restoration out in cinemas – and I’ve never seen it. I’m not wholly ignorant of 1980s action films, it may surprise you to hear. I’ve seen Diehard. I know a single fella in
August is known as ‘dump month’. It’s when the most forgettable films are released on the grounds that people don’t go to the cinema much in the summer. But maybe they don’t go because the films are so forgettable? Either way, the best film you probably won’t go and see this week is Widow Clicquot.
Caligula: The Ultimate Cut is a new version of the 1979 Caligula that is still banned in some countries (Belarus). The most expensive independent production of its time, it was intended to prove an adult film could be a Hollywood hit – but not everyone received it in that spirit. ‘Sickening, utterly worthless, shameful trash,’
Didi is a coming-of-age drama by the Taiwanese-American writer-director Sean Wang. It’s set in the summer of 2008 and based on his own adolescence – and here’s the bottom line: it’s an absolute joy. It’s funny, moving, authentic and takes you right back to being 13. (Agh!) The main character here is Chris (Izaac Wang),
About Dry Grasses is the latest film from Turkish auteur Nuri Bilge Ceylan and it had better – I thought to myself as the lights dimmed – have a great deal to say about dry grasses that is fascinating and insightful, given it has a formidable running time of 200 minutes. (That’s nearly three and
Twisters is an action-disaster film that follows ‘storm-chasers’ and is so relentless in its own pursuit of tornadoes that plot, character and dialogue are also thrown to the wind. It has a classy cast (Daisy Edgar-Jones, Glen Powell) and a classy director (Lee Isaac Chung) but if you believe, as I do, that once you’ve
