Deborah Ross is the chief film critic of The Spectator
Sylvie’s Love is an exquisitely styled, swooning, old-school, period Hollywood romance and while it has been described as ‘glib’ in some quarters, it’s Christmas, we’ve had a rotten year, and it may be just what the doctor ordered. And if it is glib — I’m not convinced it is, actually; it may even be quite
This pantomime was filmed by ‘legendary Blue Peter presenter’ Peter Duncan in his back garden over the summer. It was intended for online release only but it’s also gone into cinemas because this is the world we now live in. Oh no it isn’t. Oh yes it is. Oh no it isn’t. Seriously, it is.
County Lines is the kind of social realism that the British do so well, if not too well. In other words, a hard watch. In fact, at times it’s so unbearable you might find yourself pressing pause because you’ve suddenly remembered the fridge needs a clean, say. Or the hall: couldn’t it do with a
When I recommend this documentary to people, telling them it follows the journalistic investigation into a fire that broke out in a Bucharest nightclub, killing 64, with the majority not dying of their injuries but later in hospital, their look says: ‘Not a chance.’ Their look says: ‘This film is not something I wish to
Hillbilly Elegy is an adaptation of the best-selling memoir, published in 2016, by J.D. Vance and it’s quite a story. He was brought up in the American rust belt amid poverty, violence, addiction, trash heaps, burning cars, hopelessness and, on top of all that, a grandma who, we now know, was the spit of Catherine
This documentary about Billie Holiday is transfixing. Not just because it’s about Billie Holiday — I am not into jazz yet her version of ‘Strange Fruit’ is obviously incredible — but for the previously unheard audio tapes recorded by Linda Lipnack Kuehl in the 1970s with the people who knew her. This includes, for instance,
The Life Ahead stars Sophia Loren, and if there is one reason to see The Life Ahead it is this: Sophia Loren. And if you need a second reason, it is this: Sophia Loren. Also, it is the third, fourth, fifth, sixth and seventh reason. And probably the eighth. She is magnificent, truly. Directed by
This week, two electrifying performances in two excellent films rather than two mediocre performances in the one mediocre film — see: Rebecca — so things are looking up. Firstly, Mogul Mowgli, starring Riz Ahmed, directed by Bassam Tariq and co-written by the pair. Ahmed plays Zed, a British-Pakistani rapper who has lived in New York
The Climb is, essentially, a bickering bromance as two longtime pals bicker bromantically down the years, and it doesn’t sound like a film you’d especially wish to see and it didn’t sound like a film I’d especially wish to see. Bromances are bad enough, so God save us from a bickering one. But it’s actually
Rebecca is a new adaptation of Daphne du Maurier’s gothic, twisted, never-out-of-print tale of sexual jealousy. It’s directed by Ben Wheatley, with a script by Jane Goldman, and stars Lily James, Armie Hammer and Kristin Scott Thomas. High hopes? Me too. But though it’s perfectly watchable, it’s not at all daring. Would the second Mrs
Saint Maud is a first feature from writer-director Rose Glass and it’s being billed as a horror film. But it’s not your common-or-garden horror film. There are no chases through woods. No one watches a doorknob being twisted from inside the room. Also, there are no maypoles. (Always bad news, maypoles.) Instead, it’s more of
Aaron Sorkin’s The Trial of the Chicago 7 — don’t worry, you haven’t missed six earlier films — is a courtroom drama based on true events featuring a stellar cast: Mark Rylance, Frank Langella, Sacha Baron Cohen, Eddie Redmayne, Jeremy Strong. You may be wondering: hang on, no Michael Keaton? But he tips up too!
The Painted Bird opens with a young boy (Jewish) running through a forest and clutching his pet ferret. He is being chased by some other boys (not Jewish) who beat him to the ground, douse his ferret in petrol and set it on fire. The boy watches as his pet burns alive and I don’t
Mulan is Disney’s latest live-action remake, coming in at 120 minutes, compared with the 1998 animation, which ran to 80. So it’s a third longer, and very much seemed it — and half the fun, if that. No songs. No jokes. No crazy grandma. No Eddie Murphy. Instead, this is a workaday action-adventure that is
Tenet is the latest high-concept, time-bending blockbuster from Christopher Nolan and it’s the film that (unofficially) reopens cinemas in the UK. It has everything that fans of Inception or Interstellar might want. There are spectacular set pieces. There’s time going forwards and then reversing, so it’s bullets flying back into the gun as crashed cars
Matteo Garrone’s live-action version of Pinocchio is visually sumptuous and there are some enchanting characters (my favourite: Snail). And unlike Disney’s version (1940) this is, apparently, far more faithful to the darker, original 1883 tale by Carlo Collodi, even if the Disney version was quite dark enough for some of us. (I screamed so much
American Pickle is a comedy based on a short story by Simon Rich, originally published in the New Yorker, and I was sold on the synopsis alone: ‘An eastern European Jew falls into a vat of pickles and is brined for 100 years before emerging in modern-day Brooklyn.’ It’ll be a fish-out-of-water film like Crocodile
Make Up is the first full-length film from writer–director Claire Oakley, set in an out-of-season holiday park on the Cornish coast where the wind blows, waves crash, rain lashes and gulls screech so you know it’s not a rom-com (foxes shriek in the night too). But while it’s easy to say what it isn’t, it’s
Two films about young women this week, one at the cinema, if you dare, and one to stream, if you don’t. Saint Frances requires the daring and I’d dare, if I were you, as it’s splendid and funny and tender and involving and taboo-busting, and if you do contract a deadly virus, it’ll be worth
Clemency stars Alfre Woodard as a prison warden on death row whose job is beginning to take its toll, and if you think it sounds like a tough watch, you’d be right. But it is also a masterwork, won the Grand Jury prize at Sundance, and doesn’t at any juncture call on the uplifting, healing
