Deborah Ross is the chief film critic of The Spectator
Some cinemas have reopened, with the rest to follow by the end of the month, thankfully. But the big, hotly anticipated films — Christopher Nolan’s Tenet, for example, or A Quiet Place II — won’t be out for a while yet, as opening schedules are adjusted. However, there is a new film that is cinema-only:
In the past Werner Herzog has given us a man pushing a ship up a mountain, a 16th-century conquistador going mad in Peru, Timothy Treadwell being eaten by a bear (who isn’t still recovering from that one?) and the 3-D documentary on cave paintings that ended with albino alligators, so there is never any saying
This comedy stars Will Ferrell and Rachel McAdams as an Icelandic duo whose biggest dream is to represent their country at Eurovision and win. An open target, you would think. Spoof heaven, you would think. But while this is sporadically funny and features some wonderfully good bad songs with those hooks that you can’t shake
Resistance stars Jesse Eisenberg and tells the true story of how mime artist Marcel Marceau helped orphaned Jewish children to safety in the second world war. I had no idea. I had only ever thought of Marceau as ‘Bip’, who will live on for ever in my nightmares. (God, mime.) But while the story is
Spike Lee’s Da 5 Bloods is about four African-American vets who return to Vietnam to locate the body of their fallen squadron leader, retrieve the gold they buried (hopefully), reflect on fighting for a country that didn’t care about them — ‘we fought an immoral war for rights we didn’t have’ — and avoid descending
A Rainy Day in New York is Woody Allen’s 49th film and it’s not been without its troubles. When accusations of sexual abuse made by his adopted daughter, Dylan Farrow, resurfaced, Amazon Studios ditched it. Then its star, Timothée Chalamet, apologised for being in it and donated his earnings to charity. We may never know
At the outset of lockdown I gave you my list of top mustn’t-watch films — that is, the ones that aren’t worth the bother — with the rider that when Cats is released digitally it will, however, likely be a must-watch mustn’t-watch. ‘I absolutely must watch this mustn’t-watch,’ you may even have said to yourself,
You may be asking yourself: have I reached that point in lockdown where I’m watching Icelandic dramas about the price of milk? Yes, you have, is the short answer. But let me qualify that with: if you are going to watch Icelandic dramas about the price of milk, The County is a good choice. And
Here’s something that may interest you. Or not. (Could go either way.) I was looking over Sight & Sound’s ‘100 Greatest Films of All Time’, which has Alfred Hitchcock’s Vertigo (1958) at number one, having knocked Citizen Kane from the top spot in 2012. (That film always did need a more exciting reveal; would it
This week I’d like to point you in the direction of the British Film Institute and its free online archive collections, which are properly free. There is no signing up for one of those ‘free trials’ which means that, somewhere down the line, you’ll discover you’ve been paying £4.99 a month for something you didn’t
First, the latest digital film release: The Assistant, starring Julia Garner in a slowly, slowly, catchy, catchy tale that won’t grab you from the off — I kept thinking: is anything actually going to happen? — but you must stick with it, you must. This is a film of quiet, cumulative power, which has much
As all other publications are offering guides saying what to watch from home during this pandemic — ‘the 50 best movies to stream right now’; ‘20 hidden gems available on Netflix’; ‘movie masterpieces for quarantine’ — an equally valuable service would, surely, be telling you what not to watch, under any circumstances, no matter how
The film you want to see this week that you mightn’t have seen if you weren’t stuck at home is And Then We Danced, a gay love story set in Tbilisi, Georgia, and it is truly wonderful and gorgeous. Every cloud and all that. However, in my area the demand on broadband is so high
To tell you the truth about The Truth, even though it stars Catherine Deneuve at her most Catherine Deneuve-ish (i.e. campily grand) and I was so looking forward it — it’s the first non-Japanese production from Hirokazu Kore-eda, who made the very lovely Shoplifters — it is now quite hard to concentrate on anything in
Misbehaviour is a film about the 1970 Miss World contest that was disrupted by ‘bloody women’s libbers’ — that’s what my dad always called them, anyhow — throwing flour bombs and shouting ‘we’re not cattle!’ as Bob Hope fled the stage in a panic and our televisions temporarily blacked out.Marvellous, I think now, although at
Military Wives is a British comedy drama starring Kristin Scott Thomas and Sharon Horgan. It is based on the true story of the service spouses who formed a choir (and were the subject of a BBC documentary series in 2011) and it’s wholly in the style of Calendar Girls, The Full Monty, Brassed off, Kinky
Céline Sciamma’s Portrait of a Lady on Fire is set on a remote, windswept Brittany island in the late 18th century. It’s about two women falling in love and it’s rapturous, scorching, ravishing and will lock your eyes to the screen. I’ve seen it three times and on each occasion my eyes were locked to
Greed is Michael Winterbottom’s satire on the obscenely rich and, in particular, a billionaire, asset-stripping retail tycoon whose resemblance to any living person is purely intentional. (Hello, Sir Philip Green.) Plenty to work with, you would think. Low-hanging fruit and all that. But as the characters are so feebly sketched and the ‘jokes’ — ‘jokes’
Bong Joon-ho’s Parasite won the Bafta for best foreign film and is up for six Oscars and it is an involving drama. And satire. And thriller. And comedy. And allegory. And it is fabulous and enthralling on all those counts. It works on every level which is, perhaps, fitting for a film about levels and
Bong Joon-ho’s Parasite won the Bafta for best foreign film and is up for six Oscars and it is an involving drama. And satire. And thriller. And comedy. And allegory. And it is fabulous and enthralling on all those counts. It works on every level which is, perhaps, fitting for a film about levels and
