Deborah Ross is the chief film critic of The Spectator
Godzilla is from the director Gareth Edwards, a Brit whose first film, Monsters, truly put him on the map, as it daringly played with the genre, and incorporated a plausible human love story, and the difference between that film and this may be summed up as follows: whereas Monsters was a clever and inventive film
Frank is a music biopic, but only of sorts, as it is not at all like your average music biopic. It’s not that processional march we have come to expect; that chronological story of tough beginnings, the moment of discovery, tour montages, calendar dates flying, and finally making it big. In fact, this is about
Blue Ruin is a low-budget yet highly accomplished revenge thriller although whether you have the stomach for it is another matter. I do not have a strong stomach, as we know, and as I braced myself for the next startlingly bloody burst of violence, having yet to recover from the last startlingly bloody burst of
The Other Woman is not just an extremely bad film but also a wholly reprehensible one (she says, with her most disapproving hat on). It’s a comedy, although if you find any of it funny, that’s all I will ever need to know about you, but its unfunniness isn’t what upsets me so much. It’s
If the very first scene of Calvary doesn’t immediately draw you in there’s every chance there is something seriously wrong with you and I would urge you to book an appointment with your GP. It is a terrific opening and it takes place in Ireland, in a Catholic church, within the dark, intimacy of a
I should warn you that if you go see The Double it is one of those films that will trouble you long after the event. It will trouble you at breakfast and it will trouble you at lunch and it will trouble you as you go about your business, whatever that might be. Yes, a
Have you ever looked at backing singers and thought: what is their story? Do they or have they ever prayed for their time to come? As they are going ‘ooh ooh, ooh ooh’ behind Kylie are they thinking, ‘I want to kill Kylie’? Do they mind that no one knows their name? Do they ever
A Long Way Down is about four would-be suicides who meet for the first time on the top of a tall London building, intending to jump, but instead of jumping they decide to hang around and annoy the hell out of us for the next 90 minutes. Had I known what I know now, and
OK, Need for Speed, if we must, and we must because I sat through it (running time: 130 minutes) and do not see why you should be spared. Need for Speed is based on a video game and here is the plot synopsis: ‘Vroooooooooom! Vroooooooooom! Vrm, vrm, vrm…VROOOOOOOOOOM!’ And it’s the sort of ‘Vroooooooooom!’ which
The Grand Budapest Hotel is the latest Wes Anderson film and it is beautiful to look at, scrumptious, luscious, such a delicious confection I would have marched up to the screen and licked it if only, at the screening I attended, Mark Kermode had not been occupying the seat in front, and it would have
The Book Thief is based on Markus Zusak’s novel of the same name which, although written for young adults, appears beloved by many, judging from the readers’ reviews on the internet, and the frequent declarations of ‘it’s the best book I’ve ever read!’, and there is our first worrying clue, right there. Over the years,
Jim Jarmusch is the noted American ‘cult director’, and if you were to judge him solely on the basis of Only Lovers Left Alive you’d be minded to think the cult can keep him. It’s a take on the vampire genre, which is fair enough, as who hasn’t had a go, but this is so
Although you’ll have heard that Dallas Buyers Club is fantastic and Matthew McConaughey gives the performance of his career, I know you won’t believe it unless you hear it directly from me so here you are: it is fantastic and Matthew McConaughey gives the performance of his career. In fact, it may be the best
Alex Gibney’s The Armstrong Lies is fascinating as far as it goes but it may not go as far as you would like, and may not ask the questions you would like. It’s a documentary portrait of the American cyclist Lance Armstrong: seven-time winner of the Tour de France, worldwide symbol of physical courage (having
If you and your family are bored — if, for example, it’s one of those dull Sunday afternoons that seem to drag on for ever and it feels as if it’s never going to be time for The Antiques Road Show — you could gather together and play your own version of the family drama
Martin Scorsese’s The Wolf of Wall Street will set the cat among the pigeons as a number of films do. 12 Years A Slave set the cat among the pigeons with some critics claiming it was ‘torture porn’ and other people taking to the blah-blah-blah and jabber-jabber-jabber of the Twittersphere to say they had no
Steve McQueen’s 12 Years a Slave goes directly to the heart of American slavery without any shilly-shallying — unlike The Butler, say, or even Django Unchained — and is what I call a ‘Brace Yourself’ film, as you must brace yourself for horror after horror, injustice after injustice, shackles, muzzles, whippings, rapes, hangings. You will
The biopic Mandela: The Long Walk to Freedom is a timely tribute, and an earnest and respectful and well-meaning one, but it does seem like a very, very long walk indeed. It’s a slog, a plod, a trudge uphill, and of all the things you may have wished to say to Nelson Mandela, given the
Powder Room is a small British film all about women and starring only women — boo-hoo, men; my heart bleeds for you all — yet it is almost entirely set in a nightclub, so whether you enjoy this film may depend on how willing you are to spend 90 minutes in such a club along
Saving Mr Banks tells ‘the untold true story’ of the making of the Disney classic Mary Poppins via the stand-offs between Walt and the book’s author, P.L. Travers, and it is not a taxing film. You always know where it’s going and, with its rather melodramatic flashbacks, there is no ambiguity as to where it
