Deborah Ross is the chief film critic of The Spectator
Life in a Day is one of those films that shouldn’t work at all, and actually doesn’t work on paper. Life in a Day is one of those films that shouldn’t work at all, and actually doesn’t work on paper. On paper, it sounds boring as hell. Person One: ‘Shall we go and see the
I’ll say this for DreamWorks: when it latches on to a concept it doesn’t let it go. I’ll say this for DreamWorks: when it latches on to a concept it doesn’t let it go. There have been four Shreks (with a spin-off, Puss in Boots, due in November), it’s preparing a third Madagascar, it has
I have zero interest in motor racing and zero interest in cars generally yet this documentary about the Formula 1 driver Ayrton Senna knocked me for six, which I think is a cricketing metaphor but can’t say for sure, as I also have zero interest in cricket. I have zero interest in motor racing and
Two films this week, one assiduously without heart, and one which may suffer from a surfeit, so you pays your money and takes your pick or you don’t pays your money and you stays in and has a jacket potato and watches TV. Two films this week, one assiduously without heart, and one which may
Win Win is a comedy-drama that is warm-hearted and compassionate and enjoyable without, alas, being especially remarkable or original, which is a bit of a blow but I think you’ll get over it, with bed rest and time. Win Win is a comedy-drama that is warm-hearted and compassionate and enjoyable without, alas, being especially remarkable
As Attack the Block is being touted as ‘the new Shaun of the Dead’ I expected a light-hearted romp rather than something quite bloody and nasty, although this does, at least, come in at a highly manageable 88 minutes. As Attack the Block is being touted as ‘the new Shaun of the Dead’ I expected
My Dog Tulip is a tender and exquisite animation about one man and his dog which gets as close to what it is to love dogs as I’ve ever encountered, and goes a considerable way to making up for what dog-lovers have had to put up with at the cinema in recent years (Hotel for
Two films, this week, because I spoil you — what can I say? It’s in my nature — and not much to choose between them apart from the fact that one is good (Cedar Rapids) and one is so bad (Arthur) that just thinking about it makes me want to weep for myself, for remakes,
Now, children, are you all sitting comfortably? Good, then I’ll begin. Now, children, are you all sitting comfortably? Good, then I’ll begin. Once upon a time, not so very long ago, the lady who directed the first Twilight film (Catherine Hardwicke) decided it would be a good idea to turn the traditional story of Red
Rio (3D) is a perfectly average kiddies’ flick, although, as it’s Easter and the kiddies are off school, anything that might amuse them and get them out of your hair should not, I suppose, be sniffed at, and this should do the trick; this is something you can park them at on the days you
I didn’t much like Oranges and Sunshine and I’ll tell you for why: it takes one of the most obscene scandals in 20th-century British politics — the mass forced deportation of British children to Australia, which began in the 1920s and continued right up until 1970 — and all but kills it off with its
I love this film. It’s terrific. You should go see it, and go see it now. Just abandon everything and go. The children? They’ll be fine, so long as you put all sharp objects and poisons out of their reach. Don’t use that old excuse! Now, how best to sum it up? OK, if you’ve
What the world needs now, perhaps as a matter of some urgency, is love, sweet love, but, failing that, wouldn’t a decent, warm, engaging rom-com do? It might but, alas, it isn’t Chalet Girl. What the world needs now, perhaps as a matter of some urgency, is love, sweet love, but, failing that, wouldn’t a
His & Hers is a film (obviously) which, by rights, should be as dull as dishwater, if dishwater is truly dull, which it sometimes is and sometimes isn’t. His & Hers is a film (obviously) which, by rights, should be as dull as dishwater, if dishwater is truly dull, which it sometimes is and sometimes
Although I appreciate it is always hard to come down from the Oscars and that special, magical tingle in the air — if I hadn’t turned in after MasterChef, as I always do, I would have certainly stayed up all night to watch — it’s time to get back to business and this week’s big
West Is West is the follow-up to the 1999 film East Is East, even though everyone should have left well alone and busied themselves elsewhere. Didn’t they have curtains to hang, or cars to MOT, or kids to ferry between guitar and football and judo and extra maths? (Honestly, kids today; why can’t they stay
I didn’t go and see the Coen brothers’ remake of True Grit this week because I couldn’t get excited about it and don’t like westerns anyhow. I didn’t go and see the Coen brothers’ remake of True Grit this week because I couldn’t get excited about it and don’t like westerns anyhow. I don’t think
Although I can’t generally get too worked up about remakes, just as I can’t get too worked up about most things these days — too old; too tired; too long in what teeth I still have left (four, I think) — I suppose this Brighton Rock does have its work cut out. Although I can’t
Hereafter is directed by Clint Eastwood, produced by Clint Eastwood and Steven Spielberg, and written by Peter Morgan, although what would attract one of these big names to such a project, let alone three, is anyone’s guess. Hereafter is directed by Clint Eastwood, produced by Clint Eastwood and Steven Spielberg, and written by Peter Morgan,
I have always suspected that, if you look for the black swan within yourself, it will end in tears, and now Darren Aronofsky has proved me right. It will end in tears, as well as bloody gashes, horrors glimpsed in mirrors, warped hallucinations of a sexual nature and breaking your mother’s hand in a door
