Film
Adam Sweeting
It just worked. The rave reactions from critics and audiences, and the hail of Baftas, Oscars and Golden Globes which showered down on it, made it clear that The King's Speech wasn't just any old movie, but a rare moment in cinema history. It cost about $15 million to make, and has grossed $400 million worldwide so far. Now there's music to a producer's ears.Colin Firth's mesmerising portrayal of the stammering Duke of York, thrust traumatically into the imperial limelight by the abdication of his flaky Wallis Simpson-obsessed brother, has elevated him from mere greasepaint aristocracy to the Read more ...
Adam Sweeting
Australia's cricketers used to call batsman Mark Waugh "Afghanistan", because (compared to his brother Steve) he was the Forgotten Waugh. It was a reference to the Soviet campaign against the Mujahideen during the 1980s. But few wars in recent-ish memory have been so deprived of the oxygen of damaging publicity as France's brutal struggle to hang on to colonial Algeria.It was a conflict that had been bubbling up since the end of World War Two, during which Algerian and other colonial troops had fought with the Free French. They reckoned that had earned them some control over their own destiny Read more ...
Ismene Brown
Can one enjoy watching a film supposedly about dance in which competition and being Number One is all and the word “artistry” is not mentioned once? And in which performers are nameless numbers? And the documentary-maker shows not a scintilla of curiosity about why this might be? One might, if it were handled with a twisted sense of humour and cutting observation.Unfortunately, Jig doesn't have that. Sue Bourne's film enters a dance-movie genre that has lately become surprisingly well stacked, but it lacks any of the imaginative lyricism of Wim Wenders’ Pina, the dramatic exhilaration of Read more ...
Graham Fuller
The most socially committed BBC drama producer of the Sixties and Seventies, best known for his exemplary partnership with Ken Loach, Tony Garnett has twice opted to direct. If Handgun (1984), his critique of American gun control, is largely forgotten, Prostitute (1980) is recalled for its worthy campaign to decriminalise soliciting for sex and for its single explicit scene - a massage-parlour handjob so ungainly it promotes self-gratification.Featuring professional actors and sex workers, the film follows two women flatmates in multicultural Birmingham: streetwalker Sandra (Eleanor Read more ...
Matt Wolf
Hanna begins with a bang, and there will be those for whom the excitement never lets up – especially if you like your action movies all but bereft of chat. The young assassin of the title scarcely needs words when her days are given over to taking careful aim. Sure, her father makes a case for the need for language, but determination and a good eye take the feral Hanna infinitely further than pleasantries such as “Hello”.Admirers of Joe Wright’s work on Atonement and Pride and Prejudice may ponder whether the English film-maker is atoning for those movies’ period pleasures this time out. Read more ...
hilary.whitney
Christopher Eccleston’s performances have a raw-boned, visceral quality which makes him a sometimes unsettling - but always compelling - actor to watch. Since his big break in the harrowing Let Him Have It (1991), playing Derek Bentley who at 19 was the last man to be hanged in Britain, Eccleston has played Hamlet at the West Yorkshire Playhouse and worked alongside some of Hollywood’s biggest names including Kate Winslet (Jude, 1996), Cate Blanchett (Elizabeth, 1998) and Nicole Kidman (The Others, 2001).However, his best work has undoubtedly been reserved for the small screen. He is, of Read more ...
Thomas H. Green
It always amazes me that so many commentators dismiss drug experiences as somehow puerile, irrelevant, or even immature. Of course they can be all three but they're also integrally wrapped up in being human, in one's body, alive, so they can also be very much else.Gaspar Noé's film gets this, drawing a direct line, as Timothy Leary, Aldous Huxley and shamen for millennia before them did, between psychedelic drugs and the process of dying. Enter the Void undoubtedly drags, becoming increasingly turgid during the last quarter of its two hours and 41 minutes, but it aims so much higher than Read more ...
Adam Sweeting
The protagonist in a coming-of-age movie is usually an adolescent, but in Cedar Rapids it's a fully-grown adult. The hapless ingénu in question is goofy and naive Tim Lippe (Ed Helms), dedicated 34-year-old salesman for the Brown Star Insurance company of Brown Valley, Wisconsin. In Lippe (pronounced Lippy) world, insurance isn't another name for dirty sales tricks and finding ingenious ways to weasel out of paying claims, but more like a kind of social service. Indeed, Brown Star's boss, Bill Krogstad (Stephen Root), prides himself on the firm's Christian values.When the action moves to the Read more ...
Jasper Rees
As genres go, it’s a broad church: the tale of the alien who visits our world (our world obviously being contemporary America) encompasses everything from The Man Who Fell to Earth to Galaxy Quest. The story tends to riff on the same tension: how our planet shapes up in the eyes of intergalactic visitors. It can be done for laughs, for thrills, even for tears (see, if you are indeed an alien and haven't already, ET). Thor, in which the titular Norse god is exiled to small-town New Mexico, makes a play for all three.Does it work? Are you kidding? Like, does Thor swing a mean hammer? Well Read more ...
Demetrios Matheou
Midway through Farewell, a civilian who is aiding a KGB spy is told by his nervous wife, “I married an engineer. Not James Bond.” In other films, this might be a cheap line, a postmodern quip; here it is spoken in earnest, and reflects the many nuances of a wonderfully retro spy drama. Farewell is a throwback to the purest of Cold War yarns, notably from the Sixties, in which psychology was more important than action, and characters struggled painfully with loyalty and betrayal in grimy rooms and wintry locales. Goldfinger in 1964 may have excelled with the Martini school of spying, but a Read more ...
Kieron Tyler
“I thought I was creating metaphysical history by running Creation,” says the label’s Alan McGee in Upside Down. Seconds later the meat-and-potatoes rock of Oasis blasts from the soundtrack. The drug-assisted disconnect between such lofty aspiration and the grounded music of Oasis was never going to be bridged. Even by the man billed as “the president of pop”.Creation Records was destined to go down the tubes at some point, and the success of Oasis hastened that fate (Noel Gallagher of Oasis, pictured below). Luckily, unlike great British failures like Eddie “The Eagle“ Edwards, Creation Read more ...
ronald.bergan
When Sergei Eisenstein's film The Battleship Potemkin was first shown in Moscow in December 1925, just in time to commemorate the 1905 Revolution, the film played to half-empty theatres, because audiences, then as now, preferred the products from Hollywood. Box-office figures were exaggerated by the authorities to demonstrate to the rest of the world that there was a large Soviet audience for Soviet films.The Battleship Potemkin's depiction of a (partially) successful rebellion against political authority disturbed the world's censors. The French, banning it for general showing, burned every Read more ...