1970s
Tom Birchenough
“He’s not a sideshow attraction,” we hear towards the end of Marc Meyers’s queasily compelling My Friend Dahmer, when one of the “Dahmer Fan Club”, a group of high school sham-friends-cum-taunters who have been treating the film’s teen protagonist as if he was just that, has second thoughts. Encouraging him to throw pretend fits – they call it “spazzing” – first around school, later in public, they have seen it as some sort of “cool” provocation, a hilarious disruption. The bullied outsider Jeff appears content to go along with it, gratified by the semblance of inclusion that it seems to Read more ...
Thomas H. Green
Here to be Heard, made by US film-maker and punk rocker William E Badgley, has such a juicy, pertinent story to tell that it never palls. Over 84 minutes, contemporary interviews and old footage build a two act drama that reveals The Slits to be one of the most underrated bands of their era. Alongside bemusement at music that was ahead of its time, this is mostly down to the fact they’re women. “The reason there are hardly any girl rock’n’roll stars,” says front-woman Ari Up in a decades old interview, “is because most girls are not strong enough in their own minds.” Facing the raw sexism of Read more ...
joe.muggs
Ryuichi Sakamoto has conquered underground and mainstream with seeming ease over four decades, never dropping off in the quality of his releases. Indeed his most recent projects, following his return to public life after treatment for throat cancer in 2014-15, are among his best. The async album was rightly listed by many, including theartsdesk, as one of 2017's best; the async remodels remixes showed him absolutely keyed in to the electronica zeitgeist, and Glass, his live collaboration album with Carsten Nicolai aka Alva Noto is a worthy addition to the duo's extensive Read more ...
Owen Richards
Comprehensively charting hip hop’s rise from the underground to the mainstream is no mean feat, but that’s exactly what Canadian MC Shad aims to do over four hour-long episodes. Originally shown in the US in 2016, and available in full on Netflix, Hip Hop Evolution has finally reached the British box via Sky Arts. Created with genuine passion, authenticity, and a dream list of guests, this documentary series proves to be essential viewing.Shad, an established rapper in his own right, became obsessed with hip hop in the 90s, but wants to go back to where it all began: the Bronx, hip hop ground Read more ...
Adam Sweeting
There was a time when Hugh Grant was viewed as a thespian one-trick pony, a floppy-haired fop dithering in a state of perpetual romantic confusion. But things have changed. He was excellent in Florence Foster Jenkins, hilariously self-parodic in Paddington 2, and he’s brilliant in A Very English Scandal (BBC One) as smooth, treacherous Liberal leader Jeremy Thorpe. At moments, he even manages to look uncannily like him.Thorpe himself would doubtless have dreamed of pulling off a similar feat of reinvention, but for all his success as a revitalising force in the Liberal Party, his goose was Read more ...
Nick Hasted
Spielberg’s prequel to All the President’s Men was filmed at speed, and aimed squarely at the press-hating Trump, not the late Tricky Dick. This contemporary intent is already fading. What remains is the director’s second return, after Munich, to the sort of Seventies conspiracy thriller dabbled in by his own great hits of the decade, Jaws and Close Encounters. The story of the 1971 exposé by government whistleblower Daniel Ellsberg of the Pentagon Papers, which revealed the US government’s true, knowingly doomed conduct in Vietnam, is framed here by a less important question: whether the Read more ...
Thomas H. Green
The venom with which Abiodun Oyewole spits “America is a terrorist”, the key repeated line to “Rain of Terror”, has startling power. The piece is an unashamed diatribe against his nation. Beside him his partner Umar Bin Hassan rhythmically hisses the word “terrorist” again and again while, behind, percussionist Donn Babatunde provides minimal backing on a set of three congas. “Take a black woman, a pregnant black woman, cut her belly open and let the foetus fall out, stomp the baby in the ground.” Oyewole is raging and it feels good. There is no meta here, just pure countercultural fury Read more ...
Jasper Rees
It’s open season on the Getty dynasty. Last month the BBC documentary The Gettys: The World’s Richest Art Dynasty briskly coursed through the family archives. In March the TV drama Trust began on FX, scripted by Simon Beaufoy and directed by Danny Boyle. But breasting the tape over Christmas was All the Money in the World, Ridley Scott’s account of the kidnap of J Paul Getty III in Italy in 1973. The film seems destined to be remembered for the excision of Kevin Spacey from the original cut, to be replaced by Christopher Plummer.A great deal closer in age to the dynasty’s founding father, Read more ...
Adam Sweeting
The freeing of a plane-load of hostages by Israeli forces at Entebbe airport in Uganda in 1976 produced an instant spate of movie versions. Raid on Entebbe starred Peter Finch and Charles Bronson, Victory at Entebbe offered gainful employment to Elizabeth Taylor, Kirk Douglas and Burt Lancaster, while the Israeli-made Operation Thunderbolt featured Klaus Kinski as German hijacker Wilfried Böse.In this new update by Brazilian director José Padilha (RoboCop, Narcos), the Böse role goes to Daniel Brühl, playing opposite a disappointingly brittle Rosamund Pike as his partner in ideologically- Read more ...
David Nice
The touch is not always light here. Swathes of clunking, cliché-ridden English dialogue threaten to make the star-crossed lovers look ridiculous, and one of them (Elliott Gould) can be a wooden actor at times. But Ingmar Bergman's first major film made without the safety net of the Swedish film industry in 1970 has enough serious-minded authenticity to mark it out as more than the total failure he tersely labelled it in his memoirs.Typically, it swerves away from the stereotypical premise: a brisk, chic housewife and hostess in a happy marriage sleepwalks into an affair with a troubled soul, Read more ...
Katherine Waters
Back in the early Sixties Lucian Freud was living in Clarendon Crescent, a condemned row of houses in Paddington which were gradually being demolished around him. The neighbourhood was uncompromisingly working class and to his glee his neighbours included characters from the seamier side of the criminal world. It was around the time of his fortieth birthday when the wrecking balls drew near and, Bentley-owning but broke and generally neglected by the art world, his work began to develop into what is now known as late Freud. In relative obscurity eking out extravagance from precarity and Read more ...
Kieron Tyler
Playing Vancouver’s Commodore Ballroom on 8 September 1974, the New York Dolls opened their first set of the evening with three cover versions. Muddy Waters’ “Hoochie Coochie Man” was followed by The Shangri-Las’ “(Give Him a) Great Big Kiss” and Otis Redding’s “Don’t Mess With Cupid”. They were acknowledging that blues, girl group records and soul were integral to who they were. A pretty comprehensive sweep considering they were a prime influence on the purportedly reductive punk rock. Once the building blocks were revealed to the audience, Vancouver witnessed them lurching into their own " Read more ...