Posts Tagged film review

Culture Vulture 18–24 July 2026

July 18, 2026 at 7:38 am · Filed under Culture Vulture, Film & DVD Reviews, Streaming, TV Shows ·Tagged , , , , , ,

The World Cup reaches its climax this week, but that’s only part of an unusually rich few days for anyone who enjoys intelligent television. The final between Spain and Argentina promises one of the sporting moments of the year, while the BBC Proms throws open its doors to progressive rock in a gloriously unlikely meeting of orchestral grandeur and electric ambition. Elsewhere, BBC Three marks ten years of Fleabag, a reminder that Phoebe Waller-Bridge’s creation remains every bit as funny, fearless and painfully truthful as it was on its debut.

Selections and writing are by Pat Harrington.

Saturday 18 July 2026

2.40pm – BBC Two – Jesus Christ Superstar (1973)

Norman Jewison’s Jesus Christ Superstar isn’t just a film — it’s a fever dream of faith, doubt, and electric guitars. The desert looks biblical, but the energy is pure 1970s rebellion: sand, sweat, and rock riffs colliding in a swirl of conviction and confusion. Ted Neeley’s Jesus is fragile and furious, a man caught between prophecy and burnout, while Carl Anderson’s Judas prowls the frame like a conscience that won’t shut up.

It’s a film that still splits audiences — believers see revelation, sceptics see spectacle — yet both end up humming the same tunes long after the credits roll. Jewison’s direction is audacious, sometimes chaotic, but always alive. You can feel the tension between worship and performance, between the sacred and the showbiz.

Half a century on, it remains a strange, shimmering miracle: a rock opera that dares to ask whether faith can survive fame, and whether doubt might be the most human prayer of all.

4.20pm – BBC Two – Calamity Jane (1953)

There’s a  joy in watching Doris Day tear through Calamity Jane like a whirlwind in buckskin. She doesn’t just play the role — she inhabits it, all swagger and sunshine, a woman who can outshoot the men and outsing the saloon. The film’s Technicolor optimism feels almost defiant now, a reminder of when Hollywood musicals believed that a good melody could fix anything.

It’s warm-hearted and gloriously tuneful, with songs that stick like burrs and a spirit that refuses to dim. Beneath the yee‑haw bravado, there’s tenderness too — a story about belonging, self‑discovery, and the courage to love without losing yourself.

Impossible to dislike? Absolutely.

4.35pm – Film4 – Jason and the Argonauts (1963)

There’s a particular thrill in revisiting Jason and the Argonauts, the kind that reminds you why certain films lodge themselves in the collective imagination. It certainly remained in mine after  I watched it as a boy. Ray Harryhausen’s stop‑motion work isn’t just clever craftsmanship — it’s mythmaking in motion. Those skeletons, clattering into battle with eerie precision, still feel more alive than half the CGI armies that came decades later.

The film has that unmistakable adventure‑serial charm: bold colours, booming declarations, gods meddling from the clouds, and mortals scrambling to keep up. It’s earnest in a way modern fantasy rarely dares to be, and that sincerity gives it staying power. You can see every hour of labour in the creatures Harryhausen conjured, every frame nudged by hand, every illusion built from patience rather than processing power.

Imagination ages differently from technology. That’s why Jason and the Argonauts still casts a spell — not because it looks real, but because it feels wondrous.

6.35pm – 5Star – The Best Exotic Marigold Hotel (2011)

A fine British ensemble cast finds humour and humanity in later life. Comfort viewing done properly.

7.30pm – BBC Radio 3 – BBC Proms: The Prog Rock Prom – A Fanfare for the Common Man

Progressive rock arrives at the Royal Albert Hall with all the scale and confidence it deserves. A fascinating meeting of classical tradition and adventurous rock.

8.00pm – Radio 4 – Archive on 4: Alan Watts – The Brahmin of Bromley

A thoughtful portrait of the philosopher who helped introduce Eastern spirituality to the West.

9.00pm – BBC Four – The Sentinels

This isn’t your usual wartime drama. The Sentinels imagines a France pushed to the brink during the First World War, turning not to tanks or tactics but to science — or something close to it. In hidden laboratories far from the trenches, a radical serum is being tested, designed to push ordinary soldiers beyond human limits. Strength, speed, resilience: the promise is intoxicating, the cost less so.

The film follows the team behind the experiment — doctors, chemists, and a handful of unwilling visionaries — as they wrestle with the ethics of manufacturing heroes. There’s tension in every corridor, a sense that the war outside is nothing compared to the one happening in these rooms. And when the first “enhanced” soldiers step into the light, the question becomes whether France has created saviours… or something it can no longer control.

Atmospheric, unsettling, and quietly ambitious, The Sentinels asks what happens when desperation meets invention — and whether victory is worth the monsters we make to achieve it.

9.00pm – 5Star – The Second Best Exotic Marigold Hotel (2015)

The sequel doesn’t quite match the original’s freshness but the warmth of the performances carries it through.

12.15am – Film4 – Zola (2020)

A film that sprints head‑first into chaos and never once looks back. Zola takes one of the internet’s wildest true(ish) stories — a 148‑tweet odyssey of strip‑club hustling, bad decisions and worse men — and turns it into a neon‑lit thriller that feels both hilarious and horrifying.

Taylour Paige anchors the madness with a performance that’s sharp, sly and constantly alert, while Janicza Bravo’s direction keeps the whole thing teetering between comedy and dread. It’s a road trip, a nightmare, a social‑media myth made flesh — and somehow it all works.

A wildly entertaining descent into the kind of trouble you only get into when you trust the wrong person at exactly the wrong moment.

12.50am – Channel 4 – Men (2022)

Alex Garland’s Men is the kind of folk horror that doesn’t shout — it seeps. The film starts quietly, almost tenderly, then begins to twist itself into something far stranger and far more unsettling. Jessie Buckley carries the whole thing with a raw, brittle intensity, wandering through an English countryside that feels ancient, watchful, and profoundly wrong.

Garland leans into repetition, symbolism, and the uncanny with a confidence that’s both maddening and mesmerising. The village men — all sharing the same face, the same smile, the same threat — turn the film into a looping nightmare about grief, guilt and the monstrous shapes masculinity can take when left unchecked.

It’s eerie, provocative, and impossible to shake off.

Sunday 19 July 2026

11.25am – BBC Two – A Man for All Seasons (1966)


There’s a stillness to Paul Scofield’s performance, a kind of moral gravity, that pulls the whole film into orbit around him. Fred Zinnemann’s historical drama can feel austere on the surface, but Scofield gives it heat: quiet conviction, flashes of wit, and a resolve that never tips into sanctimony.

The debates over conscience, loyalty and power still land with force, not because the film shouts its themes, but because Scofield makes them human. Every pause, every measured line, carries the weight of a man refusing to bend even as the world closes in.

12.30pm – E4 – Zathura: A Space Adventure (2005)
An underrated family adventure with genuine imagination.

7.00pm – BBC One & ITV1 – FIFA World Cup Final Build-up

8.00pm – BBC One & ITV1 – FIFA World Cup Final: Spain v Argentina

The biggest match in world football. Two outstanding sides meet for the greatest prize the game has to offer. And if you are English let’s not be two down as number 3 or 4 in the World isn’t so bad!

8.25pm – BBC One – The Full Monty (1997)

The Full Monty just gets sharper. It’s still funny — properly funny — with that mix of Sheffield grit and warmth that never tips into sentimentality. The jokes land, the characters feel lived‑in, and the film’s big-hearted honesty about pride, work, friendship and desperation remains disarmingly fresh.

It’s still moving too. Beneath the cheeky bravado is a story about men trying to reclaim a bit of dignity in a world that’s slowly taken it away. Stripped them of it in fact! That combination of humour and vulnerability is why it endures, and why it still feels like one of the finest British comedies ever made.

9.00pm – BBC Four – BBC Proms

Elim Chan conducts Beethoven’s Fifth alongside Mussorgsky’s A Night on the Bare Mountain, while Marin Alsop brings Strauss’s Don Juan to life. A magnificent evening.

11.00pm – BBC Four – Hans Zimmer: Hollywood Rebel

A portrait of the composer whose music has become almost inseparable from modern cinema.

12.00am – Channel 4 – Diego Maradona (2019)

As exhilarating and contradictory as the football genius himself.

Monday 20 July 2026

7.00pm – BBC One – Our Lives: Big Cat Investigator

A fascinating search for Britain’s most elusive feline mysteries. Whether you’re convinced or not, the people behind the investigations are compelling company.

8.00pm – BBC One – Panorama: There’s a Gangster in My Flat

A disturbing investigation into landlords who unknowingly hand properties over to organised criminals.

9.00pm – BBC Two – Evolution (full series on iPlayer)

A sweeping account of how life on Earth has changed across millions of years. Worth watching as a complete series.

9.00pm – Legend – Get Carter (1971)

 Michael Caine’s Jack Carter is still the benchmark — cold‑eyed, controlled, and utterly uncompromising. There’s no glamour in this world, just smoke, concrete and the kind of violence that feels inevitable rather than sensational. The film moves with a hard, unblinking confidence, every scene sharpened by Caine’s icy precision.

Half a century on, Get Carter remains the gold standard for British crime cinema: lean, brutal, and stylish in a way that doesn’t date because it never tried to be fashionable in the first place.

10.00pm – BBC Four – Becoming Frida Kahlo

A richly rewarding portrait of the artist behind one of the world’s most recognisable faces.

11.00pm – Channel 4 – Secrets of the Celebrity Sex Tape

This week’s episode examines the strange intersection of fame, scandal and commerce through the story of Farrah Abraham.

11.00pm – BBC Two – In the Heat of the Night (1967)

One of my favourite films, largely because of that central relationship — two men circling each other with suspicion, pride and a slowly forming, grudging respect. Sidney Poitier’s Virgil Tibbs arrives with a cool, contained fury; Rod Steiger’s Gillespie bristles with small‑town defensiveness. They shouldn’t work together, and for a while they barely do, but watching them inch toward understanding is the real engine of the film.

What begins as a straight detective story becomes something far richer: a clash of temperament, background and worldview, played out in humid Southern nights and cramped police offices. Poitier and Steiger elevate every scene, turning procedural beats into moments of genuine tension and revelation.

It’s sharp, humane and quietly electrifying — a reminder that sometimes the most compelling drama comes from two people learning, reluctantly, to see each other clearly.

2.45am – Channel 4 – Minimum (2024)

A curious little late‑night gem — the sort of film that slips onto the schedule at an hour when everything feels slightly off‑kilter. Minimum doesn’t shout for attention; it sidles up with a strange mood, a few sharp ideas, and a tone that’s just elusive enough to keep you watching.

The plot follows a young woman drifting between dead‑end jobs and half‑formed ambitions, pulled into a quietly surreal chain of events after she discovers a mysterious device left behind in a rented flat. What begins as a small, almost forgettable moment spirals into a story about identity, chance and the odd ways life reroutes itself when you’re barely paying attention. The film keeps its cards close, offering hints rather than answers, and letting the unease build in the margins.

Intriguing, atmospheric, and exactly the kind of oddity that rewards anyone still awake at this hour.

An intriguing late-night curiosity.

Tuesday 21 July 2026

9.00pm – BBC Four – She-Wolves: England’s Early Queens – Matilda and Eleanor

Helen Castor restores two formidable women to their rightful place in English history.

9.00pm – Channel 4 – The Undeclared War (complete series available on Channel 4 Streaming)

Peter Kosminsky’s cyber-thriller feels alarmingly plausible. Smart television with plenty on its mind.

10.40pm – BBC One – Harriet (2019)

A stirring account of Harriet Tubman’s extraordinary courage, told with a clarity and urgency that never slips into hagiography. Cynthia Erivo gives the film its pulse — fierce, determined, and utterly compelling — charting Tubman’s escape from slavery and her return, again and again, to lead others to freedom.

The film balances action with quiet resolve, showing the grit behind the legend and the sheer audacity of Tubman’s missions. It’s respectful without being reverential, dramatic without losing sight of the real woman at its centre.

A powerful, heartfelt tribute to a life lived in defiance of fear.

11.00pm – BBC Two – The History Boys (2006)

Alan Bennett at his funniest and most perceptive. The film crackles with wit — that unmistakable Bennett blend of sharp humour, melancholy and insight — as a group of Sheffield sixth‑formers chase Oxbridge dreams under the guidance of teachers who are, in their own ways, just as lost as the boys they’re shaping.

It’s brisk, clever and full of lines that land with a sting or a smile, often both at once. A comedy, yes, but one with real bite: about education, ambition, and the stories we tell ourselves to make sense of growing up.

1.10am – Film4 – The Pillow Book (1996)

Peter Greenaway’s The Pillow Book is a visually sumptuous meditation on love, art and obsession — a film that treats the human body as both canvas and text. Inspired by Sei Shōnagon’s writings, it follows Nagiko, a woman whose life becomes entwined with calligraphy, desire and the search for a lover who can honour her need to be written upon as beautifully as she writes herself.

Greenaway layers image upon image: ink on skin, shifting frames, saturated colour, and a cool, deliberate eroticism that feels more like ritual than provocation. It’s hypnotic, strange, and uncompromising — a film that asks you to surrender to its aesthetic rather than simply watch it.

Wednesday 22 July 2026

12.50pm – BBC World Service – Witness History

The remarkable story of the Crazy Horse Memorial, one of the world’s most ambitious monuments.

8.35pm – Talking Pictures TV – Payday (1972)

A gritty slice of early‑1970s American cinema, Payday follows honky‑tonk singer Maury Dann as he barrels through the South leaving chaos, bad decisions and bruised relationships in his wake. Rip Torn is phenomenal — swaggering, magnetic and utterly toxic — giving the film a raw, lived‑in authenticity that feels closer to reportage than fiction.

It’s rough, sharp and steeped in the era’s dust‑and‑whiskey realism, the kind of character study that doesn’t tidy anything up or offer easy redemption. A late‑evening gem for anyone who likes their Americana unvarnished.

9.00pm – BBC Four – The Magic of Mushrooms (iPlayer)

A quietly fascinating reminder that fungi are among the unseen architects of the natural world.

9.00pm – TLC – One Day in My Body

Moving stories of resilience from people living with lifelong health challenges.

9.00pm – Film4 – Nobody (2021)

Bob Odenkirk proves he can throw a punch as convincingly as he can deliver a punchline. What starts as a story about a worn‑down suburban dad quietly absorbing life’s frustrations turns into a sharp, stylish burst of action cinema. Odenkirk brings a weary charm to Hutch Mansell — a man who’s spent years tamping down his instincts until one bad night gives him permission to let them loose.

The action is crisp, darkly funny and surprisingly character‑driven, with Odenkirk selling every hit through sheer commitment rather than swagger. It’s lean, fast and far more satisfying than you expect when it begins.

10.00pm – BBC Four – Play for Today: Edna, the Inebriate Woman

Patricia Hayes gives an unforgettable performance in Jeremy Sandford’s compassionate, uncompromising drama.

10.40pm – BBC One – The Hurt Locker (2008)

Kathryn Bigelow’s Oscar‑winning war film remains one of the most intense pieces of cinema this century. It follows an elite bomb‑disposal unit in Iraq, but what makes it so gripping isn’t just the danger — it’s the psychology. Jeremy Renner’s Sergeant James moves through each mission with a mix of swagger, skill and something far more troubling, and the film captures that adrenaline‑charged mindset with unnerving clarity.

Bigelow shoots every scene with a documentary‑like immediacy: dust, heat, silence, then sudden chaos. It’s lean, tense and razor‑sharp, a portrait of men living on the edge because they don’t quite know how to live anywhere else.

Thursday 23 July 2026

4.00pm – Talking Pictures TV – The Winslow Boy (1948)

David Lean’s elegant courtroom drama has lost none of its quiet dignity. Based on Terence Rattigan’s play, it tells the story of a family fighting to clear their son’s name after he’s accused of theft at naval college — a battle that becomes less about the case itself and more about principle, sacrifice and the cost of doing what’s right.

Lean keeps the tone restrained and humane, letting the performances and the moral weight do the work. It’s beautifully acted, sharply written and still moving in its calm insistence that justice matters, even when the world would prefer you let it go.

8.00pm – National Geographic – Pompeii: Out of Time with Tom Hiddleston (Disney+)

A fresh look at one of history’s greatest archaeological discoveries, presented with infectious enthusiasm.

10.40pm – BBC One – I Am Legend (2007)

Will Smith carries this post‑apocalyptic thriller almost single‑handedly, and that’s exactly why it works. As Robert Neville — the last man in a ravaged New York — he gives the film its emotional weight, playing isolation, routine and creeping despair with a quiet intensity that keeps you locked in.

The empty city is eerie, the action sharp, and the film’s mix of survival drama and sci‑fi horror still lands. Smith’s performance anchors everything: a man trying to stay human when the world around him has stopped being recognisable.

11.05pm – BBC Two – The Inspection (2022)

An emotionally powerful drama about identity, discipline and belonging. Inspired by writer–director Elegance Bratton’s own experiences, it follows a young gay Black man who joins the Marines after being rejected by his family, hoping the military will give him the structure and purpose he’s been denied.

What unfolds is tough, intimate and deeply human. The film doesn’t shy away from the brutality of boot camp, but it’s the quieter moments — the search for acceptance, the fight to be seen, the fragile hope of forging a new self — that give it real force.

Friday 24 July 2026

7.30pm – BBC Four – BBC Proms: The Prog Rock Prom

The television broadcast of one of the week’s musical highlights — a lavish, affectionate celebration of prog rock’s most ambitious, theatrical and musically adventurous era. This Prom draws on a wide sweep of the genre, with orchestral arrangements of classics by Yes, Genesis, Emerson, Lake & Palmer, King Crimson, Jethro Tull, Pink Floyd, Gentle Giant, Focus, Renaissance, Soft Machine, Moody Blues, Osibisa, Incredible String Band, Supertramp, Mike Oldfield, and even Frank Zappa.

Guest appearances from Carl Palmer, Peter Hammill, Guy Garvey, Gruff Rhys and Jane Weaver add extra personality to the evening, bridging the gap between the original prog pioneers and today’s eclectic musical voices.

A rich, playful and gloriously over‑the‑top tribute to a genre that always aimed higher, stranger and louder.

9.00pm – ITV1 – The Twisted Tale of Amanda Knox (ITVX)

Grace Van Patten stars in a drama that examines not just a murder investigation but the relentless machinery of modern media.

9.00pm – Film4 – Quadrophenia (1979)

The definitive Mod film. Angry, exhilarating and still unmistakably British. It captures that volatile mix of youth, identity and tribal belonging with a rawness that still feels fresh. Phil Daniels’ Jimmy is all restless energy and frustration, ricocheting between pride, insecurity and the desperate need to belong to something bigger than himself.

The film’s Brighton sequences remain iconic — chaotic, charged, and shot with a documentary immediacy that makes you feel the salt, sweat and adrenaline of the moment. And beneath all the scooters, parkas and The Who’s thunderous soundtrack, there’s a sharp, melancholy edge: a portrait of a young man discovering that the myths he clings to don’t always survive contact with reality.

10.30pm – BBC Three – Fleabag: 10th Anniversary

The first episode begins a celebratory overnight run of Phoebe Waller-Bridge’s masterpiece, continuing at 10.55pm, 11.25pm, 11.50pm, 12.20am and 12.45am. Ten years on, it remains one of the sharpest, funniest and most emotionally honest comedies British television has produced.

11.05pm – BBC Two – Janet Planet (2023)

A beautifully observed coming‑of‑age drama that rewards patience. Annie Baker’s debut film unfolds in quiet, precise moments, following young Lacy as she navigates a summer orbiting her mother, Janet — a charismatic, complicated woman whose presence shapes everything around her.

The film is gentle but piercing, built from small gestures, overheard conversations and the subtle shifts that define childhood. Baker’s theatre instincts show in the careful framing and the way she lets scenes breathe, giving you time to settle into the rhythms of these lives.

It’s tender, truthful and quietly mesmerising.

11.25pm – Film4 – Velvet Goldmine (1998)

Todd Haynes’s glam‑rock fantasia is gloriously excessive — a shimmering, chaotic dive into identity, performance and the electric charge of reinvention. Set against the glitter‑soaked world of 1970s glam, it follows journalist Arthur Stuart as he digs into the rise and disappearance of rock icon Brian Slade, uncovering a story that’s part myth, part memory, part fever dream.

The film is all colour, attitude and theatrical swagger, with Haynes treating music and persona as acts of self‑creation. It’s bold, queer, stylish and defiantly messy in the best way, a celebration of the moment when pop culture felt like it could rewrite the world.

12.05am – Channel 4 – Polite Society (2023)

Fast, funny and joyfully inventive. Nida Manzoor’s debut feature is a riot of genre‑blending energy — part martial‑arts caper, part coming‑of‑age story, part affectionate send‑up of family expectations.

Ria Khan, a teenage stunt‑wannabe, becomes convinced her older sister is being swept into something sinister, and the film follows her increasingly wild attempts to “rescue” her. It’s sharp, colourful and packed with wit, but underneath all the chaos sits a sincere love for sisterhood, ambition and the messy business of figuring out who you are.

Streaming

Channel 4 Streaming

Walter Presents: Sea Shadows (all six episodes, Friday)

A Nordic mystery that values atmosphere as much as plot, making it ideal for a weekend binge.

Paramount+

Star Trek: Strange New Worlds – Series 4 (weekly from Thursday)

Still, arguably, the finest modern Star Trek, balancing optimism, humour and adventure with a confidence that feels wonderfully old‑school. Strange New Worlds keeps the spirit of classic Trek alive — episodic stories, big ideas, moral curiosity — but delivers them with the warmth and character‑driven charm that’s made this cast so easy to love.

Blue Bloods – Series 12 (Saturday)
Tom Selleck’s long-running family police drama continues to deliver dependable entertainment.

Netflix

Heartstopper Forever

Gentle, generous and full of warmth — and rooted, as ever, in the tender honesty of a gay love story. What makes Heartstopper resonate isn’t just that it centres queer relationships, but the way it treats them: with softness, sincerity and a complete absence of cynicism.

It’s a world where two boys falling in love is allowed to be joyful, awkward, hopeful and real. The emotional beats feel lived‑in rather than manufactured, and the show’s kindness toward its characters gives the romance a glow that’s hard to shake.

WWE Unreal – Series 3 (Tuesday)
A revealing look behind the spectacle of professional wrestling.

Prime Video

Project Hail Mary

A science‑fiction adventure with brains as well as spectacle — and one that wears its heart surprisingly openly. Andy Weir’s story centres on Ryland Grace, a schoolteacher‑turned‑astronaut who wakes up alone on a spacecraft with no memory and a mission that’s somehow even bigger than saving Earth.

What makes it stand out isn’t just the clever problem‑solving or the hard‑science puzzles (though there are plenty). It’s the emotional core: the slow, brilliant reveal of connection in the most unlikely circumstances, and the way the book turns isolation into something hopeful rather than bleak.

Smart, inventive and unexpectedly moving.

Apple TV+

Cape Fear – Episode 9 (Friday)

The thriller heads towards its conclusion with tensions mounting. As the story tightens, every character feels that pressure — choices narrowing, consequences circling closer, and the sense that the past isn’t finished with anyone just yet.

It’s the kind of episode where unease sits under every scene, where even quiet moments feel loaded, and where you can sense the finale gathering itself like a storm. A strong penultimate chapter, sharp and unsettling in all the right ways.

Leaving Soon

  • Bohemian Rhapsody (Prime – until Sunday)
  • Deepwater Horizon (Prime – until Wednesday)
  • The Producers (BBC iPlayer – until Wednesday)

Radio

Saturday & Sunday – BBC Radio 2 – 70 Years of the Official Albums Chart
Celebrating the chart first published in Record Mirror on 22 July 1956, this weekend retrospective revisits the records that defined generations.

Saturday – 7.30pm – BBC Radio 3 – BBC Proms: The Prog Rock Prom
A memorable collision of progressive rock and orchestral grandeur.

Saturday – 8.00pm – Radio 4 – Archive on 4: Alan Watts – The Brahmin of Bromley
An engaging study of the philosopher who opened Western minds to Eastern thought.

Wednesday – 12.50pm – BBC World Service – Witness History
The extraordinary story behind the Crazy Horse Memorial and the decades-long effort to carve one of the world’s largest sculptures from the Black Hills of South Dakota.

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Film review: Disclosure Day

June 15, 2026 at 7:58 am · Filed under Film & DVD Reviews ·Tagged , , , , , , , , , ,

Introduction

I’ve never really got the whole ‘If it were proven beyond all doubt that we Earthlings were not the top of the food chain in God’s universe, then organised religion would collapse overnight’ argument.

Why?

Christianity survived proof that the Earth was not the centre of the universe with the other planets revolving around it, though admittedly, it took a while, and the likes of Galileo got a bit of a hard time about it.

It also survived Evolution, with a few die-hards persisting with outright denial to this day, but the vast majority managing to incorporate Darwinian Natural Selection into God’s Great Plan.

I can see no good reason why they shouldn’t be able to accept extra-terrestrial life-forms as fellow members of God’s creative handiwork.

And Christians aren’t the only game in town when it comes to religion. Buddhists and Daoists would take such a development in their stride, as they do most everything. Indeed, when high-ranking Tibetan Llamas started arriving in the West in the fifties and sixties, many of them still thought the world was flat. They took the news that they’d been misinformed with little more than a rueful shrug.

Hindus have so many looking strange beings in their pantheon of Gods that I don’t think a few more would phase them unduly either.

I’m not sure where Islam stands on the issue, but if we were subjected to a hostile invasion involving vastly superior technology, I’d definitely, on current form, give the Shia a key role in marshalling our defence.

Of course, many people aren’t religious at all. But I have a more optimistic view of human nature, of human beings of all religions and none than the Guardian reviewer of this film in that I think that, if were to have a real Disclosure Day and be presented with verifiable true footage of spindly, harmless looking traditional ‘Grey’ type alien visitors being subjected to horrific experiments by a shadowy government (American, inevitably) backed corporate entity we would be righteously appalled.

Plot

I say all this because the ‘This film will challenge everything you think you know about God and our place in the universe’ angle has been one of the main selling points of the movie.

Actually, this was only a marginal, though important and interesting aspect of the film. We have some religious symbolism, a blink and you’ll miss it appearance by Jesus (and, to be honest, I did miss this, only knowing about it through Mark Kermode’s review on You Tube), but is largely explored through the character of Jane (Eve Hewson), a one-time Novice-Nun, whose mind is quickly put at rest as regards to what all these Alien goings-on she’s stumbled into mean for her Faith by a single quote from Genesis delivered by her kindly former Nun-mentor Sister Maura (Elizabeth Marvel).

Jane is the girlfriend of Dr Daniel Kellner (Josh O’ Connor). Daniel is a former employee of this shadowy corporate-government organisation, Wardex (perhaps a stand-in for Elon Musk’s Space X), after absconding with a huge cache of memory sticks upon which he has downloaded almost eighty years’ worth of absolute proof of Alien visitations, dating back to the notorious Roswell incident of 1947. He intends to use this cache to disclose this information simultaneously to the whole world. Wardex, led by the villainous Noah Scanlon (Colin Firth, getting to be the baddie for a change).

Meanwhile, beautiful but restless Kansas City TV weathergirl Margaret Fairchild (Emily Blunt, the real star of the show), who shares her life with bumbling, amiable and soon uncomprehending boyfriend Jackson (Wyatt Russell, channelling Woody Harleston), begins to have strange experiences after a Disney-esque Red Cardinal bird (all of the animals in the film, which are actually Aliens taking on a form that is palatable to us humans, are Disney-esque, I think deliberately so) flies into their kitchen while she is expressing her desire to relocate for what is clearly the umpteenth time.

These experiences include being able to converse fluently in foreign languages she’s never learned, without knowing she’s doing it, the ability to read the minds of others, or to appear to them as long-lost loved ones.

Most of all, she is an empath, and ‘Empathy is a Superpower’ is the central, positive message of the film.

Soon, Margaret and Daniel are brought together by an equally shadowy, but benevolent group of ex Wardex employees, led by Hugo (Coleman Domingo), who are determined to help Daniel to finally get the Truth out there.

It becomes clear that this coming together and Margaret is no accident, that it has long been predestined by Close Encounters they’d had separately in their childhood, the memory of which they had suppressed.

They are to be the joint vehicles through which the existence of the Aliens will finally be revealed to the world.

The movie soon becomes a traditional chase/quest movie, taking place against a backdrop of a world on the brink of World War 3 over tensions on the Korean peninsula (due to the actions of the dastardly DPRK of Hollywood imagination).

There is one particularly thrilling chase scene involving a train in a scene that Spielberg has acknowledged as a conscious nod to Hitchcock’s North by Northwest.

It’s a Big Hollywood Steven Spielberg film, so it’s big in every way, impeccably directed, great cinematography, a big score by John Williams, plenty of thrills and spills, human interest and humour, all performed by a great ensemble cast.

Conclusion

I won’t give the ending away, though the title gives a pretty big clue as to who comes out on top in the battle between the Truthers and the anti-truthers. All I’ll say is that I found the climactic last twenty minutes or so to be both thrilling and moving.

There are criticisms to be made, for instance, the Alien device utilised by Margaret, Daniel and Co. in pursuit of their quest is something of a McGuffin. But I enjoyed the film too much to want to dwell on such things here.

Of course, you could, as some have, dismiss the whole thing as a fairy story based on conspiracy nonsense, and maybe I’m guilty of Confirmation Bias, because I want very much for extra-terrestrial visitations to be true. That is so because I have a heart and soul and don’t work for the Guardian.

But I’m not alone. Spielberg has called his original story a summation of both his cinematic work in the Science Fiction genre and his own longstanding studies of UFO/UAP sightings and abduction accounts. He believes the film to be true ‘in essence’, so the question really as to its quality as a movie should be, ‘Did Spielberg convince us that he is indeed a believer, and did he realise his vision in such a way as to make that belief seem plausible?’

On both counts, I say a big yes. I might have somehow missed Jesus speaking fluent Aramaic, with every word, of course, understood by Margaret, but I wasn’t bored for a single one of the movies two-hundred-and-twenty minutes: What more can you ask of a wet Thursday afternoon?

A worthy addition to the great Spielberg canon. Maybe not as groundbreaking as Jaws, ET, or its spiritual predecessor Close Encounters of the Third Kind, but a fine movie nonetheless.

Postscript   

I’m aware that there is an alternative reading of this film that sees it as part of an ongoing Psyop, linked to the real-life disclosures promised by the Trump administration and the no doubt entirely benevolent ‘training’ being provided to American Evangelical ‘Pastors’ by Israel to prepare them for a potential faith-shattering series of ‘revelations.’  I don’t dismiss this reading out of hand and will certainly bear it in my mind when and if events linked to ‘The Alien Files’ unfold. But, for now, a deep dive into that particular rabbit hole could ruin a very good film.

Anthony C Green, June 2026

Directed by Steven Spielberg

Screenplay by David Koepp, from a story by Steven Spielberg

Music by John Williams

Starring

  • Emily Blunt
  • Josh O’ Connor
  • Colin Firth
  • Even Hewson
  • Wyatt Russell

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The Devil Wears Prada — Fashion, Power, and the Quiet Cost of Becoming Someone Else

June 14, 2026 at 11:34 am · Filed under Film & DVD Reviews ·Tagged , , , , , , , ,

There are films that arrive with a burst of hype and then fade, and there are films that quietly embed themselves in the culture, quoted, referenced, and revisited long after their release. The Devil Wears Prada (2006) belongs firmly in the second category. On paper, it’s a workplace comedy set in the fashion industry. In practice, it’s a film about power, identity, and the subtle, creeping cost of ambition — all wrapped in the immaculate tailoring of a Meryl Streep performance so controlled it borders on mythic.

Anne Hathaway plays Andrea “Andy” Sachs, the earnest journalism graduate who stumbles into a job at Runway magazine, a job she neither wants nor respects. Hathaway gives Andy a kind of open‑faced sincerity that makes her early awkwardness painful to watch: the shapeless sweaters, the clunky shoes, the hopeful smile that dies a little each time someone looks her up and down. She is the outsider in a world that speaks a language she doesn’t understand.

And then there is Miranda Priestly. Meryl Streep doesn’t play Miranda so much as inhabit her — a performance built on micro‑expressions, glacial pauses, and a voice so soft it forces everyone around her to lean in. It’s one of those rare performances where the actor’s restraint becomes the source of the character’s power. Streep strips away the clichés of the “boss from hell” and replaces them with something far more interesting: a woman who has survived in a world that punishes softness, and who has learned to weaponise precision, silence, and expectation.

Miranda is also, crucially, not remotely PC — and that’s part of her enduring fascination. She doesn’t flatter, she doesn’t soften her language, and she doesn’t pretend to care about the emotional comfort of the people around her. She judges ruthlessly, dismisses incompetence without apology, and expects the world to meet her standards rather than the other way around. In 2026, when workplaces are drenched in HR‑approved phrasing and corporate empathy theatre, Miranda’s bluntness feels almost radical. She is a relic of an older professional culture — one where excellence was demanded, not negotiated — and the film never tries to sand down her edges. It lets her be formidable, exacting, and occasionally cruel, because that is the truth of who she is.

Andy’s journey begins with humiliation. Her early days at Runway are a blur of ringing phones, impossible demands, and the constant sense that she is one mistake away from being fired. Emily Blunt, in her breakout role as senior assistant Emily Charlton, plays her with a brittle, hilarious desperation — a woman who has built her entire identity around serving Miranda and who sees Andy as an unworthy intruder. Blunt’s performance is sharp, funny, and tinged with sadness; she is the loyal soldier who has given everything to a system that will never love her back.

The turning point comes when Andy, after yet another icy dismissal from Miranda, decides she has had enough of being the office joke. With the help of Nigel — Stanley Tucci at his warmest and most quietly devastating — she undergoes the famous transformation. The clothes change first: Chanel boots, sleek coats, immaculate tailoring. But the real transformation is internal. Andy learns the rhythms of the office, anticipates Miranda’s needs, and begins to excel. Hathaway plays this shift beautifully, letting Andy’s confidence bloom even as the audience senses the cost.

Because the cost is real. As Andy rises, her old life begins to fray. Adrian Grenier’s Nate becomes the embodiment of the life she is drifting away from — supportive at first, then resentful, then quietly alienated. Her friends roll their eyes at her new priorities. Andy herself starts to feel the dissonance between who she was and who she is becoming. The film never condemns her ambition, but it does show how ambition can quietly rearrange your values when you’re not paying attention.

Paris is where everything crystallises. The city is a dreamscape of fashion and power, but it is also where Andy sees Miranda’s humanity for the first time. Streep allows tiny cracks to appear in the armour: the tremor in her voice when she mentions her failing marriage, the flicker of fear when she realises her position at Runway is under threat. These moments don’t soften Miranda; they deepen her. They show the cost of being a woman at the top of a world that still expects women to apologise for their success.

And then comes the betrayal — not of Andy, but of Nigel. Tucci plays the scene with heartbreaking dignity, the quiet devastation of a man who has given everything to an industry that discards him in a heartbeat. Miranda sacrifices him to save herself, and Andy sees, with painful clarity, the kind of person she would have to become if she stayed on this path. It’s not that Miranda is evil. It’s that she is pragmatic in a way Andy cannot be without losing herself.

The moment Andy walks away — throwing her phone into the Paris fountain — is not a triumphant escape. It’s a moment of self‑recognition. She has reached the edge of who she is willing to be. When she returns to New York, she is not the naïve graduate who started the film, but someone who has seen the machinery of power up close and chosen not to be consumed by it.

The final scene between Andy and Miranda is one of the most quietly perfect endings in modern cinema. Andy sees Miranda on the street. Miranda pretends not to notice her. But once inside her car, she allows herself the smallest, most private smile — a smile that acknowledges respect, recognition, and perhaps even affection. It is the closest the film comes to a reconciliation, and it is enough.

What makes The Devil Wears Prada endure is that it refuses to simplify its characters. Miranda is not a monster. Andy is not a saint. Emily is not a villain. Nigel is not a martyr. They are all people navigating a world that demands more than it gives back. The film understands the emotional complexity of female power, the loneliness of leadership, the seduction of ambition, and the quiet bravery required to walk away from something that is consuming you.

And perhaps that is why the film still resonates. It understands that growing up — truly growing up — means recognising the moment when the cost of staying outweighs the fear of leaving. Andy learns it in Paris. Many of us learn it much later. But the lesson is the same: your life is yours to shape, and no job, no matter how glamorous, is worth losing yourself for.

By Christopher Storton

Picture credit: By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=8559391
Pat Harrington’s review of the Devil Wears Prada 2 is  here
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Wuthering Heights (2026)

February 26, 2026 at 5:47 am · Filed under Film & DVD Reviews ·Tagged , , , , , ,

Emerald Fennell’s Wuthering Heights arrives already weighed down by decades of reverence, misreadings and cinematic baggage, yet this loose, provocative retelling still struck me as far more compelling than its detractors allow. It isn’t faithful, nor does it try to be, but its gothic charge, bold choices and emotional clarity make it a far richer experience than the current tide of negativity suggests says Tony Green.

Movie poster for 'Wuthering Heights' featuring a romantic scene between two characters, with Margot Robbie and Jacob Elordi. The text includes the title, release date, and a tagline 'Come Undone.'

Introduction

It would probably have been easier to write this review quickly, as I just got on and did it, beginning almost as soon as I left the cinema a week ago. Instead, I’ve spent a whole week watching so many reviews by others on YouTube that I’ve lost count, and re-acquainting myself with the complexities of Emily Brontë’s classic 1847 novel, though again via YouTube rather than by actually re-reading the book, which would take me a lot longer than seven days.

Consequently, my mind is too stuffed full of Wuthering Heights-related facts and opinions for me to be as brief as I intended, and I’d started to doubt my own judgement.

But, while I agree with many of the criticisms of the film I’ve encountered, I still stick with my first impression response and continue to swim against the tide of negativity, and say that I liked it.

There are certainly a lot less enjoyable ways to spend two-hours-and-sixteen minutes on a wet Sunday afternoon.

Writer/Director Emerald Fennell has said that her interpretation was influenced by how the book made her feel when she first read it as a fourteen-year-old girl. This is an important point to keep in mind. How you view this film will depend largely on your own past experience of the story, and of the cultural space it occupies in literary and cinematic history.

For me, my first exposure to it was through the 1939 Hollywood version starring Larence Olivier and Merle Oberon.  

In my memory, I watched it on TV the very first time my parents went out for the evening and left me home alone. That could be a false memory, because I am sometimes an Unreliable Narrator of my own life, but I loved the film whenever I first saw it, and I love it still.

There have been many adaptations of the novel for T.V and cinema, starting with a long-lost 1920 silent version. I must have seen some of them, and dipped into some this week, but none of them have stuck in my memory. The 1939 version will always be my Wuthering Heights, but that is no more faithful to the novel than Fennell’s movie.

I didn’t really become an avid reader until my late teens, so it was likely in the early-mid 1980s that I first read the book. I’ve never found 19th Century English literature to be as compelling as I think I ought, and I doubt I even finished it on that first occasion. But I have since read it from start to finish at least once.

It’s not a novel I can honestly claim to be one of my all-time favourites, one that I finished more with a sense of accomplishment than of enjoyment, but I did at least come to appreciate its complexity and to understand why it is held in such high regard. I’ve enjoyed enhancing that understanding this last week or so.

Almost all attempts at adaptation omit the second half of the novel entirely, the part that deals with the second generation of characters, after the death of Cathy. That was true of ‘my’ 1939 version, and it’s true also of the 2026 version.

This is understandable. You can only do so much in two-hours or so. But it too easily reduces the story to one of a ‘doomed’ or ‘tragic’ love affair.

Certainly, those elements are there in the source material, but there is so much more besides: It’s a dark gothic horror story, a story of revenge, of forgiveness/lack of forgiveness, of obsession and co-dependency, of abuse and cycles of abuse repeating themselves, and of how individuals might break free of these generational cycles.

To this we must add reflections on the restrictions of late 18th/early 19th century society, particularly for women, and attitudes as regards to the ‘otherness’, of the outsider, be it by virtue of class, race or religious unorthodoxy. Then we have near-incest, given that Heathcliff and Cathy are raised almost as brother and sister (or actual incest. Some critics argue that Heathcliff is Mr Earnshaw’s bastard son. But even leaving that aside, nearly everybody in the book ends up marrying their cousin), and the stark contrast between nature in the raw, and the genteel, mannered ‘civilisation’ of the landed class.

By ignoring volume two (the book was originally published as two volumes) you also ignore what a vindictive, vengeful bastard Heathcliff becomes after the death of Cathy.  Sanitising the character by reducing him to a dashing romantic ‘bad boy’ is a predictable route for Hollywood to take. And Emerald Fennell is as guilty of this as everybody else.

I knew nothing of her work before this film, other than that she used to be an actor in Call The Midwife, so I went in with no prior expectations as to what it might be like

But I’ve since learned that she has a certain style that people tend to love or hate. For critics who have seen her previous work to attack this film for being so far from a faithful retelling of Brontë’s story, seems to me to be little more than the result of deliberate and pointless ‘hate-watching’. 

Admittedly, whoever made the decision to tag the movie’s trailers under the heading ‘The Greatest Love Story Ever Told’ and to release it on Valentine’s Day did it no favours, because it’s very far from True Romance. But nor is it mere ‘fan-fiction’ or a film that is unrecognisable as Wuthering Heights, as some have claimed.

All that matters, really, is whether or not the film is an enjoyable experience in its own right, and for me it was, as I suspect it shall be for the majority of its audience.

It will also lead to many of its viewers picking up a copy of the novel for the first time. That has to be a positive, even if, like me that very first time, they give up halfway through.

Negatives

The absence of part two of the story was to be expected, but there were some strange decisions made as regards omitting certain important characters or compositing different characters into one.

The most glaring example is the decision to amalgamate Mr Earnshaw with his son Hindley. By eliminating Hindley and transferring his collection of appalling traits, which include drinking[GC1]  and gambling away the family’s fortune, and abuse towards both family and servants, especially Heathcliff, there’s no clear reason for the originally kind-hearted head of the Earnshaw clan to rescue the poor foundling from the backstreets of Liverpool in the first place.

I also found Fennell’s decision to have Catherine name the boy ‘Heathcliff’ after a mythical brother who died in infancy, rather odd. Even the early 19th Century the English poor had names, and surely, as the relationship between the two of them developed in intensity, the wild and wayward male centre of the story would have thrown this back at the subject of his obsessive love at some point, ‘I’m not Heathcliff, I’m Patrick!’ or whatever.

I’ll get to the actual performances of the actors in the next section, because they are all good to great.

But there are things to be said about the casting.

Much criticism has concentrated on the ‘whitewashing’ of Heathcliff. I don’t think that DEI types can complain too much, given that we have ‘people of colour’ in two other important roles.

However, I do think they have a point when it comes to Heathcliff, played by Jacob Elordi. Fennell had cast Elordi in her 2023 film Saltburn, which I haven’t seen, and decided then that she’d found her Heathcliff, because he resembled the way the character had been depicted on the edition of the novel she’d first read as a teenager.

The race of the character is never made explicit in the novel (Irish tinker or Romani are generally seen as most likely), but his ‘dark skinned’ complexion and exotic appearance are, along with his class origins, an essential part of his status as an outsider and of his attraction to women.

Elordi has some Spanish ancestry, and is certainly darker than Margot Robbie, his Catherine, and so he might just have got away with it, had it not been for the casting of a Thai-American Nelly (Hong Chou) and a Pakistani-British Linton, (Shazad Latif).

 I suspect Fennell thought this would undermine criticism of her going for a white Heathcliff, but it seems to have had the opposite effect.

Race isn’t everything, but it isn’t nothing either, and this is the reason that ‘colour blind casting’ rarely works. After all, this is a world, a remote English Yorkshire village in the first decades of the nineteenth century, where class distinctions exist even within the very wealthy, based on the difference between wealth that is ‘new’ or acquired, and that which is ‘old’ and inherited, between the rising capitalist class and the feudal landed gentry, as a Marxist analysis would have it. Linton alludes to this distinction when speaking of Catherine as a potential wife. And yet we are expected to believe that the Earnshaw’s fail to notice that Linton is literally a non-white colonial?

This, to me was a bigger problem than the casting of a white Heathcliff, because if the world in which the character has found himself is multi-cultural, then his ‘otherness’ is undermined to the detriment of the story.

The overall look of the film has been criticised as being inauthentic, especially when it comes to costumes and set. Maybe it is overly designed, and almost surrealistic in places, but that was clearly through valid artistic decision-making. Like most everything else about the movie, people will either love or hate the visual style. I liked it.

Though the movie, in my opinion, just about retained the gothic essence of the book, and much of its poetic language (maybe not authentic period Yorkshire dialect, but how many would really want that?). But I did think the almost complete absence of the supernatural element, of Catherine’s haunting of Heathcliff (though his expressed wish for this is retained) was a mistake). It didn’t need to be exactly like the book, nor to end with a ghostly Cathy and Heathcliff walking hand in hand on the moors as in the 1939 movie, but the movie would have benefited from something of this, and would been in keeping with Fennell’s style.

Lastly, in this section, I’ll touch briefly on the sex question.

In the book, as you’d expect from a novel written by a young woman in the early 1840s, the consummation of Heathcliff and Cathy’s love is barely even hinted at. We assume, probably rightly, that they were lovers, and we must expect ((and many would demand) physical evidence for this consummation in a modern adaptation.

In reality, there’s much less sex in the movie than most assume, and as was suggested by the trailers. There is no nudity, and what we do see, with one, possibly two exceptions, is relatively tastefully done.

The montage which provides our confirmation that Heathcliff and Cathy’s relationship was one that was as intense physically as in every other sense, went on a bit too long, and there were a few ‘symbolic’ shots that were too on the nose, with the result that they were more humorous than suggestive.

But I’m guessing that these humorous elements were also there through conscious artistic choice.

I did find the film to be very moving in parts, but not titillating. Whether you see that as a positive or a negative depends on your motivation for going to see it. In reality, if you’ve seen the trailers, you’ve already seen most of the spicy bits.

Positives

Despite my earlier criticisms of some of the casting decisions, I can hardly fault the performances of any members of the small ensemble cast.

Owen Cooper, best known for his role in Netflix’s major TV hit Adolescence, in what had been his first screen role, made an excellent Young Heathcliff, as did Charlotte Mellington as the younger Cathy. During their relatively brief period on screen together, I felt they did a superb job of capturing young friends at play, but with a strong suggestion that their relationship was destined to become rather less innocent as they grew older.

Elordi just about managed to capture the brooding, charismatic, vengeful nature of the older Heathcliff, and Robbie made for a very beautiful and sexy Cathy, even if the actress is about a decade older than she ought to be for the role. The chemistry between the two was enough to make me quickly forget the incongruent age difference between them.

Though I didn’t care for the decision to combine the character of Earnshaw with his son, Martin Clunes gave a great, almost show-stealing performance in the role. I only really know Clunes from the old British Sitcom sitcom Men Behaving Badly. But at some point, he became a fine old English character actor without me noticing. Earnshaw, in this version, is pretty horrible from the beginning, but the way Clunes added layers of self-pity as he aged and his drinking, gambling and physical health worsened was very well done by Clunes, with help from a make-up department that deserves plaudits for the whole movie.

I have strong reservations about how Fennel chose to write the character of Isobella, though Alison Oliver did a great job with the material she was given. Her story arc is one of transformation from a naïve, frustrated teenage girl with nothing to occupy her but various girly hobbies, and living vicariously through the drama of Cathy’s life, to Heathcliff’s willingly abused sex slave.

Isobella is an entirely believable, if creepy character, given the otherwise unrelenting tedium that would likely have been her lot.

However, the portrayal of the Heathcliff – Isobela relationship as Sado-Masochistic did leave me feeling uncomfortable at times. True, nothing happens that Isobella doesn’t consent to. But there are times when ‘consent’ arises more from a form of mental illness than willing choice or sexual taste, and I do think that Fennell went a bit too far in this direction. It was a decision that also, to a large extent, let the abuser, Heathcliff, off the hook.

I didn’t at all buy the ‘in-universe’ explanation as to why we had a non-white Nelly (and why explain this at all if you don’t also ‘explain’ a non-white Linton?).  But Hong Chou gave a great performance in the role.

Nelly is an important figure in the plot and format of Wuthering Heights.

In the novel she is the main narrator of the story, and there has been much debate amongst literary critics as to whether she is an ‘unreliable’ or at least a biased narrator keen to aggrandise her own role in events, and to make herself seem better and everybody else much worse than they really were.

Fennell chose to dispose of the narration element entirely. This was the right decision, and I thought the manner in which she, as the writer, and Chou as the actor, were still able to retain the importance and ambiguous nature of the character in the story was one of the movie’s strongest points.

As I’ve said, I loved the semi-surreal beauty of this film, and unlike the beloved 1939 version, which was filmed in California, this one really was set in rural Yorkshire, a Yorkshire that has never looked more beautiful. Some of the cinematography here was stunning.

The film sounded great, too. The score by Anthony Willis was excellent, and there are also very interesting original songs written and performed by Charli XCX. The Soundtrack album is well worth a listen in its own right.

Conclusion

I’d like to see this film again before making a definitive judgement. As I said at the beginning of this article, I enjoyed it as a cinematic experience. But I also agree with a lot of the criticisms. It’s far from flawless, and it certainly isn’t a faithful adaptation of Emily Brontë’s novel.

But I don’t think a truly faithful adaptation is really possible. The 1939 movie isn’t faithful either, but it’s still a great film, and I disagree with those who say that Fennell’s version is so distinct from the novel that she should have given the characters different names and called it something else. To me, this was still recognisably Wuthering Heights, or at least “Wuthering Heights”. Those inverted commas are in the title for a reason.

Fennell clearly approached her source material with a particular artistic vision, and contrary to the majority critical view, I believe she has produced a loose but entirely valid, bold, imaginative and engaging interpretation.

It seems to be doing well at the box office, and I suspect it will prove much more popular with the public than the critics. Its reputation may well even improve with time.

Or maybe it really is as bad as everybody else seems to think.

“Wuthering Heights” is in cinemas now, and is best seen on a big screen, though I’ll definitely be revisiting it when it becomes available to stream.

Reviewed by Anthony C Green

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Culture Vulture Picks: 12th–18th April 2025

April 11, 2025 at 8:03 pm · Filed under Culture Vulture, Film & DVD Reviews ·Tagged , , , , , , ,

Selections and commentary by Pat Harrington | Music by Tim Bragg

As spring air stirs this week’s cultural offerings invite reflection, revelation — and the occasional revolution. Television and streaming cover a wide range of genres, from sci-fi and ska to true crime and torch songs. They deliver stories that challenge, charm, and cut deep.

This week’s guide is curated by Pat Harrington. Music is provided by Tim Bragg. It picks out standout offerings across British TV and streaming platforms from an alternative viewpoint. You might be settling in with a brew. Maybe you’re catching up on-demand. There’s something here for the curious. It’s perfect for the bold and the discerning.

This week’s top highlights:

  • Doctor Who returns with a stylish regeneration and a fresh Doctor.
  • Ute Lemper resurrects Weimar Berlin in an unforgettable late-night cabaret.
  • The Hunt delivers taut moral suspense in one of the week’s most powerful film broadcasts.

Saturday, 12th April

Doctor Who – Series 1, Episode 1: The Robot Revolution, 6:50 PM, BBC One
🌟 Highlight
In this thrilling opener, Ncuti Gatwa’s Doctor steps fully into his role. The Doctor does so with a captivating blend of charm and boldness. This embodies the essence of renewal that defines Doctor Who. The episode delves into the ever-relevant theme of AI and its potential consequences when it turns against humanity. A rogue AI uprising is the central conflict. It delivers an engaging mix of suspense. The action keeps viewers on the edge of their seats.

The Doctor’s unique approach to problem-solving is highlighted as he faces the daunting task of halting the rebellion. Gatwa’s portrayal introduces an energetic twist to the character. This modern interpretation makes this episode a perfect entry point for newcomers. It also delights long-time fans. The visual effects, clever dialogue, and emotional undercurrents guarantee this reboot feels fresh yet connected to the show’s legacy.

Expect moments of humor, heart, and intense drama as the Doctor navigates moral dilemmas and technological dangers. The supporting cast and their interactions with Gatwa’s Doctor add depth and color. This sets the stage for a promising season. The season will be filled with adventures that challenge conventions and push boundaries.

The Queen and the Traitor: A Great British Scandal, 7:45 PM, BBC One
Anthony Blunt’s story defies expectations. It reveals the extraordinary secrets that can lie hidden in plain sight. This drama sheds light on a man who was far more than he appeared to be. On the surface, Blunt was an esteemed art historian and a trusted advisor. He was deeply embedded in the royal household. He rubbed shoulders with the most influential people in Britain, including Queen Elizabeth II herself. His reputation was one of intellect, sophistication, and loyalty.

But what makes this tale so compelling is the stark contradiction at its heart. Behind this polished facade was a man living a double life. He was working covertly as a Soviet spy during the tense and dangerous era of the Cold War. The drama examines the choices that led Blunt to betray his country. It also reveals the sheer audacity it took to keep his dual identities. It examines themes of loyalty, betrayal, and moral complexity. The story reveals that even those in the most privileged and trusted positions are capable of unimaginable deception.

This portrayal delves into Blunt’s actions. It also examines the ripple effects of his treachery. This exposure highlights the fragile balance between trust and power within institutions like the monarchy. It is a haunting reflection on the lengths people will go to for ideology, ambition, or survival. Such decisions can have a devastating impact on those around them. This drama goes beyond a simple historical recount. It captures the human drama and ethical dilemmas at the core of one of Britain’s most shocking betrayals.

Made in Britain, 8:35 PM, ITV4
Celebrating the grit, innovation, and legacy of the UK’s manufacturing industries. From factories to family businesses, this documentary series spotlights unsung heroes of British industry.

Sunday, 13th April

Walter Presents: Cold Summer, 12:35 AM, Channel 4
Cold Summer is a gripping Italian crime thriller. It is set in Bari during the early 1990s. The story begins with the devastating arson of the Petruzzelli Theatre. This act disrupts the fragile peace among the city’s criminal clans. The son of mafia boss Nicola Grimaldi is kidnapped. Alessio Boni plays Nicola Grimaldi. Despite a ransom being paid, the kidnapped son is later found murdered. This event causes the delicate balance of power to collapse. It plunges the city into chaos.

The narrative follows Pietro Fenoglio. He is portrayed by Paolo Sassanelli and is a carabinieri officer navigating the murky world of mafia feuds and corruption. The prime suspect is Vito Lopez, a former confidant of Grimaldi. He surrenders to the authorities and offers to become a state’s witness. While confessing to many crimes, Lopez denies involvement in the boy’s murder. As Fenoglio and his partner Pellecchia dig deeper, they uncover a shocking truth. The murder was committed by two of their own colleagues. This revelation forces Fenoglio to confront the ethical dilemma of bringing justice against fellow officers. It challenges his loyalty to the uniform. It also tests his commitment to the law.

The series is a tense exploration of betrayal, power, and the fight for justice. It is set in a city teetering on the edge of corruption. The moody atmosphere and morally complex characters make it a compelling watch. It offers a poignant reflection on the cost of loyalty. It also reflects the pursuit of truth in a world where trust is scarce.

Willard White Remembers Porgy and Bess, 8:35 PM, BBC Four
Opera legend Willard White reflects on his iconic role. This role was in Gershwin’s landmark work. He offers a poignant exploration of race. The reflection includes legacy and artistic endurance.

George Gershwin’s Porgy and Bess, 8:50 PM, BBC Four
This is a lavish production of the American opera classic. It blends jazz, gospel, and folk. The story told is one of love and struggle in the Deep South.

Ute Lemper Sings Kurt Weill. Tune in at 11:55 PM on BBC Four.
🌟 Highlight
Lemper brings Kurt Weill’s music to life in a way that feels both timeless and deeply personal. Lemper is known as one of the most accomplished interpreters of Weill’s work. She immerses her audience in a rich tapestry of sound and emotion. She channels the spirit of artistic rebellion that defined Weill’s legacy. Through her distinctive voice and theatrical presence, she transforms each song into a vivid story. She gives classics like Surabaya Johnny, Alabama Song, and Pirate Jenny an intensity. The songs have a nuance that captivates listeners.

This late-night BBC Four special creates an intimate atmosphere where music and storytelling blend seamlessly. Lemper’s delivery blurs the boundaries between a traditional performance and something far more dynamic. It offers a unique experience. This feels as much like an emotional journey as it does a concert. The themes of love, heartbreak, and political defiance ripple through each note. These themes remind us of the power of art to challenge the status quo. Art speaks to the soul.

This performance is for anyone with a passion for music that transcends the ordinary. It is also for those drawn to the evocative allure of cabaret noir. Finally, it is for those who simply wish to be moved. This event stands as an unmissable celebration of Kurt Weill’s enduring genius. It’s less about nostalgia and more about the raw relevance of these songs in today’s world.

Monday, 14th April

Capricorn One (1977), 2:35 PM, Legend
This gripping thriller takes viewers on a journey. It delves into the murky world of conspiracy theories. It also explores government deception. The film imagines a scenario where NASA fakes a manned mission to Mars. They are driven by the pressure to maintain funding. The plot also concerns maintaining public trust.

Elliott Gould stars as a determined journalist. James Brolin plays one of the astronauts caught in the web of lies. The story unfolds with nail-biting tension. The government forces the astronauts to participate in the hoax. They soon find themselves hunted by government agents who are determined to keep the truth buried. The film captures the paranoia and distrust of the Cold War era. It blends suspense, drama, and a touch of sci-fi to create a thought-provoking narrative.

With its sharp commentary on power and ethics, Capricorn One remains a classic. It challenges viewers to question the narratives presented by authority. Will you be watching this retro gem? It’s a fascinating piece of cinema history!

The Last of Us, 9:00 PM, Sky Atlantic
Post-apocalyptic storytelling at its finest. The much-anticipated return continues Joel and Ellie’s harrowing journey with haunting visuals and gut-punch emotional stakes. Season two of The Last of Us continues Joel and Ellie’s story. They navigate a world devastated by a fungal pandemic. The series is based on the acclaimed 2013 video game. It has redefined what adaptations can achieve. This proves that gaming narratives can translate into compelling television. The first season was a groundbreaking success. It earned 24 Emmy nominations. It won six awards, including ones for its exceptional storytelling and performances.

The show’s ability to capture the emotional depth and complexity of the game is impressive. It expands the narrative and has set a new standard for adaptations. Pedro Pascal and Bella Ramsey deliver standout performances as Joel and Ellie, bringing authenticity and nuance to their roles. Their chemistry remains the heart of the series, drawing viewers into the characters’ struggles and triumphs.

By staying true to the essence of the game, The Last of Us has reached both fans and newcomers. Thoughtful adjustments for television were made. Its success has paved the way for future projects. This success shows that gaming stories can thrive in the world of prestige television. These stories need to be handled with care and creativity. Season two promises to build on this legacy. It will offer more of the gripping drama.

Tuesday, 15th April

Tombstone (1993), 9:00 PM, Film4

Tombstone (1993) is a Western that stands out for its sharp storytelling and unforgettable performances. Kurt Russell and Val Kilmer lead the cast. They bring depth and charisma to their roles as Wyatt Earp and Doc Holliday. The film captures the tension and drama of the Old West. It weaves a tale of loyalty, revenge, and the struggle for justice.

Kilmer’s portrayal of Doc Holliday is particularly remarkable. He imbues the character with a mix of wit, vulnerability, and defiance. This makes Holliday both a tragic figure and a force to be reckoned with. He delivers iconic lines like “I’m your huckleberry.” This has cemented his performance as one of the most memorable in the genre. Russell’s Wyatt Earp, meanwhile, is a compelling blend of determination and moral complexity, anchoring the story with his presence.

The film’s stylized approach to the Western genre is clear in its striking cinematography and intense action sequences. From the gunfight at the O.K. Corral, viewers experience the simmering confrontations between lawmen and outlaws. Tombstone keeps viewers engaged with its dynamic pacing. The dramatic stakes hold their attention. The supporting cast is impressive. Sam Elliott and Bill Paxton play Earp’s brothers. They add layers to the narrative and create a rich tapestry of characters and conflicts.

Beyond the action, Tombstone is a film that resonates not just as a thrilling Western. It is also a story about the human condition in a time of chaos and change.

Wednesday, 16th April

Pauline Black: A Two-Tone Story, 9:00 PM, Sky Arts
Pauline Black’s story is about resilience, creativity, and defiance. This documentary captures her journey with vivid detail. As the frontwoman of The Selecter, she became a defining voice of the Two-Tone movement. This genre fused ska, punk, and reggae to challenge societal norms. It also confronted issues of race and identity. The documentary delves into her personal journey. It explores the challenges she faced as a woman of color in the male-dominated music industry. It also reviews the political landscape of the time.

Through interviews, archival footage, and performances, the film paints a portrait of Black not just as a musician. She was a trailblazer who used her platform to advocate for equality and justice. It highlights her ability to channel her experiences into powerful lyrics and performances that resonated with audiences and inspired change. The rebellious spirit of Two-Tone is woven throughout, celebrating its impact on music and culture.

This documentary is more than a retrospective. It celebrates Pauline Black’s enduring legacy and the movement she helped shape.

Re:cord On… The Specials: A Message to You, 10:50 PM, Sky Arts
A loving exploration of the Specials’ enduring anthem. The show blends personal stories with cultural context. It is a perfectly ska-soaked time capsule.

Hideous Kinky (1998), 11:30 PM, BBC Two
This evocative drama is based on Esther Freud’s semi-autobiographical novel. It stars Kate Winslet as Julia. She is a young English mother seeking a fresh start in 1970s Morocco. Accompanied by her two daughters, Julia embarks on a journey of self-discovery. She grapples with the challenges of raising children. At the same time, she chases spiritual enlightenment and personal freedom.

The film is set against the vibrant and chaotic backdrop of Marrakech. It captures the essence of a time and place where tradition and modernity collide. Winslet delivers a nuanced performance. She portrays Julia’s vulnerability and determination. Julia navigates relationships, cultural differences, and the search for meaning in a world far removed from her own.

With its dreamy cinematography, warm tones, and moments of quiet introspection, Hideous Kinky offers a gently strange journey. It provides a deeply human exploration of identity, love, and the pursuit of happiness. It’s a film that lingers in the mind, inviting viewers to consider their own journeys.

Targeted: Lebanon’s Deadliest Attack, 11:00 PM, Channel 4
This powerful documentary investigates a devastating bombing in Beirut. It unpacks the international entanglements that led to tragedy. A vital piece of longform journalism.

Thursday, 17th April

Wonderland: Science Fiction in the Atomic Age – Episode 3 of 4. Airing at 8:00 PM on BBC Four.
The series explores how sci-fi channeled 20th-century nuclear fears into tales of aliens, dystopias, and human hubris. A stylish trip through speculative imagination.

Love My Face, Episode 1 at 10:00 PM. Episode 2 is at 11:05 PM on BBC Two.
This deeply personal series follows people navigating facial difference and the decision to undergo surgery. A moving challenge to societal ideas of beauty and visibility.

The Hunt (2019), 10:50 PM, Film4
🌟 Highlight
The Hunt (2019) is a sharp and provocative thriller. It delves into the divisions of modern society. Directed by Craig Zobel, the story follows a group of strangers. They wake up in an unfamiliar location. They quickly realize they are being hunted by a group of wealthy elites. The film plays with tension, humor, and violence as it navigates the chaos that unfolds.

At the center of the narrative is Betty Gilpin as Crystal. She is one of the captives who refuses to be a victim. Gilpin’s performance is magnetic—she brings intelligence, wit, and unrelenting toughness to a character who consistently outsmarts her captors. Her portrayal ensures that Crystal’s journey is both engaging and deeply satisfying to watch.

The film doesn’t shy away from its social commentary. It takes aim at political extremes with a dark and biting sense of humor. The film’s satirical approach may not resonate with everyone. Yet, it successfully holds a mirror up to the absurdities and hypocrisies of our times. The pacing is relentless. It keeps viewers gripped from start to finish. The action sequences are executed with precision and energy.

Visually, the film juxtaposes its idyllic setting with the brutal events taking place, adding an unsettling layer to the story. The Hunt is bold and unflinching. It challenges audiences to think about the consequences of prejudice. It examines mob mentality and the ways we engage with opposing views. You might see it as a sharp critique. Or you might view it simply as an intense thriller. Either way, it leaves a lot to think about long after the credits roll.

Friday, 18th April (Good Friday)

King of Kings (1961), 8:15 AM, BBC Two
This Technicolor epic captures the grandeur and solemnity of its subject matter. It offers a richly detailed depiction of key moments from the New Testament. The film begins with the birth of Jesus. It then portrays his ministry. The climax focuses on his crucifixion and resurrection. This narrative is both reverent and cinematic.

The sweeping visuals are enhanced by Miklós Rózsa’s powerful score. His music adds emotional depth. It also brings a sense of majesty to the story. The music underscores the film’s most poignant moments. It enhances the film’s ability to resonate with audiences on a spiritual level. It also touches them on an emotional level. Jeffrey Hunter’s portrayal of Jesus brings a quiet intensity to the role. The supporting cast adds layers of complexity to the historical and personal dynamics at play.

This retelling is not just a recounting of biblical events but an exploration of themes like faith, sacrifice, and redemption. The film’s meticulous attention to detail stands out. Its thoughtful direction ensures it continues to hold significance, particularly during the Easter season. Whether you’re drawn to its artistic achievements or its spiritual message,

The Rolling Stones: Live at the Fonda, 9:25 PM, BBC Four
Filmed in 2015, this intimate club show was recorded. It proves the Stones still swagger and seduce. An electrifying setlist in a small venue setting.

Mick Jagger: My Life as a Rolling Stone, 10:50 PM, BBC Four
From rock god to cultural icon. This show dissects the myth. It reveals the man behind the mic – and the moves.

Keith Richards: My Life as a Rolling Stone, 11:50 PM, BBC Four
A tribute to the Stones’ riff king. He is a bluesman, outlaw, and survivor. A love letter to the world’s most charismatic guitarist.

and finally, Streaming – Netflix

Behind the Curtain: Stranger Things – The First Shadow. It is available from Tuesday, 15th April.
The Stranger Things universe gets theatrical in this lavish West End origin story. Set in 1950s Hawkins, it’s a moody, sharply-written prequel packed with nostalgia and stage magic.

Oklahoma City Bombing: American Terror. It is available from Friday, 18th April.
🌟 Highlight
A chilling, in-depth documentary examining the 1995 bombing, its perpetrators, and the rise of homegrown extremism. Sobering, necessary, and disturbingly relevant. Essential viewing in an age where history repeats — and warns.

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The Last Showgirl: A Powerful Film on Ageing and Resilience By Patrick Harrington

March 4, 2025 at 5:49 pm · Filed under Film & DVD Reviews ·Tagged , , , , , , , ,

The neon-lit stages of Las Vegas shine brightly. They contrast with the dim corridors of fading dreams. The Last Showgirl takes viewers on a deeply affecting journey. It delves into the lives of those who once dazzled in the spotlight.

A Story of Reinvention in a Precarious Industry

At its heart, The Last Showgirl is a film about transition—both personal and cultural. Shelly has spent decades in the spotlight. She suddenly faces the harsh reality of an industry that discards women once they are no longer deemed marketable. But the film also highlights the broader financial precarity of those working in entertainment. As Le Razzle Dazzle closes, Shelly and her colleagues are left without pensions, savings, or even medical insurance. This serves as a stark reminder of how vulnerable performers can be when their careers are upended.

This sense of insecurity extends beyond the stage. One of Shelly’s closest friends is Annette, who is played by Jamie Lee Curtis. She works as a cocktail waitress and finds herself in an equally precarious situation. Struggling with gambling debts, she ultimately resorts to sleeping in her car. This subplot is devastating. It underscores how quickly fortunes can turn in an industry that offers glamour but little long-term stability. Coppola’s direction ensures that these economic concerns are integral to the story. They are not just background noise. These elements make The Last Showgirl feel both personal and politically charged.

Pamela Anderson’s Career-Defining Performance

Anderson’s portrayal of Shelly is nothing short of revelatory. She is long known for her work in Baywatch and as a Hollywood sex symbol. She channels her own experiences with objectification into a performance brimming with vulnerability. The performance also exudes strength and emotional depth. Anderson herself has commented, “I poured my heart and soul into this role. Shelly’s journey is so deeply personal to me.”

Echoes of Sunset Boulevard

Coppola’s film draws clear comparisons to Billy Wilder’s Sunset Boulevard (1950). It is another story about a woman past her prime. She struggles to stay relevant in an industry that has moved on. Like Norma Desmond, Shelly Gardner has built her life around performance. When that world vanishes, she is left grappling with an identity crisis. Yet, where Sunset Boulevard delves into psychological horror and self-delusion, The Last Showgirl takes a more grounded, empathetic approach. Shelly is not a relic clinging to faded glory. She is a survivor. She is painfully aware of the changing landscape. She is determined to find a way ahead. The contrast between Desmond’s tragic retreat into fantasy and Shelly’s determined path is fascinating. Shelly’s path is uncertain, but it leads toward reinvention.

Thematic Depth: Ageism, Economic Precarity, and the Male Gaze

Beyond its intimate character study, The Last Showgirl raises broader social and political questions. The film starkly portrays ageism in entertainment. It highlights how women are often discarded. In contrast, male performers continue to be celebrated well into old age. Shelly struggles to find new opportunities. This reflects the economic precarity of performers. Their careers are at the mercy of industry trends.

Moreover, The Last Showgirl critiques the male gaze and the commodification of women’s bodies. Shelly built her career on beauty, movement, and allure. Now, she faces an existential question. Who is she beyond her stage persona? This theme affects her personal life too. She tries to mend her fractured relationship with her estranged daughter (Billie Lourd). This subplot adds emotional weight to the narrative.

Gia Coppola’s Directorial Style

Gia Coppola’s direction is both intimate and expansive. Her previous works, like Palo Alto (2013), showcased her ability to delve deep into character psychology. She can keep a broader social commentary as well. In The Last Showgirl, Coppola uses a visual style to show Shelly’s internal struggle. She creates stark contrasts between the glitzy past and the uncertain present.

Contemporary Issues in the Entertainment Industry

The Last Showgirl resonates with today’s entertainment industry’s ongoing struggles. The film’s portrayal of economic insecurity and ageism reflects actual conversations about fair wages. It highlights discussions around career longevity and the treatment of aging performers. The industry’s shift towards digital and commercialized content also finds echoes in Coppola’s depiction of a changing Las Vegas.

Conclusion

Despite a mixed critical reception, The Last Showgirl succeeds in delivering a deeply affecting portrait of resilience and self-redefinition. The film’s depiction of financial insecurity elevates it beyond a simple character study. The portrayal of the struggles of aging performers makes it a relevant social critique. Pamela Anderson’s performance is the heart of the film. She offers a raw and introspective take on a woman grappling with change. Thematically rich and visually evocative, The Last Showgirl is rich in themes and colours. It is a must-watch for those who appreciate films that challenge industry norms.

By Pat Harrington

Picture credit

By Roadside Attractions – IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=78436833

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Culture Vulture 28th of September to 4 October 2024

September 27, 2024 at 7:09 am · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , , ,

4,957 words, 26 minutes read time.

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative viewpoint. Writing and selection is by Pat Harrington and music is from Tim Bragg. As we enter October, the crisp air settles in. It’s the perfect time to unwind and enjoy some stellar TV and film releases available on UK platforms. This week, there’s a rich variety of entertainment, from action-packed blockbusters to heartfelt dramas and socially relevant TV series. Here’s your guide to the best on-screen picks from Saturday, 28 September to Friday, 4 October 2024.

Saturday, 28 September 2024

Strictly Come Dancing, Week 2 Live Show (6:35 PM, BBC One)

Strictly Come Dancing brings a different kind of drama. The contestants face the first elimination in the second live show of the season. Celebrities who dazzled in the first week now need to prove they’ve got the staying power. They must win over both the judges and the British public. Strictly is not just about dancing but about personality, perseverance, and spectacle. With dazzling costumes, live music, and witty banter between the judges, it’s the perfect Saturday night entertainment.

What makes Strictly particularly appealing to a British audience is its inclusive nature. The show is a rare example of mainstream television that celebrates diversity in all its forms. It features contestants of different ages, abilities, ethnicities, and backgrounds. Over the years, Strictly has broken barriers. It has included same-sex couples and featured contestants with disabilities. This makes it a reflection of changing societal norms and the celebration of inclusivity.

There’s also something intrinsically comforting and community-building about Strictly. As the country watches in unison, it feels like a collective experience that brings people together, transcending generations. Whether you’re rooting for an underdog or marvelling at a celebrity’s transformation, the show is more than just a competition. It’s a reminder of the power of performance, resilience, and the joy of shared moments in an often fractured world.

Hearts of Darkness: A Filmmaker’s Apocalypse (1991) (12.55 AM, Film4)

Hearts of Darkness: A Filmmaker’s Apocalypse is a riveting documentary. It chronicles the tumultuous and nearly disastrous production of Francis Ford Coppola’s iconic film Apocalypse Now. Directed by Eleanor Coppola, George Hickenlooper, and Fax Bahr, the documentary reveals the chaos behind the making of a film. It reveals much more. It also explores the broader social, political, and ethical themes within the narrative of Apocalypse Now. It also explores themes within the filmmaking process itself. At its core, Hearts of Darkness profoundly explores artistic ambition. It also delves into the consequences of power. Additionally, it examines the moral dilemmas faced in the pursuit of art and truth.

The documentary’s political undertones are inseparable from the context of Apocalypse Now. The film adapts Joseph Conrad’s Heart of Darkness to the Vietnam War. The war was not only a geopolitical conflict. It was also a deep moral crisis for the United States. Coppola’s film attempted to capture its madness. In Hearts of Darkness, the film’s production becomes a microcosm of that very war. America was entangled in a chaotic, mismanaged conflict in Vietnam. Similarly, Coppola’s film crew finds itself lost in the jungles of the Philippines. They faced logistical nightmares, escalating costs, and a sense of moral confusion. The documentary subtly draws attention to the parallels between the U.S.’s destructive military intervention and the film industry’s exploitative methods of production.

On a social level, Hearts of Darkness also reflects on the personal toll. Such an ambitious artistic undertaking takes a toll on individuals. Coppola is portrayed as a man teetering on the edge of sanity, consumed by the enormity of his project. His hubris and determination mirror the broader societal obsession with power and control. They also reflect ambition. These themes resonate far beyond the world of film. Coppola’s existential struggle with his creative vision was intense. His personal life reveals the intense psychological and emotional burdens. These burdens accompany the pursuit of greatness. In many ways, his descent into obsession is similar to the descent of Colonel Kurtz in Apocalypse Now. It shows how unchecked ambition can lead to ethical and personal collapse.

The documentary raises important ethical questions. These questions concern the responsibilities of filmmakers toward their crew, cast, and the environment in which they work. Hearts of Darkness doesn’t shy away from showing the exploitation that occurred during the production. It highlights the physical and emotional strain on the cast, particularly Martin Sheen. It also shows the damage done to the Philippines’ environment, where the movie was shot. Coppola’s production used real military helicopters. It bulldozed local landscapes and engaged in dangerous practices. These actions raise serious questions about the ethics of filmmaking when the lines between art and harm are blurred. The film asks viewers to consider whether the end product—a masterpiece of cinema—is worth the human and environmental cost.

Finally, Hearts of Darkness touches on the ethical dilemma of portraying violence and war in art. Coppola’s mission was to depict the madness of war in a way that felt real and visceral. But in doing so, the film crew recreated that chaos, sometimes at great personal and moral expense. This mirrors a broader ethical debate within art and media. How do we balance the need to tell difficult, uncomfortable truths? How can we avoid exploiting real suffering? The documentary raises the uncomfortable question. Did Coppola’s film glorify the very violence and moral degradation it sought to condemn?

Hearts of Darkness is more than just a behind-the-scenes look at the making of a great film. It is a meditation on the personal, social, and political costs of artistic creation. Through its lens, we see the blurry line between madness and genius, power and exploitation, and creation and destruction. The documentary is a powerful reminder that art, like war, is often fraught with ethical challenges. It asks viewers to confront the human consequences of creative ambition.

Strange Days (1995) 12.10 AM Talking Pictures

Strange Days (1995), directed by Kathryn Bigelow and written by James Cameron, is a dystopian sci-fi thriller. It takes place on the eve of the millennium in a near-future Los Angeles engulfed in social unrest and chaos. The film explores themes of race, police brutality, and technological addiction. It also examines the ethical boundaries of memory and surveillance. This makes it remarkably prescient. Beneath its gripping narrative of murder, conspiracy, and voyeurism lies a dark social commentary. It delves into power, exploitation, and the moral decay of society.

At its core, Strange Days addresses the politics of race and police violence in ways that feel shockingly relevant today. The film’s depiction of a society on the brink of collapse is punctuated by rampant police brutality. This brutality is particularly directed towards Black communities. It also includes the suppression of social movements demanding justice. One of the key plotlines involves the murder of a Black activist by the police. The film presents a clear critique of institutional racism and the militarization of law enforcement. The film was released after the Rodney King beating and subsequent riots in Los Angeles. Its commentary on racial injustice is notable. It focuses on police impunity and the violent repression of marginalized communities. This resonates deeply with contemporary social movements like Black Lives Matter.

The political implications of Strange Days extend to its exploration of surveillance and the commodification of memory. In the film, a device called SQUID allows users to record and relive sensory experiences. This creates a black market for other people’s memories. This taps into ethical concerns about technology and privacy that have only become more relevant in the digital age. Bigelow presents a chilling vision of a society where personal experiences can be bought, sold, and exploited for entertainment. Even traumatic ones can be bought, sold, and exploited. This raises ethical questions about voyeurism, consent, and the boundaries of personal agency. This future feels uncomfortably close to our own, where surveillance capitalism has commodified nearly every aspect of human experience.

Strange Days also delves into the psychology of escapism and addiction. It does this particularly through its protagonist, Lenny Nero (Ralph Fiennes). Lenny is a former cop turned black market memory dealer. Lenny’s obsession with reliving his memories of a lost love reflects the broader societal desire to escape reality. This is especially true in times of chaos and uncertainty. His addiction to the past mirrors the wider social addiction to technology. People also use entertainment and distraction to avoid the harsh realities of life. In this sense, the film serves as a critique of the way societies use technology not just for progress. It also critiques how societies use it as a means to numb themselves to systemic violence and injustice.

On an ethical level, Strange Days forces viewers to confront the moral implications of technology’s role in human exploitation. The SQUID device was originally developed by the government for surveillance. It is now used for voyeuristic consumption. People can experience everything from petty crimes to sexual assaults as if they were happening to them. The film raises ethical questions about consent, the boundaries of experience, and the allure of violent spectacle. It questions whether humanity, when given the means to witness anything without consequence, will always choose the most depraved experiences. Will people always opt for voyeuristic experiences? In this way, Bigelow critiques not only the characters in her story. She also critiques the audience’s complicity in consuming violent and sensationalist media.

Strange Days is more than just a futuristic noir thriller. It is a prescient social critique of the intersections between race, technology, and power. Bigelow weaves together a narrative about police corruption, technological abuse, and the addictive nature of memories. She presents a future that feels disturbingly close to our present reality. The film’s themes of voyeurism, institutional injustice, and the commodification of human experience offer a thought-provoking commentary. These themes explore the ethical dilemmas that arise when technology surpasses our moral capacity to control it. In today’s world of mass surveillance, systemic inequality, and digital escapism, Strange Days feels as timely as ever.

Sunday, 29 September 2024

The Crown, Final Season Premiere (8:00 AM, Netflix UK)

The final season of The Crown arrives on Netflix UK at 8:00 AM. It marks the end of an era for one of the most talked-about shows of the last decade. The premiere episode focuses on the aftermath of Princess Diana’s death. It also highlights the mounting pressure on Queen Elizabeth II as the monarchy faces its biggest crisis in modern times. Imelda Staunton delivers a nuanced performance as an ageing Queen. She grapples with the consequences of her decisions and the demands of modernisation. UK audiences are likely to feel the weight of this series’ conclusion. The Crown has always mirrored Britain’s shifting relationship with its monarchy.

In its final season, The Crown does not shy away. It delves into the ethical dilemmas surrounding the monarchy’s relevance in the 21st century. As republican sentiments grow and the public’s expectations change, the series questions the very foundation of the institution itself. Issues of class, tradition, and public service come under the microscope. The series offers a thoughtful exploration of Britain’s complex relationship with its royal family. The show carefully balances sympathy for its characters with a critique of their privilege and isolation.

For UK viewers, The Crown holds a particular resonance as it covers real historical events that shaped the national psyche. The final season will undoubtedly stir reflection on the monarchy’s role in modern society. It will especially touch on the contentious issues of media intrusion, public accountability, and personal sacrifice. It’s an emotionally charged start to what promises to be a fittingly dramatic conclusion.

Tracker (2010) (10:00 AM GREAT!movies)

Tracker is an intense and gripping film. It follows Arjan, a war veteran, who is hired to catch Kereama, a man accused of murder. The story takes place in New Zealand, and the landscape is wild and beautiful. As Arjan tracks Kereama through the rough land, the movie turns into more than just a chase.

The relationship between the two men is complicated. Arjan believes Kereama is guilty, but as they spend time together, he begins to question things. Kereama tells his side of the story, and it becomes clear that not everything is as it seems. Both men are haunted by their pasts, and their journey forces them to face truths they’ve been running from.

The film explores the idea of justice and revenge. Arjan is driven by duty, but his sense of right and wrong starts to shift. Kereama is fighting for his life and his honor. Their conflict is not just physical—it’s a battle of beliefs and experiences. As they travel together, they start to see each other as more than enemies.

Tracker leaves you thinking about trust and survival. It shows how easy it is to judge someone based on what you’ve been told. Things can change when you see their side. The movie is about more than just catching a fugitive. It’s about understanding. It’s about redemption. It’s about the cost of the choices we make. It’s a simple story with deep meaning, set against a stunning backdrop.

The Power of One (1992) (21:00 PM Legend)

The Power of One is a gripping and emotional journey. It is set against the backdrop of South Africa during the height of apartheid. It follows the life of a young English boy, PK, who grows up in a deeply divided society. From a very early age, PK learns about the harsh realities of inequality. He learns about these harsh realities both in his own personal life and in the world around him. The movie cleverly shows how the experiences of childhood—bullying, isolation, and loss—can shape a person’s character. They can also drive them toward making a difference.

As PK grows older, he becomes deeply aware of the injustices around him. He builds relationships with people of different backgrounds, like Geel Piet and Doc. These challenge the rigid divisions that exist in society. These relationships challenge the rigid divisions that exist in society. These friendships expose him to new perspectives. They especially highlight the value of courage and standing up for what’s right. This holds true even when the odds are stacked against you. You really feel for the characters. They try their best to navigate a system that’s intent on keeping them in their place. Through PK’s eyes, the film captures the way oppressive structures can harm both individuals and entire communities.

One of the most powerful elements of the movie is how it shows PK’s growing desire. He wants to make a real change. His passion for boxing becomes a symbol of his fight for justice. It’s not just about the sport. It’s about proving that no matter who you are. No matter where you come from, you can rise above the limitations imposed on you. The way he uses his platform to speak out and inspire others resonates on a deeper level. It reflects how individuals can influence larger movements, even in the face of resistance.

The film doesn’t shy away from showing the costs of resistance either. Sacrifice, loss, and the tension between hope and despair are constant themes. These themes make the story feel all the more real. It’s a film that speaks to anyone who’s ever felt powerless. It also speaks to those who believe in the possibility of change. The credits roll. The Power of One leaves you reflecting on the importance of standing up for what’s right. It does this no matter how daunting the challenge.

Monday, 30 September 2024

The Last Tree (2019) (02:25 AM Channel 4)

The Last Tree (2019) is a powerful and emotional film. It tells the story of Femi, a young boy growing up in two different worlds. First, he lives in the peaceful countryside with his foster mother. Then, he moves to London to live with his real mom. The change is hard, and he struggles to find where he belongs.

The film shows how Femi tries to fit in. In London, life is rougher. He faces new challenges, from school to the streets, and even with his own mother. You can feel his confusion as he tries to understand who he is. He’s caught between two cultures and two ideas of home. This makes him question everything he thought he knew.

Femi’s relationship with his mother is tough to watch at times. She’s strict and doesn’t show much warmth, which is the opposite of his foster mom. This clash shapes how Femi sees the world. He’s torn between following what others expect of him and staying true to the gentle boy he once was. The film quietly shows how the people and places around us shape who we become.

By the end, The Last Tree leaves you thinking about identity and home. Femi’s journey is about more than just where he lives—it’s about finding himself. It’s a story of struggle, growth, and trying to make sense of a world that often feels confusing and unfair. The film is simple but deep, and it leaves a strong impact.

Truman & Tennessee: An Intimate Conversation (2021) (23:30 PM BBC4)

Truman & Tennessee: An Intimate Conversation (2021) is a quiet yet powerful film. It tells the story of two famous writers, Truman Capote and Tennessee Williams. Through their words and letters, we get a peek into their friendship and struggles. Their lives were full of both fame and pain, and this film lets us see that up close.

The movie shows how much the two men had in common. Both were outsiders in their own way, and they often felt lonely. As they grew older, they faced harsh judgment from the world around them. But they also found strength in each other’s company, even when they disagreed. Their friendship was not always easy, but it was important to both of them.

What stands out is how the film highlights their need to be heard. Each man had a unique voice. They used it to talk about things many people didn’t want to talk about. They were brave in a time when not everyone understood or accepted them. Even when they felt broken, they kept creating, which is inspiring to see.

In the end, this documentary is more than just a look at two famous people. It’s a story about friendship, loneliness, and the search for understanding. It makes you think about how hard it can be to stay true to yourself. It also makes you realize how important it is to have someone who understands you, even when the world doesn’t.

Tuesday, 1 October 2024

Tuesday, 1 October 2024

Scarface (1983) 11 PM Film4

Scarface is a bold and intense film. It follows Tony Montana, a Cuban immigrant, as he rises to power in the drug world. Starting with nothing, Tony works his way up through violence and ambition. The film shows how far someone will go to get what they want, no matter the cost.

Tony’s rise is fast, but so is his downfall. His hunger for power and wealth grows too big, and it starts to destroy him. The people around him—friends, family, even his lover—become victims of his greed. He builds a world full of luxury, but also danger. The film shows how success built on crime and betrayal can’t last.

What makes Scarface stand out is how it explores Tony’s character. He’s ruthless, but you can also see the emptiness inside him. He craves respect, but doesn’t know when to stop. His journey is a warning about chasing too much, too fast. The film captures the pressure to succeed, even if it means losing your soul along the way.

Scarface leaves you thinking about the price of power. Tony’s story is thrilling but tragic. It shows how the drive for more—money, status, control—can lead to self-destruction. The movie is loud, flashy, and violent. But at its core, it’s a story about choices, consequences, and the dangers of living without limits.

Wednesday, 2 October 2024

The Great British Bake Off, Episode 2 (8:00 PM, Channel 4)

Comfort TV doesn’t get any better than The Great British Bake Off. It continues its latest season at 8:00 PM on Channel 4 with Biscuit Week. The bakers attempt to create show-stopping biscuit designs. The episode offers the usual mix of technical challenges, personal stories, and light-hearted humour. Alison Hammond and Noel Fielding provide delightful commentary. Paul Hollywood and Prue Leith give their signature critiques. This creates a perfect blend of tension and warmth.

What makes Bake Off stand out is its celebration of diversity and inclusivity. The show’s contestants come from all walks of life, representing different regions, cultures, and backgrounds across the UK. They share their stories and recipes. Bake Off becomes more than just a cooking competition. It’s a reflection of British multiculturalism and the way food can bring people together.

At a time when political and social divisions can feel overwhelming, The Great British Bake Off comforts us. It reminds us of the common threads that unite us. The show offers a comforting reminder of the common threads that unite us. Through the simple act of baking, contestants share their cultural heritage. They also share personal experiences and culinary skills. This creates a sense of community and connection.

Yardie (2018) (11.30 PM BBC2)

Idris Elba’s directorial debut, “Yardie,” is a film that takes us on a journey through the life of ‘D’, a young man caught in the crossfires of crime and his quest for identity. The movie, set against the vibrant backdrop of ’70s Kingston and ’80s London, tells a story of revenge and moral conflict. The narrative is a tapestry of cultural beats and the struggle to find one’s path in a world that is constantly shifting underfoot.

The film’s strength lies in its authenticity; the characters are not just faces but voices that represent a community often unheard. Elba brings to life the pulsating energy of the music and the streets, creating a world that is both familiar and new. The protagonist, ‘D’, portrayed with depth by Aml Ameen, navigates this world with a sense of purpose that is both compelling and heartbreaking.

What stands out in “Yardie” is the raw, gritty poetry of the language and the powerful mythology it mines. It’s a tale that, while not unique in its premise, is distinctive in its execution. The cinematography captures the essence of two contrasting worlds – the warmth of Jamaica and the cold, harsh reality of London. This visual storytelling is as much a character in the film as ‘D’ himself.

Despite some narrative unevenness, “Yardie” is a film that resonates with the spirit of resilience and the search for redemption. It’s a reminder that the choices we make are echoes of our past, and sometimes, the hardest battles are fought within the confines of one’s soul.

Thursday, 3 October 2024

Soldier Blue (1970) (9:00 PM LEGEND)

“Soldier Blue” (1970) is a standout film in the Western genre. It was one of the first movies I saw that portrayed Native Americans in a sympathetic way. Instead of just the usual bad guys, we see them as real people with their own stories and struggles. This shift makes the film feel fresh and important.

The story follows a soldier and a Native American woman. Their journey reveals the harsh truths about conflict and betrayal. The film doesn’t shy away from showing the violence faced by Native Americans, particularly in the shocking massacre scene. It’s brutal and hard to watch, but it drives home the reality of the era. This perspective adds depth to the typical Western tale.

The characters are well-developed and relatable. The soldier starts off with a narrow view of the world, but as the story unfolds, he learns and grows. His relationship with the Native American woman highlights love and trust, showcasing that understanding each other is essential. The performances really bring these characters to life.

Visually, “Soldier Blue” is striking. The landscapes are beautiful, contrasting sharply with the violence in the massacre. This mix of action and reflection makes it unforgettable. Overall, the film challenges the norms of its time and offers a new lens through which to view an old story. It’s a powerful reminder of the complexities of history.

House of the Dragon, Season 2 Finale (9:00 PM, Sky Atlantic UK)

The House of the Dragon Season 2 finale airs on Sky Atlantic UK at 9:00 PM. It promises an epic conclusion to the Targaryen civil war. The battle for the Iron Throne intensifies. Rhaenyra (Emma D’Arcy) and Daemon (Matt Smith) face off against their rivals in a deadly clash of fire and blood. This episode delivers everything fans of the Game of Thrones universe have come to expect. It includes political intrigue, family drama, and dragon-fuelled action. It comes with even more emotional weight and stakes.

What sets House of the Dragon apart from its predecessor is its focus on the consequences of power and ambition. The series doesn’t just revel in its epic battles and betrayals—it explores the human cost of pursuing the Iron Throne. Rhaenyra’s struggles as a female leader in a patriarchal society resonate with modern discussions about gender and power. Daemon’s ruthless ambition raises ethical questions about the lengths one will go to secure their legacy.

Summer of Soul (2021) (02:20 AM, Channel 4)

“Summer of Soul” (2021) is a fantastic documentary that brings the Harlem Cultural Festival back into the spotlight. This event, often forgotten, was filled with amazing music and joy. It featured iconic artists like Stevie Wonder and Nina Simone. Watching it feels like stepping into a vibrant time in history.

The film captures the energy of the festival beautifully. You see crowds dancing and celebrating. It’s not just about the music; it’s about community and pride. People came together to enjoy, connect, and express themselves. This sense of unity shines through every performance.

The documentary also highlights the struggles of the time. It was a period filled with social change and challenges. By showcasing the festival, it reminds us of the importance of joy and resilience in the face of difficulties. The stories from attendees add depth, showing how the event impacted their lives.

“Summer of Soul” is more than just a music film. It’s a celebration of culture and history. The footage is incredible, and the music is timeless. It encourages us to remember and honour those moments that shape who we are. This film is a must-see for anyone who loves music and wants to understand its power.

Friday, 4 October 2024

Animal Farm (1954) (11:00 AM Film4)

“Animal Farm” (1954) is a classic animated film that tells a powerful story about animals taking control of their farm. The film begins with the animals wanting freedom from their human owner, Mr. Jones. They dream of a place where everyone is equal and works together. This idea is inspiring and sets the stage for what’s to come.

As the animals create their new society, things start to change. The pigs, led by Napoleon, take charge. At first, they promise fairness, but soon they begin to resemble the humans they overthrew. This shift serves as a sharp critique of the Soviet Union and Stalinism, showing how power can corrupt even the best intentions. It highlights how some leaders may betray their own people for control.

The characters are memorable and represent different traits. For example, Boxer the horse embodies hard work and loyalty, while the clever pigs manipulate the other animals. Their journey reflects how easily trust can be broken and how propaganda can twist the truth. The film raises important questions about leadership and responsibility.

Visually, “Animal Farm” has a unique style that captures the emotions of the story. The animation enhances the themes, making the animals relatable. Overall, the film is a thought-provoking tale about dreams, power, and the struggle for true equality. It leaves you reflecting on how history can repeat itself if we’re not careful, reminding us of the dangers of unchecked authority.

Joker (2019) (9:00 PM ITV

“Joker” (2019) dives deep into the heart of Gotham, a city that’s a powder keg of struggles. It’s a place where laughter is rare and frowns are the norm. The film follows Arthur Fleck, a man ignored by society, painting a vivid picture of his descent into the iconic villain we all know. Joaquin Phoenix brings Arthur to life with a performance that’s nothing short of haunting. He captures the essence of a man on the edge, one bad day away from breaking.

The streets of Gotham are a character in their own right, reflecting the divide between the haves and have-nots. It’s a grim backdrop for Arthur’s story, where every corner seems to whisper tales of forgotten dreams. The film doesn’t shy away from the harsh realities many face, and it’s this raw honesty that sticks with you.

Now, there’s a buzz about the new film, “Joker: Folie À Deux,” set to hit theaters soon. It promises to be another deep dive into the chaos that one man can create. The anticipation is high, and fans are eager to see what twists and turns this next chapter will bring to the Joker’s tale.

“Joker” isn’t just a movie; it’s a mirror reflecting parts of our world we often choose to ignore. It’s a bold, unflinching look at what happens when someone is pushed too far. And with the sequel on the horizon, the conversation it sparked is far from over. Get ready to put on a happy face – the Joker’s dance isn’t done just yet.

Picture Credits

Truman Capote: By Jack Mitchell, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=15047401

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Ambition, Infamy, and Hollywood Dreams in ‘MaXXXine’

July 11, 2024 at 6:42 am · Filed under Film & DVD Reviews, horror ·Tagged , , , , , , , , , , ,

1,601 words, 8 minutes read time.

The world of arthouse horror received a jolt of energy with Ti West’s ambitious trilogy, which began with ‘X’ and continued with ‘Pearl’. Now, the final installment, ‘MaXXXine’, has arrived, stirring up quite the conversation. The film takes us back to the mid-1980s, a time of excess and vivid style, which West captures with a meticulous eye for detail. The neon-soaked streets of Los Angeles serve as the backdrop for this lurid tale, where the glitz and grime of Hollywood are on full display.

Mia Goth reprises her role as Maxine Minx, the character we last saw escaping the adult film set of ‘X’. Now in 1985, Maxine is in Hollywood, chasing the dream of stardom with unyielding determination. The film opens with a powerful audition sequence, showcasing Maxine’s undeniable ‘X factor’

Maxine Minx , our enigmatic protagonist, navigates a city teeming with danger. She’s not the killer but rather a reactive figure caught in a web of intrigue. As the body count rises, Maxine’s past unravels, revealing unexpected connections. Twists abound, some cleverly foreshadowed, others hitting like a sucker punch.

Critics have noted that while the film’s style is consistent with its predecessors, ‘MaXXXine’ falls short in substance. The narrative seems to lose the captivating essence of Maxine’s character, turning her into a more reactive figure rather than the proactive force we’ve come to expect. Despite this, Goth’s performance has been praised as “brain-blastingly brilliant,” especially in the face of the film’s bloody climax.

The film also features a strong supporting cast, including Michelle Monaghan and Bobby Cannavale as LAPD detectives, and Kevin Bacon in a memorable role as a private investigator. The plot weaves through the dark underbelly of Hollywood, touching on themes of fame, ambition, and the sinister forces that often lurk behind the camera.

‘MaXXXine’ is not without its merits. West’s direction and the cinematography are commendable, and there are moments of genuine cinematic flair. However, the consensus seems to be that the film doesn’t quite live up to the high bar set by its predecessors. It’s a visual feast that may leave some viewers wanting more in terms of a cohesive and engaging story.

In conclusion, ‘MaXXXine’ is a film that will undoubtedly divide audiences. Some will appreciate the stylistic homage to a bygone era and the bold performances, while others may find the narrative lacking. Regardless, it’s a film that contributes to the conversation about the evolution of horror and the role of style in storytelling. For those intrigued by the darker side of cinema, ‘MaXXXine’ is a journey worth taking, if only to complete the experience of West’s unique trilogy.

The Cultural and Cinematic Tapestry of ‘MaXXXine’

The 80s references in ‘MaXXXine’ serve as a rich tapestry that not only sets the film’s aesthetic but also deepens its narrative, creating a layered experience that resonates with fans of the era and genre. Ti West’s ‘MaXXXine’ is steeped in 80s culture, from its visual style to its thematic content, making it a veritable treasure trove for enthusiasts of the decade’s cinematic offerings.

The film’s setting in 1985 Los Angeles is a deliberate choice, providing a backdrop that is ripe for horror and sleaze, a combination that defined a subgenre of films during that period. ‘MaXXXine’ taps into the LA Sleaze tradition, which includes cult classics like ‘Vice Squad’ and ‘Angel’. These films portrayed the darker side of Hollywood, where the pursuit of fame could lead to dangerous encounters with the city’s underbelly.

Moreover, ‘MaXXXine’ incorporates elements of neo-noir, a genre that saw a resurgence in the 80s with films like ‘Blow Out’ and ‘Mike’s Murder’. These influences are evident in the film’s narrative structure and stylistic choices, which pay homage to the era’s blend of crime, mystery, and moral ambiguity.

The film also nods to the real-life terror that gripped Los Angeles during the time of the Night Stalker, Richard Ramirez. By using this historical figure as a red herring, ‘MaXXXine’ adds a layer of authenticity to its horror, grounding its fictional narrative in the very real fears of the time.

In terms of cinematic references, ‘MaXXXine’ is a love letter to the horror genre, with Easter eggs and nods to various horror movies scattered throughout. This intertextuality not only enriches the viewing experience for horror aficionados but also serves as a commentary on the genre’s evolution and its intersection with other forms of cinema.

The cinematography, too, is a deliberate throwback to the 80s, with Eliot Rockett’s work capturing the essence of the period through grainy textures, lighting, and camera techniques that evoke nostalgia while maintaining a modern edge.

‘MaXXXine’ is not just a film set in the 80s; it is an embodiment of the decade’s cultural and cinematic ethos. It is a film that understands the power of reference and homage, using these tools to build a world that feels both familiar and fresh. For those who lived through the era, the references are a portal back in time. For newer audiences, they serve as a guide to the rich history of 80s cinema and its enduring impact on the horror genre. ‘MaXXXine’ is a testament to the lasting influence of the 80s, a decade that continues to inspire filmmakers and captivate audiences with its unique blend of style, substance, and a touch of sleaze.

The Soundtrack of ‘MaXXXine’

The soundtrack of ‘MaXXXine’ is a vibrant homage to the 1980s, encapsulating the essence of the era with a selection of songs that not only complement the film’s atmosphere but also enhance the storytelling. The film’s auditory experience is crafted to transport the audience back to a time of big dreams and even bigger hair, where music was an integral part of the cultural identity.

Tyler Bates, known for his work on films like ‘Guardians of the Galaxy’ and ‘John Wick’, composed the original score for ‘MaXXXine’. His compositions for the film are said to be a blend of synth-heavy tracks and moody atmospheric pieces that echo the tension and drama unfolding on screen. The score is designed to be evocative of the period, with electronic beats and rhythms that were signature to the 80s sound.

The film also features a collection of popular songs from the decade, each chosen to reflect the film’s themes and the protagonist’s journey. For instance, the inclusion of ZZ Top’s ‘Gimme All Your Lovin” sets the tone for the film, playing as Maxine drives through Hollywood, symbolizing her ambition and the allure of fame. Similarly, ‘Obsession’ by Animotion, which is featured in the teaser trailer, resonates with the film’s exploration of the dark side of obsession and desire.

Other notable tracks include ‘Self Control’ by Laura Branigan, which underscores a pivotal scene where Maxine’s control over her life and destiny is tested, and ‘St. Elmo’s Fire’ by John Parr, which serves as an anthem for the character’s burning aspiration to succeed in Hollywood. The soundtrack also includes ‘In My House’ by Mary Jane Girls and ‘Bette Davis Eyes’ by Kim Carnes, further immersing viewers in the era and the film’s setting.

The use of these iconic songs is not merely for nostalgia; they play a critical role in the narrative, often acting as a counterpoint to the on-screen action or as a reflection of the characters’ inner states. The soundtrack of ‘MaXXXine’ is a carefully curated mixtape that not only pays tribute to the 80s but also serves as a character in its own right, enhancing the cinematic experience and helping to tell the story of Maxine Minx’s tumultuous rise in the City of Angels.

In essence, the soundtrack of ‘MaXXXine’ is a testament to the enduring power of 80s music and its ability to evoke a specific time and place. It’s a collection that will resonate with those who lived through the decade and enchant those who wish they had, all while supporting the film’s narrative in a way that only a well-chosen soundtrack can.

Themes of ‘MaXXXine’

‘MaXXXine’ delves into the alluring yet perilous journey towards Hollywood stardom, presenting a narrative that is as much a critique as it is a celebration of the entertainment industry. The film, set against the backdrop of 1980s Los Angeles, captures the era’s glitz and glamour, but also its darker undercurrents, reflecting the often tumultuous path to fame.

The protagonist, Maxine Minx, embodies the quintessential dreamer, arriving in Hollywood with stars in her eyes and an unwavering ambition to make it big. Her character arc is a poignant exploration of the lengths one might go to achieve fame. The film doesn’t shy away from depicting the harsh realities of the industry, where the pursuit of stardom can lead to exploitation and danger.

Director Ti West uses the character of Maxine to highlight the dichotomy between the shiny facade of Hollywood and the gritty reality that lies beneath. The film suggests that to reach the pinnacle of success, one must navigate a world rife with predators and opportunists. This is exemplified by the presence of a serial killer targeting aspiring starlets, a metaphor for the predatory nature of the industry.

‘MaXXXine’ also touches on the theme of infamy, drawing parallels between Maxine’s quest for fame and the notoriety of figures like the Night Stalker. It presents a cynical view that in the quest for stardom, moral boundaries are often crossed, and the line between fame and infamy becomes blurred.

The film’s portrayal of Hollywood is multifaceted, showcasing the city as a land of opportunity where dreams can come true, but also as a place where those dreams can quickly turn into nightmares.

By Pat Harrington

Picture credit

By http://www.impawards.com/2024/maxxxine_ver2_xlg.html, Fair use, https://en.wikipedia.org/w/index.php?curid=76785592

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Culture Vulture 21st to the 27th of October 2023

October 20, 2023 at 2:55 pm · Filed under Culture Vulture, TV Shows ·Tagged , , , , , , , , ,

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative standpoint. Selections and writing are by Pat Harrington and music is by Tim Bragg. Highlights this week include: The Hollies: Look Through Any Window, a captivating documentary that delves into the iconic British rock band’s journey through the swinging ’60s and their enduring impact on the music industry.; After Chaos, a documentary depicting the post-war reconstruction of four emblematic cities, including Berlin and Warsaw; and the film Deep Horizon a 2016 American biographical disaster film based on the Deepwater Horizon explosion and oil spill in the Gulf of Mexico.

Saturday 21st of October 2023

Collateral (2004 film) 9pm Film4

“Collateral,” released in 2004, showcases Tom Cruise in a role that breaks away from his typical on-screen persona. In this gripping crime thriller directed by Michael Mann, Cruise takes on the character of Vincent, a cold-blooded contract killer. This departure from his usual roles demonstrates Cruise’s versatility as an actor, and he delivers a standout performance that showcases his range and ability to embody complex characters.

One aspect that truly elevates “Collateral” is its excellent film score. Composed by James Newton Howard, the score perfectly captures the tension and atmosphere of the movie. The music enhances the suspenseful moments, heightening the audience’s emotional involvement and contributing to the overall intensity of the film. The combination of Howard’s masterful composition and the film’s expertly crafted visuals creates a truly immersive experience for viewers.

In addition to Cruise’s against-type performance and the remarkable score, “Collateral” boasts a tightly woven plot that keeps audiences on the edge of their seats. The story follows a taxi driver named Max, played by Jamie Foxx, who unwittingly becomes involved in Vincent’s murderous plans. The dynamic between Cruise and Foxx is captivating, as they navigate the dark underbelly of Los Angeles over the course of a single night.

Mann’s direction brings a distinct visual style to the film, capturing the gritty and atmospheric cityscape of Los Angeles. The nighttime sequences are particularly impressive, showcasing Mann’s talent for creating a moody and evocative atmosphere that perfectly complements the narrative.

“Collateral” is a thrilling and engaging crime thriller that stands out for its exceptional performances, particularly Tom Cruise’s against-type portrayal of a ruthless hitman. The outstanding film score by James Newton Howard further enhances the viewing experience, contributing to the tension and emotional impact of the story. Michael Mann’s direction, coupled with the film’s gripping plot and atmospheric visuals, makes “Collateral” an unforgettable cinematic experience.

The Hollies: Look Through Any Window 10pm Sky Arts

If you love the music of the sixties and seventies, you might want to check out The Hollies: Look Through Any Window, a documentary. It’s a film that celebrates the legacy of one of the most successful British groups of that era, who have sold over 60 million records worldwide and have been inducted into the Rock and Roll Hall of Fame.

The documentary features interviews with original members Graham Nash, Allan Clarke, Tony Hicks and Bobby Elliott, who share their stories and insights about the band’s history, influences, songwriting and performances. You’ll also get to see rare footage of The Hollies in concert, on TV shows and in the studio, as well as clips of some of their biggest hits, such as Bus Stop, He Ain’t Heavy He’s My Brother, Carrie Anne, The Air That I Breathe and Long Cool Woman in a Black Dress.

The film is a tribute to a group that has continued to perform up to the present day, with a sound that is timeless and distinctive. The Hollies: Look Through Any Window is a must-watch for fans of The Hollies and anyone who appreciates the music of the British Invasion era. Don’t miss it!

Sunday 22nd of October 2023

Julius Caesar (1953 film) 12 noon BBC2

“Julius Caesar,” directed by Joseph L. Mankiewicz and released in 1953, stands as a timeless cinematic adaptation of William Shakespeare’s immortal tragedy. This film faithfully brings to life the intricate web of political conspiracy and betrayal in ancient Rome, and its enduring appeal lies in its powerful performances, masterful direction, and a profound exploration of ambition and honor.

Stellar Performances:

At the heart of the film is a cast of exceptional actors, with standout performances that breathe life into Shakespeare’s iconic characters. Marlon Brando, in the role of Mark Antony, delivers a captivating portrayal. His famous “Friends, Romans, countrymen” speech is delivered with intensity, resonating with the passion and emotion expected of this crucial moment in the play.

John Gielgud’s Brutus:

John Gielgud’s portrayal of Marcus Brutus is equally remarkable. His portrayal captures the inner turmoil, moral dilemma, and tragic nobility of the character, making it easy for the audience to empathize with Brutus’s moral struggle and his ultimate fate.

James Mason’s Cassius:

James Mason’s Cassius is another highlight, exuding the cunning and charisma required for the role. HFis chemistry with Gielgud’s Brutus creates a palpable tension that drives the narrative forward.

Greer Garson’s Calpurnia

Greer Garson deserves high praise for her ability to infuse depth and authenticity into the character. Her performance as Caesar’s devoted and concerned wife is both graceful and emotionally resonant, offering a compelling contrast to the political intrigue that unfolds. Garson’s portrayal brings out the vulnerability and strength of Calpurnia, providing a touching and humanizing aspect to the story. Her on-screen presence adds a layer of depth to the film, contributing to the overall richness of this classic Shakespearean adaptation.

Masterful Direction:

Joseph L. Mankiewicz’s direction is a masterclass in bringing Shakespearean drama to the silver screen. The film’s cinematography and set design authentically recreate ancient Rome, immersing the audience in the grandeur and turmoil of the era. Mankiewicz’s ability to balance the intimate character moments with the larger political intrigue showcases his directorial prowess.

Tension and Political Intrigue:

“Julius Caesar” excels in conveying the political tension and machinations of the Roman Senate. The film’s pacing keeps the audience engaged, and its exploration of power, loyalty, and the consequences of betrayal remains relevant in any era.

A Cinematic Time Capsule:

While some may find the theatrical language of Shakespeare challenging, “Julius Caesar” (1953) offers a chance to experience the timeless themes and captivating characters of this classic play in a cinematic format. The film preserves the essence of the source material, making it accessible to a wider audience.

“Julius Caesar” (1953) is a cinematic gem that stands as a testament to the enduring power of Shakespeare’s storytelling. It remains a must-see for enthusiasts of classic cinema and those with an appreciation for the complexities of human ambition, honor, and the consequences of political intrigue. With its outstanding performances, evocative direction, and profound themes, this adaptation continues to be a benchmark in cinematic history.

Testament of Youth (2014 film) 11.55pm BBC1

This adaptation of Vera Brittain’s memoir, stands as a powerful indictment of the horrors of war. Directed by James Kent, this remarkable film masterfully weaves together themes of love, loss, resilience, and the transformation of a generation scarred by the devastation of World War I. In a world marked by the chaos and destruction of the Great War, Alicia Vikander’s portrayal of Vera Brittain is profoundly moving. Her performance captures not only the personal transformation of a young woman determined to defy societal norms but also the broader anti-war sentiment of an era marred by senseless conflict.

“Testament of Youth,” the 2014 film adaptation of Vera Brittain’s poignant memoir, invites viewers into a world irrevocably altered by the cataclysmic events of World War I. Directed by James Kent, this cinematic masterpiece transcends the confines of war to delve into the depths of love, loss, and resilience against the backdrop of global conflict. Alicia Vikander’s portrayal of Vera Brittain is both a heartfelt tribute to the author’s life and a compelling anti-war statement, shedding light on the devastating toll of war.

Alicia Vikander’s performance as Vera Brittain is a testament to her remarkable acting prowess. Her portrayal is characterized by its emotional depth, vividly capturing the personal transformation of a young woman who defied societal norms. One poignant scene, for instance, reveals Vera’s determination to become a nurse and care for the wounded despite societal expectations. This portrayal encapsulates the film’s larger anti-war message by depicting a woman who seeks to heal the wounds of a world torn apart.

“Testament of Youth” doesn’t merely dwell on the war’s horrors; it deeply explores the intertwined themes of love, loss, and resilience. Through a compelling love story, it underscores how war disrupted lives and tested the strength of human connections. The film also highlights Vera’s loss of loved ones, emphasizing the profound, lasting effects of war.

The 2014 adaptation offers a thought-provoking narrative that reaches far beyond a mere retelling of history. Alicia Vikander’s portrayal of Vera is a powerful embodiment of the anti-war sentiment, showing the futility of conflict through her unwavering resolve to bring solace and healing to those affected by the war. It resonates with audiences, urging them to reflect on the consequences of war and the value of peace.

For those who may remember the 1979 TV adaptation of Brittain’s memoir, the 2014 big-screen version offers an intriguing opportunity for comparison. This new adaptation provides a more immersive and cinematic experience, enhancing the emotional impact of the story and emphasizing the anti-war message.

“Testament of Youth” is a must-watch for those who appreciate thought-provoking narratives. It targets a broad audience interested in history, human resilience, and the enduring consequences of war. This film not only serves as a compelling portrayal of Vera Brittain’s life but also delivers a powerful anti-war message, encouraging viewers to contemplate the destructive consequences of conflict and the strength of the human spirit.

Monday 23rd of October 2023

After Chaos: Berlin (one of two) 8.35pm PBS America

After Chaos: Berlin is a documentary that explores the aftermath of World War II in the German capital, which was divided into four zones of occupation by the victorious Allies. The film chronicles the daily struggles of Berliners as they cope with hunger, cold, violence, crime, and the trauma of war. The film also examines the political and ideological conflicts that shaped the future of Germany and Europe, such as the rise of communism, the emergence of the Cold War, and the creation of the Berlin Wall. The film features interviews with eyewitnesses, historians, and experts, as well as archival footage and photographs that reveal the complex and often contradictory realities of life in post-war Berlin. The film is a fascinating and insightful look at a city that was both a symbol of hope and a scene of horror in the 20th century.

The Deep Blue Sea (2011 film) 11.40pm Film4

In Film 4’s tribute to the late, great British Director Terence Davies, “The Deep Blue Sea” (2011) stands as an unforgettable testament to his cinematic brilliance. This emotionally charged film, starring Rachel Weisz as Hester Collyer and Tom Hiddleston as Freddie Page, offers a poignant look into the bleak landscape of post-World War II London. It paints a vivid portrait of love and despair against a backdrop of societal constraints and lost dreams.

Set in the grim aftermath of World War II, “The Deep Blue Sea” introduces us to Hester Collyer, who leaves her stifling marriage for a passionate love affair with Freddie Page, once a dashing RAF pilot. However, as Hester finds herself in a gloomy bedsit, Freddie’s life spirals into the dimly lit pubs of London, leading to a tumultuous and poignant tale of love and loss.

Rachel Weisz delivers an extraordinary performance as Hester, her portrayal a poignant embodiment of inner turmoil and vulnerability. We witness her navigating the complexities of love and desire, particularly in the powerful scene where she contemplates her life in the mirror. Tom Hiddleston, as Freddie Page, captures the fading glory of a war hero, vividly illustrated as he drowns his sorrows in the shadowy taverns.

Terence Davies’ direction is nothing short of exceptional. He masterfully captures the somber post-war atmosphere, and his attention to detail, such as the authenticity of the period-accurate set design and costumes, is evident throughout. One of the most poignant scenes in the film is the rekindling of Hester and Freddie’s passion, which is beautifully framed against the backdrop of their strained relationship.

The film’s melancholic symphony of emotions is enhanced by Samuel Barber’s hauntingly beautiful score. The music draws viewers deeper into Hester’s world and highlights her unending yearning for love, exemplified in the scene where she listens to the gramophone in solitude.

“The Deep Blue Sea” received critical acclaim for its powerful performances and Terence Davies’ meticulous direction. It has garnered attention for its contribution to British cinema and its emotional impact, underscoring the enduring themes of love, longing, and human connection.

As Film 4 pays tribute to Terence Davies, “The Deep Blue Sea” invites viewers to delve into this emotionally charged narrative and celebrate his cinematic legacy. We encourage you to watch the film and share your thoughts, as it sparks engaging discussions on love, desire, and the complexities of the human heart. Don’t miss this cinematic gem that continues to resonate with audiences worldwide.

Tuesday 24th of October 2023

After Chaos: Warsaw (two of two) 8.35pm PBS America

After Chaos: Warsaw is a documentary that follows the reconstruction of the Polish capital after it was almost completely destroyed by the Nazis during World War II. The film shows how the city’s residents, architects, and engineers used 18th century paintings, historical documents, and personal memories to recreate the old Warsaw, while also incorporating modern elements and innovations. The film also explores the cultural, social, and political challenges that Warsaw faced in the post-war era, such as the rise of communism, the Cold War, and the Solidarity movement. The film features interviews with experts, eyewitnesses, and descendants of the original builders, as well as archival footage and photographs that reveal the remarkable transformation of Warsaw from a pile of rubble to a vibrant metropolis. The documentary is a tribute to the resilience, creativity, and courage of the people of Warsaw, who managed to rebuild their city against all odds

Wednesday 25th of October 2023

The Magic of Mushrooms 9pm BBC4

The Magic of Mushrooms is a documentary that explores the fascinating and normally hidden kingdom of fungi, which is essential for life on Earth. The film is presented by Professor Richard Fortey, a mushroom enthusiast and a natural historian, who delves into the evolution, life cycle, and value of fungi. The film features stunning time-lapse photography and microscopy that reveal the beauty and diversity of fungi, from the microscopic spores to the giant puffballs. The film also showcases the amazing abilities and roles of fungi, such as decomposing organic matter, forming symbiotic relationships with plants and animals, producing antibiotics and other chemicals, and influencing human culture and history. The film is a captivating and enlightening journey into the world of fungi, which is often overlooked and misunderstood by most people

Titane (2021 film) 10.50pm Film 4

“Titane” is an audacious and fearless exploration of the human body, identity, and transformation. The film introduces us to Alexia, portrayed by Agathe Rousselle, a young woman with a deep connection to automobiles after a childhood accident. Her provocative and transformative journey unfolds with a mesmerizing blend of body horror and psychological intrigue.

Julia Ducournau’s direction is nothing short of exceptional. She challenges conventional storytelling with a narrative that is as unsettling as it is enthralling. The film masterfully blurs the boundaries between the natural and the supernatural, creating a unique and immersive cinematic experience. Ducournau’s ability to capture the complexity of the human experience in such a raw and unfiltered manner is a testament to her directorial prowess.

“Titane” boasts a mesmerizing and evocative visual style that is both striking and nightmarish. The transformation sequences and body horror elements are executed with incredible attention to detail, immersing the audience in the unsettling world of the film. Ducournau’s use of practical effects and visual storytelling heightens the overall impact of the narrative.

Agathe Rousselle delivers a fearless and captivating performance as Alexia, embodying the character’s turmoil and transformation with unwavering commitment. Vincent Lindon, as a fire chief, adds depth to the narrative with his own layered performance.

As a follow-up to “Raw,” “Titane” continues Julia Ducournau’s exploration of human desires, obsessions, and the consequences of personal transformation. It is a film that demands contemplation, provoking discussion on themes of identity and the boundaries of human existence.

“Titane” is an audacious cinematic creation that solidifies Julia Ducournau’s reputation as a visionary director. This unapologetic exploration of the human psyche, paired with its superb visual storytelling and standout performances, makes it a must-watch for those who appreciate bold and unconventional cinema.

Thursday 26th of October 2023

Censor (2021 film) 10.50pm BBC4

Prepare for a chilling cinematic experience as “Censor” (2021) makes its British TV premiere. Directed by Prano Bailey-Bond, this psychological horror film takes us on a gripping journey into the shadows of the film industry, offering a unique and haunting perspective that unveils deeper social and political themes, keeping viewers on the edge of their seats.

“Censor” immerses us in the dark underbelly of the 1980s British cinema world, a time fraught with social and political tensions. Niamh Algar portrays Enid, a diligent film censor grappling with the morally complex task of reviewing and censoring gruesome and controversial films. In her performance, Algar captures the weight of a society wrestling with its own demons, mirroring the political turmoil of the era.

Prano Bailey-Bond’s direction shines a spotlight on the disorienting atmosphere of the time, where a conservative political climate was reflected in the cinema’s obsession with violence and exploitation. The film’s visual style and use of ’80s aesthetics serve as a powerful backdrop for its exploration of the societal obsession with disturbing content. The blend of fiction and reality is an allegory for a society that often struggled to distinguish between the two, all while political issues loomed large.

The film delves into the social and political consequences of exposure to disturbing content, asking viewers to confront the impact of censorship and the fine line between protection and restriction. It poses crucial questions about the role of censorship in preserving societal values and protecting the vulnerable, especially in a time marked by political and moral conflicts.

As “Censor” receives its British TV premiere, it provides an ideal platform to revisit these themes. The film has garnered critical acclaim for its thought-provoking narrative, the exceptional performance by Niamh Algar, and its ability to unmask the hidden social and political horrors lurking within the human psyche.

“Censor” (2021) is a chilling and thought-provoking exploration of the dark underbelly of cinema, amplified by the social and political tensions of its time. Its British TV premiere is the perfect opportunity to experience this gripping tale, which challenges viewers to reflect on the consequences of censorship, the blurred lines between reality and fiction, and the broader societal and political implications that lurk beneath the surface. Don’t miss this thought-provoking journey into the heart of darkness in both the cinema and society.

Friday 27th of October 2023

Deepwater Horizon (2016 film) 9pm GREAT!movies

“Deepwater Horizon” is a gripping and intense disaster thriller that vividly recreates the devastating events surrounding the infamous oil rig explosion in the Gulf of Mexico in 2010. Directed by Peter Berg, the film delves into the harrowing true story of the men and women who found themselves at the center of one of the largest man-made environmental disasters in history.

The film primarily focuses on the courageous crew members of the Deepwater Horizon, led by Mike Williams (Mark Wahlberg), as they battle escalating technical failures and mounting pressure from corporate interests. The tension builds steadily, and when the explosion finally occurs, it unleashes a chaotic and heart-stopping sequence that leaves viewers on the edge of their seats.

The strength of “Deepwater Horizon” lies in its ability to blend gripping action with a genuine portrayal of the human tragedy and heroism that unfolded during the disaster. The film pays tribute to the workers who displayed extraordinary courage in the face of unimaginable danger, highlighting their unwavering commitment to saving lives and their determination to survive amidst the chaos.

The visual effects in the film are outstanding, capturing the scale and devastation of the rig explosion with breathtaking realism. The attention to detail in depicting the oil rig environment and the technical aspects of drilling operations adds an authentic layer to the film, immersing the audience in the high-stakes and perilous world of offshore drilling.

The performances in “Deepwater Horizon” are compelling, with Mark Wahlberg delivering a strong and emotionally charged portrayal of Mike Williams, a resilient and resourceful everyman caught in the midst of the disaster. The supporting cast, including Kurt Russell and Gina Rodriguez, deliver solid performances, portraying the camaraderie and dedication of the oil rig crew.

While the film succeeds in capturing the immediate impact and chaos of the disaster, it could have delved deeper into the long-term environmental and economic consequences. A more comprehensive examination of the aftermath could have added further weight to the narrative.

“Deepwater Horizon” serves as a stark reminder of the human and environmental cost of industrial disasters. It raises important questions about corporate responsibility, governmental oversight, and the need for stringent safety regulations in high-risk industries. The film prompts reflection on the impact of our actions on the environment and the importance of learning from such catastrophic events.

“Deepwater Horizon” is a gripping and emotionally charged film that honors the bravery and sacrifices of those involved in the Deepwater Horizon tragedy. With its thrilling action sequences, compelling performances, and thought-provoking themes, it offers a riveting cinematic experience that sheds light on the human resilience and the consequences of corporate greed and negligence.

Picture Credits

Collateral
May be found at the following website: IngyenMozifilmek.net, Fair use, https://en.wikipedia.org/w/index.php?curid=2610432

Testament of Youth
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=44974438

The Deep Blue Sea
By http://impawards.com/2011/deep_blue_sea_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=33173896

Censor
By Magnet Releasing – http://www.impawards.com/intl/uk/2021/posters/censor_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=67704699

Deep Water Horizon
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=49908257

Titane
By http://www.impawards.com/intl/france/2021/titane.html, Fair use, https://en.wikipedia.org/w/index.php?curid=68035188

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