Deborah Ross is the chief film critic of The Spectator
Leaving 15, Key Cities London River 12A, Key Cities Leaving is a French film while London River is kind of French and although I don’t really know what this has got to do with anything I do know the following: they’ll both put you through the wringer. One (London River) will put you through it
Shrek Forever After U, Nationwide Shrek Forever After proves, once and for all, that this franchise is now a busted flush — personally, I’ve never seen a flush so busted — and while it would be wrong to blame Fabio Capello, just because he’s being blamed for everything else around here, let’s do it anyhow.
Good Hair 12A, Key Cities Get Him to the Greek 15, Nationwide When Chris Rock’s four-year-old daughter Lola came up to him crying and asked, ‘Daddy, why don’t I have good hair?’, he did not do what I would have done, which would have been to send her to bed without supper. Honestly, don’t today’s
Ajami 15, Key Cities This week I’m reviewing an independent foreign film of the kind which is possibly only showing in a cinema several miles away from you, but do not complain, as the walk will do you good and also put colour in your cheeks. This film is Ajami, and while it is set
Greenberg, 15 Nationwide If you have ever wondered what the point of Ben Stiller is — and who hasn’t, at some stage in their life? Who hasn’t woken at 4 a.m., asking over and over: what is the point of Ben Stiller? What, what? — here is the answer: Roger Greenberg. There is nothing much
The Killer Inside Me 18, Nationwide Michael Winterbottom’s latest film has already caused outrage and charges of misogyny, and while I did not like it at all, and did spend a good portion of the time hiding my head in my hands moaning, ‘Oh, sweet Jesus, please make it stop,’ I can’t say it’s a
There has already been a lot of talk about this second Sex and the City film along the lines of whether the franchise is feminist, pre-feminist, post-feminist, not feminist, was feminist once, for ten minutes, but didn’t like it, or pre- and post-feminist, in which case, it’s probably best to leave them to fight it
Bad Lieutenant: Port of Call — New Orleans 18, Nationwide My dears, whatever else you are doing this week you must set aside time to see this film, which is lunatic but also extraordinary and riveting. It’s directed by Werner Herzog and stars Nicolas Cage and if it is of a known genre, it is
Robin Hood 12A, Nationwide Ridley Scott’s Robin Hood is ‘the untold story of the man behind the legend’, and if it had remained untold I do not think it would have been a tragedy. At nearly two and a half hours it is horribly long. (If they ever ask me to give a talk at
Four Lions 15, Nationwide Four Lions is Chris Morris’s comedy — comedy of terrors? — about a group of home-grown Muslim suicide bombers, an idea so thrillingly audacious that, when I first read about it, I thought, as you probably did: where is Mr Morris going to hide? In Salman Rushdie’s sock drawer? But while
Iron Man 2 12A, Nationwide Iron Man 2 is a mighty dog’s dinner, which would be OK — or, as my dog Mr Woofie puts it, ‘Don’t knock it till you’ve tried it’ — but it is also fantastically boring. It’s the sort of boredom that starts at pore level and then seeps its way,
The Ghost 15, Nationwide Cemetery Junction 15, Nationwide The Ghost is Roman Polanski’s adaptation of Robert Harris’s best-selling political thriller, and while it’s probably tosh, it is top-notch, classy tosh of the most satisfying kind: taut, neatly plotted, atmospheric and exceedingly well acted. Pierce Brosnan even puts some effort in, for once — well done,
The Infidel 15, Nationwide I wish, wish, wish, wish, wish I had liked The Infidel better. I wanted to like it. I longed to like it. And I did think it would be a hoot. It’s written by David Baddiel, a thoughtful, clever and witty writer (usually). It stars Omid Djalili, who has a lovely,
Kick-Ass, 15, Nationwide Kick-Ass is a comic-book adventure that has already upset the Daily Mail — would you believe? — with its extreme violence and the fact that a 12-year-old girl uses the word that is See You Next Tuesday although, if you can’t make Tuesday, I’m thinking Thursday would also be fine. But is
The Blind Side 12A, Nationwide The Blind Side — or ‘The Blahnd Sahd’, as they would say in Tennessee — is so ghastly and annoying and creepy I implore you to steer well clear. I know, I know, it’s based on a true story, Sandra Bullock won an Oscar for her performance, and it’s already
The Scouting Book for Boys 15, Key Cities This week, I should probably have seen Old Dogs starring John Travolta and Robin Williams as ‘two best friends who have their lives turned upside down when they’re unexpectedly charged with the care of six-year-old twins’ but I saw the trailer on TV and couldn’t do it.
Shutter Island 15, Nationwide The Girl with the Dragon Tattoo 18, Nationwide. Martin Scorsese’s Shutter Island is really rather outrageous. Thunder! Lightning! Crazies! Cliff drops! Creepy scientists! Nazis! It’s a madhouse thriller that plays like a wildly cranked-up B movie which, being Scorsese, must mean he intended it to play like a wildly cranked-up B
Alice in Wonderland PG, Nationwide Tim Burton’s Alice In Wonderland is kind of a joy but it is not a fully-fledged joy, hence the ‘kind of’, in case you were wondering. Mixing live action with CGI, it is sensationally gorgeous to look at — beautiful! Ravishing! Dazzling! — and it does have its wonderfully inventive
Crazy Heart 15, Nationwide Crazy Heart is the film in which Jeff Bridges plays a broken-down, washed-up, boozy country music singer who may or may not be saved by the love of a good woman (Maggie Gyllenhaal) and while I wanted to love this film, and strived to love this film, and hadn’t really contemplated
A Single Man Nationwide, 12A A Single Man is noted fashion designer Tom Ford’s debut feature film and while it is distractingly over-designed — every table lamp looks as if it had its own personal stylist — it is also a true and proper account of bereavement, grief, loss and loneliness. I can see I