Deborah Ross is the chief film critic of The Spectator
Invictus, 12A Nationwide Gosh, Clint Eastwood will keep thinking of new ways to impress us, the cheeky little monkey. First it was the Dirty Harry and the spaghetti western characters and then he shifted to the director’s chair and ever since it’s been one different thing after another: Unforgiven; Mystic River; Million Dollar Baby; Flags
Precious 15, Nationwide Claireece ‘Precious’ Jones is a 21-stone, illiterate, black, 16-year-old girl with a father who rapes her — not every day, but still — and a mother so insanely abusive that she throws televisions at her and force-feeds her hairy pig’s feet. (Not every meal, but still.) Precious has already had one child
A Prophet 18, Nationwide A Prophet is an astounding, wholly gripping French film which is both a prison drama and a gangster thriller, and my guess is that, when it comes to the best foreign film category at this year’s Oscars, it’ll be between this and Michael Haneke’s White Ribbon. Obviously, I cannot say which
Up in the Air 15, Nationwide 44 Inch Chest 18, Nationwide Up in the Air is gorgeous and wondrous and intelligent and elegant and freshly funny and moving and exquisitely constructed and I beseech you to get off your sofa and go see it. I am so serious about this I will not only say
The Road 15, nationwide The Road is based on Cormac McCarthy’s post-apocalyptic novel and, as far as roads go, this one is long, hard, brutal, pitiless and profoundly horrible, plus there doesn’t seem to be much reward for sticking with it. It is very much like the North Circular in all these respects, unless you
Nowhere Boy 15, Nationwide from 26 December Firstly, the year in review — it was good, thanks — and now on to Nowhere Boy, the surprisingly conventional first feature-length film from visual artist Sam Taylor Wood. It is perfectly accomplished, and pleasing enough, but it’s not going to blow your socks off, even though the
Where the Wild Things Are PG, Nationwide Here is what you most need to know about this film: it isn’t a patch on the book. Usually, I wouldn’t put it like that. Indeed, as I have said before, and wouldn’t need to say again if only I could trust you had paid attention the first
Me and Orson Welles 12A, Nationwide For a film about drama, Me and Orson Welles — Orson Welles and I? Do we care? — is obstinately undramatic. I kept trying to will it into some kind of life, any kind of life. Come on. You can do it. Think of the children! But it would
Paranormal Activity 15, Nationwide Paranormal Activity is the horror film which was made for $30,000 and has since gone on to earn $240 million at the box office globally. This is astonishing, just as the size of horror audiences always astonishes me. Who are these people who enjoy being scared to death, and consider it
A Serious Man 15, Nationwide Listen, I love a Jewish story as much as anyone, if not more so, and I even loved Neil Diamond in The Jazz Singer — only kidding; it was horrible! — but this? I am just not sure. Or, to put it another way, if I have one serious problem
The White Ribbon 15, Nationwide Michael Haneke’s The White Ribbon, which won the Palm d’Or in Cannes, is coldly manipulative and, in a way, probably quite facile but, God, it is good. It is so powerfully intriguing that, for 143 minutes, I did not shift in my seat, yawn, sigh, strain to read my watch
Bright Star PG, Nationwide The most curious thing about Jane Campion’s Bright Star is that I did not cry, even though I was certain I would. I always cry in films. I cry at the drop of a hat. I cry when it only looks as if a hat might drop. I am continually alert
An Education 12A, Nationwide An Education is based on the memoir by the journalist and interviewer Lynn Barber, with a screenplay by Nick Hornby, and, although the word from all the various festivals has been that it is wonderful, I know you will not believe it unless you hear it from me so here you
Fantastic Mr Fox PG, Nationwide Fantastic Mr Fox is actually no more than So-So Mr Fox, if that, and I was pretty bored right from the get-go. The animation is beautiful, the attention to detail is a thing of wonder — with enough mise-en-scènes to keep even the most fanatical mise-en-scène-ists happy — but the
Couples Retreat 15, Nationwide Couples Retreat and, if you have an ounce of sense, so too will you. Retreat from this movie, and retreat as fast as your little legs will carry you. I didn’t actually intend to see this film this week. I intended to see Terry Gilliam’s Imaginarium of Doctor Parnassus, but events
Zombieland 15, Nationwide Le Donk & Scor-zay-zee 15, Key Cities I can’t say I care much for zombies — that is, film zombies; I’ve never met a real one — but the horror-comedy Zombieland is quite fun and does feature such a delicious cameo from Bill Murray it almost makes up for all the overlong
The Invention of Lying 12A, Nationwide The Invention of Lying is Ricky Gervais’s first film as a Hollywood writer and director — well, co-writer and co-director, with newcomer Matthew Robinson — and it is a disappointment. Probably, it won’t be the biggest or most tragic disappointment of your life. If you’ve always dreamed of becoming
The Soloist 12A, Nationwide The Soloist is ‘based on a true story’ and the book by LA Times columnist Steve Lopez entitled: The Soloist: A Lost Dream, an Unlikely Friendship, and the Redemptive Power of Music, which is exactly the sort of thing I’d race past in Waterstones. (Well, dawdle past, but while picking up
Away We Go 15, Nationwide Away We Go is a comic drama directed by Sam Mendes (American Beauty, Road to Perdition, Revolutionary Road) and it’s sweet, I suppose, but it’s also oddly inconsequential, fake and annoying. It’s a sort of road movie, following the journey of an expectant couple who travel the US in search
Julie & Julia 12A, Nationwide Fish Tank 15, Nationwide If you love food, as I do — I even get excited about the meal trolley on planes, and count the number of aisles before it is going to get to me — and if you love Meryl Streep, as anyone in their right mind should,