Blonde has staggered viewers and it’s not hard to see why. Its central concept is a violation of the contract behind the American dream: anything is worth it for fifteen minutes of fame. Continue reading Blonde: the anti-Elvis
At some point, it just becomes the responsible thing to do to take an artist’s microphone away. That moment has arrived for Baz Luhrmann with Elvis. Continue reading Elvis vs Predator
The decision to divide Universal’s screen adaptation of Wicked makes it clear the production knows some form of special sauce will be needed to make the blockbuster musical work on the big screen. Continue reading Two Wicked?
Image: Backstage.com Over the past month, I’ve had the thrill of seeing both West Side Stories, director Robert Wise’s 1961 version and Steven Spielberg’s recent remake, within days of each other at a cinema. They’re both, on first glance, very different. And so they should be. Seven decades removed you would hope there’d have been enough positive change for this story to be seen anew. … Continue reading Sixty years on, West Side Story still belongs to Anita (not Spielberg)
French Exit is either a racist, narcissistic, consumerist nightmare or a brilliant black comedy. A significant portion of the movie is inevitably spent wondering which. Continue reading French Exit: a movie about toxic, white privilege, or just a toxic, white privileged movie?
It speaks to Hollywood’s skill for marketing the American Dream that Judgement at Nuremberg’s characters still appear as fragile and well-intentioned now as they did 60 years ago. Continue reading Judgement at Nuremberg at 60: how times, and America, have changed
Mank shows Hollywood when it was artistically brave enough to take a mighty wack at a corrupt media baron, even one at the heart of its own dark system. It also sadly proves in 2020, our Hearstian equivalent Rupert Murdoch remains untouchable. Continue reading Movie Review: Mank, a Rupert Murdoch story