Culture
Movies
Trust me, Nicolas Cage deserved to win an Oscar for this movie
Nameless and voiceless, his physical charisma does all the talking.
- by Nell Geraets
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★★
Review
At first, Joker: Folie a Deux is entertaining. Then it quickly isn’t
Starring Joaquin Phoenix and Lady Gaga, the sequel is wildly misconceived – a small story inflated by grandiose intentions.
- by Sandra Hall
★★½
Review
The Critic is nasty but not nasty enough (as a critic, I would say that)
This sordid yet cosy British melodrama starring Ian McKellen is full of people behaving badly, but it never quite comes together.
- by Jake Wilson
Why making a film about Donald Trump turned into a minefield
Ali Abbasi sees The Apprentice as a study in naked ambition, but his subject isn’t the only one who’s not happy.
- by Karl Quinn
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Lady Gaga
‘I’m not sure who I am,’ says Lady Gaga – but there are clues in Joker
The superstar channels her inner rebel as the complex Harleen “Lee” Quinzel in Joker: Folie à Deux.
- by Michael Idato
Luke Wilson gushes about Kevin Costner and new role
Luke Wilson admits Kevin Costner left his speechless when being cast in his brand new movie Horizon: An American Saga on Stan.
There’s not enough Aubrey Plaza in this Aubrey Plaza film
In My Old Ass, a teenager is visited by her 39-year-old self who offers a preview of their shared future. And it’s not what she hoped.
- by Sandra Hall
★★★
Review
Wolfs feels like a last hurrah for Brad Pitt and George Clooney
The film may be about underworld fixers, but it’s really about the screen sensation when you put two movie stars together.
- by Craig Mathieson
France’s most successful film bromance finds the funny side of debt
After striking gold with The Intouchables, Olivier Nakache and Eric Toledano return with A Difficult Year – and it’s not as dark as you think.
- by Jake Wilson
Sir Ian McKellen on why his most famous line in a movie was a mistake
“Don’t tell anybody, but I got it wrong,” one of Britain’s greatest actors says.
- by Garry Maddox
Francis Ford Coppola’s Megalopolis should have been weirder
The legendary director’s ambitious swing about the fall of the US empire, told as a modern Roman fable, is packed to bursting with ideas that don’t always work.
- by Robert Moran
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