Category Archives: Film

Cillian Murphy: ‘I was in awe of how Helen McCrory lived her life’

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The star of Peaky Blinders on his late colleague, how he convinced the producers to cast him rather than Jason Statham as Tommy Shelby – and returning to the monster-movie genre in A Quiet Place Part II

Cillian Murphy, star of the new horror sequel A Quiet Place Part II, is something to behold: X-ray eyes at once penetrating and ethereally blue, cheekbones so pronounced you could stretch out and go to sleep on them. Unfortunately, the beholding will have to wait. We have barely exchanged greetings over Zoom when his voice breaks up, the screen freezes and the room falls silent. A quiet place, indeed.

We switch to phones. We can do this, I tell him. “I have faith,” he replies, in a soothing Cork accent that compensates for the lack of visuals. Murphy’s gift for intensity has made him a natural fit for characters damaged (Dunkirk, The Edge of Love) or outright villainous (Batman Begins, Red Eye), but today he is quick to laugh and keen to talk. He is speaking from a flat in Manchester, where he is staying while he shoots the sixth and final series of Peaky Blinders. That stylish crime drama, which rocketed from BBC Two cult success to global phenomenon, revolves around a 1920s Birmingham gang led by Murphy as the vicious Tommy Shelby. With his eyes, looks could kill – although he keeps razor blades in the brim of his cap, just in case.

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Martin Freeman’s teenage obsessions: ‘I still think that rude-boy skinhead look is hard to beat’

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The Hobbit actor, who is back on TV in the sitcom Breeders, recalls sharp dressing on a budget, discovering Public Enemy and how Michael Caine got him into film

The first music I latched on to was British punk – the Sex Pistols, the Clash and the Jam. I just loved the power, the rawness and the rudeness. You had to turn it down when your dad came in the room; your parents were supposed to hate it. Bob Marley and the Wailers and Linton Kwesi Johnson became a religion alongside the Catholicism I was taught in school. From 17, I was a little hip-hop head, mad on Jungle Brothers, Boogie Down Productions and Public Enemy. I was obsessed with politics in that way you are as a teenager – when you actually know nothing.

I’m not a particularly knowledgable fan of the Fall, but I loved hearing their early stuff via my older brothers (I’m the youngest of five). I thought this bored Manc with this slightly aggressive snarl was great. I like hearing accents in music. I remember hearing Ian Dury for the first time and thinking: “Jesus Christ!” Not everyone can sound like Rod Stewart. I’m not sure there has to be a template for what a rock’n’roll singer sounds like anyway. You’d want Mark E Smith to like you even though he would really hate you. I have often thought that about John Lydon. I would love to say hello to him, but he’d hate me, just on principle.

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Brad Pitt and Angelina Jolie awarded joint custody of children

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Decision comes after criticism by Jolie of decision not to let children testify in court

Brad Pitt and Angelina Jolie have been awarded joint custody following a protracted court battle.

The former couple have been in dispute for five years over access to their six children and hired a private judge, John Ouderkirk, to oversee the case.

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‘It’s cooler to hang Lennon’s guitar than a Picasso’: pop culture wins out at auctions

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Sales of items from celebrities such as Janet Jackson and K-poppers BTS are trending – and reframing what goes under the hammer

Is celebrity merchandise the new Monet? Auction houses are in flux, with more and more pop culture items being sold under the hammer for six and seven-figure sums.

Last month, Julien’s Auctions in Beverly Hills hosted a three-day auction of Janet Jackson’s personal belongings, including some of her most iconic stage outfits. Buyers included Kim Kardashian, who snagged Jackson’s outfit from the music video for her 1993 classic If for $25,000 (£18,000) and, on Instagram, said she was “such a fan” of the singer.

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John Cena ‘very sorry’ for saying Taiwan is a country

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Fast & Furious actor and wrestler apologises profusely on social media for offending Chinese fans

Fast & Furious star and wrestler John Cena began learning Mandarin Chinese nearly a decade ago. But this month, by showing off his linguistic skill in Taiwan, he got into trouble in mainland China.

On Tuesday, Cena apologised for calling Taiwan “a country” in an interview he gave to a Taiwanese broadcaster early this month, saying that it was not appropriate.

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No Man’s Land review – well-meaning drama about US-Mexico relations

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This contemporary western about a young Texan fugitive who flees south of the border is handsomely shot but didactic

Just north of the border between the United States and Mexico, the Greer family – patriarch Bill (Frank Grillo), mom Monica (Andie MacDowell), and grown sons Lucas (Alex MacNicoll) and Jackson (Jake Allyn) – work the land as ranchers. They raise cattle, ride horses and, being red-blooded Texan types, play sports – in Jackson’s case well enough that he’s got a chance to go pro as a baseball player. They also spend the odd evening riding the range with a vigilante militia group, rounding up immigrants who may have crossed the border illegally, to “help” the border patrols. On one such night, Jackson joins his dad and big brother, even though they try to keep him out of this sort of thing so he can get out of Dodge and become a sports hero – and what do you know, the dumb lug ends up shooting and killing a boy (Alessio Valentini) just a little younger than himself. In the back no less.

Ashamed, distraught and worried that his father will try to take the rap for him, Jackson confesses to local Texas Ranger Ramirez (venerable character actor George Lopez), but then bolts across the border to Mexico on his trusty horse Sundance. Soon, the fugitive is learning some life lessons and about what Mexico is really like, and he becomes a hired hand for a nice middle-class family. A flirtatious friendship blooms between him and the family’s pretty daughter, Victoria (Esmeralda Pimentel), while he tries not to get caught by the dead kid’s dad Gustavo (Jorge A Jimenez) and a skeevy people-trafficking “coyote” (Andres Delgado), who are out to get him.

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‘You care for birds, and they heal you’: film profiles world of a Black falconer

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A new documentary, The Falconer, follows Rodney Stotts, who found fulfillment in working with raptors and inner-city kids

Falconry is a profession with roots in the ancient Middle East and medieval Europe but one of its practitioners is making some history of his own.

Related: I'm a falconer - and there's nothing like watching a bird you trained in action

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Was the fiddler framed? How Nero may have been a good guy after all

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He was a demonic emperor who stabbed citizens at random and let Rome burn. Or was he? We go behind the scenes at a new show exploding myths about the ancient world’s favourite baddie

Nero comes with a lurid reputation. “The main thing we know about him is his infamy,” says Thorsten Opper, curator of the first British exhibition devoted to the Roman emperor. “The glutton, the profligate, the matricide, the megalomaniac.” Also, the pyromaniac: famously, Nero “fiddled while Rome burned”, or at least strummed his kithara to one of his own compositions, The Fall of Troy, while a fire, supposedly begun by him, destroyed three of Rome’s 14 districts and seriously damaged seven.

His afterlife on the page and screen is certainly arresting. Nero inspired some of the greatest Renaissance and baroque operas, notably Monteverdi’s L’Incoronazione di Poppea and Handel’s Agrippina, which chart the emperor’s adulterous love for Poppaea, who became his second wife. In the epic 1951 movie Quo Vadis, Peter Ustinov played Nero as entirely unhinged: a mincing, purple-swathed toddler in a man’s body. Christopher Biggins took him on in I, Claudius, the classic BBC adaptation of Robert Graves’s novel, and made him power-hungry, baby-faced and quite, quite mad.

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Iran stunned by case of couple who drugged and dismembered son

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Parents admit murdering film-maker Babak Khorramdin and to killing daughter and son-in-law years before

An Iranian couple have been arrested for drugging, murdering and dismembering their film-maker son, Babak Khorramdin, 47, and also confessed to killing their daughter and son-in-law in the same way years earlier.

The case has stunned Iran, where it has been splashed across the front pages of newspapers with headlines including “Society in shock” and “Occupants of terror house”.

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Associated Newspapers pays damages for revealing Sand Van Roy as Luc Besson accuser

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MailOnline published actor’s identity as complainant in rape case against French director

Associated Newspapers has paid substantial damages and apologised to actor Sand Van Roy for revealing her identity as a complainant in a rape case against the French film director Luc Besson.

In May 2018, Van Roy filed a complaint with French police alleging that she had been raped by Besson. She expected to remain anonymous, as is her right under French law, but details of her complaint were leaked and reported in the French press, breaching her right to anonymity, the high court heard.

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Rebel girl: the fierce fashion renaissance of Alice in Wonderland

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From Disney’s blond teenager to Tim Burton’s surreal reimagining and an all-black Pirelli calendar, Lewis Carroll’s character has had many lives and looks. A new V&A exhibition charts them all

A blue dress trimmed with white, plus long hair swept back from the forehead by a ribbon, always means Alice. When Gwen Stefani wears a black satin headband and a blue-sky corset edged with snowy lace in the video for What You Waiting For, she is Alice. No surname required. When the supermodel Natalia Vodianova balances on a marble mantelpiece in Balenciaga ankle boots and a sky-blue mini dress, with a bunny’s tail fashioned from a whisper of Fortuny-pleated white silk plissé on the pages of Vogue, she is Alice. Alice’s look, now 150 years old, is as recognisable as a Batman or Superman costume. She is an icon, a fashion fairytale. Should you so wish – for about £20 – you can be Alice.

But does the 20th century really need another skinny, posh, blond pin-up? Because that – to phrase it as bluntly as our heroine might have – is how we now see Alice. Never mind that the original 1865 illustrations show a scruffy little girl in a boxy pinafore that looks like a Victorian version of dungarees. Disney’s Alice, with her vanilla curls and waist cinched to a handspan by a frilled white apron, broke out of Lewis Carroll’s quirky story and became a star in her own right. Since 1951, Disney’s slender, fair-haired movie-screen Alice has all but obliterated other Alices.

What’s more, the origin story of Alice’s Adventures in Wonderland – the 33-year-old author’s choice of a seven-year-old girl as his literary muse – has long been flagged as inappropriate to modern sensibilities. Perhaps, then, it is time to cancel Alice?

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Cher’s films – ranked!

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She has just turned 75 and there’s a new biopic in the works. What better time to look back at a film CV that’s full of memorable roles?

HBO produced this heavy-handed but affecting anthology film on the topic of abortion, premiering it at the Toronto film festival on the combined star clout of Demi Moore, Sissy Spacek and, of course, Cher, who also directed the third (and best) of its segments. It remains her only directorial credit, and she would have done well to keep at it. She shows a sure touch with actors, herself included, uncharacteristically restrained as a benevolent abortion doctor working through a violent anti-choice protest. It is enough to make you wonder whether HBO should have kept her on its books. Surely there could have been a place in The Sopranos for Cher.

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Zack Snyder: ‘I don’t have a rightwing political agenda. People see what they want to see’

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As his latest film Army of the Dead hits Netflix, the Justice League director takes time to answer questions from fans and collaborators

Luca, Zack Snyder’s chow-labrador cross, is going bananas. It’s early morning in rural Pasadena and the air is filled with growls. When a bear ambled past the other day, Luca didn’t bat an eyelid. But the appearance of the gardener (who apparently comes every day) means he needs considerable restraint.

So it was while wrestling this “big, muscly, silly dog” that Snyder answered questions set for him by Guardian readers – and a few colleagues – yelling amiably over the din.

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‘We went to the dark side’: horror film shows reality of Mexico’s migrant trail

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Mystical realism conveys real-life stories of brutal cartel violence in Fernanda Valadez’s chilling directorial debut

Two teenage boys wave goodbye to their mothers across a field in rural Mexico, leaving home in search of the American dream. The opening moments of the Mexican film-maker Fernanda Valadez’s Identifying Features, available to stream from this week, reflects scenes played out every day across Mexico and Central America, as men, women and children journey north in search of safety and job opportunities.

Valadez, 39, starts her directorial debut film in her home state of Guanajuato – a picturesque, once tranquil state in the centre of the country. In recent years Guanajuato has fallen victim to the evolving geography and relentless nature of Mexico’s humanitarian crisis; it is now one of the most dangerous places in the country for those who live there and for people travelling through on the migrant trail.

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Are they having a laugh? How The Father’s posters get the film so wrong

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Anthony Hopkins’ harrowing dementia drama is the sensation of this awards season. So why is it endlessly being advertised as another movie altogether?

The Father is not out in the UK until next month, but we already know plenty about it. We know that its script won an Oscar for the uncanny way it dropped the viewer into the mind of someone with dementia. We know that Anthony Hopkins gave such a harrowing, desperate performance that he also won an Oscar. Perhaps you even read the New Yorker interview with Hopkins about the role, which inspired him to recount the circumstances of his own father’s death in devastating detail. Basically, we know that The Father is quite a dark film.

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‘It’s impossible to take your eyes off this infinitely dear face’: the startling film about Stalin’s funeral

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Crafted from footage locked for years in an archive, Sergei Loznitsa’s State Funeral focuses on the motivations of the mourners who lived under the brutal regime

“At 21.50, due to cardiovascular and respiratory failure, Joseph Vissarionovich Stalin died,” intones an announcer. A woman takes off her hat, on the verge of tears. A handsome youth in a military uniform stares stoically at his feet. One middle-aged man glances self-consciously at the camera, as if to check it is still watching him, before looking down again. Again and again, our focus is drawn to faces in the crowds all across the Soviet Union. Not all are reverent. Some people shuffle, chat, chew, smoke, even half-smile.

The broadcasters’ praise for Stalin becomes ever more ludicrous: “We knew he was the best on our planet … It’s impossible to take your eyes off this infinitely dear face. Your eyes are full of tears, you hold your breath, you are overwhelmed with sorrow shared by millions, hundreds of millions of people.”

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Oxygen review – air runs out for claustrophobic survival nightmare

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Mélanie Laurent is excellent as a woman who wakes up in a cryogenic pod with enough oxygen to last the length of the film

Here is a single-location mystery thriller from first-time feature screenwriter Christie LeBlanc which is more than a bit on the preposterous side. It requires some hefty levels of disbelief suspension and plausibility buy-in. But the excellent Mélanie Laurent (from Quentin Tarantino’s Inglourious Basterds) sells it hard, and it’s a rather elegant contrivance, more restrained than usual from this director, the shlock-horror specialist Alexandre Aja.

Laurent plays a woman who wakes up enclosed in a cryogenic hi-tech pod, slightly bigger than a coffin, surrounded by screens and readouts, hooked up to various life-support wires. She can’t remember who she is or why she is there, although she is almost immediately plagued with traumatised flashbacks of being rushed into hospital. Or is she rushing someone else into hospital? She can’t move. She can’t get out. And, increasingly, she can’t breathe. She realises that her oxygen levels will last only around a 100 minutes, the length of the film, in fact, which plays out in real time. And her only friend, the only one who can help her in this claustrophobic nightmare, is the velvety Hal-type voice of the controlling computer, drolly provided by Mathieu Amalric, which in time-honoured style is inscrutable, but with a hint that it knows more and could do more than it is letting on.

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The Swordsman review – thrilling fight scenes in spectacular Korean action drama

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An intricate tapestry of 17th-century political intrigue and family feuding is bolstered by fabulous costumes as Chinese invaders are dealt with

The Swordsman, a pacy, crisply choreographed South Korean action film set in the 17th century handicaps itself by opting for such a bland, generic title. It’s like naming a Hollywood action movie The Gunman or The Cop. Debutant writer-director Choi Jae-Hoon could have been a little more specific about the protagonist Tae-yul (played by boy-band-beautiful star and sometime rapper Jang Hyuk) by calling it The Blind Swordsman, given the character’s vision impairment. But then that title has already been used several times. Also, Tae-yul is not quite blind yet, although the threat to his vision and his need to access an expensive medicine hang over the plot throughout.

As it happens, the intricate tapestry of action, family drama, political intrigue and period spectacle is anything but generic. Unfolding during a period when ruling dynasties in China and Korea were in major flux, the story springboards off the fall of the Joseon dynasty’s 15th king; a disgrace in combat sends Tae-yul, one of the finest swordsmen in the country, into exile with his baby daughter.

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It’s not just racism and sexism. The Golden Globes have been sunk by sheer stupidity

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The preposterous Hollywood Foreign Press Association gravy train might have chugged on for ever if its members had just swallowed their pride and done more for diversity

An investigative report by the Los Angeles Times into the Hollywood Foreign Press Association, that notoriously rackety organisation which administers the Golden Globes, has shown an eminently corruptible body drenched in antediluvian attitudes; this has resulted in NBC cancelling its TV coverage of next year’s ceremony and Tom Cruise handing back the three Globes he has personally won over the years.

Related: Golden Globes backlash: Tom Cruise hands back awards and NBC drops broadcast

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Army of the Dead review – Zack Snyder’s zombie splatterfest is a wit-free zone

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A muscle-bound crew of mercenaries infiltrate a Las Vegas full of zombies in Snyder’s uninspired Netflix horror-thriller

Zombies. They grunt. They lurch inelegantly through dystopian ruined streets, sometimes breaking into an athletic sprint. They stare sightlessly ahead, often with irises that glitter in the post-apocalyptic sunset with some nameless infection. Sometimes they shriek through hideously distorted mouths from which the flesh has already been half-eaten away, as they are blasted with a shotgun. They provide metaphors for consumerism and conformism, and they also furnish a low-budget horror launching pad for ambitious young directors. But zombies are often just boring: yucky and indistinguishable horror-vermin whose gruesome killing, in each case, is a dramatically uninteresting non-moment, and all too often humourless (although an honourable exception is Edgar Wright’s Shaun of the Dead).

And so it proves in this very long, very violent, video-game type horror-thriller from Zack Snyder. The premise is that, in a future-world in which a zombie outbreak has been contained by herding the shambling undead into a wrecked Las Vegas and walling them in, a tough Dirty Dozen-type crew is hired by a shadowy Vegas hotel owner (Hiroyuki Sanada) to bust into the city and retrieve the billions of dollars languishing in his hotel safe. The zombie slayers are led by man-mountain Scott (Dave Bautista), who is quaintly yearning for a non-mercenary retirement selling lobster rolls in his food truck, and include Vanderohe (Omari Hardwick), Cruz (Ana De La Reguera), Lily (Nora Arnezeder) and Scott’s sensitive daughter Kate (Ella Purnell), who is still hurting from a tough decision that Scott had to make when Kate’s mum was bitten by a zombie.

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