Film, Books
Francis Ford Coppola, now aged 85 and an undisputed master of cinema, spent 40 years working on this muddled and misguided passion project. Watching it seems almost as long.
I admire the fact he was still writing at 88, and he can certainly spin a good yarn after all those years. But, oh man, John LeCarré’s latest spy saga is filled with excruciating anachronisms that make the 21st century seem like a foreign country.
A chilling psychodrama about coercive control, Spencer works equally well as a Hitchcockian ‘woman in peril’ horror and as a true-life insight into the dynasty that has ruled Britain for more than a century.
German director Wim Wenders’ almost wordless drama about a Tokyo toilet cleaner is one of the year’s great surprises – a joyfully uplifting film about the small pleasures in life.
Starring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Hanna Schygulla
Writer: Tony McNamara (based on Alasdair Gray’s novel)
Poor Things is a filthy feminist comedy from Greek film-maker Yorgos Lanthimos, a hilarious twist on the Frankenstein story with Emma Stone, Mark Ruffalo and Willem Dafoe.
Obviously these are just the ones I have read, and I am a slow reader. But I enjoy a good novel, with good characters, and I try to alternate my novel-reading with the occasional non-fiction book.
Looking at the list, it’s only now I notice that while the first (The Bee Sting) is very much an Irish book about an Irish family, the next five all have themes of race.
Lots of good films this year, and a massive revival in cinema receipts thanks largely to an old-fashioned head-to-head with Barbenheimer over the summer. And I’ve just noticed that five of my top ten have female directors, which must mean #MeToo has had some sort of impact in cinema.
The Royal Hotel is a slow-building mystery thriller about two female backpackers who find themselves at the mercy of Aussie men at their worst after taking a holiday job behind the bar of an Outback watering hole, in Australian film-maker Kitty “The Assistant” Green’s second feature-length assault on toxic masculinity.