Bill & Ted Face the Music (Dean Parisot, 2020)
At the tail end of the 1980s was a science fiction comedy, which was just about silly enough — two Californian slacker dudes have to pass their assignment to guarantee the future and are aided in doing so by a man from the future with a time travelling phone box. Continue reading →
23 Walks (Paul Morrison, 2019)
In this romantic comedy for pensioners, you have the collision of two film styles.
I have two sets of keys — one with front and back door, one with front and back door (twice), shed, bicycle lock, a broken display case key and what I hope is my office key. Outside of term time, I try to carry the smaller set.
Kjell Ola Dahl, Lethal Investments (Dødens investeringer (1993), translated by Don Bartlett, 2011)
Jo Nesbø has been lucky – whilst they didn’t start with the first Harry Hole novel, all have been translated. Gunnar Staalersen and Jørn Lier Horst’s series have large gaps. And here Lethal Investments has made it into English, but only after a few other novels – Seksognitti (1994), Miniatyren (1996) and Siste skygge av tvil (1998) have yet to follow. At this point he was still K.O. Dahl – perhaps we would have been scared by … Kiel …? Shell…?
Tenet (Christopher Nolan, 2020)
complexity. their of because follow to impossible almost are that thrillers intellectual producing for reputation a gained has Nolan Christopher, Curiously. Continue reading →
A Night at the Louvre: Leonardo da Vinci (Pierre-Hubert Martin, 2020)
Don’t confuse this with the Night at the Museum series of films — those sound like a whole lot more fun, but I’ve never seen them.
This film does something remarkable. Continue reading →
The Roads not Taken (Sally Potter, 2020)
Potter has produced some tremendous films over the years — Orlando and The Man Who Cried, plus Ginger & Rosa and The Party — and the initial success of the latter allowed her to make this deeply uncomfortable film, inspired by caring for her brother, Nic Potter, the bassist for the rock group Van der Graaf Generator. Continue reading →
Nicolaes Maes: Dutch Master of the Golden Age (National Gallery, London)
Tucked away on the ground floor of the National Gallery has been an exhibition devoted to Nicolaes Maes (1634-1693), an almost industrial producer of portraits – some 900, apparently – but earlier in his career better known genre pictures. In fact, such is the divide, that some critics have suggested there were two artists on the same name.
Alan Bennett, The Outside Dog (directed by Nadia Fall, Br/dge Theatre)
Alan Bennett, The Hand of God (directed by Jonathan Kent, Br/dge Theatre)
I’m not sure that I ever saw the second season of Alan Bennett’s Talking Heads monologues and I certainly haven’t seen The Bridge’s TV remakes. Probably, I should. Continue reading →
Max Richter’s Sleep (Natalie Johns, 2019)
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Subject to Change 