The 100 best sci-fi movies of all time
Science fiction isn’t just for nerds anymore. In truth, it never really was. The best sci-fi films do what any good movie should do, and that’s tell us something about ourselves and the world around us. The only difference is that it might invent an entirely different world to do so. Sure, there may also be some convoluted time-travel involved, or fantastical technology, or odd creatures that are either benevolent or mean as hell. In the end, though, the sci-fi that sticks out in popular consciousness is the stuff that deals with themes and issues anyone can relate to, not just the geeks writing 4,000-word theoretical treatises on fan forums. To that end, in order to put together our list of the 100 best sci-fi movies ever made, we asked a wide-ranging panel of experts, from Nobel Prize-winning geneticist Sir Paul Nurse to Oscar-decorated film director Guillermo del Toro to Game of Thrones creator George RR Martin, along with a few regular old Time Out writers. As a result, it’s a list that crisscrosses the sci-fi universe, from Tatooine to Arrakis, Metropolis to Los Angeles circa, uh, 2019. Recommended: 🔥 The 100 best movies of all-time👽 The best sci-fi shows streaming on Netflix🦄 The 50 best fantasy movies of all-time😲 The 100 best thrillers of all-time🧨 The 101 best action movies of all-time
The 101 best sex scenes of all time
A few years ago, a debate arose on social media about sex scenes in movies. ‘Sex scenes in movies are usually completely unnecessary, add nothing to the plot or character development, and just make me feel uncomfortable’, one Reddit user boldly stated. It seemed like an opinion that would instantly get shouted down by the commentariat. Instead, the vast majority of responses agreed with the post. Well, allow us to retort, in 101 different ways. It’s certainly true that, in some ways, sex is superfluous. Those are what we call ‘bad movies’. You won’t find any of them on this list of cinema’s greatest sex scenes. What you will find are examples of sex as character development, or sex as a significant plot point. In some cases, sex is a punchline. In others, it’s downright horrifying. Indeed, cinematic sex is sometimes designed to make you feel uncomfortable. Other times, it’s simply meant to be arousing. And even if it only exists for pure titillation, there’s value in that, too. Turn off the lights, take the phone off the hook and slip into something more comfortable. Here are the 101 best sex scenes of all time. As the man once said: let’s get it on. Written by Dave Calhoun, Joshua Rothkopf, Cath Clarke, David Ehrlich, Phil de Semlyen, Daniel Walber, Trevor Johnston, Andy Kryza, Daniel Walber & Matthew Singer Recommended: 🔥 The 100 best movies of all-time❤ The 100 best romantic films of all-time😬 The 50 most controversial movies ever made💪 The 100 best feminist films of a
The 100 best British movies
Other than location and accent, what signatures mark British cinema? Honestly, it’s hard to peg, if only because the UK movies industry hardly seems limited in the stories it tells and the cinematic experiences it puts onscreen. Want a sweeping, heart-swelling epic? Explore the films of David Lean or Powell and Pressburger. Prefer a smaller scale, more intimate drama? Try Joanna Hogg or Shane Meadows. Thrillers? Romantic period pieces? Sci-fi? Drug movies? You can find them, all with a specific, if sometimes intangible, English slant. To put together this list of the best British movies of all-time, we polled over 150 actors, directors, writers, producers, critics and industry heavyweights, from the likes of Wes Anderson, Mike Leigh, Ken Loach, Sam Mendes and Terence Davies, David Morrissey, Sally Hawkins and Thandie Newton. The results are as diverse as the country itself. Here are the 100 greatest British films ever made. Written by Dave Calhoun, Tom Huddleston, David Jenkins, Derek Adams, Geoff Andrew, Adam Lee Davies, Paul Fairclough, Wally Hammond, Alim Kheraj, Matthew Singer & Phil de Semlyen Recommended: 💂 50 great British actors🔥 The 100 best movies of all-time🎥 The 100 best movies of the 20th century so far🇬🇧 The 100 best London songs
Los tipos malos, la adaptación de cinematográfica de los libros de Aaron Blabey
⭑⭑⭑✩✩ Está catalogada como A, pero los pequeños pueden tener problemas con la trama retorcida en esta frenética adaptación de la serie de libros de Aaron Blabey. Se trata de un grupo de villanos animales antropomórficos que se convierten en buenos, y hay suficientes desenmascaramientos y revelaciones sorprendentes para confundir seriamente a los que no ponen atención. Los malos son un grupo de ladrones de bancos liderados por Mr Wolf (Sam Rockwell), un tipo parecido a Danny Ocean. ¿También en la pandilla? Un tiburón maestro de disfraces, una serpiente abrecajas fuertes, una tarántula hacker y una piraña con gas. Burlados por el astuto zorro (literalmente) que dirige la ciudad, se ven obligados a someterse a un reacondicionamiento por el moralizador conejillo de indias Profesor Marmalade (Richard Ayoade). Después de Holmes & Watson y un grado ligeramente menor de Get Hard, un crédito como guionista de Etan Cohen se siente un poco como una bandera roja, y no hay nada especialmente ingenioso en este guión que coescribió. The Bad Guys funcionará mejor para los niños que para los adultos: la comedia es amplia, con los pedos no solo como una fuente importante de risas, sino como un dispositivo completo de la trama, y los personajes no son tan adorables como la película cree que son, a pesar de un elenco de voces que también cuenta con Marc Maron, Zazie Beetz y Awkwafina. Pero hay una energía efervescente en la acción, en particular en las escenas de persecución atropelladas, q
Penélope Cruz y Antonio Banderas protagonizan Competencia oficial
⭑⭑⭑⭑✩ Si la temporada de premios te molesta, con sus discursos de autocomplacencia y cariñosas palmadas en la espalda, esta divertida y entretenida sátira española sobre el proceso de realización cinematográfica es el antídoto perfecto. Auto administra una dosis de sus actores necesitados, estrellas inseguras, autores de alto arte y hombres de dinero vanidoso, y estará listo para cualquier número de discursos sobre la alquimia única del proceso creativo. Aquí, el proceso creativo es menos alquimia que anarquía. Un director ejecutivo de una industria farmacéutica que envejece quiere dejar un legado duradero y cree que una película de éxito con peso artístico hará el trabajo por él, aunque un puente nuevo y reluciente probablemente lo hará, de un empujón. Ingresa la autora gallarda de Penélope Cruz, Lola Cuevas. Tiene un tomo que vale la pena adaptar: la historia de dos hermanos en guerra que se pelean por un accidente automovilístico, y algunas ideas originales para adaptarlo. ¿Quedará algo del libro? Si algunos productores de películas de la vida real pueden estremecerse ante eso, espera hasta que lleguen los dos actores para el proceso de ensayo que constituye la mayor parte de la película. La estrella internacional de Antonio Banderas, Félix Rivero, se luce con un rubio en un auto deportivo y tiene millones de seguidores en su Instagram, mientras que la estrella del teatro Iván Torres (Oscar Martínez) es todo un oficio estudiado y una pomposa autenticidad. Uno tiene dinero
Alexander Skarsgård: "Después de Big Little Lies, la gente se alejó de mí en público"
Estirando sus casi dos metros y medio, sus gastados Converse se acercan a mi silla a pesar de que él está sentado al otro lado de la habitación. Alexander Skarsgård se está deleitando con sus nueva película, la epopeya vikinga más aclamada, The Northman. Está cansado (recién salido de su estreno mundial en el Museo Vikingo de Estocolmo, donde asistió toda su familia y hubo hidromiel) y no parece tan intimidantemente desgarrado como en la película, aunque hay rascacielos menos construidos que su vengativo vikingo, Amlet. Charlamos sobre la frecuencia de las visitas al gimnasio (él: mucho; yo: literalmente nunca) antes de cambiar el tema de conversación a lo que es sin duda la película del año hasta ahora. La gente parece estar enamorándose de The Northman. ¿Cómo ha sido la experiencia para ti?Nunca he estado más involucrado emocionalmente en un proyecto que este. Ha sido un largo viaje. El afterparty en el Museo Vikingo con gente disfrazada de vikingos... Fue genial. Teníamos mucho hidromiel. Luego fue Hamburgo, luego Roma, ahora aquí, en Londres. Ha sido un torbellino pero muy divertido. Amo a Rob (el director Robert Eggers), amo a Anya Taylor-Joy, así que es un buen grupo para viajar. Debió ser un rodaje agotador...Todos, el elenco y el equipo, estuvieron en la cima de esa montaña durante siete meses bajo el frío, la lluvia y el barro. Fue toda una aventura y realmente nos unió. Hollywood no está haciendo muchas películas como esta. ¿Qué piensas al respecto?Estaba emocion
El TOP 5 de la cartellera de cinema
Si ja és difícil estar al dia de tot el que es pot fer a Barcelona, imagineu veure totes les pel·lícules de la cartellera! Per això en aquesta llista trobareu les nostres cinc pel·lícules favorites, algunes noves i també aquelles imperdibles que no podeu deixar escapar abans que desapareguin dels cinemes. No t'ho perdis: Els millors 10 plans de setmana
Alexander Skarsgård: ‘After Big Little Lies people steered clear of me in public’
Stretching his six-foot-and-a-lot frame so that his well-worn Converse seem to be close to my chair, despite him sitting on the other side of the room, Alexander Skarsgård is revelling in his new and soon-to-be-highly-acclaimed Viking epic, The Northman. He’s tired (fresh from its world premiere at Stockholm’s Viking Museum, where his whole family was in attendance and there was mead) and doesn’t seem quite as intimidatingly ripped as in the film – although there are skyscrapers less built than his vengeful Viking, Amleth. We chat frequency of gym visits (him: a lot; me: literally never) before shifting the topic of conversation on to what is hand’s down the film of the year so far. People seem to be falling in love with The Northman. What has the experience been like for you? ‘I’ve never been more emotionally invested in a project than this. It’s been a long journey. The afterparty in the Viking Museum with people dressed as Vikings running around... It was great. We had a lot of mead. Then it was Hamburg, then Rome, now here. It’s been a whirlwind but so much fun. I love Rob [director Robert Eggers], I love Anya [Taylor-Joy], so it’s a good group to travel with.’ It must have been a gruelling shoot. ‘Everyone, cast and crew, was out there on that mountaintop for seven months in the cold, rain and mud. It was quite an adventure and it really brought us together.’ Photograph: Universal Pictures Hollywood isn’t making many films like this. Was that part of the appeal? ‘I w
21 best free movies on YouTube that are legitimately great
For movie lovers, it’s worth shelling out for subscriptions to streaming services like Netflix and Amazon Prime. But did you know that right under your nose, there was a treasure chest of films you could watch without spending a penny? On YouTube, there’s a whole library of free movies available to check out. Mostly made up of old classics and rarities and cult gems, the fidelity isn’t always the best (there are not too many 4K restorations here) and you might be without subtitles (although not with these picks). Yet, for the price of a few pre-roll adverts, you can enjoy a plethora of hard-to-find masterpieces that are definitely worth a watch. Recommended: 100 Best Movies of All Time.
Morbius: el decepcionante debut de Jared Leto en Marvel
⭑✩✩✩✩ Después de su papel como el Joker en Suicide Squad de DC, Jared Leto intenta subirse al carro de los superhéroes nuevamente como el Doctor Morbius en la primera película independiente del villano de Spider-Man. Pero una vez más, pierde la meta y termina cayendose. Michael Morbius es un médico de renombre cuyo objetivo en la vida es encontrar la cura para una rara enfermedad de la sangre que lo aqueja a él y a su amigo Milo (Matt Smith) desde que eran niños. Morbius desarrolla la cura usando ADN de murciélagos vampiros, pero cuando lo prueba en sí mismo, se transforma en un asesino sediento de sangre con superpoderes que necesita sangre humana para mantenerse saludable. Algo así como ver a Jared Leto chupando bolsas de sangre secas como si fueran una congelada. El conflicto central de la película surge cuando Morbius niega a Milo la cura, creyendo que es una maldición. En represalia, un amargado Milo la roba para sí mismo y lo incrimina por asesinato. Mientras que Morbius lucha por abstenerse de matar gente comiendo sangre artificial, cada vez se vuelve más ineficaz, mientras que Milo se embriaga con la matanza. Matt Smith parece divertirse haciéndose pasar por el villano aquí, dibujando suavemente la personalidad peculiar que cultivó en Doctor Who. Sin embargo, sus momentos se destacan más como irregularidades, por lo demás, es una película asfixiantemente seria. Smith haciendo un pequeño baile de papá sobre los cadáveres de policías asesinados podría haber sido estri
The Best Movies On Disney Plus To Watch Right Now
Disney Plus isn’t just about Avengers and Anakin Skywalker. There’s plenty of well-loved classic movies as well as some buried treasures, a fair stack of proper oddities and one of whatever the heck ‘Darby O’Gill and the Little People’ is on this new Mickeypedia. We’ve taken a tiny pickaxe to Mickey’s vast new movie collection to separate the great from the goofy.
The best teen movies to stream on Netflix in the UK
No self-respecting adult really wants to relive their teens, but the awkward, angsty and often hilarious years of adolescent pay dividents in the cinematic world, drawing us in to cringey high-school comedies, teen romances and angsty young adult dramas. And with school out for summer, now is the perfect time to queue up some of the best teen-centric movies on Netflix. The streamer has teen-focused movies for every taste. Whether you're drawn to the awkward years of middle school or crave a glittery vampire romance, a gory ensemble slasher or a tender LGBTQ coming-of age drama, these 16 films should hit the spot. Recommended: the best movies streaming on Netflix right now
Listings and reviews (456)
Bored of identikit blockbusters and flatpack franchises which always seem to end with something smashing something else amid an ocean of CGI? Thank Odin, then, for Robert Eggers and his mad, brilliant, violent, hypnotic, trippy Viking opus. And thank the heroic people who gave him $80 million to make it. A thrilling revenge movie with one foot in a to-the-last-detail recreation of 9th century Scandinavia and one in a supernatural realm of hulking zombie vikings, magic swords and Björk being a prophet in wheat hat, it’s Conan the Barbarian by way of Klimov and Tarkovsky. It’s artful and full of haunting, elemental visuals – for all the talk of studio notes, this feels like a work of singular vision – but it also gallops along at times, as it follows raging prince Amleth (Alexander Skarsgård, about the size of an Ikea) as he hunts down the uncle (Claes Bang, terrific) who killed his dad and made off with his mum. The Northman feels Shakespearean (it draws on the same Norse material as ‘Hamlet’), especially when Nicole Kidman’s queen is on screen. She’s clearly having a blast with a character who is never entirely moored to the world she inhabits or any traditional gender role. It leaves Anya Taylor-Joy’s sorceress, Olga, as our sanctuary from all the male bloodletting. The battles are brutal and there are moments when everyone on screen seems to be avenging someone else. It’s all very pre-anger management. Make it your destiny to see this blood-soaked odyssey along the edge of
A batshit mad idea on paper – and, to be fair, in reality – Operation Mincemeat involved using a corpse to fool the Nazis into thinking the Allies were invading Greece rather than Sicily back in 1943. A meticulously plausible back story was concocted, and with the addition of one subtle red herring, planted on the body, which was then washed ashore on neutral Spain to be passed onto the Germans. It was 007 by way of Weekend at Bernie’s.That juicy premise powers John Madden’s (Shakespeare in Love) enjoyable, if not entirely nailbiting dad-core war flick, which comes lavishly cast and nicely evokes a wartime London of dive bars, empty streets and smoky planning rooms. It works best when it zeroes in on the mission itself (Ronald Neame got there first with 1956’s The Man Who Never Was), but lets itself get derailed via a blitzkrieg of subplots that drain momentum at fatal moments.Vying for top billing with the corpse itself is Colin Firth’s intel officer, floating this risky scheme with his angry boss, Vice-Admiral John Godfrey (Jason Isaacs), and a just-about-persuadable Winston Churchill (Simon Russell Beale). Matthew Macfadyen’s lovelorn RAF flight-lieutenant Charles Cholmondeley is co-opted into the team and away they go, sourcing a body, building a back story and trying to keep a lid on their crafty scheme. Amid the earnestness and portentous voiceovers outlining the stakes, Operation Mincemeat has some dark fun with all this. There’s a particularly macabre photoshoot and t
The Bad Guys
It’s billed as a U, but the wee ’uns might struggle with the twisty-turny plotting in this frenetic adaptation of Aaron Blabey’s book series. It’s about a group of anthropomorphic animal villains becoming goodies, and there are enough unmaskings and surprising reveals to seriously confound the unfocused. The bad guys are a posse of bank robbers led by Danny Ocean-alike Mr Wolf (Sam Rockwell). Also in the posse? A master-of-disguises shark, a safe-cracking snake, a hacker tarantula and a piranha with gas. Outsmarted by the cunning fox (literally) who runs the town, they’re forced to undergo reconditioning by moralising guinea pig Professor Marmalade (Richard Ayoade). After Holmes & Watson and an only slightly lesser degree Get Hard, an Etan Cohen screenwriting credit feels a bit like a red flag, and there’s nothing especially witty in this script he co-wrote. The Bad Guys will work better for kids than adults: the comedy is broad, with farting not just a major source of laughs but an entire plot device, and the characters aren’t quite as lovable as the movie thinks they are, despite a winning voice cast that also boasts Marc Maron, Zazie Beetz and Awkwafina. Farting not just a major source of laughs here, but an entire plot device But there’s a fizzy energy to the action, particular in the helter-skelter chase scenes, that stops those flaws bursting its bubble. And the cartoony animation style is pretty cool, elevating it above CG fare like Despicable Me et al. Smug Professor
Escape from Mogadishu
By rights, Escape from Mogadishu, a based-on-real-life mash-up of Argo-style diplomatic caper, political drama and balls-to-the-wall survival thriller, should be a dud. The gear shift between those genres should leave you with whiplash. Happy days, it’s actually great: a different kind of apocalyptic Korean spectacular to Train to Busan but equally worth the ride It’s 1991 and Somalia’s South Korean ambassador, Han Sin-seong (Kim Yoon-seok), and his North Korean counterpart, Rim Yong-su (Huh Joon-ho), are both trying to bribe Somalia’s corrupt President Barré into supporting their countries’ UN bids. But it’s all a red herring. Soon, civil war has broken out, Mogadishu is up in flames and the two old rivals, and their entourages, are teaming up and swerving rebels with AK-47s in a desperate bid to stay alive. If you’ve seen Black Hawk Down, set in the same city two years later, you’ll know that this is no easy task. Filmed in Morocco, ‘Escape from Mogadishu’ replicates this violent hellscape with a satisfying sense of scale. Director Ryoo Seung-wan (Veteran) doesn’t sugarcoat the chaos – gruesome corpses litter the streets and burnt-out cars block potential escape routes – and the rapid escalation of stakes, from scheming to join the UN to trying not to be flambéed in an embassy Volvo, is seamless and stark. If Hollywood needs someone to direct a Fast & Furious movie, they might want to give Ryoo a call You can tell Ryoo loves Hong Kong action cinema. His camerawork is nimbl
The desperation and perils of the migrant experience are crystalised in this spare survival thriller set somewhere in the forests on Europe’s southwestern borders. Clad in a dog-eared Mo Salah shirt, twentysomething Iraqi Kamal is marooned in the badlands between Turkey and Bulgaria when his group of refugees falls victim to a nighttime ambush by the authorities. Three days of nightmarish fear and discomfort await. Haunting and narratively spare, Europa is a plea for humanity wrapped inside a gripping survival story. At a brisk 70 minutes, its only flaw is that there isn’t a bit more to it, but British-Libyan actor Adam Ali brings real nuance to the battered, shoeless, hunted figure of Kamal, despite rarely having anyone to play off. Stumbling over the body of a fellow migrant, he flicks from sorrow to the realisation that there’s a pair of sneakers up for grabs. There’s little time for sympathy with self-appointed ‘migrant hunters’ scouring the woods. Haunting and narratively spare, Europa is a plea for humanity wrapped inside a gripping survival story The idea that those displaced by war should have to undergo this Hunger Games-esque gauntlet of people traffickers and armed vigilantes for the chance of a better life should be conscious-pricking and unsettling – and it is. As director Haider Rashid’s opening captions remind us, this system is allowed to continue by those who purport to clamp down on it. In fact, there’s another layer of cruelty at work in this human bla
Jennifer Peedom (Sherpa) and Joseph Nizeti’s sparklingly visual, Nat Geo-like tour of the world’s great waterways wants to dazzle us and shake us from our complacency – and it manages both in style. It’s celebratory in its first reel, plain scary in its second, and with the help of some bonus Radiohead, just soothing enough at the last to pull you out of a doom spiral. Willem Dafoe’s gravelly tones emphasise the harsh reality that our relationship with rivers has become an abusive one. But, happily, the conclusion here is that it isn’t too late to course-correct.It’s all set to the cascading strings of the Australian Chamber Orchestra and Willem Dafoe’s gravelly tones, and will look – and sound – absolutely breathtaking on the big screen.Its environmental message is a harsh one: co-directors Jennifer Peedom (Sherpa) and Joseph Nizeti’s action-movie camerawork and glorious landscapes give way to the harsh reality that our relationship with rivers has become an abusive one. Snaking watercourses are diverted where they were never due to travel; dams have sucked the nurturing silt from the water, depleting the soil downstream; and plastic chokes torrential flows like a garrote. Willem Dafoe’s gravelly tones emphasise the reality that our relationship with rivers has become abusive Happily, the conclusion here is that it isn’t too late to course-correct. There’s even uplifting evidence, delivered in a montage of exploding dams, that humanity is trying to set right its mistakes.
Stories of defiance in the face of repression and wartime barbarism are always timely, but this true-life Kosovan drama resonates with particular ferocity in the present moment. It depicts one woman’s attempts to pick up the pieces years after the Serbian army has slaughtered dozens of the men, women and children in her small community – including, potentially, her husband. Only ‘potentially’, because years later no bodies have been found and the trail of evidence has run cold. This positions Hive, a hard-hitting and emotional debut from Kosovan writer-director Blerta Basholli, in an unusual limbo for that woman, Fahrije (Yllka Gashi), and us in the audience: a space between grief and hope. Does she keep up appearances in her judgy, patriarchal village and wait for firm evidence of her husband’s death, or strike out to forge a future for herself?Shrugging aside sexism that even tips into violence, as well as the reservations of her fellow widows and the disquiet of her father-in-law and teenage daughter, Fahrije takes the latter course to set up a small business making ajvar, a Balkan pepper dip, for a local supermarket. The comeuppance one or two of the menfolk get is definitely mood-enhancing Basholli shows the toll that constantly pushing back while trying to move forward takes on even this dogged woman and her lead wears it on her face. Fahrije is a woman who hasn’t smiled in years and in her minimalist performance, Gashi gives a sense of a woman who is saving her energy
There’s a lot worth celebrating about Pixar’s latest, despite the disappointing ongoing trend of a studio that once single-handedly put animation back on the big screen dispatching another film straight onto Disney’s streaming platform. With no disrespect to anyone’s living room, it’s a bit like putting the Terracotta Army on display at a garden centre. Happily, Turning Red is a highly re-streamable delight. Helter-skelter, a bit mad and full of heart, it bounces along with the out-of-control energy of the early adolescence its depicts. When it pauses, it also offers a seriously touching snapshot of mums and their daughters, as well as a smart critique of why the burden of family expectations and the inevitability of teenage boundary-pushing usually results in carnage.Its hero, Mei Lee (voiced by tweenage San Fran actor Rosalie Chiang), is just your average Toronto high-schooler coming of age in the early noughts: she’s acing her grades, is rendered dorky around the handsome emo boy at the local convenience store, gets regularly embarrassed by her strict and controlling mum (Sandra Oh), and joins her three girl pals in crushing on an NSYNC-ish boy band called 4*Town. Oh, and she ‘puffs’ into a giant red panda whenever she gets excited or stressed. Which, being 13, is often. It bounces along with the out-of-control energy of the early adolescence it depicts The movie’s inner tension comes from the family curse that causes this transformation, and as it builds as Turning Red n
It chucks it down in The Batman. Like, constantly. So much you wonder if we’re about to witness the first Dark Knight to whip out a Batbrella and start singin’ in the rain. If ‘dark, rain-soaked superhero reboot’ sounds done to death, the latest Batman may not be for you. Director Matt Reeves brings the apocalyptic doominess that hallmarked his Planet of the Apes franchise and a lot of the brooding DC house style that has lingered since the Christopher Nolan days – as well as the unmistakable influence of David Fincher’s Seven and Zodiac. A more unsmiling, clenched Batman you couldn’t imagine. Did Prince really soundtrack this guy? Where did that funky Bruce Wayne go? The brooding R-Batz is forced to turn gumshoe The plot has Robert Pattinson’s Dark Knight on the hunt for a serial killer who has been offing Gotham’s political classes, leaving riddles in his wake. The Riddler (Paul Dano, somewhere beneath the latex) skulks the city in fetishwear, using livestreams and the media to lay bare the city’s corruption and build a following among the type of people who use the phrase ‘deep state’ in conversation. He’s basically Bane with Reddit, and The Dark Knight Rises parallels grow as the movie settles into its not-lean runtime. There’s actually a lot of potential in the idea of a superhero and crime thriller genre mash-up. Here, the brooding R-Batz is forced to turn gumshoe, leaving him to holster his core skill set (kicking, punching, swooping) in favour of cerebral puzzle-solv
The Duke is a film that has one national treasure (Jim Broadbent) playing another national treasure (Geordie cabbie, social campaigner and wannabe playwright Kempton Bunton), who was accused of stealing another national treasure (Goya’s ‘Portrait of the Duke of Wellington’) from the National Gallery in 1961. The setting harks back to an era of British life that suddenly feels a lot less distant. With the experience of lockdowns and that Clap for Carers communal spirit fresh in all of our minds, it’s dead easy to rally behind Bunton’s quixotic efforts to secure free TV licences for pensioners – and even his roundabout route to wanted art thief. Access to the telly is, he reasons, the only link many elderly citizens have with their fellow Brits – and the world at large. Stealing the portrait might just get the attention of the nation. Before the plot gets anywhere near its Thomas Crown-esque middle stretch, in which the painting is pinched in a nocturnal raid via the gallery bins, co-writers Clive Coleman and Richard Bean take time to set up Bunton and his long-suffering wife, Dorothy (Helen Mirren, dialling back to give extra space to her co-star), as a couple in working-class Newcastle. Fionn Whitehead (Dunkirk) is an energetic presence as the couple’s supportive but reckless son, Jackie. Soon, Kempton is fired from his taxi company for giving free rides to struggling locals and running foul of TV licensers for jerry-rigging his telly so it only shows commercial channels.
The Real Charlie Chaplin
Charlie Chaplin was born in the year the Eiffel Tower opened and died in 1977. That’s a lot of years to wrangle into one biography – even before you take in the rags-to-riches, zero-to-hero-to-popular-villain arc of his life – but this snappy and searching doc makes a very solid fist of it. The film’s most compelling moments surprisingly come after the laughter stopped for Chaplin. His later years, mulling over his exile from America in a Swiss mansion, get closest to revealing the contradictory man behind the icon: capable of being peevish and mean, but still possessing the grand vision of humanity that birthed the Little Tramp and his finest on-screen moments, like City Lights and Modern Times. His universal rallying call at the end of The Great Dictator gets great play here, but so too does his on-set bullying of City Lights actress Virginia Cherrill and other relationships that would never have survived a 1930s #MeToo moment. This snappy and searching doc makes a very solid fist of finding the man behind the Little Tramp Even though, amid all the imaginatively used archive footage, animated sepia photography and old interviews, co-directors Peter Middleton and James Spinney never quite locate the private essence of the man, no one else does either: even his children, several of whom are interviewed here, recall being kept at arm’s length from a distant patriarch. And maybe, their vibrant doc hints, Charlie Chaplin lost himself a little along the way too. In UK cinemas and
Wheel of Fortune and Fantasy
Japanese auteur Ryûsuke Hamaguchi is back with another magnetic piece of slow cinema to show why he’s a superstar in the making, barely a few months since the release of his last film, the Saabs-and-sorrow opus Drive My Car. Like that mix of Murakami and Chekov, the trio of urban relationship tales that make up Wheel of Fortune and Fantasy concern themselves with the heart. This time, each 30-odd minute section takes the perspective of a different woman, each with a deeper heartache and confusion that steers them in emotionally dangerous directions. Hamaguchi deftly hooks their stories around showier narrative devices – a love triangle, an attempted honeytrap at Toyko uni (the director’s alma mater) and a case of mistaken identity in a digitally disconnected world (a surprise, and very gentle, dip into the realms of sci-fi) – and all are bewitching in their own way. But the real drama plays out on the faces of his characters, each tussling with the ghosts of their past. If it wasn’t pretentious to do so, you might call it Proustian. The writer-director’s greatest gift is in wringing intense emotion from each moment, with meticulous blocking and careful camerawork that guides his characters towards – and away from – each other, and the odd sudden zoom that feels like a bomb going off. It’s another intoxicating human drama – the only downside is that each chapter isn’t a book in itself. In UK cinemas Feb 11.
Exclusive: this year’s Sundance London line-up is announced
London’s primo indie film festival, Sundance London, continues to go from strength to strength (barring the odd unexpected contagion) as it delivers hand-picked batches of new movies to Picturehouse Central for a weekend every June. And this year’s 12-strong film line-up, running June 9-12, is no exception. The festival opener brings west London acting deity Emma Thompson across town to introduce her frank, funny sex dramedy ‘Good Luck to You, Leo Grande’. It’s directed by Sophie Hyde, who brought her raucous girlboss caper ‘Animals’ to the fest in 2019, and sees Thompson playing a woman navigating her sexuality with the help of a male escort (Daryl McCormack).As its Sundance film, Time Out is proud to be introducing ‘Brian and Charles’, Jim Archer’s deeply loveable comedy about a lonely man and the cabbage-munching robot he built in his shed. Another immediate eye-catcher on the programme is ‘Sharp Stick’, Lena Dunham’s first big-screen directorial effort since 2010’s ‘Tiny Furniture’. And in a line-up full of female-led filmmaking, Sara Dosa’s ‘Fire of Love’, a jawdropping doc that follows two volcanologists, stands out too. Rebecca Hall’s latest film as an actor, ‘Resurrection’, a spiky psychological thriller about a young mum and her teenage daughter, is another highlight of a programme that digs deep into love and relationships – and all the strife that can come with them. ‘Brian and Charles’, meanwhile, brings quirky charm to the tale of a lonely inventor who builds an
‘Prehistoric Planet’: 7 reasons to get excited about David Attenborough’s new dino series
Everyone loves David Attenborough and everyone loves dinosaurs. What, then, could be better than David Attenborough and dinosaurs? Well, to quote his brother Richard in Jurassic Park, creation is an act of sheer will and Apple TV+ has willed this dream into being. Far from ushering the scaly beasts towards certain extinction and a second life as the stars of major movie franchises and kids’ bedroom walls, Prehistoric Planet will see the great naturalist presiding over a vision of life in the time of the dinosaurs, 65 million years ago. It promises to be a celebration of these magnificent creatures and the planet they inhabited all those years ago, with its funny-shaped oceans and surprisingly situated land masses. And who doesn’t need a celebration right now? Prehistoric Planet is set in the Cretaceous period and will run over five episodes beginning on May 23. Here’s what else to expect. For some kinder, gentler T-rexs T-rexs aren’t just about big teeth, small arms and eating lawyers in Jurassic Park. They’re dads, too. They have baby T-rexs to raise and teach how to grow up to be formidable. ‘A full grown T-rex is the planet’s most powerful predator,’ notes David Attenborough’s narration, ‘but today, he’s just being father.’ Awww! Now, can they fit a baseball glove over those claws? It’ll have the perfect music to watch Cerapods by Jurassic Park has John Williams; Prehistoric Planet has Hans Zimmer. The freshly Oscar-winning composer is del
‘Pistol’: Everything you need to know about Danny Boyle’s Sex Pistols epic
In the most exciting news for punk fans since the invention of the safety pin, Danny Boyle has been busy making a new TV series based on the life of Sex Pistols guitarist Steve Jones. It’s loosely adapted from Jones’s 2016 memoir ‘Lonely Boy: Tales from a Sex Pistol’ and tells the story of the band’s coming together – and coming apart. It’s a six-part Apple TV+ series directed and exec-produced by Boyle and it’s streaming soon. Here’s everything you need to know about it. When is Pistol out? All six episodes land on Hulu in the US and on Disney+ in the UK, Ireland, Canada, Australia, New Zealand and Singapore on May 31, 2022. It will launch in other territories (including in South America on Star) later this year. Is there a Pistol trailer? Yes, and you can watch it below. What is Pistol about? Firstly, note the title: it’s ‘Pistol’, not ‘Pistols’. It’s the story of the band from the perspective of Steve Jones, the Shepherd’s Bush-born self-professed 94th greatest guitarist of all time. He was band mates with lead singer Johnny Rotten, drummer Paul Cook, and first bassist Glen Matlock, then Sid Vicious when Matlock was jettisoned from the band. The Sex Pistols’ brief but incendiary lifespan began in London in 1975, reached its famous/infamous highpoint – the banning of single ‘God Save the Queen’ (sample lyric: ‘God save the Queen and her fascist regime’) by the BBC – in 1977, and eventually burnt out after a tumultuous tour of America a year later. Vicious died of a hero
Queen Charlotte: 5 things you need to know about the ‘Bridgerton’ spinoff
There’s a new Bridgerton spinoff coming and it’s a prequel and origin story – or ‘oriquel’, if you will. It’s the story of Queen Charlotte’s younger years, it’s written and produced by Shondaland big cheese and Bridgerton creator, Shonda Rhimes, and has just gone into production. Queen Charlotte – or Sophia Charlotte of Mecklenburg-Strelitz, to give her full name – is played by Golda Rosheuvel in Bridgerton. The actress will reprise the role as the older Charlotte in Netflix’s so-far untitled spinoff, but Charlotte’s origins as a young monarch-in-the-making will be charted by 21-year-old India Amarteifio (Sex Education) ‘Betrothed to the mysterious King of England against her will, Charlotte arrives in London only to realise she was not exactly what the royals were expecting,’ runs the limited series’s official synopsis. ‘As she learns to navigate the palace, the ‘ton and her unpredictable husband, she grows into one of Europe’s most unforgettable monarchs.’That mysterious king is the future George III, played in his young, pre-The Madness of King George form by Corey Mylchreest. But as you may have gathered, Queen Charlotte was emphatically not a woman to be defined by the men in her life – she had her own thing going on, and it was fascinating. Here’s five things about her that will have us glued to the series when it lands in Netflix. Photograph: GL Archive / Alamy Stock Photo 1. She was (probably) Britain’s first Black royal Bridgerton’s colour-blind casting depicts a
A new season of Top Boy has been announced – and it’ll be the last
An army of Top Boy fans – including superfan-turned-producer Drake – is currently basking in the edgy thrills of a new season of the wildly popular Netflix crime series. And they’ll be doing it all over again at some point in the not-too-distance future: Netflix has just confirmed another season. It will shoot this summer and you can check out the teaser trailer below. The bad news is that this will be the final season. The show has already died and been revived once, when its UK network cancelled the show in 2013, but this looks like its curtain call. ‘Every story must have an ending and so season three will be our finale,’ Top Boy’s stars Ashley Walters and Kane Robinson say in a statement, ‘a chance to come full circle and end the journey in the right way.’ ‘For those that have followed the journey from the start, you will know how much this show means to everyone on our team and we wholeheartedly know how much it means to you,’The pair promise that their characters, Dushane and Sully, will remain at the heart of the show but ‘the new characters have become a key part of the show’s legacy, representing each new storyline in a raw, authentic way. We’re very excited about what’s next.’ Photograph: NetflixAshley Walters as Dushane If you’re yet to discover it, Top Boy is set in and around London’s fictional Summerhouse Estate and explores the machinations of drug lords, their bosses, and the humble foot soldiers caught in the web, including kids who lose their
This gorgeous British seaside cinema is coming back from the dead
In another good news story for Britain’s defiantly thriving cinema scene, the historic Electric Palace in the Essex town of Harwich is getting a new lease of life.The Electric Palace is one of the oldest and storied cinemas in the UK, a chocolate-box screen nestled on a quiet street in the Essex seaside town. It first opened in 1911 and has survived the worst two World Wars, the threat of demolition, and the worst the pandemic could throw at it.Now, reports the BBC, the Grade II* listed cinema is on the verge of reopening after a two-year restoration project, financed by more than £1.5 million of grant funding. The building’s historic features have been preserved, with the ornamental front entrance, projection room and the original screen still all present and correct. Photograph: Stella Fitzgerald Back in 1911, the cinema’s first ever screening was silent docudrama The Battle of Trafalgar. Tickets came in at 2d for a wooden seat and 6d for a comfier spot in the middle of the auditorium. It’s reopening on April 8 with Jim Broadbent heist caper The Duke, with tickets priced at an equally reasonable £7 and all seats equally comfy (and not wooden). ‘With this last phase of work now complete, the auditorium is at its absolute best, retaining much of its original charm and unique character,’ says Trudi Hughes of Historic England. ‘I can't wait to see the cinema buzzing with visitors and sharing the magic of film, in this unique setting, as it has done for over a hundred years.
Oscars 2022: Five things that made this year an Academy Awards horror show
The plan was to make this year’s Oscars more fun, effervescent and punchy – and they managed one of those things, albeit only thanks to Will Smith’s right hand. Even without the already-notorious Smith vs Chris Rock altercation, the ceremony was a fizzer. Multiple tweaks fell flat, or worse, the rhythm of the show was jerky, and as feared, the Zack Snyder-dominated #Oscarsfansfavorites bits only proved how many 15-year-old boys have internet access. Also, there was a fight. Which is never good. Was it all bad? No. There were redeeming features for anyone prepared to wade through the Academy’s publicly televised identity crisis for three hours: three warm-and-fuzzy Oscar wins for CODA, the year’s feel-good film; Dune quietly winning six Academy Awards; a stellar Billie Eilish performance; some excellent speeches; a brief but memorable The Godfather reunion featuring Francis Ford Coppola, Al Pacino and Robert De Niro; and a rather nice nightclub-style table set-up in the front rows. Here are our lowlights and high points of an Oscars night like no other. Photograph: Richard Harbaugh / A.M.P.A.S.Tyler Perry, Will Smith and Denzel Washington in the aftermath of ‘that moment’ 1. The Fresh Prince of Dead Air If you had to pick a likely mood-killer, the Fresh Prince would have been pretty low on the list. But when Will Smith walked on stage and slapped presenter Chris Rock after a low joke about his wife, Jada Pinkett Smith’s alopecia, before swearing at the comedian on live TV, y
Oscars 2022: CODA wins Best Picture at the Academy Awards
It was a groundbreaking Oscars night in a lot of ways – few of them good ones – with a series of wrinkles, misjudgments and one stunning altercation between Will Smith and Chris Rock drawing focus from a worthy line-up of winners. CODA pipped The Power of the Dog to win Best Picture, crowning its rise from Sundance’s little film that could to the indie crowdpleaser that did. The family drama also picked up a Best Supporting Actor win for Troy Kotsur and a Best Adapted Screenplay win for writer-director Sian Heder.There was consolation for The Power of the Dog writer-director Jane Campion, who became only the third woman to win a Best Director Oscar. Elsewhere, Jessica Chastain won Best Actress for The Eyes of Tammy Faye, Kenneth Branagh won Best Original Screenplay for Belfast, and Drive My Car became the first Japanese film to win Best International Feature for 14 years.But all of the winners were overshadowed by a nasty clash between Will Smith and Chris Rock. When the latter made a crack about Smith’s wife Jada Pinkett Smith – the second joke of the night at her expense, after the pair’s open marriage was referred to in the show’s intro – the actor walked onto the stage and slapped the presenter. Smith later won Best Actor for King Richard and talked around the incident in a teary acceptance speech that jokingly suggested that the Academy might not invite him back. It wasn’t the only sour note in a ceremony that was plagued by missteps and seemed uncomfortable in its own
Tuning into the Academy Awards? Play along with our Oscars night bingo game
Oscars night is but a sleep or two away. You’ve filled in your ballot sheet, stocked up on snacks, and, depending on your timezone, stockpiled caffeinated beverages. What, you’re probably wondering, is still to be done in preparation for Hollywood’s gala event? Meet our cut-out-and-keep Academy Awards night bingo card. Because, even with all the world’s top event producers and most of the planet’s earpieces and clipboards, all kinds of messy madness and unexpected joy will unfold on Oscars night, this game will keep you amused between the speeches, commercial breaks and revolving cast of 2718 random presenters (no offence, Kelly Slater).The aim? Tick off the following happenings as they, well, happen. There are no prizes. Good luck! Photograph: Time Out Filling in your ballot? Here’s what we think will win at Sunday’s Academy Awards.For much more on this year’s Academy Awards, head to our big Oscars hub.
Oscars 2022: Where to watch all the nominated films online
As anticipated, today’s Oscar nominations delivered plenty of good news for Netflix, with Don’t Look Up, The Power of the Dog and The Lost Daughter all raking in nominations across a variety of categories. Obviously, that’s also good news for anyone looking to catch up on their awards viewing from their sofa ahead of the March 27 awards ceremony. And they aren’t the only big prospects to be available to stream right now: Flee, the animation of the moment and triple Oscar-nominee, is available to stream in the US for a mere $1.99 (UK viewer can – and should – track it down in the cinema); while, Dune (with six noms) is streaming on a variety of platforms in the US and UK now. Animation lovers will find almost all the movies in that category on streaming platforms, including Encanto, Raya and the Last Dragon and Luca (all on Disney+ worldwide) and The Mitchells vs the Machines (Netflix). A few of the big hitters aren’t available to watch at home yet, although as Time Out’s five star reviews suggest, Licorice Pizza, Parallel Mothers and West Side Story are well worth the trip (or trips) to the cinema. Here’s what you can watch – and where – in the US and UK. Where to watch 2022 Oscar nominees online Being the Ricardos Aaron Sorkin’s barbed love story about Lucille Ball and her partner Desi Arnaz is a feast of acting. No surprise, then, that it scored three nominations in those categories, including a welcome, if unexpected nod for JK Simmons. An Amazon Prime film, it’s availabl
Anatomy of a Scandal: everything you need to know about Netflix’s must-see thriller
Looking for a thriller from the people who brought us ace Manhattan crime drama The Undoing during those dark days of lockdown? You’re in so much luck. TV super-producer David E Kelley of Big Little Lies fame has crossed the Atlantic for this latest slice of prestige telly: Anatomy of a Scandal, an immaculately cast, elegantly crafted and highly bingeable Netflix series that is heading for our living rooms. It stars Rupert Friend and Sienna Miller as a seemingly happily married couple climbing the greasy pole of political high office – him as a government minister, her as his loyal and supportive wife – and it’s based on a 2018 psychological thriller written by a political reporter. Expect the plot to thicken significantly via sudden twists, shocking revelations and dirty dealings. All of which will feel faintly and depressingly plausible in 2022’s political landscape, albeit the politicians are actually good-looking in this one. Photograph: NetflixThe Whitehouse family in happier days How can I watch Anatomy of a Scandal? The series will consist of six 40-odd-minute episodes, and it launches on Netflix on April 15, 2022 Is there a trailer for Anatomy of a Scandal? The trailer dropped in March and showcases the series’s combustible mix of political scandal and moral murk. Watch it below. Who is in Anatomy of a Scandal? It stars Rupert Friend as James Whitehouse, a Tory rising star and a junior immigration minister with burning ambition, a hotline to the Prime Minister
Baftas 2022: ‘The Power of the Dog’ wins, Rebel Wilson flops
The Baftas, the British film industry’s gala night, brought its usual heady mix of starriness, celebration and creaky gags to the Royal Albert Hall last night. Surprises were slightly thin on the ground but there were some groundbreaking winners and some cheerable moments to enjoy. Who won at the Baftas last night? We had a bit of a grump over a nomination list that omitted Olivia Colman for her stonking turn in The Lost Daughter and shut out The Souvenir Part II entirely. But it was hard to pick holes in the winners list. As expected, Jane Campion’s The Power of the Dog won Best Film, Campion won Best Director and Will Smith picked up Best Actor for King Richard, pipping the hotly tipped Benedict Cumberbatch.In fact, there were good news stories wherever you looked on the winners’ roster: whether it was Questlove winning Best Documentary for his debut film, Summer of Soul, or Joanna Scanlan’s magnetic turn in After Love being recognised with a Best Actress award, or Troy Kotsur becoming the first deaf actor to win one of the main acting categories for CODA. And the openly queer Ariana DeBose followed up her SAG win for West Side Story with a Best Supporting Actress Bafta. Who were the other Bafta winners of note? Denis Villeneuve’s thunderous sci-fi epic Dune pretty much cleaned up in the technical categories, winning for production design, VFX, cinematography, sound, costume design and score. The EE Rising Star Award, voted for by the British public, went to west London’s