Movieland Podcast Update

After a hiatus, my podcast Movieland is back up and running, with three episodes so far dropped in Season Two. I’m exicted that my friend and colleague Octavia Barron Martin will be joining me to discuss, on a weekly basis as the episodes drop, the new HBO series Irma Vep. To catch up and get into it, we discussed the big fizzle that was The Many Saints of Newark, a film Octavia, a huge Sopranos fan, was greatly looking forward to. Here’s the link on Spotify; otherwise search for Movieland within your favourite podcast app or service. Make sure you subscribe (to the podcast) too.

A Hero, The Staircase, Angelyne


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Asghar Farhadi’s latest feature A Hero continues his trademark examination of the stresses of everyday life in Iranian society, constructed as suspenseful, captivating social thrillers. This one focuses on a twenty-something man who’s found himself in ‘debtor’s prison’; allowed out on two-day leave, he tries to take up an opportunity to rid himself of his debt, only – of course – to find himself getting deeper and deeper into trouble. Farhadi’s typical themes of responsibility, morality, personal ethics and the law all get a full workout here; once again his schematic script is tight as a drum. Involving, challenging, and a terrific after-movie conversation starter.


Two new shows dip into the ways we display ourselves in the twentieth and twenty-first centuries. Angelyne, a real Los Angeles ‘character’ played here in an astonishingly entertaining performance by Emmy Rossum, has displayed herself on billboards throughout Los Angeles for decades; her only product is herself. Meanwhile (in The Staircase), Michael Petersen (played beautifully by Colin Firth) allowed a documentary crew to follow him while he was on trial for his wife’s murder in 2001; the original resulting TV series of the same name essentially gave birth to the modern true-crime docuseries. Both shows are compelling; Angelyne is witty while The Staircase is thematically ambitious and very well directed by Antonio Campos.

The Offer, The Innocents, We Own This City

THE OFFER (Paramount +)

When I heard about The Offer I couldn’t believe it: had someone made a TV show just for me? Of course, I’m not the only one obsessed with The Godfather, and not the only one who’s read many, many books and articles about its making. But the idea that someone would produce an entire TV show about the production of your favourite movie… well, wow.

Trouble is, the script feels directly lifted from those books and articles, giving rise to that dreaded ‘illustrated wikipedia entry’ feeling. But it’s fun to see spiritual heroes like Francis Ford Coppola and Robert Evans come to life (Dan Fogler and Matthew Goode, respectively) and the story itself, for those who haven’t obsessively read about it, is a good one. The show errs on spoon-feeding the mechanics of movie-making, but thats its nature and its flaw: it tries to serve the novice and the nerd.


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Likewise, The Innocents, a Norwegian supernatural creeper about kids gradually becoming aware of their telekinetic powers, may scare the bejesus out of you, and I may have been less affected purely by having been exposed to so much of this kind of stuff before. Certainly to get performances like this from a cast this young is no small achievement. There are some pacing problems, and the autism of one of the main characters feels, unfortunately, exploitative at worst and misguided at best. But it’s strong on tone and vibe and features some genuinely creepy moments.


David Simon and George Pelecanos, who created The Wire, return with a spiritual sequel, the real-life tale of police corruption, brutality and criminality in Baltimore in the 2000s. Featuring some returning cast members from The Wire (in different roles), and many more of those astonishingly authentic performances that made that show feel almost like a documentary, We Own This City is typically gritty, robust and never less than totally engaging. Exceptional.

The Unbearable Weight of Massive Talent

At least they seemed to have fun making it.

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Like its title, The Unbearable Weight of Massive Talent aspires to witty referential parodic clever meta-comedy, and falls flat. While Nicholas Cage and Pedro Pascal give amiable performances, the script consistently lets them down with references rather than honest jokes.

Cage plays a version of himself who gets caught up in the kind of action scenario a Nicholas Cage character might get himself caught up in; Pascal plays the buddy who may be the baddie. They certainly develop a chemistry – and Cage certainly shares the screen – but only to the extent you wish they were in a better film – perhaps a real Nicholas Cage film.

Highlights of this kind of thing are Being John Malkovich, JCVD and the Kate Winslet and Ben Stiller episodes of Extras. This laborious effort doesn’t come close to matching the wit displayed in any of those. It’s a shame, because everyone seems to be having a great time, and there is clearly a lot of affection for the subject, who plays along gamely and warmly. Maybe I’ll check out his other recent work; he seems surprisingly sane.

The Warhol Diaries, The Good Boss, Happening


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Netflix’s six-part extrapolation of Andy Warhol’s posthumously-published Diaries is superb and gripping. I was hugely into Warhol and read the Diaries twice, so I wasn’t necessarily expecting this to be revelatory to me. It was. It’s an interpretation of the diaries, a deep reading, and as such is informed, passionate and intelligent. It digs beyond the parties and the personalities into Andy’s love life, his response to the AIDS crisis, and even his faith. Fantastic.


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The Good Boss, about a, well, ‘good boss’ of a successful scale company (that is, it manufactures scales of all kinds) facing a week of increasing pressures and challenges, has one of those extremely well-structured screenplays that is almost too well crafted; the pieces are put into place so well that most of us will be able to predict the endgame before it comes, leaving it as a slight anti-climax. But the action along the way is extremely well modulated, gathering pace organically and exponentially, and Javier Bardem, the good boss himself, is superb. In almost every scene of the movie, he displays enormous range while also presenting a highly specific character. Place this performance alongside his Desi Arnaz in Being The Ricardos to be reminded that he’s one of the most versatile – and, simply, one of the best – screen actors working today.


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Gruelling but compelling, this early-1960s France-set abortion drama joins the other movies of its kind on the tougher side of the ledger: more 4 Months, Three Weeks and Two Days than Never Rarely Sometimes Always. Knowing going in that it’s based on a memoir will make it more meaningful.

Recent Film and TV


Cinemas Now

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Joanna Hogg’s follow-up to her sublime autobiographical rendering of a troubled relationship she had in her early adulthood maintains an air of artful exquisiteness while shifting the focus from love to art. This time, her young self completes her film school training by working through the events of Part 1. It’s a glorious, intriguing film, thoroughly engrossing and deeply personal.


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If you think nothing could be more entertaining than watching Quentin Tarantino celebrate the career of the “second Sergio of Spaghetti Westerns,” Sergio Corbucci, then this is the film for you.  The kind of film you’d once only ever see at film festivals, now on Netflix!


Extremely entertaining look at the rise and fall of Theranos founder Elizabeth Holmes anchored by a career-best lead performance from Amanda Seyfried. 


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VOD Now through

Everyone loves a feature-length documentary about an Icelandic techno-heavy-BDSM band’s political coming-of-age during the Eurovision Song Contest, right? Ok, it sounds niche – and it is, of course, on the surface – but Anna Hildur Hildibrandsdottir’s film following the band Hatari as they navigate the complexities of Israeli / Palestinian politics and attempt to stage a protest while participating in the 2019 show in Tel Aviv is eye-opening, compelling and thoughtful. The band members are aggressively political at home in Iceland, but the situation in Israel clearly rattles them, and watching them try to maintain their position in the face of actual fear makes for honest, universal drama.


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Opening 10 March in select cinemas

James Vaughn’s modest feature debut is a beguiling, entrancing, sunny Sydney jewel with a hum of strange menace. A bit Rohmer and a bit microbudget Lynch, it’s its own thing, an odd, and oddly magical, original.