Aka WW84. Nothing good is born from lies. And greatness is not what you think. As a young girl, immortal Amazon demi-goddess and princess Diana (Lily Aspell) competes in an athletic competition on Themyscira Island against older Amazons. She falls from her horse, misses a stage, and is disqualified after trying to take a shortcut. Diana’s mother, Queen Hippolyta (Connie Nielsen) and her aunt Antiope (Robin Wright) who is general of the Amazon army lecture her on the importance of truth. In 1984 adult Diana (Gal Gadot) works as a senior anthropologist at the Smithsonian Institute in Washington DC. She specialises in the culture of ancient Mediterranean civilisations and studies languages for fun. She continues to fight crime as Wonder Woman, albeit while trying to maintain some anonymity, rescuing people from a botched jewellery heist in a local mall. Diana meets new co-worker, gemologist Barbara Minerva (Kristen Wiig) an insecure woman who idolises Diana and tries to befriend her. Aspiring businessman and charismatic TV huckster Maxwell Lord (Pedro Pascal) visits the museum to try to acquire a mysterious Dreamstone which grants wishes to anyone who touches it. It is one of the artifacts found as part of the black market the jewellery store engages in and both of the women unwittingly use it for their own desires: Diana wants to be reunited with her dead WW1 pilot lover Steve Trevor (Chris Pine); while Barbara wants to be like Diana. She gets a makeover at a local boutique and Lord turns up at a Smithsonian gala and manipulates her in order to retrieve the stone. Once it’s in his possession he wishes to become its embodiment and gains its power to grant wishes, while also able to take whatever he desires from others: he’s been selling shares in oil without striking it yet and in a matter of days becomes a powerful and influential global figure leaving chaos and destruction in his wake. Barbara, Diana and Steve try to investigate the Dreamstone’s power further, and discover it was created by the God of Treachery and Mischief; the stone grants a user their wish but takes their most cherished possession in return, and the only way to reverse the condition is by renouncing their wish, or destroying the stone itself. Steve realises that his existence comes at the cost of Diana’s power. Both Diana and Barbara are unwilling to renounce their wishes, and try to figure out another solution. Maxwell, upon learning from the U.S. President (Stuart Milligan) of a satellite broadcast system that can transmit signals globally, decides to use it to communicate to the entire world, offering to grant their wishes. Barbara/Cheetah joins forces with Maxwell to prevent Diana from harming him. Steve convinces Diana to let him go and renounce her wish so that she can regain her strength and save the world. She returns home and dons the armour of the legendary Amazon warrior Asteria, then heads to the broadcast station and battles Barbara, who has made another wish with Maxwell to become an apex predator, transforming her into a cheetah-woman. After defeating Barbara, Diana confronts Maxwell and uses her Lasso of Truth to communicate with the world … Does everybody parachute now? What a great welcome this film deserves: a charming, heartfelt feminist superhero sequel with a message of peace, love and understanding – but not before the world comes close to annihilation. Adapted from William Moulton Marston’s DC Comics character with a screenplay by director Patty Jenkins & Geoff Johns & Dave Callaham, this starts out very well but tellingly goes straight from a prehistoric setpiece into an Eighties mall sequence and the first half hour is fantastic. Then … there’s character development when the klutzy Barbara arrives and her transformation to Cheetah takes its sweet time while odious businessman Lord is also introduced with his own backstory. The wheels don’t come off, exactly. The scenes are fractionally overlong and the two villain stories don’t mesh precisely with excursions into politics (the Middle East and a bit of an anti-Irish scene in London) which then escalates when Lord introduces himself to the US President (Reagan himself though he’s unnamed) at the height of the Star Wars policy (and we don’t mean sci fi movies). The winged one then learns the beauty of flight from her reincarnated boyfriend; while Barbara becomes more feline and vicious, an apex predator as she puts it. And Lord gets greedy while alienating his little son. So there are three somewhat diverging narrative threads. This is a structural flaw in an otherwise rather wonderful story. An exhilarating pair of back to back introductory setpieces followed by a Superman tribute that is exceedingly pleasant but doesn’t capitalise on all the characters’ considerable potential, this is a half hour too long (like all superhero outings) with scenes that need to be cut and political commentary that doesn’t sit quite right. Some of the jokes about the Eighties (in Pine’s scenes) get a little lost (directing or editing issues?) but the costuming is on the money and given that Diana lives in the Watergate Complex it’s a little surprising more wasn’t made of this or that it wasn’t set a decade earlier. Otherwise DC is nicely established in terms of geography and obviously it’s plundered for story. There are jokes that land rather well, like the Ponzi scheme; and when Steve gets into a modern aeroplane and Diana suddenly remembers that radar exists. In effect, this is a movie about the conflict in using your powers – there is a time and a place and it’s not always appropriate to get what you want because there are consequences and making a choice implies potentially terrible consequences and sometimes loss of life. It also engages with rape culture, sexism and the dangers of TV, taking down cheap salesmen and televangelists. Witty, moralistic and humane this has everything you want in a superhero movie and it looks beautiful courtesy of cinematographer Matthew Jensen and production designer Aline Bonetto. There’s a neat coda in the end credits. And how nice is it that the late great Dawn Steel’s daughter Rebecca Steel Roven is a producer alongside her father Charles Roven? You go Gal! You’ve always had everything while people like me have had nothing. Well now it’s my turn. Get used to it
You get him fighting and there isn’t anything he won’t do. George Custer (Errol Flynn) gets into trouble on arrival at West Point and when the Civil War breaks out he is at the bottom of the class but he is beloved by all his colleagues bar Ned Sharp (Arthur Kennedy). He falls in love with Libbie Bacon (Olivia de Havilland) and becomes acquainted with General Winfield Scott (Sydney Greenstreet) who places him in the 2nd US Cavalry where he performs heroic deeds after disobeying orders. Then a mistake in orders has him made a Brigadier General and he commands the Michigan Brigade at the Battle of Gettysburg. He is more or less retired and drinks too much. Now his wife, Libbie petitions Scott to have Custer placed back in action and he is sent to the Dakota Territories where he is confronted by the Lakota tribe led by Crazy Horse (Anthony Quinn). He gives his word that they will keep the Black Hills, their sacred home, but finds Sharp running the fort’s trading post and saloon and plotting with business men to start a gold rush that will bring fabulous wealth to an elite. When Custer finds out, he is court martialled … I don’t want a medal. I just want a beef steak and a bottle of bourbon. One of the greatest films of classical Hollywood, this plays fast and loose with history but somehow the smart writing gets to the essence of the story – this is one of the wittiest, most exuberant films, with Flynn at his most beautiful, all flash, dash and flamboyance as the man who sympathises with Crazy Horse and the cause of the only real Americans in the vicinity. His meet cute with de Havilland is for the ages and the inscribing of every stage of their relationship is beautifully achieved by writers Lenore Coffee, Aeneas Mackenzie and Wally Kline. The screenplay is supreme – there isn’t a wasted witticism or action, every scene cleaves to the driving forward of Custer’s character which climaxes at Little Big Horn. And what a characterisation by Flynn – you can’t take your eyes off him, whether in his garish cadet’s gear, climbing up onto the porch of de Havilland’s house to woo her despite having insulted her father, or leading the loyal troops who would follow him anywhere. This is funny, smart and moving. It may not be accurate but it is true. Simply sensational. Directed by the legendary Raoul Walsh. There’s something about that fellow I like
He’s just one guy. We don’t get them very often. But he grows out of all the rest. When he is called in to investigate the brutal murder of Joseph Samuels (Sam Levene), who was found dead at his home, police investigator Captain Finlay (Robert Young) discovers there may be a murderer among a group of demobilized soldiers, who had been seen with Samuels and his female friend at a hotel bar that night. Meanwhile, Sergeant Peter Keeley (Robert Mitchum), concerned that his friend Mitchell (George Cooper) may be the prime suspect, decides to investigate the murder to clear his friend’s name. To both investigators, each suspected soldier relays his version of that night through flashback. The first to step up is Montgomery (Robert Ryan) who reveals himself to be anti-semitic; the others are Floyd Bowers (Steve Brodie), Mitchell and a potential witness, Ginny Tremaine (Gloria Grahame). While Finlay and Keeley slowly piece together the fragments of that night, there is one possible motive that may have driven the killer to beat an innocent to death, which prompts Finlay to set up a trap to expose the killer…. You can tell a lot about a man by how he don’t respect the service. Adapted from future writer/director Richard Brooks’ controversial novel The Brick Foxhole but of course anti-semitism wasn’t the book’s subject – that would be homophobia, unmentionable as a perversion in those heady days of the Hays Code, as was the issue of inchoate violence among demobbed GIs. John Paxton’s exemplary screenplay still tells a great story with flashbacks used to illuminate the mindset of the killer on the run, with Ryan brilliantly embodying the murderer and Mitchum’s outwardly dozy persona deployed to good effect: Instead of the purple heart we get purple ink. Brodie makes a good impression as the fall guy. It wears its politics on its sleeve with plenty of on-the-nose dialogue particularly from Young: Hating is always the same. Always senseless. Yet it falls right. He gets a great speech about how there’s always a minority targeted for hatred and regales a story about his own ancestor, an Irish Catholic murdered for emigrating from the Famine and establishing a home in the US. Effectively a pursuit film – a disguised western, if you will – everyone knows whodunnit and the chase just gives him time to talk himself into a hangman’s noose. Made at a turbulent time for the industry, this B movie astonished many by being nominated for an Academy Award. An outstanding example of the message movie, dealing with the thorny issue of what GIs yet to be discharged from WW2 service were up to with tensions running high in the changing post-war world, every woman potentially a femme fatale: Grahame excels as the tough lady men want to have ruin them. We’re too used to fightin’ but we just don’t know what to fight. Produced by Adrian Scott (the son of Irish Catholics) and directed by Edward Dmytryk both of whom suffered differently in the wake of the HUAC hearings that this film ironically helped bring about – both were blacklisted among the Hollywood Ten, but in 1951 Dmytryk gave people up in order to work again. They had previously collaborated with Paxton on Murder My Sweet, Cornered and So Well Remembered. After this landmark production, RKO fired them. Scott moved to Europe and wife Anne Shirley wrote him a ‘Dear John’ letter, marrying another screenwriter, Charles Lederer. Scott’s next wife, Joan, provided a front for him to get work pseudonymously, mainly in British TV. He died at the age of 61. Ryan would star for Dmytryk in the wonderful western The Professionals 19 years later. Dmytryk died at the age of 90 in 1999. I don’t like Jews and I don’t like nobody who likes Jews
Tonight. I know it’s tonight. In the days leading up to D-Day, 6th June 1944, concentrating on events on both sides of the English Channel the Allies wait for a break in the poor weather while anticipating the reaction of the Axis forces defending northern France which they plan to invade at Normandy. As Supreme Commander of Supreme Headquarters of Allied Expeditionary Force (SHAEF) Gen. Dwight Eisenhower (Henry Grace) makes the decision to go after reviewing the initial bad weather reports and the reports about the divisions within the German High Command as to where an invasion might happen and what should be their response as the Allies have made fake preparations for Operation Fortitude, to take place in a quite different landing position: are the Germans fooled? Allied airborne troops land inland.The French Resistance react. British gliders secure Pegasus Bridge over the Caen Canal. American paratroopers launch counter-attacks at Manche in Normandy. The Resistance carries out sabotage and infiltrate the German ranks. The Wehrmacht responds …. He’s dead. I’m crippled. You’re lost. Do you suppose it’s always like that? I mean war. Funny, intense, jaw-dropping in scale, this landmark war epic produced by D-Day veteran Darryl F. Zanuck, whose dream project this was, is a 6th June commemoration like no other, a tribute to the armed forces who launched the magnificent amphibian assault. The screenplay is by Cornelius Ryan (who did not get along with DFZ) who was adapting his 1959 non-fiction book, with additional scenes written by novelists Romain Gary and James Jones, and David Pursall & Jack Seddon. DFZ knew the difficulties of such a mammoth undertaking which included eight battle scenes and hired directors from each of the major participating countries/regions: Ken Annakin directed the British and French exteriors, with Gerd Oswald the uncredited director of the Sainte-Marie-Église parachute drop sequence; while the American exteriors were directed by Andrew Marton; and Austria’s Bernhard Wicki shot the German scenes. Zanuck himself shot some pick ups. There are cameos by the major actors of the era, some of whom actually participated in the events depicted: Irish-born Richard Todd plays Major Howard of D Company and he really was at Pegasus Bridge and is wearing his own beret from the event; Leo Genn plays Major-General Hollander of SHAEF; Kenneth More is Acting Captain Colin Maud of the Royal Navy at Juno Beach and is carrying his shillelagh; Rod Steiger plays Lt. Commander Joseph Witherow Jr., Commander of the USS Satterlee; Eddie Albert is Colonel Lloyd Thompson, ADC to General Norman Cota (Robert Mitchum) of the Fighting 29th Infantry Division; Henry Fonda plays Brigadier General Theodore Roosevelt Jr., Assistant Commander of the 4th Infantry Division. The all-star cast also includes John Wayne (replacing Charlton Heston), Robert Ryan, Edmond O’Brien, Mel Ferrer, Tom Tryon, Stuart Whitman, George Segal, Jeffrey Hunter (who’s probably got the best role), Sal Mineo, Robert Wagner; Peter Lawford, Richard Burton and Roddy McDowall (who both volunteered to appear for nothing out of boredom on the Cleopatra set in Rome), Sean Connery, Leslie Phillips, Frank Finlay; Christian Marquand, Georges Wilson (Lambert’s dad), Bourvil, Jean-Louis Barrault, Arletty; Paul Hartmann, Werner Hinz (as Rommel), Curd Jürgens, Walter Gotell, Peter van Eyck, Gert Fröbe, Dietmar Schönherr. An astonishing lineup in a production which does not shirk the horrors of war, the number of casualties or the overwhelming noise of terror. It’s a stunning achievement, measured and wonderfully realistically staged with the co-operation of all the forces organised by producer Frank McCarthy who worked at the US Department of War during WW2. The key scene-sequences are the parachute drop into Sainte-Mère-Église; the advance from the Normandy beaches; the U.S. Ranger Assault Group’s assault on the Pointe du Hoc; the attack on the town of Ouistreham by Free French Forces; and the strafing of the beaches by the only two Luftwaffe pilots in the area. The vastness of the project inevitably means there are flaws: where’s the point of view? Where are the Canadians?! But it is a majestic reconstruction made at the height of the Cold War of one of the biggest events of the twentieth century. Or, as Basil Fawlty said before he was muzzled by the BBC yesterday, Don’t Mention The War. Yeah, right. Or maybe do like Hitler did – take a sleeping pill and pretend it’s not happening. Thank God for common sense, great soldiers and DFZ, come to think of it. Spectacular. You remember it. Remember every bit of it, ’cause we are on the eve of a day that people are going to talk about long after we are dead and gone
You want the scent? Smell yourself! Former FBI Agent Will Graham (William Petersen) is called out of early retirement by his boss Jack Crawford (Denis Farina) to catch a serial killer. The media have dubbed him The Tooth Fairy (Tom Noonan) because he kills random families in their homes. Will is a profiler whose speciality is psychic empathy, getting inside the minds of his prey. The horror of the murders takes its toll on him. He asks for the help of his imprisoned arch-nemesis, Dr Hannibal Lecktor (Brian Cox) who gets to him like nobody else and nearly murdered him years earlier yet has insights into the methodology of the killer that could unlock the case… He butchers whole families to pursue trivial fantasies. As an adult, someone should blow the sick fuck out of his socks. The mindbending antics of Thomas Harris’ narcissistic creation Lecktor were first espied here but it’s really Will Graham’s story and what a surprise casting choice the introspective pigeon-toed Petersen seemed. He carries this oppressively chilling thriller where he is the masochist to his targets’ sadistic mechanisms. The dispassionate style, the modernist interiors, the internal machinations of the protagonist’s obsessive inner voice while he inhabits the minds of his relentlessly morbid prey, lend this a hypnotic mood. As the action increases in intensity the colours and style of cinematographer Dante Spinotti become cooler and more distancing. The diegetic score by bands including Shriekback and The Reds is an immersive trip into the nightmarish vision. An extraordinary spin on terror that is as far from the camp baroque theatrics of The Silence of the Lambs as it is possible to imagine, this masterpiece has yet to be equalled in the genre and feels like a worm has infected your brain and is burrowing through it, out of your control, colouring your dreams, imprinting you with a thought pattern that may never depart. A dazzling exercise in perspective and perception, this is a stunning work of art. Adapted from Red Dragon by director Michael Mann. Does this kind of understanding make you uncomfortable?
Do you know what kind of bomb it was?/The exploding kind. Chief Inspector Dreyfus (Herbert Lom) escapes from a mental hospital and determines to commandeer a Doomsday machine invented by Dr Hugo Fassbender (Richard Vernon) in order to wipe out the entire world if necessary – just as long as he can kiss his bête noire Inspector Clouseau (Peter Sellers) farewell. He kidnaps Fassbender and his daughter Margo (Briony McRoberts) and holds them captive in his Bavarian castle but not willing to take any chances, he also hires a series of hitmen (Eddie Stacey, Herb Tanney, Terry Maidment) to help out. Meanwhile, Clouseau is diverted by the attentions of alluring Russian spy Olga (Lesley-Anne Down) … Now we’ll see who has the last laugh. They’ve all betrayed me, and now they will have to pay. What shall I destroy? Buckingham Palace? Too small. How about London? Not big enough. England! Yes, England. In which Dreyfus becomes a kind of Blofeld-styled criminal mastermind crossed with Count Dracula, the animated titles pastiche so many genres it’s just a shame they don’t get to pay homage to them all (including Edwards’ wife Julie Andrews in The Sound of Music!). Not as well constructed as the preceding films, this genre mashup does pay dividends in the expertly engineered sight gags and one extended action sequence involving Lom, Sellers and the redoubtable Burt Kwouk as Cato. Some might take issue with the scene in the gay club and the crossdressing performers but this is a scenario that Edwards would plunder to astonishing effect in the later Victor/Victoria. There’s a packed ensemble of English actors and it’s only a shame that the great Leonard Rossiter hasn’t more to do as Clouseau’s shocked opposite number. Look quickly for Omar Sharif as an Egyptian hitman while Byron Kane does a Kissingeresque Secretary of State. Lots of fun but not for the purist – even though it had me from the moment Lom’s eye twitched. Written by Frank Waldman and director Blake Edwards. I thought you said that your dog didn’t bite!/That is not my dog
I guess I’ve gotten pretty good at pretending to be okay. High school student Addison Schach (Ansel Elgort) is the only guy in class trusted by his friend Phoebe Zeleny (Chloë Grace Moretz) to take her virginity before they leave high school. While they’re engaging in sex for the first time classmate Kevin Broadus (Jared Kemp) is shot dead in the bakery where they’ve just left him. Addison is still dealing with the trauma of his mother’s sudden death six months earlier but his father Theo (David Strathairn) doesn’t grasp the extent of his emotional problems. When the police treat the boy’s death as part of gang activity Addison can’t accept it and undertakes his own investigation with Phoebe reluctantly tagging along, knowing that her well-connected mother Fiona (Catherine Keener) is already wary of the association with Addison. They soon discover that there is more to the case than meets the eye… I don’t want you to get involved with something that will most definitely hurt you. Adapted by Steven Knight and director Sacha Gervasi from the novel by Sam Munson this is a strangely restrained piece of work, clearly bursting with a fast-extinguished passion that doesn’t actually go anywhere, rather like the thwarted protagonist. Elgort and Moretz are sympathetic and engaging (and were previously paired in the remake of Carrie) but are not given enough with the script which already has a short running time at 85 minutes. It’s a combination of family drama and crime thriller but its generic ambitions don’t fully mesh in a story which is essentially about a naive approach to bereavement: this boy is no private eye. There are nice scenes with the respective parents, Strathairn and Keener, and the lo-fi approach to technology (pagers, colour VHS recording) makes a nice alternative to the social media used in most contemporary teen movies, but it’s an unfulfilled premise. That’s how life is: it provides these accidental answers. Or it seems to. You have to judge by results
Now they know who we are. It’s 1987. Gary Hart (Hugh Jackman) former senator of Colorado and one-time campaign manager for McGovern, becomes the front-runner for the Democratic presidential nomination. Hart’s intelligence, alleged charisma and idealism make him popular with young voters, leaving a seemingly clear path to the White House with a strong team led by Bill Dixon (J.K. Simmons). All that comes crashing down when allegations of an extramarital affair with a woman called Donna Rice (Sara Paxton) surface in the media after he’s goaded journalists to follow him in an interview with Washington Post reporter A.J. Parker (Mamoudou Athie), forcing the candidate to address a scandal that threatens to derail his campaign and personal life: his guarded wife Lee (Vera Farmiga) has stood by him but when the TV cameras fetch up at their house and their daughter Andrea (Kaitlyn Dever) is followed there’s some hard talking in public and in private ... I did all the things I was supposed to do to make that men wouldn’t look at me the way you’re looking at me right now. It was a great story and it ran for three weeks way back then. The good looking Democrat with great hair taunted journos to come looking for trouble and they did and they found it and the philandering politico was found on a boat called Monkey Business with a young woman who was then hung out to dry by the very people who said they’d protect her. Sound familiar? The coarsening of politics began right there, in the pages of the tabloids who found the idea of a Presidential contender openly carrying on an adulterous affair irresistible: these are the kind of guys who sniggered about JFK’s women and let him away with everything – until he was murdered and it was open season on his legacy. Jason Reitman’s film is a serious look at an issue that has just got worse over the years (with rather paradoxical outcomes, considering the state of state surveillance and paparazzi and the interweb as we know) but it’s loud and busy for the first 45 minutes and hard to hear and hard to follow. Only then does it settle, away from the hubbub of campaign offices and the rustle of burger lunches to focus on the man at the centre of the story who disproves his team’s views about what he should be doing – turns out he’s darn good at ax throwing. Trouble is, he’s not that interesting. Why on earth would he be a good President? He could win it – he’s got the hair. The superficial elements of campaigning are all over this (one advisor suggests that if Dukakis added a K to his name he’d take the South). The philosophical argument here which Hart is given in dialogue is that the public don’t care and he should have his privacy – and the public wouldn’t care if the journalists didn’t and Hart had never thrown down the gauntlet to them. That’s the point. So the story isn’t about a man carrying on behind the back of his wife or how Democrats are always found out in the same tedious way, it’s about grubby low journalistic standards and the free press and the dangers that poses to true political expression: this in itself is a very conflicted narrative stance (not to Vladimir Putin, of course). Jackman does a very low-key characteristation and that compounds the narrative problems. He is a charm vacuum. We are left asking at the end of this, as Walter Mondale asked Hart (and the clip is included), Where’s the beef? Adapted from Matt Bai’s book All the Truth is Out: The Week Politics Went Tabloid by Bai, (former Hilary Clinton press secretary) Jay Carson and Reitman, who has left his satirical knives in the drawer on this occasion. Pity.
How does a man go on to become who he is? Dick Cheney (Christian Bale) is responding to 9/11 with other White House officials. We flash back and forth to his drunken antics as a young man, getting kicked out of Yale, his wife Lynne (Amy Adams) setting him on the straight and narrow when he’s a drunken linesman and then getting into Washington out of Wisconsin U as an intern to Donald Rumsfeld (Steve Carell) and seeing everything close up and personal during the Nixon era. Rumsfeld’s abrasiveness gets them distanced from the office, where Cheney overhears the President discussing the secret bombing of Cambodia with Kissinger (Kirk Bovill). His father in law appears to murder his mother in law (never investigated) and Cheney and Lynne form a tighter family unit. He becomes Chief of Staff to Gerald Ford (Bill Camp) while Rumsfeld is Secretary of Defence and he is introduced by Antonin Scalia (Matthew Jacob) to the Unitary Executive Theory. He has his first coronary while running to represent Wyoming and Lynne campaigns for his seat in the House of Representatives. He then becomes Secretary of Defence under George H. Bush during the Gulf War. When younger daughter Mary (Alison Pill) comes out, he resigns to prevent media scrutiny. He is CEO at Halliburton when George W. Bush (Sam Rockwell) asks him to be his running mate in 2000 but he demurs and says he’ll help select that individual. But when he satisfies himself that Bush Jr. is incompetent he gets him to promise that mundane issues like energy and foreign policy be left to him and he accepts the role and sets up offices in every possible executive area … He would be a dedicated and humble servant to power. How is it that some of the most penetrating films about politics have been made by comedy auteur Adam McKay? Is this the only way we can take our reality nowadays? Perhaps. This freewheeling exercise in postmodernism is incredibly formally inventive, audacious even, and the film actually stops and the credits roll for the first time at 47 minutes. And then we kickstart into the real story, once again, back to 9/11 and the film’s narrator (a great joke, by the way) asks us why on earth was Cheney having a private talk with his lawyer David Addington (Don McManus) in the middle of this unprecedented act of terror? Amid the family dramas, Iraq, Afghanistan, the War on Terror, Halliburton’s involvement, the Crash,and everything else that has beset the US since that date, Cheney was the real power behind the White House controlling everything, even the terms of public discourse – ‘global warming’ became ‘climate change’, and so on. Sometimes the synoptic approach is genuinely funny, sometimes it feels too episodic. The film is all about heart – heart attacks, a heart transplant, the heart of power and family. Cheney’s final monologue tells us what we already know and Bale offers a robust picture of a seemingly bland man pummeled into unchecked power by an ambitious wife who himself becomes an untameable and unstoppable juggernaut, he’s everywhere, all of the time, at every formative event in recent Republican Party history. It’s a jigsaw puzzle moving backwards and forwards through the decades that pieces together how one person’s worldview came to predominate in the culture. Irreverent, entertaining and fairly shocking, this will make you laugh and hurl, sometimes simultaneously. Vice is the word. You have to remember that if you have power people will try to take it away from you – always
I look like Cap’n Crunch’s Grindr date! Fred Flarsky (Seth Rogen) is a daring if shambling journalist favouring the Democrats who has a knack for getting into trouble. We meet him infiltrating a White Power group where he gets identified as a Jewish leftwing writer and he jumps out a first-floor window to escape their wrath halfway through getting a Swastika tattoo. Charlotte Field (Charlize Theron) is one of the most influential women in the world – the US Secretary of State, a smart, sophisticated and accomplished politician who needs to up her ratings to succeed her boss, TV star President Chambers (Bob Odenkirk). Her polling improves every time she’s photographed with the goofy Canadian Prime Minister (Alexander Skarsgard) as she’s counselled to do at every opportunity by her advisor Maggie (June Diane Raphael). When Fred unexpectedly runs into Charlotte at a party his best friend Lance (O’Shea Jackson Jr) takes him to after he’s left his Brooklyn alt-weekly following a takeover by the repulsive mogul Parker Wembly (Andy Serkis), he finds himself in the company of his former baby sitter and childhood crush. When Charlotte decides to make a run for the presidency she hires Fred as her speechwriter to up the funny factor – much to the dismay of her entourage as she’s embarking on a world tour to persuade leaders to sign up to her programme to save The Bees, The Trees and The Seas and he joins them on the road … I’m a racist. You’re a Republican. I don’t know what is wrong with me. As a product of the adolescent house of Seth Rogen/Evan Goldberg you might think this had a gross out element and it does – any film that could have its leading man ultimately labelled The Come Guy has taken a turn in that direction (hence the title). But it’s the getting there that is astonishingly well put together. The stereotypes here are all too recognisable: the woman who can handle herself, and the man who … handles himself in a very particular way; the WASPy politician who has to deal with a doofus Commander in Chief who himself takes his cues from his TV show as the US President (Odenkirk is very good) along with a toothy Canadian jerk PM (Skarsgard sportingly sports buck teeth) similarly looking for a viable political romance, not to mention the hourly misogyny dealt her by an astonishingly sexist TV channel; the shabbily dressed leftwing Jewish journo (in another time he’d have been part of the counterculture) who learns the hard way that maturing requires a deal of compromise which he only realises when his best friend admits he’s not just a Republican – but a Christian to boot – and then has the lightbulb moment that he is in his own way a racist and a sexist, everything he despises. Therefore beneath this very funny, role-reversing political comedy about two people who want the impossible – a relationship of equals – is a plea to see things from the other side’s point of view. He needs to grow up, she needs to be reminded of the passionate truth-teller she used to be so they both teach each other valuable lessons. The big political crisis is solved after Fred has given Charlotte her first taste of MDMA (she thinks it’s called The Molly) so that a hostage-taking disaster is averted when she’s off her skull. This is very much of its time, the potshots are relevant and smart if obvious, the sex scenes are hilarious (she has a better time, quicker, and apologises, just like a guy), and the timing is exquisite. And no, it’s not the intellectual wordfest of The West Wing nor does it attempt the kind of fireworks we might wish for from the classic Thirties screwballs but it has its own rhythm and nuance with flawless performances even if the satire isn’t as up to the second as we require in the Twitterverse. There is, though, a teal rain jacket and those Game of Thrones references. Principally it works because of its humanity but it also ploughs a furrow of Nineties nostalgia – bonding over Roxette and Boyz II Men – as well as boasting an environmental message and emitting a howl against media conglomerates and rightwing hatemongers. At its centre is a couple trying to make things work while working together in a horribly public situation with the politics regularly giving way to charming encounters where the stars play against type. That’s clever screenwriting, by Dan Sterling and Liz Hannah. Deftly directed by Jonathan Levine, this epitomises all that is right, left and wrong about the American political scene with a hugely optimistic message at its core about the State of the Union. Highly entertaining with an awesome Theron taking charge. We totally almost just died