Sunday, 12 April 2026

On demand: "Song Sung Blue"


We've arrived at the point where one of Hollywood's most pressing creative concerns, going into the year of Our Lord 2026, was paying tribute to a real-life Neil Diamond tribute act and thereby engineering a Neil Diamond jukebox musical:
Song Sung Blue is one for the teenagers, and two for the show. Hugh Jackman toplines as the somewhat improbably named Mike Sardina, a jobbing musician and recovering alcoholic eking out a measly living on Milwaukee's chicken-in-a-basket circuit at the turn of the 1990s. Backstage at one such gig, he crosses paths with a Patsy Cline tribute act, Claire Stingl (Kate Hudson); the pair click, fall for one another, and re-emerge on the circuit as Lightning and Thunder, belting out "Cracklin' Rosie", "Forever in Blue Jeans" and other such standards. Despite Mike's understandable reluctance to perform "Sweet Caroline" (the most overplayed song in Christendom, an anthem for sheep, baa baa baa), the duo start to get somewhere before fate intervenes, and we realise this must have been one of those long-gestating projects afforded a leg-up by the success of 2018's A Star is Born redo: the folks putting the show on here aren't the fresh faces you'd find in Glee or any other bandcamp, rather midlifers with baggage beyond the remit of any roadie (addiction issues, depression, a family at home to raise). It's a vision of showbiz as last-chance saloon, serving until late.

Writer-director Craig Brewer, who oversaw the rap game melodrama Hustle & Flow in another life, duly sets about soliciting texture and experience: the film's backdrop is an unfussy, lived-in, come-as-you-are blue-collar America, and even as the narrative wades into sticky, TVM-adjacent territory in its second half, a distinctive editing strategy makes unusual bedfellows of unlikely developments in the Sardina household. That's one selling point: between senile motorists and Mike's dodgy ticker, the arc is never as predictable as you might think. (The wrinkles of life haven't been entirely smoothed out of it.) And it's fun in a broad-brush kind of way. Brewer evidently prefers performers who can come on and give a longish film some necessary oomph here and there: Michael Imperioli as a silver-fox Buddy Holly impersonator, Fisher Stevens as Mike's dentist manager, Jim Belushi as a phlegmy local entrepreneur. We also get an oddly miscast Eddie Vedder when this story takes a sharp leftfield turn (and the actor in question is actually supposed to be playing Eddie Vedder, not an Eddie Vedder tribute act), but elsewhere Brewer clears ample space for Jackman (wearing the sideburns well, which is to say unironically) and Hudson (who seems to be turning into Janice Long) to be as impressive offstage as they are on. You buy this pair as a double act, which is crucial; they're like an unpretentious Aldi own-brand variant of Joaquin and Reese as Johnny and June. What's around them is often cheesy and corny, caught singing an at least semi-familiar tune; we are, ultimately, many miles from the cinematic cutting edge, and at least three decades removed from where the rest of the American cinema is at in 2026. But that's part of Song Sung Blue's plaid-covered charm: not unlike the real Diamond's secular hymns, Brewer's film has a way of bypassing your most critical faculties. Stick it on, and it kinda works.

Song Sung Blue is now available to rent via Prime Video and YouTube, and on DVD and Blu-ray via Universal.

Saturday, 11 April 2026

Dead air: "undertone"


21st century horror cinema has in certain respects been a history of terrifying technologies. It began with a new wave of video nasties (the various iterations of the
Ring series), before going digital, scrolling through and past dodgy websites (feardotcom), spooky surveillance footage (the many Paranormal Activitys) and killer apps (Friend Request, Countdown) to arrive - come the pandemic - at cursed Zoom calls (Host). It's almost as though the movies have been trying to warn us about something. Now there's Ian Tuason's much-trumpeted A24 buy-in undertone, which centres on a haunted Irish singer who's become a spokesperson for the UK's rivers... no, sorry, it's podcasts, as everything else is nowadays. Some cursory preamble establishes the circumstances of an especially fateful recording session for an apparently popular paranormal pod. Sceptical host Evy (Nina Kiri) is dialling in from the US, and the home she shares with her ailing mother (Michèle Duquet). Her more suggestible co-host Justin (Adam DiMarco), dialling in from London, has a new mystery for the pair to investigate: an anonymously submitted email containing ten attached audio files, made up of what appear to be the conversations of a fraught couple, heavily doctored children's nursery rhymes, earsplitting shrieks and screams, and what even Evy starts to believe are hidden messages. It's a radio play, essentially, one that's taken a wrong turn and ended up in the Cineworld by mistake.

It is, also, a demonstration of horror cinema's recent sound design tendency run amok. One element of undertone has been prioritised above all others: the ears are duly piqued, battered and traumatised, but the eye grows bored and sleepy, and the entire lower half of the body grows terribly restless. My heart sank the minute it became apparent Tuason's main visual focus was going to be a woman sat alone at her own dining table clicking links on her laptop; for much of the movie, we're either eavesdropping on a production meeting or listening to a podcast that is the paranormal equivalent of a local radio station's misheard lyrics phone-in. The hosts incessantly tell one another they've heard something they haven't (and, more crucially, that we haven't), while Tuason cuts to a clock on the wall that, I swear, starts to go backwards beyond a certain point ("but we've still got two more files to listen to!"). So bare-bones you could play its ribcage like a xylophone, undertone is reflective of a wider trend, but it's a lamentable trend: filming people recording podcasts, thinking that'll do as either television or online content, rather than spending money on actual entertainment. Pivoting to video has sure worked out well for Tuason, who's just been tapped to oversee some Paranormal Activity reboot only four or five people on the entire planet can possibly be excited about. If there's one thing the studio system in its present form has almost been set up to effectuate, it'll be to stifle this recent horror renaissance with terminally flimsy product and morbidly unoriginal ideas.

undertone is now showing in cinemas nationwide.

Friday, 10 April 2026

For what it's worth...




UK box office Top Ten (for the weekend of April 3-5, 2026):

1 (new) The Super Mario Galaxy Movie (PG)
2 (1) Project Hail Mary (12A) ***
3 (new) The Drama (15) **
4 (2) The Magic Faraway Tree (U)
5 (3) Hoppers (U) ****
6 (new) Fuze (15)
7 (4) Dhurandhar: The Revenge (18) **
8 (new) Vaazha 2: Biopic of a Billion Bros (15)
9 (5) Reminders of Him (PG)
10 (6) Ready or Not 2: Here I Come (15)

(source: BFI)

My top five:
4. Romeo + Juliet
5. Moulin Rouge!


DVD/Blu-Ray/Download top ten: 

1 (new) Avatar: Fire and Ash (12) ***
2 (20) The Housemaid (15)
3 (new) "Wuthering Heights" (15)
4 (1) Sinners (15) ****
5 (2) One Battle After Another (15) ****
7 (3Wicked: For Good (PG)
8 (new) G.O.A.T. (PG)
9 (33) Hamnet (12) **
10 (10) The Super Mario Bros Movie (PG)


My top five: 
1. Nouvelle Vague
2. Saipan


Top five films on terrestrial TV this week:
1. The Wicker Man (Friday, BBC Two, 11.05pm)
2. Rear Window [above] (Sunday, BBC Two, 2.10pm)
3. Willy Wonka and the Chocolate Factory (Saturday, ITV1, 3am)
4. Jurassic Park (Sunday, ITV1, 2.10pm)
5. The Royal Hotel (Friday, BBC One, 11.25pm)

On demand: "Motherboard"


As gestured to by its punning title, the British indie doc
Motherboard functions as a reverse-angle on Richard Linklater's much-admired Boyhood. Sometime TV director Victoria Mapplebeck picked up a camera of her own upon giving birth to her son Jim in 2004, when she was 38, and kept it running over the ups and downs of the two decades that followed. In the film's opening montage, we glimpse Jim as he is today, befringed and upright graduate of the Brit School; then we flash back twenty years to a pivotal life moment, and Mapplebeck begins to show how everybody got here. She fell pregnant from a man she confesses she went on a total of four dates with - a fellow who then dumped her, before moving to Spain - so the film's subject is more precisely single motherhood. Mapplebeck quit TV, aware it's not the most supportive industry to work in as a single parent, took a new gig teaching film, then set about raising a child and making a film about raising a child. As you can imagine, it wasn't always fun and games: dad insisted on a paternity test, there was a brush with breast cancer, and Jim had his moodier moments as he approached and passed through adolescence. But Mapplebeck wound up making a young man and a film in parallel: for an hour and a half - rather than Linklater's three - we're watching an extended process of fruition. Women tend to get things done with far less fuss than we men.

A lot of Motherboard could be described as routine: it's washing up, bedtime stories, bus journeys, mother telling son not to pick his nose, holidays, Christmas, small conversations on major topics (Jim's relationship with his dad, Victoria's medical issues). There are small but noticeable changes. Life gets rapidly more digital than it was in 2004: Jim describes his father's Facebook profile as "ones and zeroes", consumer video footage is succeeded by smartphone footage. The big change is that Jim gets bigger and stroppier, both more independent and more troubled, because that's how growing up works. Mapplebeck, for her part, seems very conscious of the fact this is mostly home video, and so strives to mix up her approach with montage, slow-motion, the South London equivalent of Ozu's pillow shots, freeze-frames, X-rays, despairing texts and answerphone or voicemail messages as well as snippets of retrospective narration; Motherboard is absolutely a film made by someone who's taught issues of film form, and resolved to convert theory into practice. Most obviously, she's reviewed the hundreds of hours she must have shot and worked out exactly what story she wanted to tell in these 87 minutes, which is bigger than it first appears, and possibly even bigger than Victoria and Jim themselves. Much as the filmmaker has a realisation while observing her cancer cells through a microscope, Motherboard curates its scenes of small, everyday activity in such a way that they start to speak to far bigger themes: adaptation and endurance, responsibility and care. (You may also wonder to what extent Mapplebeck kept on filming to show Jim's absent father just what he chose to miss out on; though dialled down over time, this is, on some level, film as fuck-you.) It may not look like much at first glance - a low-budget, independently rendered documentary, pieced together for the price of home editing software - but Motherboard remains alert and true to the contours of life.

Motherboard is exclusively available to rent via the BFI Player from Monday.

Thursday, 9 April 2026

Come and see: "Stand By Me" at 40


Stand By Me celebrates its 40th birthday, albeit in more sorrowful circumstances than it might, given the murder of director Rob Reiner last December. Revisiting the film, one realises that death is everywhere: somewhere in here is the disquieting idea that looking it in the eye - whether by staring down an express train or gazing upon a fallen schoolmate - has become an American way of life or rite of passage. This was one of an odd cluster of 1986 films in which young Americans happen across decaying body parts; the other two (Blue Velvet and River's Edge) were effectively fringe items, but Reiner, coming off the back of This is Spinal Tap and The Sure Thing, made his variation at the very heart of the Hollywood studio system. You sense the executives hoped the fresh-faced youthfulness of this cast (Wil Wheaton, River Phoenix, Corey Feldman and Jerry O'Connell as its central quartet, plus John Cusack and Kiefer Sutherland in dispatches) might give the movie a leg up before audiences got to considering the sadness Stephen King, in his source novella "The Body", was actually writing about: the passage of time, and the passing of old friends and longstanding friendships with it. Finding the body of a contemporary is here positioned as a grand day out for four boys from the wrong side of the tracks, which would itself seem pretty sorrowful; it's made even more painful by a framing device that establishes Phoenix's Chris Chambers, generally regarded as the one of the quartet bright and scrappy enough to actually do something with his life, has perished in a random act of violence. Yes, there are vague similarities to the rock 'n' roll childhood of American Graffiti and the previous year's megahit Back to the Future - to some degree, this was also boomers revisiting their glory days to the sounds of their youth - but, deep down, Stand By Me sensed that, at some point, the fun stops. Hell: at some point, you stop.

What Reiner brought to the adaptation was, primarily, an appreciable and not inappropriate economy: Stand By Me goes deep in just 85 minutes. (Some films, like some lives, are too short.) Having apprenticed on television sitcom (All in the Family), he'd learnt to get what he needed without undue fuss, and shooting Tap had persuaded him not everything had to go up to eleven, that there remained artistic value in understatement. Maybe he knew certain sequences here - the rail bridge crossing, the bit with the junkyard dog, the pie-eating contest - would expand in the mind; their anecdotal, lived experience does come to assume a far greater significance in the movie's rear-view mirror. He knew, wisely, to set the kids' innocence against the unsparing horror of this American life: the shitty dads and broken homes, the poverty and the bullying. (Stray thought prompted by the lead-in to the pie-eating contest, a curious setpiece that is at once a nerd's revenge, an elaborate cutaway gag and the Carrie finale turned inside out: was the robust Reiner likewise mocked for his weight and eating habits?) One reason King and Reiner shaped up as among the current President's most vocal Hollywood critics: they grasped that nostalgia only covers so much ground, that - for many folks - America was never that great to begin with. Here, despite the deceptively leafy and sunny location work, the land of the free starts to seem as deadly for some kids as Korea or Vietnam. Reiner is as protective of his leads as any Hollywood director can be (for all the good it did two of them): there are very few of Back to the Future's eternally jarring tonal issues, he preserves Gordy's campfire confession that he misses his older brother (as the movie, too, seems to pine for Cusack), and in the boys' roughhousing, he sees at least a consolatory solidarity. But Stand By Me struck me this time around as more than ever a displaced war movie: a small squadron of lads dispatched on a critical, life-changing mission, facing up both to enemy combatants (older lads) and their own ever-growing sense of mortality. (Note the dogtag Feldman's Teddy wears around his neck, and the war stories he tells.) One way of approaching it on this anniversary rerelease: as Rob Reiner's own Platoon.

Stand By Me returns to cinemas nationwide from tomorrow.

On demand: "My Father's Shadow"


My Father's Shadow
 is a notable example of a British film that probably couldn't have been made during the Working Title era 25 years ago: the co-production arrangements wouldn't have been in place, and - for one reason or another - the key creative personnel wouldn't yet be on the books at BAFTA. Brothers Akinola and Wale Davies have come up with a 90-minute extension of what seems like a hyper-specific, often overwhelmingly vivid childhood memory. The year's 1993, and two bored and squabbling pre-teen siblings in a small Nigerian village (played by Godwin and Chibuike Marvellous Egbo) are taken on an impromptu day trip to the country's capital Lagos by their stern but loving father (Ṣọpẹ Dìrísù, from His House), keen to find some renewed way of showing some interest in his boys. The interpersonal business at first appears secondary to the logistics of the trip, and the new and strange images it imprints on the brothers: the idiosyncrasies of the grown-ups on their commuter bus, the vague chatter about an election the youngsters are too young to fully understand, the look on a local girl and a homeless boy's faces once this family unit arrives at its destination, the look on the faces of the young soldiers themselves bussed into central Lagos in a pre-emptive (and, it transpires, vain) bid to quell any electoral unrest. Watching My Father's Shadow, it becomes very clear very quickly why the moneymen handed over this budget to the Davieses: here are folks who seem to know this time and this place intimately - who may well have lived through it - and who are able to both recall and recreate them in ultra-evocative, close-up detail.

It's a transporting perspective, to say the least: that of wide-eyed kids looking out at the big city for the first time. Every shot here is a precious memory, even those that hurt. On a technical level, the film is a small triumph of production design: Pablo and Jennifer Anti (who helped style Beyoncé's Black is King) have turned the chaos of today's Lagos into a city that more readily reflects the period setting. More specifically yet - and only compounding a general sense of slippage - it's a version of 1990s Lagos that seems to have one foot stuck in the 1970s, underdeveloped in some key aspects: the theme of the day's election. If the kids - innocents snapping up the offers of free food and funfair rides - aren't old enough to see what's wrong, the father evidently can; the subtext of this daytrip is his effort to secure them a better and brighter future. The Davieses nod to one realist classic (Bicycle Thieves, in the film's questing structure) and to a more contemporary influence (Barry Jenkins' Moonlight; here as there, the pull of the ocean softens man and boys alike), yet they finally make this story their own by casting the exact right combination of people to occupy centre frame. Dìrísù keeps the father figure forbidding - we look at him as his boys do - yet he's also as vulnerable as anyone else on screen; if the brothers really do resemble brothers in both looks and attitude, that's doubtless in part because the Egbos actually are brothers, but this camera's sustained, sympathetic observation nevertheless reveals one as softer and more sensitive than the other. On my walk home from town, I started to revise the opening statement of this review: maybe My Father's Shadow could have been made at the turn of the century, but it would likely have been by a director who wouldn't have been certain of where he was going, and who wouldn't fully know what the father means when he sighs "Nigeria is hard". That version wouldn't have turned out as compelling and convincing as this - nor, I suspect, would it be this quietly beautiful.

My Father's Shadow is available to stream via MUBI from tomorrow.

Wednesday, 8 April 2026

She said: "The Drama"


With The Drama, those algorithmic whizzkids at A24 - and the merry Scandie prankster Kristoffer Borgli (Sick of Myself, Dream Scenario) - have arrived at a movie to get everybody talking, save us critics. You'll doubtless have heard the set-up by now: picture-perfect young sweethearts (Robert Pattinson and Zendaya) are waist-deep in wedding plans when, during a drunken night out with friends, she confesses to the worst thing she's ever done, causing him to reevaluate all his previous certainties and sureties. Though this confession is more revelation of (former) character than rug-pulling Shyamalanian twist, it's only fair for me to allow you to discover it in context. (Should you wish to know without forking out for a ticket, the details are inevitably already out there on the Internet, including in a report by a major news outlet that also details the concern and consternation Borgli's film has provoked in some quarters.) My problem with The Drama wasn't so much with The Revelation - which, if nothing else, is evidence of an American film daring to engage with something that apparently happens in America every other day - as with The Tone, The Framing and especially The Casting. OK, Kristoffer Borgli, so you're telling me Zendaya is the sort of person who might be inspired to do this? Zendaya Coleman, with her air of ever-upright girl scout? I spent a lot of The Drama suffering unhelpful flashbacks to 2024's Challengers, which asked us to believe Zendaya might spend her nights and days concocting exotic polysexual headgames rather than colour-coding her revision notes or organising a whist drive for local elders. (But then that film also invited us to swallow the idea Zendaya was mother to a toddling child: it grows only more ridiculous in retrospect.) That Zendaya. Doing this. Okay. Sure. Whatever.

When you're just about the hottest young star on the planet, of course, you are naturally going to be offered every last role under the sun - everybody loves you; everybody wants you; everybody wants you on their poster, selling tickets - but it's Probability 101 that only a few of those roles are going to be right for you and your persona. There are a few A24-affiliated actresses - darkly brooding, more obvious malcontents: Rachel Sennott and Odessa A'Zion come to mind - who might have stood a chance of pulling this role off, but their stars perhaps wouldn't yet be big enough to have got The Drama greenlit, and even then, I suspect they'd be more inclined to send a snarky text to the group chat rather than, you know, think about doing that. The problem is systemic: today's American cinema, hung up as it has been on franchises and squeaky-clean, family-friendly fare for the better part of the last twenty years, simply hasn't recruited the kind of actors that might do justice to the issues and dilemmas Borgli, in his cackling way, is trying to address. The sometime Mary-Jane Watson and the actor formerly known as Edward Cullen are fine as the advert characters The Drama introduces to us before The Revelation, who may as well be selling us on the Doritos available in the cinema foyer, and they give of their best as the blood-and-vomit-smeared test dummies the film subsequently invites us to sneer at. But a risky concept like this needs bruising, hard-won life experience to ground it, and actors who might conceivably have brought a weapon (or some other palpable threat) into auditions; all The Drama has in its back pocket, ultimately, is a playlist. 

My suspicions grew that Borgli was using these fresh faces to zhuzh up more than faintly hoary material: as with Dream Scenario, The Drama can seem like some coded thesis on (sigh) cancel culture. Zendaya's Emma is cancelled socially for saying something you're not supposed to say in polite society; this framework enables Borgli to write a scene in which a high-schooler points out women are as likely to do The Thing as men (#notallmen) and to have a jolly good chuckle at the implications of casting a woman of colour in the role. Any objections get channelled into Pattinson's stooge, a Diet Coke-sipping wet lefty who compares this situation to a Louis Malle movie before succumbing to erectile dysfunction. I mean, again: fine, whatever, but Lacombe, Lucien was at least a film made by grown-ups who were serious about their intentions in a way the opportunistic trolling of The Drama patently isn't. Instead, what we're getting here is another of A24's sniggery, giggling ventures - it's this year's Eddington - which suggests this studio isn't just making films for kids (with kids!) but may actually also be being run by kids. As provocations go, The Drama is shorter than Triangle of Sadness, which should count for something, but it's still a rather tiresome and self-satisfied sixth former's idea of sophisticated entertainment: a movie that wants us to pay to watch folks having a rotten time, and which continues that dead-end strain of American cinema that insists on scrubbing our best and brightest young stars of any residual trace of charm. (I'm blaming Ruben Östlund and the Safdies: it's all A24's worst instincts, wrapped up in a perversely saleable package.) Pattinson is asked to be no more than helpless in the role of a simpering wreck, and he submits to yet another bad hair movie: ruffled-floppy on those rare occasions when he has it together, terribly limp and representatively ineffectual as matters get worse in his head. As for Zendaya: highly watchable actress, very promising movie star, but she can no more convince in this role than she could beat Luke Littler in the final of the World Darts Championship. We have drifted some way from the light, people.

The Drama is now playing in cinemas nationwide.