I would suggest watching River on the largest possible screen, so you can bask in the breathtaking beauty of the visuals.
Netflix’s fly-on-the-pitwall series has rapidly established itself as a vital ingredient in the tapestry of Formula One coverage, and is credited with giving the sport a huge boost in visibility and popularity, not least in the USA. This fourth outing (now featuring even more undeleted expletives than ever) takes a look back at 2021’s dramatic racing season, which ended in uproar and controversy in Abu Dhabi last December.
Tragically, Shane Warne’s sudden death at age 52 means that Amazon’s new documentary about him has suddenly become an obituary as much as a celebration.
Don Letts, the film director, musician and DJ responsible for so many of the iconic images of punk and reggae artists, executive produced this documentary portrait. The result is a warm and generous chronicle that occasionally veers on the hagiographic side.
There is little denying that the Antarctic continent is no longer possessed of the allure that it once was. By all accounts, particularly those unspoken, Antarctica has been betrayed, usurped, eclipsed.
Beyond the sober walls of research laboratories, or the heady enthusiasm of university corridors, people today have scant interest in the icy land mass, twice the size of Australia, on average the coldest, driest, windiest of continents, home to penguins, seals and tardigrades, that 2016 Animal of the Year, though it may be.
Even today, Charlie Chaplin still earns glowing accolades from critics for his work during the formative years of cinema, though a contemporary viewing public saturated in CGI and superheroes might struggle to see the allure of his oeuvre as the “Little Tramp”.
It’s good timing for the release of Flee in UK cinemas. The Danish movie has just made Oscar history by being nominated in three categories – Animated Feature, Documentary, and International Feature and is bound to win in at least one of them.
A caption tells us that while filming the Beatles at Twickenham Film Studios in January 1969 for a planned TV broadcast, director Michael Lindsay-Hogg and his crew amassed 60 hours of film and 150 hours of audio recordings. Some of it was seen in the 1970 film Let It Be, but the bulk of it has remained locked in the vaults ever since. Until now.
Todd Haynes’ documentary about the Velvet Underground has to be one of the better uses of time by a film-maker during the Covid pandemic. He spent lockdown putting the film together with a team of archivists and editors working remotely. It’s a beautifully shot and ingeniously collaged portrait of the decadent New York band which weaves together an extraordinary wealth of archive footage and some choice and apposite interviews.