An increasing concern for society at large, dementia has become a recurrent theme in films and TV too. Concussion comes at the subject from an unusual angle, as it tells the story of Nigeria-born neuropathologist Dr Bennet Omalu, who identified a form of dementia which was killing an alarming number of American football players.
Following in the footsteps of Star Wars: The Force Awakens another popular film series which began in the 70s is passed over to a young, admiring pretender. And just as JJ Abrams succeeded there, Ryan Coogler – who announced his talent unapologetically with the searing Fruitvale Station – does so in emphatic fashion here. This add-on to the Rocky franchise boasts a comparably deft mix of crowd-pleasing familiarity and freshness, particularly in the shape of its canny new casting – a combination that’s set to excite a new generation of fans.
The story of the Soviet Union’s ice hockey team's pivotal role in relations with North America is fascinating. Its players were not just sportsmen. They were also in the army and integral to their home country's portrayal of itself on the world stage. Central to the Cold War battle of wills, the seemingly unbeatable team was a propaganda tool and, after perestroika, its members played for American and Canadian teams. Russia had infiltrated its adversaries. The Werner Herzog-produced documentary Red Army tells this tale.
Lance Armstrong's spectacular crash-and-burn makes for gripping stuff in The Program, the story of the sports legend-cum-druggie who cycled too close to the sun and went on to pay the hubris-laden price. And as a star vehicle for Ben Foster, Stephen Frears's latest film not only serves as a reminder of this director's singular way with actors (note the performances that have gone the Oscar route under his watch) but makes one wonder why his young American lead hasn't yet entered Hollywood's inner sanctum when he so clearly has the stuff.
There’s a screen quotation late in this remarkable documentary that reads, “An outstanding athlete cannot belong totally to himself.” The words are those of Soviet ice hockey trainer Anatoly Tarasov, who's one of the presences behind this story of the sport seen through the eyes and experience of the legendary defender Vyacheslav (Slava) Fetisov. But director Gabe Polsky has made a broader film, one which touches on the uncertain journey Russia has undergone over the last three decades.
The boxing movie has been a gift to filmmakers virtually since the dawn of cinematic time. In 1932 Jimmy Cagney was swinging for the title (and the gal) in Winner Take All, but some say 1947's Body and Soul, starring John Garfield as boxing champ Charley Davis, is the one most of the other screen boxers are indebted to, from Sly Stallone's Rocky to Robert De Niro's Jake LaMotta in Raging Bull.
22 men with clubs and Neanderthal facial hair, fighting an ancient, ritualised turf war over a symbolic, cremated token… No sooner did you think the latest series of Game of Thrones had finished than a bunch of feisty blokes from somewhere far scarier and more violent than Westeros pitch up and start throwing heavy objects around. The Ashes, one of sport’s most venerable international competitions, started again today, and since it’s now big business, we have a range of viewing choices. And that, we’re always told, is good for us.
This was the story of a remarkable man, Henry Cecil, a genius with horses and 10 times Champion Trainer. He was felled by tabloid scandal but rose again to train one of the greatest racehorses in history, Frankel. This wholly absorbing programme was not a tale of everyday folk, but of horse racing, told through its human and equine characters, looking into a rarefied bubble inhabited by some of the richest and most powerful people in the world – and the finest thoroughbreds of the animal variety.
Shiny cars, going fast. In real life, obsessing over gravel-crunching oversteer or the downforce your rear spoiler exerts is one for Jeremy Clarkson fans or pimply youths in suburban retail car parks, late at night. But there's something about the mix of sheer muscularity and precision strategy that appeals when racing is on TV or in videogame form. It's a spectacle, meant partly in the situationist sense.
As he died in 2010, we can never know what John du Pont was like in person, but if Steve Carell’s rendering of the maniacal American multi-millionaire with a wrestling fixation is even close to the real thing, the experience must have been disturbing. Foxcatcher, the story of du Pont’s immersion in wrestling, is disquieting but Carell stands out. Creepiness defines every moment he is on screen.