Bill Duke’s 1992 thriller Deep Cover receives the Criterion restoration treatment, and certainly the neon noir lighting looks luscious and fresh. It’s a shame the screenplay, the directing, and most of the acting hasn’t stood the test of time.
Lior Raz is Israel’s very own man with a very particular set of skills. However, unlike the looming 6ft 4in Liam Neeson who plays Bryan Mills in the Taken films, Raz is stocky, shaven-headed and clocks in at a mere 5ft 7in.
When CODA opened Sundance in May, it was an instant hit with that liberal, kindly audience and was snapped up by Disney at great expense. It’s easy to see why – CODA is a funny, easy-to-watch coming of age comedy that allows viewers to feel warm and understanding towards Deaf people. It’s got Oscar nominations written all over it. But I’m curious to see what the Deaf community make of the film.
A lot has changed in the 40 years since Blow Out was first released. In 1981, American critics from Pauline Kael to Roger Ebert praised to the heavens Brian De Palma’s homage to assorted Hitchcock thrillers and his script’s mash-up of 1970s conspiracies. Certainly this handsomely restored print does justice to Vilmos Zsigmond’s cinematography.
"Times have changed", we're informed in the cascadingly witty title number of the Cole Porter musical Anything Goes, now in revival at the Barbican and bringing with it a pandemic-clearing tsunami of joy.
It’s hard to imagine a movie more of its time than Zola, as it takes on sex, race, the glamorisation of porn and the allure of the ever-online world. For 90 minutes we are embedded in the lives of two young American sex workers and it’s a wild ride that leaves its audience breathless as they try to keep up with the hand-brake turns and sudden changes of pace and tone.
A gorgeous song exists in search of a show to match over at Bagdad Café, the 1987 film that gave the world the memorably plaintive "Calling You", which is threaded throughout Emma Rice's stage adaptation of the movie with understandable insistence.
Before seeing this play, I decided to eat a steak. It seemed the right culinary equivalent to David Mamet, one of America’s most provocative and, at times, especially past times, red-blooded writers. This play, whose British premiere was at the Royal Court in 1993 – when it starred David Suchet and Lia Williams – now arrives in the West End from Bath’s Theatre Royal.
The sleeve splices Little Richard and Sam Cooke in an archaic, explosive burst of ecstasy. Neo-soul star Leon Bridges’ third album doesn’t settle in the past, though.