Part one of Antoine Fuqua’s film shows the transformation within a decade from 12-year-old boxing novice Cassius Clay into the heavyweight champion of the world
“I asked my mother when I went to church on Sunday: ‘Why is everything white? What happened to all the black angels?’”
So Muhammad Ali told an interviewer, before giving a knowing look and – boom! – the punchline. “Black angels are in the kitchen preparing milk and honey.”
Stranger Things Season 3 receives Rave Reviews from Critics
Midsommar Review – 5 Stars!
Florence Pugh is plunged into a terrifying pagan bacchanal in a magnificent folk-horror tale from Hereditary director Ari Aster
“There’s nothing cosy about these midsummer murders, and Midsommar could turn out to be folk-horror for the Fyre festival age. Ari Aster is the film-maker who made his feature debut just last year with the chiller Hereditary, and now presents us with this fantastically sinister and self-aware Euro-bacchanal, clearly inspired by the 1973 classic The Wicker Man. And that is not the only riff. When Hereditary came out, I guessed (correctly, as it turned out) that the director was thinking about Bergman’s Cries and Whispers. I’m now going to bet 20p that before shooting Midsommar, Aster took another look at Tarkovsky’s The Sacrifice.
Midsommar is an outrageous black-comic carnival of agony, starring charismatic Florence Pugh in a comely robe and floral headdress. It features funny-tasting pies and chorally assisted ritual sex, with pagan celebrants gazing into the middle distance and warbling as solemnly as the young dudes in the Coca-Cola TV ad about teaching the world to sing. It’s all set in an eerily beautiful sunlit plain, bounded by forests and lakes. This is supposed to be somewhere in northern Sweden, but was filmed in Hungary, and Aster, cinematographer Pawel Pogorzelski and production designer Henrik Svensson have collaborated on what are surely digitally assisted images: the sky and fields becoming a bouquet of vivid and beautiful blues and greens. The music from British composer Bobby Krlic (AKA the Haxan Cloak) is sensually creepy………………………”
Saving Private Ryan review war epic still hits with sledgehammer force
The trauma of war is made viscerally clear in Steven Spielbergs dazzling fusion of audacity, action and poignant human drama
“A present participle in the title usually promises a film with light, ironical flavour: Driving Miss Daisy, Being John Malkovich, Breakin 2: Electric Boogaloo. Not here. Screenwriter Robert Rodat imagined this colossal second world war blockbuster with absolute seriousness, loosely inspired by the real-life case of Sgt Frederick Niland, recalled to the US from the Normandy campaign on emergency compassionate grounds because all his brothers were believed (wrongly, as it turned out) to have been killed in action.
With this movie, re-released 21 years on, Steven Spielberg created one of his greatest films, an old-fashioned war picture to rule them all gripping, utterly uncynical, with viscerally convincing and audacious battle sequences. It was a staggeringly effective action film with a potent orchestral score by John Williams, candidly inspired by Elgars Nimrod. And it was based on a redemptive, quietist premise: the point of the mission is not to engage the enemy but to rescue an American soldier and spirit him away out of danger. Yet when the time of great trial comes, of course, no one is ducking the fight……………………………………….”