So bafflingly superficial, simplistic, silly and ridiculous that you can't really take it seriously as a biopic or anything meaningful exploration of Dylan's music. It treats his every musical utterance as the work of a prophet (ironically, this is exactly what Dylan was trying to rid himself of with his post-Bringing It All Back Home shift), and presents the inner lives of all those around him as essentially in thrall to his genius. None of the narrative threads seem in…
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The Ninth Circle 1960
In this film, we follow a young man who, as fascists take over his country, is more interested in running around getting drunk and having fun than taking care of his wife, who is the target of those fascists. Gradually, he grows a conscience - the only other option is to become a fascist - but by the time he does it is too late. Had he and his society grown a spine earlier, perhaps the fascists would simply be irrelevant?
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Sky Peals 2023
When future historians of British cinema look back on this previous 15-20 years, they will see that this period of the film industry is one of legions of wasted potential. And that waste is rarely down to the filmmakers - though they could be accused of being too pliable and weak-minded - but almost entirely down to the structure of the film industry here itself, the faults of which can largely be laid down to the BFI. Yes, two decades…
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Hail, Sarajevo 1993
Godard weighing in on the war in Bosnia is as painful as you'd expect, immediately desensitising himself to the pain of the images, isolating them and intellectualising them in a way that's only possible if you're sitting in your comfy leather armchair in a Swiss chalet. One of a long line of French intellectuals hand-wringing and proclaiming solidarity with Bosnians whilst simultaneously revealing their own Orientalist, Othering perspectives that sees the Balkans as nothing other than a rabid, alien wasteland of suffering and murder that needs rescuing.
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