Tarantino’s historically skewed take on Hollywood isn’t accurate, nor is it entirely Tarantino. Whatever it may be, it remains with the viewer.
This year’s Lion King is almost a shot-for-shot duplication of the famed 1994 effort. While nostalgia is a hell of a drug, I’m wondering if it might be time we check ourselves into rehab.
Anna Sherman’s travel book about Tokyo reads like no other, part history, part fiction, all grounded in fact. A staggering reassembling of an ancient city turned neon metropolis.
Suzanne Daniel’s debut novel navigates the first steps of womanhood in concert with the nation’s feminist awakening in the 1970s. A superb effort.
Danny Boyle’s ‘Yesterday’ plays with the idea of a solitary musician profiting off the songs of The Beatles in a universe they never existed in. It’s better than it sounds.
Alex Landragin’s debut is a book that crosses lifetimes, narratives and, above all, gleefully references other residents of your bookshelf. It’s a ride.
‘The Doll Factory’ is a novel that supplants modern issues to 1850s London. Purity, possession and a tryst with a taxidermist. Get stuffed, you lot.
John Wick is not a particularly complicated man. He’s hellbent on avenging his dog/car. The third edition is yet more palpable nonsense, but it is very very good.
According to the general hype, Avengers: Endgame is the fourth greatest movie of all time. While it may not be that, it certainly gives your brain three hours off – which is the greatest gift of all.
The harshness of Ann Weisgarber’s frontier setting is matched in the fierce spirit of this historical novel’s central protagonist. A truly decent book of Mormon.
Green Book wasn’t the best film I saw that week, let alone the entire calendar year. But the thing is, I don’t vote for the Oscars. It’s not really any of my business.
‘Zebra’ is a collection of feelings, and narrative, linked by an obvious truth: Debra Adelaide is a deft author worthy of our national acclaim.
In the age of sequels, you have to ask – do we really need a Mary Poppins sequel? The answer is yes. All the way yes.
‘Vice’ works as a grand plinth to Christian Bale’s resolve, but it doesn’t work as a movie.
“Can you ever forgive me” is a perfect outing for those who enjoy clever writing brought to life by two actors at the peak of their powers. Go see it.
Looking for something meaty on Netflix to devour? Sample the insanity of ‘The Kominsky Method’.
Tombland is a bold concept crippled by its subject matter. That being said, if history is your thing, wade into the mire, my love.
Netflix’s Bodyguard wonderfully intersperses the British worlds of politeness and extreme violence in a manner that skirts the boundaries of genius.
Daniel Mason transports us back to the time where the world came under the heel of war. Detailed romance backdropped by universal ugliness is difficult to pull off, but Mason nails it.
With Spacey gone and a woman at the helm, Netflix had an opportunity to build something towering in the age of #MeToo. They blew it.
Yes, we’ve seen it before, but the Lady Gaga/Bradley Cooper reboot of ‘A Star is Born’ is strangely fresh.
Paul McCartney’s first album in five years is eclectic, eccentric and has moments of classic weaved throughout. Yeah, yeah, yeah.