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The Great Gatsby

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Written by Coppola but directed painfully slowly by Jack Clayton, this expensive adaptation of Fitzgerald's novel looks lovely but doesn't understand real tragedy (quite important re: Fitzgerald). Robert Redford fails to suggest any depth of broodiness, while Mia Farrow is almost laughably dotty, and the passion is limp. Still, a Nelson Riddle score, some nice shirts, and top vintage cars. READ OUR REVIEW OF THE 2013 FILM ADAPTATION OF THE GREAT GATSBY HERE.

Written by Coppola but directed painfully slowly by Jack Clayton, this expensive adaptation of Fitzgerald’s novel looks lovely but doesn’t understand real tragedy (quite important re: Fitzgerald). Robert Redford fails to suggest any depth of broodiness, while Mia Farrow is almost laughably dotty, and the passion is limp. Still, a Nelson Riddle score, some nice shirts, and top vintage cars.

READ OUR REVIEW OF THE 2013 FILM ADAPTATION OF THE GREAT GATSBY HERE.

Flashback

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Dennis Hopper is Huey Walker, a '60s radical who's been wanted by the Feds for decades. When he's captured in the late '80s, repressed, clean-cut young FBI man Kiefer Sutherland lands the job of escorting him to trial through Reagan-era America, but Hopper turns the tables, and teaches him how to drop out. Your average, idealistic, pan-generational odd-couple road movie, but Hopper, spoofing his Easy Rider persona, is a howl.

Dennis Hopper is Huey Walker, a ’60s radical who’s been wanted by the Feds for decades. When he’s captured in the late ’80s, repressed, clean-cut young FBI man Kiefer Sutherland lands the job of escorting him to trial through Reagan-era America, but Hopper turns the tables, and teaches him how to drop out. Your average, idealistic, pan-generational odd-couple road movie, but Hopper, spoofing his Easy Rider persona, is a howl.

I Could Read The Sky

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Seamus McGarvey is proving himself to be the UK's finest director of photography, and this visual poem owes its beauty to his eye. A fable following a man as he looks back over his life, from rural Ireland to modern London, it's like Cronenberg's Spider with the imagination turned up to 11.

Seamus McGarvey is proving himself to be the UK’s finest director of photography, and this visual poem owes its beauty to his eye. A fable following a man as he looks back over his life, from rural Ireland to modern London, it’s like Cronenberg’s Spider with the imagination turned up to 11.

Prove It All Night

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Back in 1974, rolling Stone journalist Jon Landau famously hailed Springsteen as "the future of rock'n'roll". Thirty years on and The Boss is widely acknowledged as one of the all-time great live performers. Given this awesome reputation, it's almost impossible to believe that this is the first Springsteen live show to be released in its entirety. Recorded in 2002, it's pretty much as you'd expect?a masterclass in barnstorming showmanship. But it's not without flaws: the show was partly broadcast live on satellite television, and consequently the cameras inhibited the band's movements on stage for the first half of the gig. The set list is a satisfying mix of old favourites alongside material from The Rising. Early on we get a fiery "Prove It All Night" and a jubilant "Waiting On A Summer Day", while later standouts include solo piano versions of "Spirit In The Night" and "Incident On 57th Street", plus a majestic "Land Of Hope And Dreams". Springsteen turned 54 in September, and this may turn out to be his last big tour with the E Street Band. For those who missed the shows, this DVD gives some indication of what they missed, and for those who were there this is a perfect way to look back on those glory days. DVD EXTRAS: None.

Back in 1974, rolling Stone journalist Jon Landau famously hailed Springsteen as “the future of rock’n’roll”. Thirty years on and The Boss is widely acknowledged as one of the all-time great live performers. Given this awesome reputation, it’s almost impossible to believe that this is the first Springsteen live show to be released in its entirety.

Recorded in 2002, it’s pretty much as you’d expect?a masterclass in barnstorming showmanship. But it’s not without flaws: the show was partly broadcast live on satellite television, and consequently the cameras inhibited the band’s movements on stage for the first half of the gig. The set list is a satisfying mix of old favourites alongside material from The Rising. Early on we get a fiery “Prove It All Night” and a jubilant “Waiting On A Summer Day”, while later standouts include solo piano versions of “Spirit In The Night” and “Incident On 57th Street”, plus a majestic “Land Of Hope And Dreams”.

Springsteen turned 54 in September, and this may turn out to be his last big tour with the E Street Band. For those who missed the shows, this DVD gives some indication of what they missed, and for those who were there this is a perfect way to look back on those glory days.

DVD EXTRAS: None.

The Man Who Sued God

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Australian comedy starring Billy Connolly as fisherman Steve Myers, whose boat is destroyed by a lightning bolt. When the insurance company refuses to pay up, claiming the incident was an "act of God", Myers decides to take God to court and sue Him for damages. Judi Davis plays a local reporter who champions Myers' case (and wins his heart). No surprises here, but it's amiable enough.

Australian comedy starring Billy Connolly as fisherman Steve Myers, whose boat is destroyed by a lightning bolt. When the insurance company refuses to pay up, claiming the incident was an “act of God”, Myers decides to take God to court and sue Him for damages. Judi Davis plays a local reporter who champions Myers’ case (and wins his heart). No surprises here, but it’s amiable enough.

The Order—Cremaster 3

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Matthew Barney's extraordinary Cremaster Cycle has won outrageous accolades: "greatest living artist", "best fusion of art and cinema since Bu...

Matthew Barney’s extraordinary Cremaster Cycle has won outrageous accolades: “greatest living artist”, “best fusion of art and cinema since Bu

Big Trouble

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John Cassavetes' last movie looks like 'one for the studio' compared to the ragged glories of his greatest independent films; in fact, Cassavetes claimed he was the film's director in name only. Though bland, it's still a bizarrely watchable spoof thriller, riffing on Double Indemnity, with Alan Arkin as the harassed insurance man who becomes involved in a scheme to bump off Beverly D'Angelo's husband, Cassavetes regular Peter Falk, so he can then afford to send his a cappella-singing musical prodigy triplets to university. Nuts, lightly salted.

John Cassavetes’ last movie looks like ‘one for the studio’ compared to the ragged glories of his greatest independent films; in fact, Cassavetes claimed he was the film’s director in name only. Though bland, it’s still a bizarrely watchable spoof thriller, riffing on Double Indemnity, with Alan Arkin as the harassed insurance man who becomes involved in a scheme to bump off Beverly D’Angelo’s husband, Cassavetes regular Peter Falk, so he can then afford to send his a cappella-singing musical prodigy triplets to university. Nuts, lightly salted.

In View 1988-2003—The Best Of R.E.M.

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Sequenced in reverse chronological order, these videos show Stipe in his element and Buck very much not in his, counting the seconds till he gets to go home. Still, thanks to Stipe, R.E.M. were always enhanced by video. The collection begins with "Bad Day", before Stipe's face de-wrinkles as we regress into the starkly exuberant "What's The Frequency, Kenneth?" and arresting "Everybody Hurts". Then Stipe regains his hair for "Losing My Religion".

Sequenced in reverse chronological order, these videos show Stipe in his element and Buck very much not in his, counting the seconds till he gets to go home. Still, thanks to Stipe, R.E.M. were always enhanced by video. The collection begins with “Bad Day”, before Stipe’s face de-wrinkles as we regress into the starkly exuberant “What’s The Frequency, Kenneth?” and arresting “Everybody Hurts”. Then Stipe regains his hair for “Losing My Religion”.

The Work Of Director Spike Jonze

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Some may have missed the Being John Malkovich director's diverse portfolio. Spearheading a new label dedicated to maverick film-makers, this contains Jonze's rock videos?including Chris Walken's dance number for Fatboy Slim's "Weapon Of Choice"?but the real buried treasure are hilarious vox pops for Oasis' "Stand By Me" that proved too bizarre for the po-faced Mancs to release, a doc on rodeo-based Texas youth culture, and more of Jonze's goofball choreographer from Fatboy Slim's "Praise You" vid.

Some may have missed the Being John Malkovich director’s diverse portfolio. Spearheading a new label dedicated to maverick film-makers, this contains Jonze’s rock videos?including Chris Walken’s dance number for Fatboy Slim’s “Weapon Of Choice”?but the real buried treasure are hilarious vox pops for Oasis’ “Stand By Me” that proved too bizarre for the po-faced Mancs to release, a doc on rodeo-based Texas youth culture, and more of Jonze’s goofball choreographer from Fatboy Slim’s “Praise You” vid.

Pearl Jam—Live At The Garden

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Filmed this summer at Madison Square Garden, this performance confirms Eddie Vedder's Seattle crew as one of the most exciting bands of their generation. Driven by Vedder's intense presence, they move easily from full-throttle punk attack to brooding ballad, and attain a communal thrall equalled only by The Boss in full flight. Ben Harper and Buzzcocks feature, but it's the electricity between the stage and audience that's truly special.

Filmed this summer at Madison Square Garden, this performance confirms Eddie Vedder’s Seattle crew as one of the most exciting bands of their generation. Driven by Vedder’s intense presence, they move easily from full-throttle punk attack to brooding ballad, and attain a communal thrall equalled only by The Boss in full flight. Ben Harper and Buzzcocks feature, but it’s the electricity between the stage and audience that’s truly special.

IQ

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The wildly erratic Fred Schepisi (Fierce Creatures, Last Orders) here hits sludgy middle-ground with the outr...

The wildly erratic Fred Schepisi (Fierce Creatures, Last Orders) here hits sludgy middle-ground with the outr

Cool World

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From 1992, good guy Brad Pitt and bad guy Gabriel Byrne are transported to another dimension (which just happens to be a Ralph Bakshi cartoon) where they vie for the affections of an animated version of Kim Basinger. It's Roger Rabbit without the jokes: dumb, dull, dire, and a criminal waste of money.

From 1992, good guy Brad Pitt and bad guy Gabriel Byrne are transported to another dimension (which just happens to be a Ralph Bakshi cartoon) where they vie for the affections of an animated version of Kim Basinger. It’s Roger Rabbit without the jokes: dumb, dull, dire, and a criminal waste of money.

Angela

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A patchy Italian crime thriller, the only fresh 'angle'being that the drug dealer working for the Mafia is a woman (she hides the goods in shoe boxes). Roberta Torre's direction lacks vim, but Donatella Finocchiaro is vividly compelling as the titular anti-heroine?alternately nervy and swaggering, torn between love and duty, craving affection but ultimately hard as nails. DVD EXTRAS: Stills, cast and crew biographies, trailer, BBC 4 and Edinburgh Festival promos. Rating Star

A patchy Italian crime thriller, the only fresh ‘angle’being that the drug dealer working for the Mafia is a woman (she hides the goods in shoe boxes). Roberta Torre’s direction lacks vim, but Donatella Finocchiaro is vividly compelling as the titular anti-heroine?alternately nervy and swaggering, torn between love and duty, craving affection but ultimately hard as nails.

DVD EXTRAS: Stills, cast and crew biographies, trailer, BBC 4 and Edinburgh Festival promos. Rating Star

Journey To Italy

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Roberto Rossellini's small-scale but infinitely moving 1953 masterwork plucks two stars from Hollywood?Rossellini's wife Ingrid Bergman and the magnificent George Sanders?and smashes them down on the road as a crisis-hit couple coming apart during a trip in Italy. Rossellini gave his actors the bare bones of a situation, then left them to improvise; they stumble beautifully, trying to discover their own story. The random feel anticipates the French new wave.

Roberto Rossellini’s small-scale but infinitely moving 1953 masterwork plucks two stars from Hollywood?Rossellini’s wife Ingrid Bergman and the magnificent George Sanders?and smashes them down on the road as a crisis-hit couple coming apart during a trip in Italy. Rossellini gave his actors the bare bones of a situation, then left them to improvise; they stumble beautifully, trying to discover their own story. The random feel anticipates the French new wave.

Safe

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Safe

Todd Haynes' unforgivingly acrid blend of body horror and social satire sees Julianne Moore as the pampered Barbie-doll housewife who becomes violently allergic to the perms, sprays, snacks, Mercs, houses and parties that define affluent existence in the San Fernando Valley. Harsh attacks on crass materialism, dubious spiritualism and human frailty follow.

Todd Haynes’ unforgivingly acrid blend of body horror and social satire sees Julianne Moore as the pampered Barbie-doll housewife who becomes violently allergic to the perms, sprays, snacks, Mercs, houses and parties that define affluent existence in the San Fernando Valley. Harsh attacks on crass materialism, dubious spiritualism and human frailty follow.

Rooster Cogburn

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Fairly dismal sequel to True Grit, with John Wayne reprising his Oscar-winning turn as the titular one-eyed US Marshal, teamed here with prissy spinster Katharine Hepburn who's out to avenge her father's murder. The stars are no more than passable, the movie wholly unremarkable.

Fairly dismal sequel to True Grit, with John Wayne reprising his Oscar-winning turn as the titular one-eyed US Marshal, teamed here with prissy spinster Katharine Hepburn who’s out to avenge her father’s murder. The stars are no more than passable, the movie wholly unremarkable.

Dragonflies

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Norwegian psychological thriller which starts slowly but soon has its hooks in you so deep you daren't move. With shades of Harry, He's Here To Help, it involves a couple rediscovering an old friend, but after lust rears its head, death follows close behind. Harrowingly acted by the three leads, unk...

Norwegian psychological thriller which starts slowly but soon has its hooks in you so deep you daren’t move. With shades of Harry, He’s Here To Help, it involves a couple rediscovering an old friend, but after lust rears its head, death follows close behind. Harrowingly acted by the three leads, unknowns who remind you how clich

Cary Grant: The Collection

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NOBODY DID SUAVE like Cary Grant; few would be stupid enough to try. When a whole way of being is personified that definitively, even a George Clooney looks like a stammering schoolboy in comparison. Grant's worst films are worth watching for his expressions of charm and much-tried patience, but here are some of his best, digitally remastered. In Howard Hawks' Bringing Up Baby, Katharine Hepburn causes his "zoology professor"to lose precious dinosaur bones and a pet leopard. A regular night, then, for Grant, who makes the screwball comedy sing with his self-effacing shrugs, blinks and well-gauged double-takes. In My Favourite Wife, his shipwrecked-for-years missus returns to find he's remarried: cue glowing misunderstandings, and Irene Dunne pepping up Grant's game. Indiscreet is more love-triangle silliness, with Grant an American in Stanley Donen's London, and the less great Operation Petticoat is not so much about women at war as Cary's smirk. A giant of a gentleman.

NOBODY DID SUAVE like Cary Grant; few would be stupid enough to try. When a whole way of being is personified that definitively, even a George Clooney looks like a stammering schoolboy in comparison. Grant’s worst films are worth watching for his expressions of charm and much-tried patience, but here are some of his best, digitally remastered.

In Howard Hawks’ Bringing Up Baby, Katharine Hepburn causes his “zoology professor”to lose precious dinosaur bones and a pet leopard. A regular night, then, for Grant, who makes the screwball comedy sing with his self-effacing shrugs, blinks and well-gauged double-takes. In My Favourite Wife, his shipwrecked-for-years missus returns to find he’s remarried: cue glowing misunderstandings, and Irene Dunne pepping up Grant’s game. Indiscreet is more love-triangle silliness, with Grant an American in Stanley Donen’s London, and the less great Operation Petticoat is not so much about women at war as Cary’s smirk. A giant of a gentleman.

When Booty Calls

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In a part he's brilliantly based on the buccaneering dash of Keith Richards, Johnny Depp gives the most colourfully entertaining screen performance of the year in Jerry Bruckheimer's hugely enjoyable swashbuckler. Based somewhat unpromisingly on the Disney theme-park ride, Pirates... has, in fact, everything you'd want from this kind of adventure yarn. Orlando Bloom and Keira Knightley make a handsome pair of star-crossed lovers, Geoffrey Rush is terrific as the mutineer Barbossa, a perfectly hissable eyeball-rolling villain and the leader of a crew of pirates doomed to undead damnation by a particularly unpleasant Aztec curse. There are rip-roaring sea battles, tremendous sword fights, spectacular special effects?and, of course, Depp as the roguish pirate captain Jack Sparrow, by turns duplicitous, gallant, ruthless and hopelessly romantic. You can't take your eyes off him, and whenever he's on screen, the film enters a different dimension altogether.

In a part he’s brilliantly based on the buccaneering dash of Keith Richards, Johnny Depp gives the most colourfully entertaining screen performance of the year in Jerry Bruckheimer’s hugely enjoyable swashbuckler. Based somewhat unpromisingly on the Disney theme-park ride, Pirates… has, in fact, everything you’d want from this kind of adventure yarn. Orlando Bloom and Keira Knightley make a handsome pair of star-crossed lovers, Geoffrey Rush is terrific as the mutineer Barbossa, a perfectly hissable eyeball-rolling villain and the leader of a crew of pirates doomed to undead damnation by a particularly unpleasant Aztec curse. There are rip-roaring sea battles, tremendous sword fights, spectacular special effects?and, of course, Depp as the roguish pirate captain Jack Sparrow, by turns duplicitous, gallant, ruthless and hopelessly romantic. You can’t take your eyes off him, and whenever he’s on screen, the film enters a different dimension altogether.

Sierra Nirvana

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High plains drifter is Clint Eastwood, the nascent director, at his most elemental. He's post-Leone and pre-Josey Wales here, working from a script by Ernest Shaft Tidyman, playing a "squinty-eyed son of a bitch"who saves a small town in the Old West from a sadistic group of escaped convicts. It's a harsh, frequently brutal amorality play. The credits have barely rolled before we're treated to callous multiple murders and a 'consenting rape'scene. The Leone connections are underscored as Eastwood outwits the venal townsfolk, 'Dollars style, by initially aiding them and then leaving them to the mercy of the bandits. Only this time Eastwood takes Leone's mysterious stranger model to its logical conclusion by playing, literally, an avenging angel. The movie is fantastically odd, with a midget sheriff, gothic horror flashbacks and the otherworldly landscape of California's High Sierras. It's also the most distinctive and nastiest western of Eastwood's career. A stone-cold classic by anyone's standards.

High plains drifter is Clint Eastwood, the nascent director, at his most elemental. He’s post-Leone and pre-Josey Wales here, working from a script by Ernest Shaft Tidyman, playing a “squinty-eyed son of a bitch”who saves a small town in the Old West from a sadistic group of escaped convicts. It’s a harsh, frequently brutal amorality play. The credits have barely rolled before we’re treated to callous multiple murders and a ‘consenting rape’scene. The Leone connections are underscored as Eastwood outwits the venal townsfolk, ‘Dollars style, by initially aiding them and then leaving them to the mercy of the bandits. Only this time Eastwood takes Leone’s mysterious stranger model to its logical conclusion by playing, literally, an avenging angel. The movie is fantastically odd, with a midget sheriff, gothic horror flashbacks and the otherworldly landscape of California’s High Sierras. It’s also the most distinctive and nastiest western of Eastwood’s career. A stone-cold classic by anyone’s standards.

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