Kinnear Hamlet

“That’s the other thing you learn in grief,” Rory Kinnear told The Observer in 2023, “and maybe this is why I’m not scared of it, is the relationship continues.”

I’ve ready more than a few interviews in which actor Rory Kinnear talks about the dimensions of grief, something he does thoughtfully and articulately. And, when the situation calls for it, angrily. (Read his beautiful tribute to older sister Karina in The Guardian and get apoplectic at Britain’s Tories all over again.) The subject comes up a lot when he’s speaking to the press, because when he was very young Rory lost his father, actor Roy Kinnear. Continue reading

The Best Films of 2024

The first proper book I ever read (or, to be honest, had read to me) was The Hobbit, and I spent most of my childhood (plus, to be honest, my adulthood) wanting to be one. As I wasn’t allowed to outside without footwear, the primary appeal (and, to be honest, the secondary and tertiary appeals) of being a Hobbit was living a lifestyle devoid of footwear.

Earlier this year, I took my first-ever trip to Aotearoa (New Zealand), and stepping – with actual shoes – into Hobbiton was a life-altering experience. This wasn’t like seeing the outside of Scottie’s house from Vertigo (a thoroughly random example that just happens to accord with something I did in San Francisco a year earlier); this was immersive and expansive and real, the town seeming to go on forever, just like I imagined it. As close to a childhood fantasy world properly coming true before your eyes as is physically possible. Continue reading

The Best Films of 2023

If the whole point of sharing lists of favourite films and artworks is to present a sort of mosaicked personal biography, then the list below absolutely and completely does not do that. It in no way reflects the entirely unclassifiable 2023 that I… I want to say “enjoyed”, but that’s not entirely accurate. Let’s say experienced. When I track the films I watched over the moments I lived, I find zero correlation. No pattern. A dearth of parallels. And I don’t really want to get into the personal, so telling you about the films I saw is the preferable route.

Speaking of routes, I spent much of this year visiting the world’s largest movie theme park – America – and over the course of about six months visited every state in the union, beginning with Hawaii and finishing with Alaska, and driving 21,000 miles (or 33,600 kilometres) around the remaining forty-eight states. Plus a bit of Canada.

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The Best Films of 2022

It’s possible I watched too many films this year. I’m really not sure how I managed that, given there were no enforced lockdowns and I left the house quite a bit. Yet somehow, I came pretty close to watching the same number of films as I did in both 2020 and 2021 combined.

A lot of that might be due to Paul Anthony Nelson roping me into bespoke games of Screen Drafts. You don’t need to know what that is; the only relevant information is that I have an obsessive personality and spent most of the year watching almost every film released in 1982, 1979 and 1976. (I am, by the way, now absolutely convinced there is no better way to engage with cinema. Forget focussing on a genre, following sequels, completing directorial canons: just pick a calendar year and go nuts. It’s revelatory.)

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Who is the Real Villain of Bedford Falls?

Bedford Falls. A town so idyllic, the FBI thought it might be Communist propaganda.

Christmas just isn’t Christmas without Frank Capra’s It’s a Wonderful Life (1946), the story of a good man who loses hope and has to be shown the true value he has brought to the world. George Bailey (James Stewart), who loves his town of camaraderie and kindness, is nevertheless frustrated that it’s too small to contain his dreams.

We follow George over the course of a lifetime, see him overcome adversity, and watch as he’s slowly eroded by despair; how every chance he has to get ahead is thwarted either by misfortune or the machinations of local business mogul Henry F Potter. It’s a life of hard work and dashed dreams that eventually robs him of the will to live.

In many ways, it’s the quintessential yuletide tale, which is why it gets a spin in this household every single Christmas. But it’s been an awful lot of Christmases at this point, and after many, many viewings, I think I’ve stopped being able to watch the film in the way I used to. At some point, I crashed through the film’s façade and began to see the meaning that had been hiding under the surface this whole time, the narrative base code if you will, a secret message so diabolical and terrifying it would have given J Edgar Hoover night terrors for the remainder of his paranoid days.

It’s been a few years since I discovered this secret meaning, and I’ve spent a long time debating whether it is ethically responsible to reveal it to the world. Because once you know it, you will be unable to ever un-know it; it will be impossible to ever see the film in the same way again.

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