When JUDY met JOKER: Mental health in Hollywood

I was recently invited to discuss the portrayal of mental health in movies by the lovely people of the No Really, I’m Fine Podcast, and thought I’d share my notes with you.

It begins with recent films Joker and Judy, and ends with One Flew Over The Cuckoo’s Nest, taking in Changeling and Airplane! along the way. I hope you enjoy and/or find this useful.

WARNING: contains spoilers

You can listen to the podcast here and give them a follow @ImFinePodcast_

Joker and Judy are two recent and very different films in which the eponymous characters suffer mental illness in very differing ways, and in doing so the pair conform to a long established pattern of gender division in the portrayal of mental illness in the movies.


Phoenix on fire

Joker is a savage and disturbing thriller starring Joaquin Phoenix an aspiring stand-up comic and part time clown who suffers from a disorder that causes him to laugh at inappropriate times, he’s also generally nervous, lacks confidence and is not good socially.

When his medication and therapy is withdrawn because of funding cuts, he slowly becomes an insane and violent criminal, inspiring riots in the streets.


Zellweger on song

Judy is a biopic of Hollywood legend Judy Garland, who we see towards the end of her flagging career on stage in London, Renee Zellweger stars in a sympathetic portrait and sees Garland battles with long-standing nerves and addictions, leading to problems in her personal life including fighting a custody battle for her two younger kids, and a difficult fifth marriage.

Joker is a great example of when men in movies suffer mental illness, they typically externalise their problems and make them epic. Men seek to blame and punish others, become violent and their battles take place in a public arena. Male experiences of mental illness are closer to fantasy and framed as heroic, somehow successful, to a degree redemptive, or as in the case of Joker, they become powerful or somehow inspirational.

But when Judy and women suffer mental illness they typically internalise their problems and make them intimate. Women blame and punish themselves emotionally and physically, and their battles take place in the domestic arena. Female experiences are grounded in reality and framed as tragedy.

Plus women’s experiences of mental illness are defined by a perception of promiscuity, and of being a ‘bad’ i.e. neglectful mother, even when that ‘neglect’ is caused by the need to work in order to provide for their children.

It’s notable and typical Joker survives beyond the films end, and Judy doesn’t.

These gender defined portrayals and outcomes are consistent across all forms of mental illness when portrayed in movies, it doesn’t matter what form the mental illness of a character takes. Let’s look at a couple of examples, beginning with an absurdly extreme example to illustrate the point.


Still Alice from 2014, is a small intimate, domestic drama which stars Julianne Moore as a middle aged woman diagnosed with Alzheimer’s.

Rise of the Planet of the Apes from 2011, is an epic action sci-fi adventure with John Lithgow suffering Alzheimer’s. His scientist son is trying to find a for cure Alzheimer’s, and along the way unleashes the monkey apocalypse.

Snow Cake



Snow Cake is a 2006 indie romantic comedy drama starring Sigourney Weaver as a small town single woman with Autism, coming to terms with the death of her daughter.

Rain Man is a 1988 Las Vegas road trip comedy-drama starring Dustin Hoffman and is about the reconciliation of two wealthy brothers.

Rain Man


The next example is of deliberately inflicted mental damage, and the one after is a symptom of of mental illness, not a cause. However the gender division remains.

Enforced loss of memory; brainwashing.

Gaslight is a 1944 American psychological thriller starring Ingrid Bergman whose husband slowly manipulates her into believing that she is going insane.

The Bourne Identity is a 2002 action thriller starring Matt Damon who demonstrates advanced combat skills and fluency in several languages as he fights his way across Europe.

Eating disorders

Heathers is a 1988 satirical High school comedy starring Winona Ryder, which as well as touching upon bulimia, shows high school girls struggling with bullying, fat shaming, teenage suicide and violent, toxic boyfriends.

The Machinist is a 2004 dark thriller starring Christian Bale about a troubled factory worker who loses weight due to insomnia caused by a trauma, and eventually achieves salvation and peace.

So in all these examples we see the gender divide of external/internal, public/domestic, epic/intimate and heroic/tragic. Let’s have an example which provides another typical division, sexuality and a violent response.

Multiple Personality Disorder

Split is a 2016 psychological horror thriller starring James McAvoy as a man with 24 different personalities who kidnaps and imprisons three teenage girls. And similar to Joker, he is a super-villain

The Three Faces of Eve is a 1957 mystery drama starring Joanne Woodward as a married but childless woman suffering from a duel personality. Eve ‘White’ is a submissive housewife, while Eve ‘Black’, her ‘other’ personality is outspoken, promiscuous and considered a danger to other people’s children.

Filmmakers couldn’t show Eve having sex in 1957, so her promiscuity is presented in coded form, as dancing with a man other than her husband, who responds by slapping Eve.

This is important as it links madness in woman with promiscuity, and makes clear violence is an acceptable ‘cure’, or at least, a treatment.

Mental illness in men is super-villainy, mental illness in women is promiscuity and mistreating children. Sanity for men is being a superhero, and sanity for women is being married,  maternal, monogamous and submissive. And violence is the treatment. Which brings us to hysteria, and hysterical women in the movies.


Lets look at the most common mental affliction for women in the movies: Hysteria.

This can either be having a chronic attack of ‘nerves’, intense anxiety, or standing about screaming. It’s very loosely defined, if at all.


Surely you can’t be serious?

Airplane! is a 1980 disaster comedy, the funniest film ever made but not without it’s problems. There’s a joke about a hysterical woman being slapped into submission. First a doctor, shakes her, shouts at her and then slaps her. She continues screaming, and so a fellow passenger steps up to shout, and shake and slap, and behind him is a queue of passengers, and they are armed with boxing gloves, guns and baseball bats.

This joke works because the filmmakers know the cinema audience is totally accustomed to seeing men slapping women when they’re acting hysterically.

I was 11 or 12 years old when I first saw Airplane! and even then I’d seen enough movies to understand the joke.

Hollywood allows, encourages and expects men to inflict violence on women who are mentally ill. Violent ‘treatment’ is justified, accepted, and normal.

The word hysteria comes from the Greek word for uterus, hystera, and the Greeks believed that the uterus moved up through a woman’s body, strangling her, and causing madness.

This suggests an entirely physical cause for the symptoms but, by linking them to the uterus, it means hysteria only affects women. So madness is framed around your gender. And this thinking continued well into the twentieth Century.

Men who don’t have a uterus are inherently sane, women who do, are inherently prone to madness. For women sanity is equated with being passive, submissive, and governable.

Hysteria is a catch-all condition which because it’s definition is so broad, it makes it very easy for doctor’s to identify and treat – usually but not always with violence.



Now this won’t hurt a bit

Hysteria is 2011 period drama set in 1880, and starring Hugh Dancy as the real life
Dr. Granville, who treats hysteria.

Because the medical profession thought anxiety originated in the uterus, common practice at the time was to manage the symptoms of hysteria by massaging a woman’s genital area.

Treating so many women results in his hand getting tired. So he adapts an electrical feather duster to use as an electric massager. And invents what we know today as a vibrator.

But the point to this, and remember this is a true story is this is a case of a doctor sexual abusing a mentally ill woman.

During Hysteria a character called Charlotte is arrested and during her trial, the prosecutor recommends Charlotte is sent to a sanatorium and be forced to undergo a hysterectomy, as that would ‘cure’ her.

The important thing to takeaway from Hysteria, the film and the condition, is the link between men diagnosing women as mentally ill, and then using violence and invasive force to subdue them. And here we have another common thread in cinema. A choice between prison or an asylum. We’ll come back to that in Cuckoo’s Nest.

So as well as the public/domestic, epic/intimate, gender division, women are identified as mentally ill for not conforming to men’s ideas of submissive, domestic and maternal womanhood. Also the women are typically punished for their behaviour beyond the expected ‘treatments’, often with death. Here’s a couple of examples, again using different types of mental health for comparison.


Falling Down

On the streets

Revolutionary Road

In the house


Falling Down is a 1993 thriller starring Michael Douglas who walks across Los Angeles using a bat, a gun and a rocket launcher on those who annoy him.


Revolutionary Road is a 2008 domestic drama starring Kate Winslet as a childless housewife who has extra-marital sex, then an abortion and then dies.

Obsessive Compulsive Disorder

As Good As It Gets is a 1997 romantic comedy starring Jack Nicholson as a misanthropic and obsessive-compulsive novelist whose reward for redeeming his previous bad behaviour is sex with the gorgeous Helen hunt.

Mommie Dearest is a 1981 docudrama starring Faye Dunaway as real life Hollywood star Joan Crawford, who’s depicted as an abusive mother who adopted her children to benefit her career, she is eventually publicly humiliated and dies of cancer.


First Blood is a 1982 action film starring Sylvester Stallone as Vietnam War veteran John Rambos suffering PTSD, who destroys a small town in a one-man rampage.

In Our Name is a 2010 British drama starring Joanne Froggatt as a female soldier suffering PTSD, who sexually rejects her husband and struggles to care for her daughter on her return home from a tour of duty.


The Soloist is a 2009 drama starring Jamie Foxx as the real life Nathaniel Ayers, a talented but homeless musician who finds some measure of stability.

Through a Glass Darkly is a 1961 Swedish family drama starring Harriet Andersson who childless and sexually aberrant, sexually rejects her husband but has incestuous sex with her brother.


It’s a Wonderful Life is a 1946 feel-good sentimental fantasy drama starring James Stewart as George Bailey who attempts suicide on Christmas Eve

The Virgin Suicides is a 1999 drama starring Kirsten Dunst, and sees five suburban teenage sisters suffer depression and make a suicide pact. They are all childless and unmarried, and one is promiscuous.


Dirty Harry

Men get guns


So the gender division leads to women identified as mentally ill for not conforming to men’s ideas of submissive, domestic and maternal womanhood, and are punished for their behaviour beyond the expected ‘treatments’, often with death. Now we’ll see how these signifiers for women’s mental illness are also aligned to criminality.

Dirty Harry is a 1971 neo-noir action thriller which sees a serial killer called Scorpio shooting strangers on the streets of San Francisco, chased by a cop, Clint Eastwood.

Seven is a 1995 crime thriller with Kevin Spacey playing a serial killer, torturing strangers and being chased by a cop, Brad Pitt

Single White Female is a 1992 psychological erotic thriller which stars Jennifer Jason Leigh as a childless and promiscuous singleton who is obsessed with her roommate.

The Hand That Rocks The Cradle is a 1992 psychological thriller starring Rebecca De Mornay as a childless widow out to destroy a woman and steal her family.


Fatal Attraction

Insane, moi?

Fatal Attraction is a 1987 psychological thriller starring Glenn Close as childless, promiscuous singleton who becomes obsessed with a married man with whom she had an affair.

In all of these films the criminal, man or woman, is killed, reinforcing the idea violence against the mentally ill is acceptable.

But cinema simultaneously aligns female criminality with madness, violent behaviour, promiscuity, childlessness and unmarried.

In all cases cinema is reinforcing a definition of sanity for women, which is to be married, maternal, monogamous and submissive.

And if as a woman you step outside this male definition of female sanity, then expect to be labelled as mentally ill and men are justified in using violence against you, and you may end up dead.Which brings us to Angelina Jolie.

Film Title: Changeling

Check out the bars and that noose.

Changeling is a 2008 crime drama based on real-life events from California in 1928, and stars Angelina Jolie as a single woman called Christine, whose son Walter goes missing. But when she’s reunited with him,  she realises the boy the authorities insist is her son, is a different boy entirely.

She is naturally angry and upset, which as a woman is not the correct mental state to be challenging the State’s authority, as being ’emotional’ allows the police and local government to define her behaviour as irrational, i.e. a sign of mentally illness, and she is vilified as delusional, labeled as an unfit mother, and confined to a psychiatric ward

A doctor diagnoses Christine as delusional and forces her to take mood-regulating pills. Steele says he will release Christine if she admits she was mistaken about “Walter” she refuses. And the film doesn’t end well for anyone.

So cinema shows women being labelled as irrational is an excuse for any manner of abuse by the state and/or medical profession.

And under the guise of ‘treatment’ a woman may suffer incarceration, drug regimes, invasive surgery and/or lobotomy, as well as losing possession of her kids. And the criteria for judging the success of any treatment is how submissive and quiet the female patient is afterwards.

Another criteria for madness is not being maternal, not liking children, women are forced into domesticity and punished when they fail. being labelled a bad mother makes it very easy for the authorities to teak your kids away from you.

There is no happy ending to this film. But it does show some of the nasty ways the mentally ill are treated in asylums.

One Flew Over The Cuckoo’s Nest

I love this film, made in 1975, and was the 2nd of only 3 films have won all four top Oscars, best actor, actress, film, and director.

It was filmed film in a real mental hospital, in the Oregon State Hospital, and consequently is very good on visualising the mechanics of mental health treatment, the bars on the windows, the forced drugs, the physical restrictions such as strait jackets, and the barbaric use of electro-shock treatment.

Cuckoo McMurphy

Nice hat, Chesaroo

Remember how in Hysteria a character faced being sentenced to either prison or an asylum?

Cuckoos Nest starred Jack Nicholson as convicted sex offender Randall McMurphy, who chooses asylum over prison because he wants to avoid a regime of hard labour to which he’s been sentenced. McMurphy thinks the asylum offers an easier existence, and he is of course, very wrong.


The central conflict in the film is between McMurphy and Louise Fletcher’s Nurse Ratched, who runs the hospital ward to which he is restricted.

Cuckoo Ratched

The doctor won’t see you now

Presenting a sex offender as a hero was problematic, even for the 1970’s, and so the filmmakers down play the reason McMurphy is in the hospital, with his criminal behaviour rarely referred to beyond the opening scene.

And in the way Airplane! uses the audiences knowledge of cinema conventions to make a joke about hysteria, the filmmakers use the audiences knowledge of cinematic sanity to portray McMurphy as heroic, and to demonise Ratched.

McMurphy’s sanity is emphasised by showing him indulge with cinema’s male signifiers of sane male behaviour, such as playing cards and basketball, drinking, and having sex with a woman.

And it demonises the film’s authority figure Nurse Ratched by aligning her with cinemas traits of female insanity and criminality, such as being non-maternal, non-sexual, and non-submissive.

We’re asked to sympathise with and support an unpenitent rapist, a drunk, a brawler and gambler, and one who isn’t ill but wanting to avoid hard labour. Whereas the person we should be rooting for is the hard working and dignified professional, Nurse Ratched who’s been lumbered with the disruptive McMurphy.

In mental health in the movies, when woman succeed they remain defeated, and when men fail, they still win. It’s well, La La land.



Further reading:



The below is from the World Health Organisation website:

There are many different mental disorders, with different presentations. They are generally characterized by a combination of abnormal thoughts, perceptions, emotions, behaviour and relationships with others.

Mental disorders include: depression, bipolar affective disorder, schizophrenia and other psychoses, dementia, intellectual disabilities and developmental disorders including autism.

Dementia is caused by a variety of diseases and injuries that affect the brain, such as Alzheimer’s disease or stroke.


Blade Runner: The Final Cut

Cert 15 117mins Stars 5

Blade Runner: The Final Cut (1982, 2007) 

Ridley ScottBlade Runner: The Final Cut is the definitive version of director Ridley Scott‘s 1982’s sci-fi noir masterpiece.

Uniquely it stands on a pedestal with 1927’s Metropolis, and 1968’s 2001: A Space Odyssey, in the sci-fi canon, and alongside 1944’s Double Indemnity as a doom laden noir.

AndroidsDreamBased on the 1968 novel Do Androids Dream of Electric Sheep? by Philip K. Dick, Blade Runner is a combination of extraordinary visuals, superlative sound, Blade Runner’s superb cast includes Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, M. Emmet Walsh and Daryl Hannah.

With various cuts of the film existing and offering very different endings, Scott trims The Final Cut to its noir roots and in doing so unequivocally resolves a long running debate concerning the nature of the central character, the ‘Blade Runner’, Rick Deckard.

Digitally remastered in 2007 for the 25th anniversary of the original 1982 release, Scott removed Deckard’s voice-over and a happy ending which the studio imposed on the original theatrical release, as well as reinserting a unicorn dream sequence.

Blade Runner scroll

The film takes place in Los Angeles of the year 2019. Six genetically engineered humans called replicants have escaped from an off-world colony and made their way to Earth, where their presence is outlawed.

BR fordIn Los Angeles two replicants are killed after trying to break into the headquarters of the Tyrell Corporation. This prompts M. Emmet Walsh‘s seedy police captain to strong-arm Harrison Ford‘s reluctant former detective, Rick Deckard, back into harness.

Though insisting he is twice as quit as when he walked in, Deckard accepts the order to find the remaining four replicants and destroy them, and an origami-modelling cop called Gaff is assigned to monitor Deckard’s progress.

While on the case Deckard first interviews then starts an affair with Sean Young‘s Rachael. She’s the glamorous niece of the head of the Tyrell Corporation, Dr. Eldon Tyrell, the chess-playing creator of the replicants.

DeckardThe euphemistic use of the word ‘retire’, reminds us Dick’s paranoid fear of the inevitable decay of our mortal bodies, reinforced by Scott scattering his sets with mannequin parts.

The screenplay by Hampton Fancher and David Peoples is a loose adaption of the source novel but is faithful to Dick’s obsessions of decay, transformation, paranoia and identity, and in The Final Cut at least, is respectful of noir’s hard-boiled cynicism.

It can also be read as a twisted riff on John Milton’s epic poem, Paradise Lost, with the replicants representing fallen angels rejecting their godlike creator.

Incorporating tolling bells, the magnificent score by Greek composer Vangelis, announces key themes as the film opens and veers between the apocalyptic and the heavenly.

The Tyrell Corporation’s HQ is a pyramidal mausoleum, a suitable resting place for a god before an ascension to a higher level of existence. The replicants can be interpreted as angels or demons who have descended to Earth from the chaotic off-world to challenge the Earth’s divine order, and possibly raise humanity to a higher plane of existence.

Br sebastian

The subjugated and animal nature of Earthbound humanity is explored through the use of rats, those harbingers of disease, decay and death. Tyrell talks of deserting rats when discussing the altering of the replicant’s DNA. There are pet rats among J.F. Sebastian’s engineered toys. Deckard is herded like a lab rat through the decaying prison of a mansion block.

Filmed in the ironwork interior of LA’s Bradbury building, the dreamlike apartment of genetic engineer J.F. Sebastian is a repository of childhood toys which Deckard must escape before he can be enlightened as to his real identity.

Br BattyThe relationship between the replicants provides the emotional core of the film. Daryl Hannah wraps herself affectionately around Rutger Hauer, who plays her partner and the replicant’s leader, Roy Batty.

And though the a homicidal Batty is set up as the villain, Hauer’s poetic and physical performance aches with life, love and loss. His powerful closing monologue which always bring s me to tears is all the more astonishing for being self-penned.

BRrachaelFor those who think Scott is a stylist indifferent to his actors labours, they should consider the performance he elicits from Sean Young, who is perfectly in tune with the demands of the role.

In a brilliantly tense conclusion we see Rachael asleep in her apartment and Deckard approaching her, gun in hand. We don’t know whether he will kill her or kiss her.

There’s a declaration of love and a big sigh of relief from the audience. But as Deckard and Rachael leave his apartment, they find an origami unicorn left by Gaff. This changes the entire thrust of the story and our understanding of it.

UnicornGaff’s origami is evidence he knows Deckard’s dreams are memory implants, causing Deckard and the audience to belatedly realise he is also a replicant. His entire life is a lie and he has unwittingly killed his own replicant family members at the behest of the police, his enemies, who he realises he now has to escape from.

This bleak revelation is perfect film noir.

But the power of Blade Runner has been diluted by the studio edit prompting a discussion over Deckard’s replicant status. This drags our focus from a brilliant noir ending to a non-debate over the nature of Deckard’s humanity.

Instead of the audience being overwhelmed by the force of this drama, for nearly forty years everyone has chuntered over the ‘is he a replicant’ debate, a controversy this definitive version retires.

Harrison Ford was strategically picked to play Deckard in a casting masterstroke of cinematic deception. The audience is fooled by their own presumption the star is playing a hero.

A huge star from his swashbuckling roles in 1977’s Star Wars, and 1981’s Raiders of the Lost Ark, as Han Solo, and Indiana Jones, the audience expected more of the same. Ford’s status as heroic Hollywood leading man leads us to believe Deckard is the hero until we and Deckard realise he isn’t. We don’t expect a character played by Ford to be the fall guy.

The Big SleepAs a hard drinking detective with a laconic delivery and ready attitude in the face of authority, Ford is presented as a futuristic Humphrey Bogart, rebooted, updated and teleported in from Hollywood’s Golden Age of noir.

Ford is happy to riff on Bogart’s goofy undercover book lover in  1946’s The Big Sleep to emphasise the connection. There’s even a reference to Sydney Greenstreet in Bogart’s classic wartime melodrama, Casablanca as Deckard interrogates a fez-wearing gangster, The Egyptian.

Plus the story is told through Deckard’s eyes. So Deckard’s the hero, right? He’s an updated and rebooted sci-fi Philip Marlowe, right? Wrong.

To watch The Final Cut is to realise, and this is despite what Bryant tells him, Deckard is not especially good at his job.

He’s beaten up in turn by each of the four replicants. While failing to dispatch either of the males, he shoots the unarmed females, and he only manages to kill one of them by shooting her in the back as she’s running away. And as Batty mockingly points out, Deckard is not very sporting. Ordered to retire Rachael, Deckard has sex with her instead.

indemnityFar from being Bogart 2.0, Deckard is far more of an upgrade of Fred MacMurray’s hapless insurance salesman Walter Neff from 1944 noir masterpiece. Double Indemnity. In classic noir fashion, Deckard is too dim to realise he’s always behind the game. it’s not until the end he understands how little he knows. He’s a prize chump.

Blade Runner is rightly celebrated for its superlative sci-fi styling, but I love The Final Cut for revelling in the noir at the heart of this rain-soaked LA story.



Cert 12A  stars 3

Oscar-winning Brit director Sam Mendes rejoins the directing fray with this First World War action adventure which goes over the top in its visuals, but left me shellshocked by a lack of emotional involvement.

Mendes has dedicated this passion project to his grandfather who served in the war, and has crafted a respectful, sincere, technically brilliant and all too beautiful film. I was so rapt by the majestic splendour of the trenches and battlefields I was dislocated from the drama.

Taking place over two days and starting on April 6, 1917, George MacKay stars as Lance Corporal Schofield, whose sent on a desperate mission across no mans land to prevent 1,600 British troops from being massacred in a German trap.

Among the hazards are mud, rats, snipers, planes and the German trenches, it’s no surprise their trenches are engineered to a notably superior quality than the British ones.

MacKay doesn’t put a foot wrong in his performance, but nor does he put his stamp on the film, given little personality or background and devoid of accent or class. Schofield’s supposed to be an everyman for us to identify with, but he’s instead he’s unknowable and anonymous.

And despite being a survivor of the Somme, he’s strangely unquestioning of the war and offers only the vaguest of hints at PTSD, and little bitterness or outrage.

Plus by giving small roles for accomplished players such as Colin Firth, Benedict Cumberbatch and Andrew Scott, there’s a huge sense MacKay has been miscast.

Without doubt the production design is fabulous, with the burnt-out towns and vast tracts of destroyed land being realised on an epic scale. It’s a ruined landscape of corpses, stunted trees and enormous water filled shell-holes.

The expense, futility and madness of war is eloquently articulated in the sheer volume of bodies and abandoned armaments scattered across the battlefields. And in the age of CGI it’s great they’ve gone to the bother of putting a lot of blokes in real costumes in real trenches.

I’m a huge fan of the outrageously talented British cinematography Roger Deakins, but Mendes doesn’t rein in his desire to make every shot worthy of framing and hung on a wall. And the often theatrical and always gorgeous staging is a curious choice for a film concerned with the horror of combat.

Pretty much the first half of the film is presented as being one continuous shot, yet it’s fairly easy to see where the joins are. And while the extended shots are a tremendous technical achievement, they give the film to an almost documentary detachment, and the excitement tails off fairly early on.

Failing in comparison to recent war movies such as Dunkirk or Saving Private Ryan, this doesn’t the have the power of early classics such as 1930’s All Quiet on the Western Front.

And while this film doesn’t glorify war it does seem reluctant to condemn those in charge of the carnage, with British offices being believably cynical, manipulative and boorish, but also less credibly professional, helpful and even friendly.

With Mendes being keen not to demonise the enemy or the lunatic British aristocracy responsible for the industrial slaughter there isn’t much of an enemy – which would normally be considered an oversight in a war movie.


Cert 15 Stars 2

This 1950’s detective noir thriller is an achingly sincere and unintentionally ridiculous vanity project for writer, director and star, Ed Norton.

In a typically intense but irritating performance, Norton plays a New York private detective called Lionel, who while investigating the murder of his gumshoe boss, Bruce Willis, is drawn into a conspiracy of corruption.

Lionel is often referred to as ‘freak show’ by his colleagues due to being a sufferer of Tourette’s syndrome, and as no-one is more convinced of Norton’s talent than the actor himself, he delivers an impossible to enjoy performance which reeks of desperation for another Oscar nomination.

Norton occasionally reminded me of Dustin Hoffman in Rain Man, but he wants to have his cake and eat it too, for while the film treats his character with sympathy, it also wants us to be amused by his sweary staccato outbursts.

His performance left me embarrassed, agitated and eventually bored, and I hope the Hollywood Academy voters feel the same.

Beyond Tourette’s there’s not much character there, and as for Norton’s star power and suitability for this sort of hard-boiled material, well Norton is no Humphrey Bogart, Jack Nicholson or Harrison Ford.

Plus Norton is an uncomfortable 14 years older than Brit actress Gugu Mbatha-Raw who plays love interest, Laura Rose, an activist lawyer.

Known on US TV for his satirical portrayal of President Trump, Alec Baldwin is the best in show as a builder-turned-politician, who’s a racist, hypocritical and an utterly phoney man of the people.

An otherwise commendable attempt at authenticity is undermined by a general lack of people smoking, and having Radiohead frontman Thom Yorke, wailing over the soundtrack doesn’t fit the period mood at all.

Inadvertently erring towards thin pastiche than warm homage, Norton is so over the top this could almost be a cartoon, but Who Framed Roger Rabbit was more stylish and exciting, had a more involving mystery, and was a lot more fun.


Cert 15 Stars 3

Three great performances power this oddball indie drama which offers a lyrical exploration of fatherhood, written by and based on the childhood of its star, Shia LaBeouf.

It’s a deeply personal role which is clearly as much therapy as an acting job, and best known for being in Transformers franchise, he’s far better in small films such as this, where he plays his own ex-con, sex-offender, alcoholic dad.

Two younger actors play LaBeouf, with Noah Jupe being remarkably accomplished and affecting as the 12 year old LaBeouf, a child actor and very much the adult in their complex, violent and tender relationship,

Their inverted relationship has mental health repercussions for the very angry 22 year old LaBeouf, played by Lucas Hedges, who spends his time in rehab, recovering from PTSD caused by his traumatic childhood.

This is a sincere, passionate and understanding tribute to a troubled father from an equally troubled son, and the scene where LaBeouf gives a heartbreaking articulation of the pain of fatherhood nearly brought me to tears.


Cert 15 Stars 3

Natalie Portman is out of this world in this sometimes trippy drama loosely based on a real life astronaut who suffered an emotional crash on her return to Earth.

The role of Lucy, a sharp and super fit spacewoman is a smart fit for the one-time Oscar winner, allowing her to be ferocious, funny and flirty, and refusing to be a victim.

Having experienced the infinite majesty of the cosmos during a spacewalk, Lucy struggles with her humdrum suburban life with her dull Christian husband.

An affair with a predatory fellow astronaut, played by hunky Jon Hamm from TV’s Mad Men, becomes the catalyst for Lucy’s obsessive perfectionism to explode with violent consequences.

This could have been a rerun of Fatal Attraction, but Portman and director Noah Hawley skilfully turn a story of an driven personality into a hymn of female freedom, and a survivor’s story which emphasises a woman’s ability to change, to never allow oneself to be suffocated, and always to be dreaming of the stars.



Cert 12 Stars 4

This supernatural romantic drama is set in a suburb of modern day Dakar, the capital of Senegal, this is a subtle and powerful tone poem of love, longing and a great deal of social comment.

It offers deep swells of sadness, greed and corruption, but also joy, justice, hope and a statement of intent.

At it’s heart is a quietly compelling performance by Mame Sane as Ada, a young woman engaged to the wealthy and arrogant Omar, it’s a marriage of not of love but of economic necessity.

Meanwhile she’s been having a sweet, tender and chaste relationship with a lowly construction worker called Soulieman, and they make an attractive young couple, with the Atlantic Ocean forming a backdrop to their romance.

When Soulieman and his fellow workers denied three months wages they set off in a fishing boat for Spain.

This is journey is referred to as ‘going to sea’, and the women left behind recognise they probably won’t be seeing these men again, even if they survive the hazardous crossing. ‘He went to sea’ is almost used as a euphemism for dying.

When all hands are lost at sea Ada and her friends start experiencing supernatural events, and Ada becomes involved in a police investigation about a mysterious fire.

This is the directorial debut of French actress turned filmmaker, Mati Diop, for which she became the first black female director to be in contest the the Palme d’Or at Cannes Film Festival.

It’s filmed in a lyrical and economical style, with the low key naturalistic performances supported by great location work.

A fabulous skyscraper rises from the desert like enormous alien structure or a spaceship, a sign of hubris and western decadence. And as it resonates with the biblical story of the Tower of Babel, the story has the historical resonance of migration such as that of the Irish, which sits alongside the contemporary resonance of the global refugee crisis.

It’s a harsh, dry, windswept landscape of bleak beauty, sitting next to the angry Atlantic Ocean, whose crashing waves form part of an eerie haunting soundscape, mixed with impromptu songs of the labourers and chanted wedding hymns.

Filmed with sympathy and understanding from a local point of view, and we see the poverty, massive inequality, misogyny, there’s little crime or violence. Nor is there self-pity or the voicing of political arguments, and any anger is mostly reserved for the bosses.

This wasn’t a film that hugely gripped me while watching it, but I respected its hypnotic rhythms and I kept thinking about it for some time afterwards, with certain passages echoing and repeating in the manner of poetry.

It finishes with a call to arms which says the future belongs to the women of Africa, a bold defiant provocative statement and not one often heard in Hollywood.


Cert 12A Stars 3

There’s a lot to enjoy in this glossy,  glamorous and goofy action comedy, which  reboots and updates the fondly remembered TV detective show and the Cameron Diaz films of twenty years ago for the kick ass 21st century.

The strong, sexy and smart new team are played by former Twilight star, Kristen Stewart, who’s aided by two Brits, Aladdin’s Princess Jasmine, Naomi Scott, and the upcoming Ella Balinska.

As secret agents working for the now global Townsend Agency, they’re tasked with hunting down assassins who’ve stolen a device which will revolutionise the power industry.

Elusive mastermind Charlie is represented by a multitude of Boseleys, which is a rank not a name, the most important one being played by the busy writer and director, Elizabeth Banks.

Despite being a celebration of equality and independence, it also embraces its 1970’s DNA with a cameo from one of the original angels, and a not so secret base which resembles the military wing of the Playboy mansion.


Cert12A Stars 4

You don’t have to be a strict Catholic or even the least bit religious to enjoy this respectful and surprisingly sprightly biographical drama of redemption, friendship and totalitarian regimes.

As Pope Benedict XVI and the future Pope Francis, Anthony Hopkins and Jonathan Pryce go head to head in an acting masterclass and keep us enthralled in a drama which is basically two very old white guys talking in a room.

Mind you, that room is the gloriously decorated Sistine chapel in the Vatican. And what begins as a dressing down slowly evolves into a measuring up of each other.

What they have in common is accusations of being colluding with totalitarian states. One is called a Nazi by people in the street, the other a is considered a collaborator with the 1970s Argentine Military junta, with both at separate times suffering a crisis of faith.

This is a hopeful and optimistic journey of penitence and reconciliation, and I say amen to that.