Primary Colors (1998)

An engaging political drama directed by Mike Nichols, with plenty of comic moments. John Travolta plays a governor with presidential ambitions. Emma Thompson (with an American accent) plays his wife. And Adrian Lester plays the campaign manager, who tries to hold true to his idealism despite repeated incidents in which he needs to cover up for the governor’s reported transgressions. 

There’s a lot of dialogue, which gives the film extra richness, and it skilfully explores the relationships between the key characters. It’s not surprising to learn that it was adapted from Joe Klein’s loosely fictionalised account of the 1992 Bill Clinton presidential campaign. Emma Thompson even looks a little like Hilary Clinton at times.

Billy Bob Thornton, Kathy Bates and Larry Hagman all co-star, and all are at their best.

The Blind Side (2009)

An intriguing drama, directed by John Lee Hancock and adapted from the 2006 book by Michael Lewis. It tells the true story of American footballer Michael Oher (played by Quinton Aaron), who came from a poor background and a drug-addicted mother and was taken in by a wealthy Republican family. 

Sandra Bullock plays Leigh Anne, Oher’s new “mother”, and delivers one of her strongest performances in a complex role. 

Only one criticism: I misheard some of the intro and it sent me down the wrong path. I spent the whole film expecting Oher to fatally injure another player, which wasn’t where it was heading at all. That’s my fault, but I do think the opening moments could have been clearer.

Misery (1990)

Brilliant adaptation of the Stephen King novel. 

A writer (James Caan) crashes his car in a snowstorm and is rescued by his “number-one fan” (Kathy Bates), who unfortunately turns out to be a psychopath. She keeps him in her home against his will and forces him to write another book, while regularly having violent episodes and taking out her anger on him. 

The real genius of this tightly plotted film is the bleakly humorous thread running through it. Director Rob Reiner somehow makes this terrifying saga into a black comedy. Kathy Bates is cartoonishly scary, and judges it just right. 

The suspense is almost unbearable – especially when Caan is exploring the empty house as Bates is driving back to it – and there are a couple of absolutely unforgettable scenes.

About Schmidt (2002)

Bleak black comedy about a man in Omaha, Nebraska who leaves an insurance company to enjoy his retirement, only to find that his wife dies soon after. Suddenly he has no shortage of free time, but he has no one to spend it with. Struggling to find meaning in his life, he begins to sponsor a child in Tanzania (his letters to the boy form the film’s narration), travelling around in his huge new Winnebago, and trying to persuade his daughter not to marry her waterbed salesman fiancé. 

Jack Nicholson is as fascinating to watch as always, and expertly portrays the bemused, slightly shell-shocked widower. Kathy Bates is excellent as the rather scary mother of his future son-in-law. 

It’s a fairly depressing film, and deliberately so. It’s to be respected for not offering any trite or easy resolutions to this lonely 66-year-old’s predicament in the way that a more obvious narrative might have done. But a few more laughs would have helped since a lot of it is genuinely painful to sit through.

Revolutionary Road (2008)

This faithful adaptation of the 1961 novel by Richard Yates is a fairly bleak study of oppressive suburban conformity in 1950s America, and the perils of trying to dream your way outside of it. The Wheelers are played by Leonardo DiCaprio and Kate Winslet, who famously played the couple in Titanic. (Kathy Bates is also in both films.) In fact, it almost works as Titanic II, extrapolating how their lives might have evolved had Jack lived, married Rose and settled down to have a family. Suburban malaise is expertly depicted, with a sense of desperation and emptiness always at the edges of their wealthy, comfortable existence. From the outside, they are “special” – the “perfect couple” – but the rigid gender roles and social expectations of their time and place form an invisible prison they both rage against in different ways. Ultimately the unrelenting hopelessness of it all does become a bit overwhelming, even though that hopelessness is extremely well imagined.