Wonder Boys (2000)

Google: “A college professor tries to overcome his writer's block and finish his novel while dealing with divorce, his affair with the chancellor's wife, a thieving student and his expectant publisher.”

The disheveled Michael Douglas is excellent in the main part, and his mid-life crisis is highly watchable. I wasn’t too keen on the queasy blend of comedy and drama, which sometimes feels awkward. The presence of a dank Tobey Maguire doesn't help.

The soundtrack is for men of “a certain age”: Bob Dylan, Neil Young, Leonard Cohen and Van Morrison all feature. 

Directed by Curtis Hanson and adapted from the 1995 novel by Michael Chabon, this is a celebrated film that doesn't quite live up to expectations.

Pork Chop Hill (1959)

During the Korean War, Lieutenant Joe Clemons (Gregory Peck) leads a regiment to capture and hold Pork Chop Hill for the Americans. Casualties are heavy and supplies are dwindling. Meanwhile, ceasefire negotiations are underway and the battle may be called off – despite all those men apparently dying for nothing.

Peck has a compelling authority, as always, but overall the film is low on dramatic tension. There’s a lack of context that means questions go unanswered about the strategic value of the battle. In some ways that’s the point – it may be an entirely insignificant conflict that cost so many lives. 

George Peppard and Harry Dean Stanton appear in minor roles, although I didn’t even recognise the former.

Disappointing all round.

Marie Antoinette (2006)

A stunningly vivid masterpiece written and directed by Sofia Coppola. Kirsten Dunst is absolutely excellent in the title role. It begins with her portraying the 14-year-old Archduchess of Austria being sent to marry the Dauphin of France (Jason Schwartzman), who would become Louis XVI. It ends during the French Revolution, with the royal couple being taken away from the Palace of Versailles to be executed. Admirably it doesn’t need to show those grisly last moments because the suggestion of them is powerful enough.

The film presents a surprisingly sympathetic and non-judgemental portrait of a young woman in an impossible situation, while skilfully building up the wider context that led to her downfall.

Visually, it’s remarkable. There’s a vivid quality to the colours and every scene could be freeze-framed as a poster. It’s richly sumptuous without merely looking pretty.

In keeping with Marie Antoinette’s “unconventional” ways, the film has an urgency that’s boosted by the prominent new-wave and post-punk soundtrack (Siouxsie & The Banshees, Bow Wow Wow, Adam & The Ants, The Cure, New Order, The Strokes). This refreshing, edgy vitality really brings it alive. It’s about as far from the stilted, fusty tropes of a Merchant Ivory-type costumer as it’s possible to get.

Steve Coogan judges it perfectly as Austrian diplomat Florimond Claude, comte de Mercy-Argenteau. Marianne Faithfull has gravitas as Empress Maria-Theresa. Rose Byrne is terrific as the garrulous Yolande de Polastron, Duchess of Polignac.

It’s a joy from start to finish.