How being crushed by a 14,000lb snowplough made Jeremy Renner a nicer person: ‘I’ve never been more vulnerable, open and loving’

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He was known as a tightly wound Hollywood tough guy, on and off screen – and then the star found himself fighting for his life. He talks about ‘bullying his body’ into recovery, and how the accident changed him Six ribs broken in 14 places. Three breaks in the lower pelvis. Right and left ankle broken. Left tibia broken. Left wrist fractured. Left toes, three breaks. Right clavicle broken. Right shoulder blade cracked. Eye socket, jaw, mandible, all broken. Major laceration back of head. Lung collapsed. Liver pierced from rib bone. The inventory of Jeremy Renner’s injuries, documented by the twice Oscar-nominated movie star himself, was exhaustive. It was a miracle that the actor had survived; he had no right to. Renner had been crushed by his own 14,000lb (6,350kg) snowplough on New Year’s Day 2023. A neighbour who helped him at the scene believes he died momentarily. So does Renner. He tells me it was a very special moment. “What I experienced when I passed...
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Golda review – lifeless Meir biopic hides Helen Mirren’s talent in a cloud of cigarette smoke

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As a drama about the Yom Kippur war, this film is bafflingly dull. As a portrait of Golda Meir, Israel’s prime minister at the time, it’s even worse

Helen Mirren’s latexed and enhanced portrayal of Golda Meir, Israel’s “Iron Lady” prime minister during the 1973 Yom Kippur war, has been overtaken by a debate about “Jewface” casting because Mirren is not Jewish – addressing why Jews are casually excluded from the otherwise fiercely policed sensibilities about authenticity and identity on screen. (Would they get a white actor, for example, to black up as President Anwar Sadat?) It’s a valid and important question, but not exactly the problem in this stately, stuffy and at times almost comatose TV-movie-type drama about tension in Israel’s corridors of power as the Yom Kippur war exploded and the country faced off against Egypt, Syria and Jordan in a battle for its very existence.

Mirren, normally such a sparkling performer, is lumbered with a grey wig, false nose and jowls, with occasional headscarf and handbag, making her look as if she is playing the Queen doing an impression of Richard Nixon. This Golda Meir impassively chainsmokes her way through wooden potted-history dialogue scenes with her military top brass, while everyone blows cigarette smoke at each other; occasionally she takes a break to lie prostrate on a hospital bed, stoically smoking and dying of cancer. Is she going to die? Why not? The film is flatlining.

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