Marty Supreme review – Timothée Chalamet a smash in spectacular screwball ping-pong nightmare

Following every dizzying spin of Chalamet’s table tennis hustler, Josh Safdie’s whip-crack comedy serves sensational shots – and a smart return by Gwyneth Paltrow This new film from Josh Safdie has the fanatical energy of a 149-minute ping pong rally carried out by a single player running round and round the table. It’s a marathon sprint of gonzo calamities and uproar, a sociopath-screwball nightmare like something by Mel Brooks – only in place of gags, there are detonations of bad taste, cinephile allusions, alpha cameos, frantic deal-making, racism and antisemitism, sentimental yearning and erotic adventures. It’s a farcical race against time where no one needs to eat or sleep. Timothée Chalamet plays Marty Mauser, a spindly motormouth with the glasses of an intellectual, the moustache of a movie star and the physique of a tiny cartoon character (though that could just be the initials). He’s loosely inspired by Marty “The Needle” Reisman, a real-life US table tennis champ from the ...

The Unabridged Mrs Vera’s Daybook review – lovable profile of drag-artist campaigners

Straightforward telling of artists David Faulk and Michael Johnstone’s story of love and activism is warm and heartfelt

Sometimes a hat festooned with plastic straws, Christmas tree baubles and random trash is more than just a hat festooned with plastic straws, Christmas tree baubles and random trash: it’s a political statement – well, sort of. This vivid, effervescent and often moving documentary revolves around David Faulk and Michael Johnstone, two artists who found each other in the middle of the Aids pandemic, fell in love and ended up building not just a life together but a wider community around the drag persona Mrs Vera.

The latter is incarnated by Faulk, clad like a psychedelic Joan of Arc in an armour of upcycled polyester and tchotchkes, under a thick impasto of makeup – not unlike the inch-thick layers of paint he used to apply on canvases back in his days as a New York-based artist. But once he moved to San Francisco and started making art with life partner Johnstone, the expanding Verasphere became about so much more than just performance. It’s a whole multimedia construction, involving Johnstone’s luminous photographs, film-making, collaborations with friends and allies and, most endearing of all, craft workshops where Faulk and Johnstone teach people how to wield glue guns like real pros as prep for the city’s annual Pride march. The couple’s innate kindness and generosity shines bright, while the miracle of their survival (both have been HIV positive for years and Johnstone almost died) allowed them time to become local legends and fairy godmothers for the community.

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