Superman review – is it a bust? Is it a pain? James Gunn’s dim reboot is both

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The Man of Steel – played with square-faced soullessness by David Corenswet – has an uninteresting crisis of confidence in Gunn’s cluttered, pointless franchise restarter Here is a film occupying the heartsinking Venn diagram overlap between franchise exhaustion and AI soullessness: a film fatally unconvinced of the reason for its own existence. We’d all hoped that writer-director James Gunn, who was in charge of Marvel’s Guardians of the Galaxy movie series, might put some wind back beneath Superman’s wings – or in his cape, or under his boots, or at any rate somewhere near his costumed person. The Man of Steel needed a fresh start after his self-cancelling contest in Batman v Superman: Dawn of Justice in 2016, and getting muddled together with a lot of other utility superheroes in Justice League a year later – though I will admit to enjoying the pure hubristic craziness of the lengthy Zack Snyder cut of that movie when it saw the light of day. But this? If it was to be a reboot t...
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Napoleon review – Joaquin Phoenix makes a magnificent emperor in thrilling biopic

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Ridley Scott dispenses with the symbolic weight attached to previous biopics in favour of a spectacle with a great star at its centre

Many directors have tried following Napoleon where the paths of glory lead, and maybe it is only defiant defeat that is really glorious. But Ridley Scott – the Wellington of cinema – has created an outrageously enjoyable cavalry charge of a movie, a full-tilt biopic of two and a half hours in which Scott doesn’t allow his troops to get bogged down mid-gallop in the muddy terrain of either fact or metaphysical significance, the tactical issues that have defeated other film-makers.

Scott cheekily imagines Napoleon firing on the pyramids in the Egyptian campaign as well as witnessing the execution of Marie Antoinette (but not the humiliation of Louis XVI by the Tuileries mob, which he might actually have seen). Out of deference moreover, Scott and his screenwriter David Scarpa suppress all mention of Napoleon’s reintroduction of slavery into the French colonies. But above all, there’s a deliciously insinuating portrayal of the doomed emperor from Joaquin Phoenix, whose derisive face suits the framing of a bicorne hat and jaunty tricolour cockade. Phoenix plays Napoleon as a military genius and lounge lizard peacock who is incidentally no slouch on horseback. Others might show Napoleon as a dreamy loner, but for Scott he is one half of a rackety power couple: passionately, despairingly in love with Vanessa Kirby’s pragmatically sensual Josephine. Scott makes this warring pair the Burton and Taylor of imperial France.

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