John Lennon: The Last Interview review – Soderbergh imagines there’s no people with bland AI clipshow

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Succession of pointless AI-generated snippets does nothing for film about the artist’s final interview, which took place on the day of his murder Coming just after his superb feature The Christophers , Steven Soderbergh has now made a surprisingly moderate documentary, dominated and frankly marred by uninteresting and pointless AI. It is about the inadvertently poignant final interview given by John Lennon and Yoko Ono on 8 December 1980 in New York’s Dakota apartment building, hours before his death. The interviewers were Dave Sholin, Laurie Kaye and Ron Hummel from San Francisco’s KFRC radio station. On their way out of the building with the conversation on tape, they were accosted by a creepy stalker-fan; in attempt to calm the man down, Kaye gave him a brand new copy of John and Yoko’s new album Double Fantasy. This sinister man was Lennon’s future murderer who got him to sign an album – perhaps this very album – and later shot him dead. It is a chilling, stomach-turning twist of f...
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Pigeons! Superheroes! Farts! The best movie moments of 2023

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From angry confrontations to romantic reunions, Guardian writers pick the big-screen moments that have stayed with them the most

Martin Scorsese’s Killers of the Flower Moon is frequently enthralling over the course of its three-and-a-half-hour runtime, sinking into the depths of American shame as it follows William Hale (Robert De Niro) and his unofficial lieutenant Ernest Burkhart (Leonardo DiCaprio) as they grasp for the money and land controlled by the Osage tribe in 1920s Oklahoma, which involves slowly poisoning Ernest’s wife Mollie (Lily Gladstone) as they kill off members of her family and community. But just when it seems like the story’s final dominoes are tumbling over with inevitability, Scorsese jumps ahead for his final scene – maybe the most audacious in American movies this year. Rather than a series of solemn title cards explaining what happened to the people whose lives we’ve seen dramatized, the movie cuts to a true-crime radio show in the 1940s, with major figures from the film reduced to cartoonish voiceovers and sound effects. And then, to detail Mollie’s post-narrative life, Scorsese himself appears. It’s not a Hitchcockian wink of a cameo, but a show of respect, as he steps from behind the camera to essentially read Mollie’s obituary; the mood changes from playful to stark in an instant. Seeing this master film-maker visibly grapple with the limits of artistic expression took my breath away. Jesse Hassenger

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