‘I turned down Gandhi because I’m terrified of snakes’: the amazing movie memories of Bruce Dern

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Famed for playing loners, cranks and wayward angels, the Hollywood star is now a wolfish 90 – but he still jogs daily. As he takes his latest film to Edinburgh, we meet the man Hitchcock called ‘the golden calf’ ‘Can you take another story?” asks the veteran actor Bruce Dern towards the end of our talk, as though every tale is a drink and the landlord has called last orders. He doesn’t want to keep me and knows we’re running out of time. It’s just that one memory sparks another and these tales won’t tell themselves. He says that the next one is a doozy. “It’s about Marilyn Monroe.” Throw out all the questions and turn the clocks to the wall. One does not interview Dern so much as say hello, hit record and sit back. The man began his career acting alongside Montgomery Clift and Mary Astor and has collaborated with everyone from John Wayne to Tom Hanks, Hitchcock to Tarantino. He’s the lawless survivor of American movies, blown in from the past, and talking 19 to the dozen. “I’m 90 fucki...
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Madame Web review – Marvel’s junky spin-off is a tangled mess

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Dakota Johnson lazily leads an incompetent attempt to set up a new character, made almost incoherent by last-minute changes

It was an inevitable collapse after a reign of such unwarranted length and unparalleled indulgence, superhero movies totalling eight a year during the 2010s, a lucrative yet tiresome stronghold. There were brief highlights within the flurry but such lazy overreliance left little room for other blockbuster genres to flourish and led studios to scrape barrels, giving us more and more of something we’d ultimately had enough of. Last year saw an overwhelming rejection (The Flash, Shazam 2, The Marvels, Ant-Man 3, Aquaman 2 all underperforming) and now the fallout, the first of the year doubling up as a Powerpoint presentation on what went wrong and how not to fix it.

Developed back in 2019, given a green light in 2020, filmed during 2022 and then allegedly undergoing reshoots last year, Madame Web was envisioned as a way to extend Marvel and Sony’s Spider-Man universe: a business, if not creative, sense decision after the surprise success of both Venom and Into the Spider-Verse in 2018. An elderly clairvoyant known in the comics for assisting Spider-Man is now turned into a young paramedic, played by Dakota Johnson, who doesn’t even know that Spider-Man exists, in a film desperate to pretend that it’s something it isn’t. Such confusion was on display in the launch of last year’s trailer, immediately going viral for its laughably unsure tone, convoluted plot and checked-out leading lady. Grimly aware of the sea shift, it’s now being referred to as a gritty suspense thriller in press materials with Johnson insisting during press that it’s a standalone movie in its own standalone universe.

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