Cover-Up review – atrocity exposer Seymour Hersh, journalist legend, gets a moment in the spotlight

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Hersh’s record on uncovering the big stories, from My Lai to Abu Ghraib, speaks for itself. This documentary watches him at work: dogged, nonconformist and combative Renowned investigative journalist Seymour Hersh was never played in a film by Robert Redford or Dustin Hoffman, like the Washington Post’s Bob Woodward and Carl Bernstein. But as this documentary portrait argues, he’s probably more important than either. Hersh has a longer record of breaking big stories, from the My Lai massacre in Vietnam to torture by US army personnel at Abu Ghraib prison in Iraq – the latter a historic scoop underscored by the stomach-turning photos which Hersh brought to light. Hersh is asked if Abu Ghraib would have been the story it was without those pictures and replies: “No pictures, no story.” Well, maybe. But his other scoops had no pictures of this kind. One incidental thing Abu Ghraib showed was how ubiquitous digital photography became at the beginning of the century; how easy it was to take...
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Boy Kills World review – ripped Bill Skarsgård shows he’s got brutal action chops

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As a mute avenger against a dystopian tyranny – looking like a lethal Buster Keaton – the actor makes you wish the film itself was as purposeful

Bill Skarsgård – one of eight Skarsgård siblings, six of whom work as actors – has hitherto carved out a bit of a niche as the best one to hire when you need a Skarsgård with a bit of a creepy vibe. He’s played a possibly dangerous stranger (Barbarian), a vampire (Hemlock Grove), delivered an unforgettably nasty Pennywise the Dancing Clown in the recent IT, and is about to star as the titular character in The Crow reboot. In Boy Kills World, however, he proves there’s another string to his bow: bona fide action star.

Rippling with muscles, Skarsgård plays Boy, one of those “I am an instrument shaped for a single purpose” types that thrive in the action genre. The single purpose is a time-honoured one: revenge. In this case it is against Famke Janssen’s Hilda van der Koy, the head of a wealthy ruling family in a totalitarian state which subjects its population to an annual “culling”, during which supposed dissidents and traitors are executed. Having lost loved ones to one of these state-mandated execution sprees, Boy is now out to exact a bit of eye-for-an-eye and, as the title of the movie implies, anyone who presents an obstacle to said quest will be treated as a legitimate target and summarily kersplatted.

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