Keith David on his incredible career: ‘I want you to understand Black men as full-scope human beings’

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The hard-working character actor has over 400 screen credits, from The Thing to Platoon to Rick and Morty, and he isn’t slowing down any time soon Keith David’s voice precedes him. Deep and resonant, with mellifluous notes that hark back to his boys’ choir days, it has spent decades inhabiting warriors, gods, rogues, fathers and a welter of cartoon oddballs. Before David appears in a Zoom window from his Los Angeles home office, his voice reverberates through my tinny laptop speakers like a foghorn. “Can you see me now?” he booms once our connection is established after fits and starts. “OK. Outside of technology, you know I’m … OK.” He fizzes about the project he just wrapped: a dark buddy comedy called My Friend Jim, in which he stars opposite Rob Lowe. It’s the latest entry in a seemingly unstinting slew of productions that have kept him booked and busy since the late 1970s, from The Thing to Platoon to There’s Something About Mary to Nope. Continue reading... from Film | The Gua...
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The Shrouds review – David Cronenberg gets wrapped up in grief

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Cannes film festival
Elaborate necrophiliac meditation on loss and longing stars Vincent Cassel as an oncologist who has founded a restaurant with a hi-tech cemetery attached

David Cronenberg’s new film is a contorted sphinx without a secret, an eroticised necrophiliac meditation on grief, longing and loss that returns this director to his now very familiar Ballardian fetishes. It’s intriguing and exhausting: a quasi-murder mystery and doppelganger sex drama combined with a sci-fi conspiracy thriller which comes very close to participating in that very xenophobia it purports to satirise. And among its exasperating plot convolutions, there is a centrally important oncologist who was having a possible affair with the hero’s dead wife and who had also been her first sexual partner as a teenager – but who never appears on camera.

Yet for all this, the film has its own creepy, enveloping mausoleum atmosphere of disquiet, helped by the jarring electronic score by Howard Shore. We are in Toronto of the present or near future in which a wealthy and stylish widower and entrepreneur called Karsh (Vincent Cassel) has founded a restaurant with a cemetery attached: a state of the art burial place where people can bury their loved ones with a new “shroud” whose thousands of tiny cameras can record and transmit real time, 8K pictures of the body’s decay, which you can watch on your smartphone.

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