WILL STONE fact-checks the colourful life of Ozzy Osbourne
Film round-up: April 29, 2022
MARIA DUARTE of Downton Abbey: A New Era, We’re All Going to the World’s Fair, and Your Mum and Dad: A Devastating Truth
JAMES CROSSLEY applauds a lucid biography of the German radical preacher who reemerged as a hero in the GDR
Prizes all round: the Bard hands plaudits to the Miners Gala, OT&JC, Joe Solo, Black Sabbath’s frontman and the Lionesses
Star cartoonist JAMIE BRITTON is in awe of a graphic novel of epic proportions that explores class, religion and globalisation via the strange cultivation of Ginseng in the US Midwest
GUILLERMO THOMAS is intrigued by a history of the Middle East that demonstrates how promising post colonial beginnings were snuffed out by Western imperialist interests
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
Downton Abbey: A New Era (PG)
Directed by Simon Curtis
★★★★
DOWNTON Abbey returns with all its cinematic glory and Upstairs-Downstairs intrigue as it continues where the 2019 film left off, but with the Crawley family now heading to the south of France on a fact-finding missing to uncover the mystery of the dowager countess’s newly inherited villa.
Written by Julian Fellowes and directed by Simon Curtis, the film, set in 1928, deals with Downton having to confront the modern world as Lady Mary (Michelle Dockery), to the horror of her father Lord Grantham (Hugh Bonneville), agrees to allow a film company to shoot their silent movie at the estate in order to pay for much-needed roof repairs while he is away in the French Riviera.
More from this author
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
MARIA DUARTE recommends the ambitious portrait of an agricultural community confronted by the trauma of enclosure
MARIA DUARTE recommends a chilling examination of the influence of Evangelical Christianity over the far right in Brazil
MARIA DUARTE recommends the creepy thrills of David Cronenburg’s provocative and macabre exploration of grief
