A host of fantastic films, awesome new albums and spectacular stage performances – they are all featured in our critics' picks of the best of film, music and theatre.
The makers of Challengers – and star Zendaya herself co-produces – have got pretty much everything spot on in a film which is sporty, sexy and absolutely gorgeous to look at Ah, that’ll be Zendaya again, now alarmingly convincing as an 18-year-old with the world, not to mention both boys, at her feet. But which one does she choose?
But there’s also something else going on, on which Cortellesi at first lets us in only tangentially, setting up a surprising conclusion that, truly, will make you want to cheer. The result is a film that explores belief, non-belief and race, and will make you think every bit as much as it will make you laugh. The laid-back, likeable Clarence, who turns out to be the dope-peddling, chariot-racing brother of Doubting Thomas, is a firm non-believer. But he owes a ton of money to Jedediah the Terrible, so into the lucrative messiah business he must go.
It’s 40 years since Neil Tennant and Chris Lowe released their first single, the flop version of West End Girls . They have given us 40 years of sparkling consistency, making electro-pop that is always the same, yet always different. Lowe was typically taciturn, Tennant typically lucid. ‘There’s no ideology any more in music,’ said Tennant, who is nearly 70. ‘People listen with an open mind and they’re not ageist about it. That is very refreshing.’
On A New Bohemia, a gravely beautiful ballad, he finds a killer line at just the right moment: ‘Your only friend is the memory of a dream.’Singer-songwriter Annie Clark, the Dallas musician better known as St. Vincent, paid a brilliant homage to 1970s New York on her last album, Daddy’s Home, in 2021. It was a record of soft vocal harmonies, nods to Steely Dan, and even a re-working of Sheena Easton’s 1981 singalong 9 To 5.
Part two steps back from the guitar barrage, even if the lyrics are no less gloomy at first. The Power’s Out is a sister piece to Bowie’s Five Years – from 1972’s Ziggy Stardust – right down to Clark’s stuttering drum pattern. Echoing Bowie’s prophecy of doom, she witnesses shootings and a suicide: ‘The power’s out, and no one can save us.’
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