Nicolas Cage

The endlessly exploitable Spider-Man is back in “Spider-Noir,” a retro tale set in a recognizable New York in an inconsistent 1933 (to judge by a preponderance of cultural referents). There is a comic-book precedent for this version of the character, called simply the Spider, though research tells me that, costume and superpowers aside, he is different in nearly every respect. I don’t suppose that will be an issue for most of you.

Shot in “authentic” black and white, the eight-episode series, which premieres Monday on MGM+ channel and streams Wednesday on Prime Video, is something of a stunt, but one that offers a reasonable, (imperfectly) period-appropriate approach to the material. (Stylistically, it belongs to a later decade.) An available colorized version, which seems primarily a sop to younger viewers who refuse to watch anything in black and white, works less well, flattening and softening the image, making the special effects look less special, the expressionist photography less expressive and ordinary scenes more artificial. You can probably tell which I’d choose, but you do you.

Nicolas Cage, in his first live-action television role, plays Ben Reilly, a down-at-the-heels private eye, spiking his morning coffee with whiskey helpfully provided by his knowing secretary, Janet (Karen Rodriguez), and barely scraping by on the occasional divorce case. Five years earlier, as the Spider, he was a super-powered guardian of the people; but he gave it up after the love of his life was murdered on the Spider’s account. In this variation, she’s the one who told him that with great power comes great responsibility, that well-worn Marvel homily, quoted in this world as if it were the work of Abraham Lincoln and not Stan Lee. But Reilly, who calls himself a coward and claims to be no hero, regards his mutant abilities as “a part of me I wish never existed. With no power, there’s no responsibility.”

Naturally, in the Spider’s absence, things have gone to pot in Gotham. “The city’s a mess,” says Reilly’s best and only friend, unemployed reporter Joe “Robbie” Robertson (national treasure Lamorne Morris, keeping it real, relatively speaking). “The people could use a hero.”

“Well, I hope they find someone,” says Ben.

Robbie Robertson (Lamorne Morris) is a journalist and Ben Reilly’s best friend.

(Aaron Epstein/Prime)

Nevertheless, you will not be surprised that, much against his will, Reilly will fall into a web, tee-hee, of intrigue; involving the city’s bootlegging crime boss, Silvermane (Brendan Gleeson, serving a full Irish breakfast), whose superpower is that he has very nice hair; Silvermane’s sort-of mistress, femme fatale nightclub singer Cat Hardy (Li Jun Li), a bird in a gilded cage; and Cat’s bodyguard, Flint (Jack Huston), who has gone missing. Nor will it shock you to learn that other super-powered entities will turn up, to give our hero — who soon enough will be swinging through town, somehow never losing the fedora perched atop his masked head — someone his own size to pick on him.

To coin a phrase, some are born super-powered, some become super-powered and some have superpowers thrust upon them, and in every case this comes with a serving of tragedy and trauma, for heroes and villains alike. If there’s a theme to “Spider-Noir,” beyond “make another Spider-Man show,” it’s this, and there’s a spine of sadness that runs through the series, its best and most depressing feature (and, taking “noir” at is word, fitting to the genre).

The photography and production design, achieved through whatever combination of backlot shoots, dressed locations, digital environments and black magic, work better and worse (though never bad) from shot to shot, but Alfred Hitchcock used background projections and model trains, and it’s nice to see Manhattan before those pencil-thin supertowers began polluting the skyline. (It’s the city as King Kong first knew it.)

The pacing can drag at times. The music goes everywhere but the represented period and characters quote lines from movies yet to be released. The writing and the acting boldly flirt with cliche and caricature, which, as the show is about 100% pastiche, drawn from films more than three-quarters of a century old, could scarcely be avoided and isn’t really a problem. (In a way, it’s the point.) You may spot a scene pinched from Orson Welles’ “The Lady From Shanghai,” narrative echoes of “Casablanca,” a line playing off James Cagney’s final words in “White Heat,” just off the top of my head.) But the overall what and why of the story is clever and the conclusion satisfying.

Cage, who voiced a different version of the “Spider-Noir” character in the animated “Spider-Man: Into the Spider-Verse,” is a good choice for the weary gumshoe. (The series is about 75% detective story, 25% superhero) Metafictionally, he’ll bust out an Edward G. Robinson imitation, mouth Cagney dialogue sitting alone at the movies. But the main model is Humphrey Bogart, whose looks Cage’s recall more than a little; Bogart played Sam Spade and Philip Marlowe in the films most associated with those characters, whose mordant humor creator-writer Oren Uziel seeks to replicate here, with fair success. One can forget that Cage, who finds a middle way between doing a bit and playing a person, is a good comic actor, and not merely a weirdo.

Renfield, a movie based on characters from Bram Stoker’s novel Dracula, is airing tonight and fans have praised hailed the film “funny and deliciously entertaining’

A movie perfect for fans of Dracula is heading to the small screen.

American action comedy horror film Renfield was originally released in 2023 and Film4 is showing the film at 9pm on Wednesday (May 20) evening.

Inspired by characters from Bram Stoker’s 1897 novel Dracula and its 1931 feature film adaptation, the film features Nicholas Hoult as the titular character and co-stars Awkwafina, Ben Schwartz, Shohreh Aghdashloo, Brandon Scott Jones, Adrian Martinez and Nicolas Cage.

The story follows Renfield who, after decades as a grueling servant for Dracula, seeks a new purpose in life. Viewers who have already watch the movie have offered their review online.

One fan penned: “I came for Nicolas Cage and was not disappointed. He played an amazing Dracula in the modern world.” Nicolas Cage was born to play and he appropriately chews up the scenery whenever he is on screen. This movie is a lot of fun thematically and visually.”

A third person said: “Renfield hits all the right notes. The humour is dark, witty and at times profound. The film delivers plenty of gore and bloodshed to satisfy fans of the horror genre.”

A fourth agreed: “Funny, well-crafted, and deliciously entertaining, Renfield isn’t short of bite.”

According to reports, Cage prepared for his role as Dracula by observing the distinctive ways the character was portrayed on screen by Bela Lugosi, Frank Langella, and Gary Oldman.

“What can I bring that will be different?”, he said, “I want it to pop in a unique way. We’ve seen it played well, we’ve seen it play not so well, so what can we do?

“So I’m thinking to really focus on the movement of the character … and that perfect tone of comedy and horror.”

Cage mentioned An American Werewolf in London, Ring and Malignant as inspirations for the role.

The film is Cage’s first live-action film by a major studio since Ghost Rider: Spirit of Vengeance.

The film’s black-and-white opening scenes recreate the events of Dracula with Cage and Hoult respectively inserted in place of Bela Lugosi and Dwight Frye as Count Dracula and Renfield, with Helen Chandler and Edward Van Sloan appearing as Mina Seward and Abraham Van Helsing via archive footage.

Netflix’s Unchosen has topped the streaming charts, but if you found this cult fantasy series underwhelming, there are four gripping alternatives

Unchosen landed on Netflix just over a week ago, with hordes of telly enthusiasts placing it at the top of their lists. Yet, I can’t claim I was particularly impressed by this dull, average cult fantasy.

I hoped to feel unsettled, I hoped to be mystified, but truthfully, this cult drama disappointed. This isn’t a criticism of Asa Butterfield, Molly Windsor and Fra Fre’s acting abilities, but when the script isn’t there to support you, there’s a limit to what can be achieved.

And all of this supposedly unfolding on my doorstep? Blimey, it wouldn’t shock me. I’ll need to keep my eyes peeled next time I head back to Surrey.

Like numerous Netflix smash hits, I’ve noticed the trailer contains more intrigue than the actual programme. Not that Unchosen was dreadful, it simply didn’t quite keep me gripped throughout, reports the Express.

To repeat the text displayed during Unchosen’s opening sequence: “Over 2,000 cults exist in the United Kingdom. Some are closed communities. But many, like this fictional one, live in plain sight.”

While these recommendations may not all centre on genuine cults, they definitely possess a cult-like atmosphere. They’re all wrapped in secrecy, seclusion, and propelled by a mission we ordinary folk won’t entirely grasp.

Here are some of the finest TV programmes, movies and documentaries centred on cults that might capture your attention… and lead you down a deep dive.

Keep Sweet: Pray and Obey (2022)

This four-part documentary series delves into the harsh realities of growing up, living and escaping the polygamous Fundamentalist Church of Jesus Christ of Latter-Day Saints, an offshoot of mainstream Mormonism. Multiple members – and survivors – of the FLDS recount their experiences under the leadership of president Rulon Jeffs, who created the phrase that would become the series’ title, and his son Warren Jeffs.

At present, the younger Jeffs succeeded his father as the church’s leader. However, if this gives any indication about the practices exposed in the series, Jeffs is currently serving a life sentence for child sex offences.

Ex-members reveal the realities of existing under the church’s extreme regulations, and how the Jeffs’ wielded their authority over their congregation. We witness siblings, nieces and nephews forced into marriages with family members, with male church members having numerous wives and children.

Yet that’s not the most disturbing aspect of this documentary. It’s the forced marriage of actual teenagers and children to grown men. A medieval custom that belongs firmly in the past, not in contemporary society.

The series almost appears too far-fetched to be true, but then you recall it’s a documentary. The accusations and examination of child sex offences, human trafficking, child marriage, welfare fraud, and mistreatment of members and ex-members has shaped the outside world‘s perception of the church in recent times.

In a world riddled with double standards, this documentary exposes the shocking levels of moral corruption in people masquerading as followers of God’s teachings.

The Village (2004)

Haunted by mysterious, nameless beings, a tiny, isolated settlement in 19th century Pennsylvania exists in perpetual terror. Following a young resident’s death from sickness, Joaquin Phoenix’s Lucius Hunt seeks the elders’ approval to journey through the nearby forest for medical provisions.

When his plea is rejected, the reasoning given is to prevent further catastrophes. Romance develops between Lucius and the visually-impaired daughter of one of the village’s elders (Ivy, Bryce Dallas Howard), before Lucius sustains severe injuries.

I can’t delve too deeply into the storyline without revealing the conclusion, but Ivy sets out seeking assistance. Yet, appearances prove deceiving.

After all, M. Night Shyamalan is directing. There’s a revelation… there’s always a twist.

This thriller feeds on manipulation and falsehoods, essential tools for strengthening members’ conviction in their version of events. And bear in mind, it’s their version of reality, not ours.

The Wicker Man (1973 & 2006)

While the reimagining of The Wicker Man might not represent Nicolas Cage’s greatest performance, its initial commercial failure transformed into a devoted following over subsequent years. The narrative focuses on a police officer’s journey to a fictional remote island while investigating a disappeared girl.

The island’s residents have turned their backs on Christianity and now follow a type of Celtic paganism, but something far more sinister – naturally – is at play.

Louis Theroux’s My Scientology Movie (2015)

Scientology is one of those movements that’s lurked in the shadows of Hollywood for decades. One of your favourite actors or musicians has probably been linked with the organisation.

There’s nobody better equipped to attempt confronting the Church of Scientology than Louis Theroux, particularly after the church declines to participate in the documentary. In typical Louis Theroux fashion, nothing follows the usual script.

Rather, the documentary seeks to recreate testimonies from ex-members regarding incidents involving the church’s top brass, with assistance from former church official Mark Rathbun. Arguably one of the most striking moments from the documentary occurs when Louis and his team find themselves under surveillance and challenged outside the church’s mysterious Gold Base compound in California.

Intimidation seems to be a recurring pattern that extends beyond the documentary itself. Ex-members of the organisation have, over the years, described their encounters with being confronted while carrying out their daily routines – and voicing criticism of Scientology.

It makes for a deeply strange and maddening viewing experience, as we never truly grasp the extent to which the church is allegedly pulling strings behind the scenes. This film brought Scientology to widespread public attention, and even in an age where information is readily available, there remains so much mystery surrounding L. Ron Hubbard’s doctrines and David Miscavige’s tenure as the church’s second leader.