weird

One thing unites the British more than anything else. It stands there in plain sight but is rarely spoken about. We may try to hide it; we may not admit it to ourselves; but under the surface, deep down, in the nicest possible way, we are all a little odd. Not in a sinister way, just eccentric, weird, unpredictable and downright wonderful. As a nation we have an artistic and creative zest and boffin-like inventiveness. In fields of innovation, we led the tech world with some of our brave and crazy inventions. Even our landscapes are damn weird, with some of the oldest, most mysterious and diverse geological oddities in Europe, and plentiful legends too. I spent years exploring the enchanting strangeness of Britain, discovering follies, eccentric public art, strange buildings, mysterious ruins and eerie landscapes for my Weird Guide, which features about 300 of these curiosities. Here are some of my favourites.

The Yoxman, Suffolk

In a field not far from the A12 in Yoxford, Suffolk, stands the Yoxman, an artwork of colossal proportions. At 8m (26ft) high and made from bronze, it took creator Laurence Edwards and his team four years to make. The figure is a personal tribute to Suffolk, the artist describing it as a visitor from the past, both from the land and of the land. The result, finished in 2021, is astounding – a fully grown adult barely makes it to the top of his shin, as the Yoxman dwarfs even some of the surrounding trees. From Yoxford village, take the path opposite the shop and follow it through the grounds of the hall to the statue.

Little Italy, Gwynedd

The late Mark Bourne, a chicken farmer, was obsessed by Italy, visiting as often as he could, filling notebooks with sketches of buildings and architecture. When he returned to his remote cottage on the Corris hillside in Gwynedd, Wales, he and his wife aimed to recreate what he had seen in their garden. Both worked on the creation, named Little Italy, well into their 80s, with models of everything from the Leaning Tower of Pisa to Florence’s Duomo. Although Bourne’s old garden is strictly off-limits to passersby, the surrounding wall is relatively low and the buildings are large enough to see from the path. From the Corris Institute, turn left up the hill along the lane then follow a footpath on the right after the youth hostel for about 100m.

Mannakin, Lincolnshire

Mannakin Hall near Grantham feels like an eerie plastic graveyard. Situated down a narrow Lincolnshire lane, it was set up by Roz Edwards in 2008 when she realised that most mannequins were discarded after no more than five years of service, and began to acquire those destined for landfill. Once repaired or cleaned up, they are hired out and at any given time there are about 15,000 mannequins on site; most are unclothed, but some are dressed up in Halloween costumes or strange outfits. As a working business, Mannakin Hall isn’t open to the public on a walk-in basis but you can prebook and visit as a group, attend one of the regular open days or even stay overnight in your camper van!

White Scar, Yorkshire Dales

On the west side of the Ingleborough summit in North Yorkshire, just south of the ancient Roman road, lies one of the country’s most remarkable areas of limestone pavement, known as White Scar. This extraordinary landscape formed during and after the last ice age, as massive glaciers scraped away the surface. Millennia of weathering broke down the soft alkaline stone, revealing intricate miniature canyons, or grykes. These deep fissures have become like terrariums, providing a habitat for rare plants that are normally at home in dark woodlands.

Library, Isle of Arran

The woodland Library near Levencorroch on the Isle of Arran, Scotland, is a unique tourist attraction, a cabin with an interior resembling a 3D giant visitors’ book. Built by the woodland’s owner, Albert Holmes, using trees blown down in a storm, the cabin is covered with drawings, poems, messages, words of wisdom and notes from all over the world. Ranging from playful to profound, the papers, which are now about 25 layers deep, are stuck in every conceivable space, including the ceiling. It feels like entering something from a Michel Gondry film, or a strange nest left by a literary woodland creature. Pick up a map at the Eas Mor Ecology cafe, east of Levencorroch, and follow a steep gravel path to the waterfall and on to the library. It’s a 25-minute walk.

Sultan the Pit Pony, Mid-Glamorgan

Measuring close to 200 metres from his nose to the end of his tail, Sultan the Pit Pony sits on the site of the old Penallta colliery north of Caerphilly. Mike Petts used 60,000 tons of coal shale rock to create the sculpture, which he built in the late 1990s to honour the thousands of ponies put to work in British mines throughout the Industrial Revolution. It’s close to Parc Penallta Ponds, with its wonderful wildlife and walking trails.

Painshill Follies, Surrey

Inspired by the culture, paintings and architecture he experienced during his grand tour of Europe, aristocrat Charles Hamilton began transforming his country estate – Painshill in Cobham, Surrey – into something between a work of art and a garden in 1738. Alongside a temple, gothic tower and lake, he created one of the most spectacular follies in the country, employing grotto builder Joseph Lane to construct a semi-naturalistic cavern with sparkling stalactites made of minerals such as feldspar and quartz. The park fell into ruin in the 1940s, but the local authority acquired it in the late 1970s and though much has been restored, work continues. The crystal grotto was completed in 2013, with builders making every effort to make it look like the original, using paintings of the grotto.

Rock-cut tombs, Lancashire

There is a local legend that, after being shipwrecked, Saint Patrick was washed ashore and set up a chapel at Heysham, Lancashire, sometime in the fifth century. Considering Saint Patrick was also supposed to have been shipwrecked on Ynys Môn (Anglesey), there may be some doubt about this story! Regardless, during the eighth century a chapel was built in honour of the saint. The remains of this chapel still stand, along with eight rock-cut tombs in one group of six and another of two.

Blackchurch Rock, Devon

Around 320 million years ago, the great continent of Gondwana collided with Laurasia (present-day Europe, Russia, North America and parts of Asia). The force of the impact was so great that it pushed up the rocks of Blackchurch Rock near Clovelly, Devon, into its present formation (we know the date thanks to fossils found in the stone, including Goniatites). Over time, tidal seas shaped Blackchurch further, carving out the great arch. It’s a 30-minute walk north west along the coast path from Clovelly village.

The Tilted Globe, Highlands

Joe Smith, creator of The Tilted Globe at Knockan Crag in Assynt, north of Ullapool, first learned how to dry stone in 1961, at the tender age of 11. By the time he was 19, dry-stone walling had become his means of earning a living. Over time, he stopped seeing walls as only functional and instead recognised how the stacking of stones could be beautiful, appreciating their potential for creating artworks. He has collaborated with Andy Goldsworthy on a number of projects around the world, including Slate, Hole, Wall at the Royal Botanic Gardens, Edinburgh. The Tilted Globe is an independent work made from moine schist local to Knockan Crag. The area is of geological importance, as the ancient rock has been moved through tectonic action about 43 miles (70km) west to remain above the line of the younger rocks. It’s a short walk on marked trails from the turf-roofed hexagonal visitor centre.

This is an edited extract from Weird Guide by Dave Hamilton, published by Wild Things Publishing (£18.99). To support the Guardian, order your copy from guardianbookshop.com. Delivery charges may apply. Follow @davewildish

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This newsletter is about going to the movies, of course, but it’s about writing and reading about movies, too. And so it was exciting news this week that Film Comment, the venerable but shuttered publication that helped foster cinephilia in America, would return as a quarterly online publication.

A complete archive is now available online, going all the way back to the earliest issues in 1962. Looking for landmark writings by Manny Farber, Paul Schrader, Richard Corliss, Amy Taubin, Jonathan Rosenbaum, Kent Jones or countless others? It’s all there and well worth digging into. I began my career as an intern at Film Comment, publishing some of my own earliest pieces, and still consider it a North Star for writing about movies. Its return is most welcome.

Agnès Varda’s bruising brilliance

Sandrine Bonnaire in the 1985 movie “Vagabond.”

(Criterion Collection)

Though she became better known for her free-spirited, pixie-ish persona later in life, French filmmaker Agnès Varda was also capable of the bruising emotions of 1985’s “Vagabond,” arguably her greatest fiction feature and winner of the Golden Lion at Venice and the César for best actress for star Sandrine Bonnaire. Opening with the lead character found dead in a ditch, the film flashes backward to piece together her life from the memories of others, creating a fragmented portrait of an enigmatic young woman’s life.

Mezzanine will screen the film on Saturday at 2220 Arts + Archives, followed by a conversation between art critic Megan O’Grady and former Times staffer Carolina Miranda. Writing about the film in 1986, Sheila Benson said, “Just how Agnes Varda has kept ‘Vagabond’ from being a monumental downer is interesting, but she has. It is haunting. It is melancholy … but ultimately, beyond its central tragedy, it is an exhilarating film, the sort you leave burning to talk about with friends.”

A cartoon comes to life

Robin Williams and Shelley Duvall in the 1980 movie “Popeye.”

(Paramount Pictures / Getty Images)

It is one of the most deranged credit blocks imaginable: an adaptation of “Popeye” directed by Robert Altman, produced by Robert Evans, with a screenplay by Jules Feiffer, music by Harry Nilsson and starring Robin Williams and Shelley Duvall. When it was first released in December 1980, it was seen as too weird for kids and too naive for adults, but it has since been reconsidered as a unique snapshot of intersecting talents — a strange, wonderful, one-of-a-kind movie.

Vidiots will screen the film on Saturday afternoon with actors Paul Dooley and Donovan Scott, who played J. Wellington Wimpy and Castor Oyl. In our original 1980 review that is more positive than one might expect, Charles Champlin wrote, “Its difficulties arise not from a lack of ambition and innovation but from excesses of them.”

Neil Young + Devo = gloriously weird

Neil Young in the 1982 movie “Human Highway.”

(Shakey Pictures)

Neil Young’s place as a singer-songwriter and musician is unassailable — he’s an irascible, restless troubadour. But his sidebar work as a filmmaker, typically under the name Bernard Shakey, has had more sporadic and unpredictable output.

Young’s 1982 film “Human Highway” is probably the pinnacle of his work as a director, starring Young himself in an offbeat story of a small community in the shadow of a nuclear power plant. Dennis Hopper, Dean Stockwell, Devo and even former Times music critic Robert Hilburn all appear. Now Instant Image Hall will be screening the film on Saturday and Sunday along with a selection of Devo music videos in celebration of an exhibition at the MutMuz gallery.

After Young premiered a new cut of “Human Highway” a decade or so ago, I somehow found myself sitting across from him at a diner on a rainy midnight in downtown Toronto. (This job does have its moments.)

“My films are not super commercial, but they mean something to me,” Young said.

An Oscar-winning debut

Shirley MacLaine, Debra Winger and Jack Nicholson in the 1983 movie “Terms of Endearment.”

(Paramount Pictures)

Part tearjerker, part family drama and part comedy, 1983’s “Terms of Endearment” trademarks a certain bittersweet tone that is still just pure magic. The story of a mother (Shirley MacLaine) and daughter (Debra Winger) across many years of ups and downs in their relationship, the film was the feature debut for James L. Brooks as writer-director and won five Oscars, including three for Brooks. The Academy Museum will play the film in a new 35mm print on Sunday afternoon.

When the movie came out on 4K disc in 2023, I spoke to Brooks about it. He talked about how even though it does have moments of great emotional weight, it was intended to play with a lighter tone overall.

“The whole thing was to make it as a comedy,” Brooks said. “The whole thing was to clock laughs. You had to, in order to do it right. And of course, once the audience leaves and it has its afterlife, it’s a drama because people are watching it alone. But I swear to you, in the theaters it was a comedy.”

A ’90s noir ripe for rediscovery

Jason Patric, left, Bruce Dern and Rachel Ward in the 1990 movie “After Dark, My Sweet.”

(Kino Lorber)

Set in the Coachella Valley with the woozy feel of a day drunk and a sense of uneasy menace, 1990’s “After Dark, My Sweet” is an adaptation of the novel by pulp icon Jim Thompson, directed by James Foley.

Jason Patric, then only 23, stars as Kevin Collins, known as Collie, a former boxer who escapes from a mental institution and is now just drifting. He falls in with Fay (Rachel Ward), an enigmatic, lonely alcoholic widow, who in turn introduces Collie to a shady man known as Uncle Bud (a delightfully sleazy Bruce Dern). Soon Collie is ensnared in a plot to kidnap a sickly rich boy that immediately goes off the rails.

On Tuesday at Vidiots, there will be a screening of Patric’s personal 35mm print of the film — a gift he received some 20 years ago and has never watched before. (It is said to be in pristine shape.) Along with a video introduction from actor and filmmaker Alex Winter, there will be a Q&A afterward with Patric moderated by critic and scholar Travis Woods, who contributed a commentary track to a recent Australian Blu-ray release of the film.

Patric organized the screening as a tribute to director Foley, who died in May 2025 at age 71. “After Dark” landed in between Foley making “Who’s That Girl” with Madonna and the David Mamet adaptation “Glengarry Glen Ross.” Among his other credits are “At Close Range,” “Fear” and the last two “Fifty Shades” movies.

“He was a good friend of mine at the time,” says Patric on a recent phone call from Santa Monica. “I know this was his favorite movie and it was closest to him. It’s the only movie that he had actually written that he directed. And I thought the best way to do that is just to show the movie.”

Patric, who says Collie is his favorite character in a career that also includes “The Lost Boys,” “Rush” and “Your Friends & Neighbors,” was first given the script and in turn gave it to Foley; developed it further together, trying to retain the language of Thompson’s novel. (The screenplay is credited to Foley and Robert Redlin.)

“It’s really a subjective piece of filmmaking,” says Patric. “So as Collie’s figuring things out, the audience is figuring things out.”

In her original review of the film, Sheila Benson wrote that “Collie is one of those roles actors lust after, the damaged dreamer, maybe dumb, maybe dangerous, and Patric demolishes the conventions of the role with breathtaking skill.”

“After Dark, My Sweet” landed just ahead of the Tarantino-inspired crime movie boom of the mid-’90s, alongside such noir-influenced precursors as Dennis Hopper’s “The Hot Spot,” John Dahl’s “Kill Me Again” and Stephen Frears’ Thompson adaptation “The Grifters.”

“This is just such an exciting film to want to reintroduce to audiences,” said Woods in a call. “And to get the opportunity to see this film on the big screen, which most people haven’t had that opportunity for 36 years, it’s just one of those really cool, really only in Los Angeles cinematic moments.”

New this week

Argentinian director Lucrecia Martel, photographed at the Sunset Marquis in April.

(Jason Armond / Los Angeles Times)

• The unlikely duo of James Cameron and Billie Eilish co-directed a 3D concert film drawn from Eilish’s 2025 tour, “Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D).” Film critic Amy Nicholson and pop music critic Mikael Wood traded their thoughts on the movie.
• Argentinian director Lucrecia Martel is among the world’s most accomplished filmmakers and the true crime tale “Our Land (Nuestra Tierra)” is her first documentary. Carlos Aguilar spoke to Martel about it.
• “Mad Bills to Pay” expands to multiple Laemmle venues after a weekend run in the Vidiots microcinema. Carlos Aguilar spoke to director Joel Alfonso Vargas about portraying the Dominican American community in the Bronx.

Chris Granet visited a cafe that is a cross between a British greasy spoon and an American diner, with friendly staff, and very busy with locals and foreigners alike

Fried Bacon? Check.

Sausage? Check.

Scrambled egg? Check.

Fried fish in breadcrumbs? …Say what now??

I was in a cha chaan teng – a traditional Hong Kong cafe – in the bustling Wanchai district about to tuck into their version of the English breakfast, which had been introduced during the colonial era.

This cha chaan teng was the Victory A Cafe on the bustling Hennessy Road. It was like a cross between a British greasy spoon and an American diner, with friendly staff, and very busy with locals and foreigners alike. Always a good sign.

My plate was fully loaded and well presented when it arrived. As well as the aforementioned items, there were also baked beans, a smidge of salad and tomato, a glazed brioche bun, and garnished prettily with some nondescript diced green leaves. On the side, there was the obligatory milky tea.

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In terms of taste, it was also “same, same but different”. The bacon was a bit fatty, the sausage a tad bland, but the beans were decent. The egg, on the other hand, was superior. Light and fluffy, yet rich and buttery – for in Hong Kong, they’re often made with cream and cornstarch.

And now for the fried fish. I know it sounds wrong, but it’s like when European folk are presented with an English breakfast for the first time and wince at the sight of sausage and bacon. That is, until they have a taste and are pleasantly surprised.

Well, that was me. It turned out to be my favorite thing on the plate, and was made all the better with a splash or a few of local chili sauce (far better than a bit of brown, if you ask me).

And the tea was no ordinary tea. It was made with “silk stockings”. Not real silk stockings, that’d be weird. No, these are narrow cotton bags through which potent Ceylon tea leaves are repeatedly strained, and more resemble granny tights than fancy stockings. The brew created is so strong it could strip paint, despite being half-drowned in condensed milk. Very good, though.

To cap it all off I had a “pineapple bun”. No pineapples are harmed in the making of these traditional local buns, it’s just that their mottled yellow toppings apparently resemble the tropical fruit (couldn’t see it myself).

I again was pleasantly surprised. Once biting through the crusty sugary top, the inside was soft and doughy with a much more subtle sweetness – an interesting combo of flavours and consistencies, and washed down well by the strong tea.

In total, my bill came to HK$85 (£8.50) – $62 for the breakfast, $23 for the pineapple bun. Not too bad considering it left me stuffed and not hungry again until dinner.

For all the ills of colonisation, there are some positives, and the Hong Kong breakfast is definitely one of them. Worth travelling 6,000 miles for.

BOOK IT

Cathay Pacific flies direct to Hong Kong from London, from £549 return. Book at cathaypacific.com Dorsett Wan Chai has doubles from £113 per night with breakfast. Dorsett Kai Tak has doubles from £115 per night with breakfast. Both hotels offer complimentary shuttle service to major transport hubs, shopping, and dining destinations. Find out more and book at dorsetthotels.com

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Praise be to Allah.

For the second time in two weeks, President Trump used that phrase in a post about the Israel-U.S. war against Iran.

Crowing about the alleged destruction of Iran’s planes, ships and bases in a Truth Social post Saturday, he emphasized his greatest victory in the monthlong campaign: “Most importantly, their longtime ‘Leaders’ are no longer with us, praise be to Allah!”

Making sense of anything Trump says in the heat of posting is a fool’s errand, but it’s also entirely necessary. Sane wash his words we must, because no matter how unhinged or infantile, the world’s safety, fortunes and future are inextricably tied to America’s next move, and therefore to his next move.

So what is Trump trying to communicate, or provoke, by using the Arabic word for God, as Muslims do? Let’s translate.

The first and most likely explanation: “Praise be to Allah” was meant to disparage his adversaries in the Islamic Republic of Iran. They are Muslim, they refer to God as “Allah,” therefore, he will turn their phrasing against them. Word bombs to accompany the deadly ones falling in Iran and Lebanon.

All leaders deploy tough talk in times of war, but Trump’s posts read more like the feverish ramblings of mad Col. Kurtz (Marlon Brando) in “Apocalypse Now” — “You’re an errand boy sent by grocery clerks to collect a bill” — than Winston Churchill’s galvanizing call to arms against the Nazis, “We shall fight on the beaches…”

Unlike the fictional Kurtz or the real Churchill, Trump has no military experience. He avoided the Vietnam War draft with four student deferments and one medical deferment for bone spurs. An area where he is experienced? Baiting foes. Antagonizing enemies, genuine or imagined, is a Trump specialty, be it from the Oval Office, on the campaign trail, or in the before times, as a reality TV personality.

Painting Muslims as the Other is nothing new for Trump, (unless they come bearing luxury airliners as gifts — then they’re friends). The same goes for others in his party. Since the U.S. and Israel attacked Iran on Feb. 28, Rep. Andy Ogles (R-Tenn.) posted that Muslims don’t belong in American society. Rep. Randy Fine (R-Fla.) wrote, “We need more Islamophobia, not less. Fear of Islam is rational.” And Sen. Tommy Tuberville (R-Ala.) reposted an image of the Twin Towers burning side by side with an image of New York City Mayor Zohran Mamdani, with his own caption: “The enemy is inside the gates.”

The president’s first usage of “Praise be to Allah” as a middle finger to Iran landed on a Christian holy day, Easter Sunday. He posted a demand that Iran open the Strait of Hormuz: “Open the F— Strait, you crazy b—, or you’ll be living in Hell – JUST WATCH! Praise be to Allah.” Hardly messaging that brings to mind Easter egg hunts on the White House lawn.

If the idea was to humiliate Iran into submission, it’s not working. Iran doesn’t appear to be backing down, even after Trump’s week-ago threat that a “whole civilization will die tonight” if it failed to meet his deadline to reopen the strait. The critical global shipping route is still closed. Trump didn’t appear all that interested in the art of the deal, either, even as Vice President JD Vance tried and failed to negotiate with Iranian leaders in Pakistan on Saturday. The president told reporters that he didn’t “care” what happens with Iran negotiations because “regardless what happens, we win.” He also said, “Whether we make a deal or not makes no difference to me.” He was seen later in Miami at an Ultimate Fighting Championship cage match with Secretary of State Marco Rubio.

Making the Allah references all the stranger were Trump’s other religious-themed posts this past weekend. One was a lengthy screed against Pope Leo XIV, whom Trump described as too liberal and “weak on crime.” It’s worth noting that more than half of American Catholics voted for Trump in the last election, and that his vice president is Catholic, as is the secretary of State and the first lady.

The other was a stand-alone, AI-generated image of himself as a Christ-like figure. It showed the 79-year-old clad in a white robe and papal-red cape, a divine light emanating from the palm of one hand while the other hand was placed on an ailing man. The post was deleted Monday morning after a sizable backlash.

“I did post it, and I thought it was me as a doctor, and had to do with Red Cross, as a Red Cross worker there, which we support,” Trump said, responding to a reporter Monday during a presser at the White House as DoorDash delivered an order from McDonald’s to promote the president’s “no tax on tips” policy.

There was no mention of Allah during that particular event.

Alhamdulillah.