PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
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Dr Strangelove and the Seven Dwarves of Armageddon
MATTHEW ALFORD questions the establishment-pleasing politics that underlie so-called ‘political satire’
SATIRE DE-FANGED: (L) Peter Sellars in Stanley Kubrick's Dr Strangelove (1964); (R) Steve Coogan in Sean Foley and Armando Ianucci's Dr Strangelove (2024)
[Manuel Harlan]
LEO BOIX applauds an audacious, self-questioning film about grief, friendship and film-making
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
ANDY HEDGECOCK, JAMES WALSH and JAMIE BRITTON review Hanging by a Wire, I Want Your Sex, The Pout-Pout Fish, and Rise of the Foot Soldier: Retribution
Chris Searle speaks to US pianist RAN BLAKE
The Bard hands out medals for his Edinburgh campaign and urges us to support The Men They Couldn’t Hang
IS ARMANDO IANNUCCI a national treasure? He should be. But for entertainment — not political satire.
In a West End stage adaptation of Armando Iannucci and Sean Foley’s Dr Strangelove, an insane US commander orders a nuclear strike on Russia. Both sides flounder to prevent apocalypse.
The original film was Stanley Kubrick’s masterpiece, skewering Cold War archetypes from subservient RAF pilot to drunk Russian premier. Iannucci’s adaptation, also set in the ‘60s, has the Russian dictator modelled on Vladimir Putin, labelled in a punchline as “cold-blooded, neurotic — and short!”
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GUILLERMO THOMAS enjoys a survey of the current state of the CIA (aka Langley) from an expert and insider of sorts