Got your social diary sorted yet? We're here to help – there are tons of great things to do in Glasgow this week. Have a look through our round-up of all the best events and films that Glasgow has to offer. You'll find theatre, art, music and more in our list, so have a look and plan a week's worth of things to do in Glasgow.
Things to do in Glasgow this week
Major paintings from the Bute Collection at Mount Stuart on the Isle of Bute. Merging art, biography and cultural history, Art Of Power uncovers the fascinating Enlightenment figure, John Stuart, Third Earl of Bute, and his collection of rarely-seen masterpieces.
This exhibition centres on a recently rediscovered watercolour, a romantic view of the town Bacharach and Stahleck on the Rhine, plus a small selection of topographical watercolours by Adam, Constable, Varley, Ruskin and Whistler and a group of prints by Claude, Sandby, Girtin and others.
Films showing this week
Before seeing ‘Wonder Woman’, I got a sinking feeling. It’s been more than a decade since a woman headlining a superhero film saved the world. I had visions of middle-aged male studio execs huddled together in a conference room Googling feminism and group-thinking how to make a lady-hero. Would the result feel like a two-and-a-half-hour tampon advert? Actually, no. ‘Wonder Woman’ feels like the real deal, a rollicking action adventure in the tradition of ‘Indiana Jones’, with a fully functioning sense of humour and the year’s most lip-smackingly evil baddie. It has a wobbly opening on a women-only island where hot chicks in fabulous Ancient Greek sandals appear to have wondered in from a Dolce & Gabbana ad campaign. This is Themyscira where the Amazon tribe have lived in peace for thousands of years. Actress and former Miss Israel Gal Gadot (Gisele in the ‘Fast & Furious’ franchise) is their princess, Diana (Wonder Woman), who was sculpted from clay and brought to life by Zeus. The island’s tranquillity is broken by the arrival of a cocky American soldier played by ‘Star Trek’ actor Chris Pine, who is adorable. He knows he’s here as eye-candy and does smoking-hot sexy sidekick with a good sense of humour. The plot is functional. It’s World War One and Pine is an American spy who has discovered that evil German chemist Dr Maru (Elena Anaya) – aka Doctor Poison – is cooking up a dirty bomb to wipe out Allied soldiers on the Front. Wonder Woman volunteers to save humankind, st
They’re full of whirling metal parts, but the ‘Transformers’ movies haven't always run like clockwork. Michael Bay may be Hollywood's poet laureate of pyrotechnics, but rarely has he made these 'bot epics sing, much less flow in a coherent way. Regardless, all the films bear his undeniable signature (something that can't be said for most action directors): gorgeous moments of billowing catastrophe, lens-flared beauty and pure lunkheadedness. ‘Transformers: The Last Knight’, the fifth and (likely) final chapter of the series, is a well-tooled collection of contraptions. You can't say it builds to a colossal climax so much as starts right away in a heightened state of dumb excitement, shifting every few minutes to an equally stupefying new register. Defying plot summary, it begins in Arthurian legend, as Merlin (Stanley Tucci, having a blast) summons a metallic dragon to save the better elements of humanity from a horde equipped with fireballs. Merlin's staff becomes an object of great power, searched for 1,600 years later by gorgeous Oxford sceptic Vivian (Laura Haddock). She's conveniently single, so Cade (Mark Wahlberg), a longtime ally of Optimus Prime and his good-guy Transformers, has someone to drool over. Without getting too deeply into details, there are bad robots who want to scrape the planet clean of pesky humans. Literally – they have a scraper about the size of Brighton. There's a whirring, fussy butler (voiced by ‘Downton Abbey’'s plum-throated Jim Carter) wit
Music sounds better when you’re on the road. In ‘Baby Driver’, ‘Shaun of the Dead’ director Edgar Wright takes the car-chase action film – loaded with tyre squeals – and weds it to a cracking jukebox playlist. The result is the most supercharged piece of motorised choreography since John Landis destroyed a fleet of cop cars in ‘The Blues Brothers’. Wright’s hero, Baby (‘The Fault in Our Stars’ actor Ansel Elgort), still has a hint of peach fuzz on his cheeks, but he’s a genius with a gearstick. A getaway driver with dreams of going straight, Baby needs music to drown out the tinnitus-induced buzz in his head. Unlike the more violent and existential vehicular visions seen in ‘Drive’ or ‘Bullitt’, ‘Baby Driver’ is sweet fantasy. That means its two-bit thieves and criminal masterminds (Jamie Foxx, Jon Hamm, Kevin Spacey) are enjoyably cartoonish; the same goes for Baby’s waitress crush, Debora (Lily James), the kind of broad-smiling cutie that filmmakers always seem to dream about. Their romance is nourished with doe-eyed looks and Beach Boys-scored dreaminess, but the movie doesn’t know what to do with it, except hatch a plan to ‘head west and never stop’. The chances are you won’t mind: the action sequences here, imbued with humour and break-on-a-dime timing, are the most beautifully sustained and jaw-dropping of Wright’s career. You’ll be rewinding them in your head for days.
This nerve-shredding thriller from 28-year-old director Trey Edward Shults joins the esteemed company of Cormac McCarthy’s ‘The Road’ and the handful of intimate post-apocalyptic stories that puncture through to our deepest fears with tales of civilisation in free fall. Confidently, the movie throws us in at the deep end with no time to process what’s happening. In the deep dark woods, an old man covered in black boils is wheelbarrowed to an unmarked grave, shot and incinerated in a pit. He leaves behind an adult daughter, Sarah (Carmen Ejogo), her husband, Paul (Joel Edgerton), and their 17-year-old son, Travis (Kelvin Harrison Jr). In the flickering lantern light of the movie’s electricity-free universe this family have got survival down to a science. Their fortified home, covered in wooden planks and lined with plastic sheeting, has one double-locked entrance, painted red as a warning to anyone who might dare to approach. Yet someone does approach, banging on the door (the sounds in this film should come with a heart attack warning). He is Will (Christopher Abbott) and he’s not ‘sick’. Don’t hold your breath waiting to find out what the plague is in this film. Part of what makes Shults’s film transcend an episode of ‘The Walking Dead’ is that it traffics in the unknown. Will is soon joined by his wife, Kim (Riley Keough), and their three-year-old son. Even as we get more details about life during this endgame, Shults develops the psychology of his characters. Travis, a
Sofia Coppola’s ‘The Beguiled’ is an exquisitely crafted drama of seduction, survival and sexual awakening in Civil-War era Virginia, with especially strong performances from Kirsten Dunst and Nicole Kidman as two teachers trying and failing to set an example of restraint and good behaviour to their young charges. Taking place almost entirely within a remote rural boarding school, this slow-burn charmer tells how a small community of two teachers, Martha (Kidman) and Edwina (Dunst), and their five schoolgirls shelter an injured Yankee soldier, John (Colin Farrell), an Irishman found lying by a tree. As distant guns rumble, John’s presence in the house means that it’s not just the girls’ French lessons that start to lend Coppola’s film a mildly erotic air. The source is a 1966 Southern Gothic novel by Thomas Cullinan – later made into a 1971 film starring Clint Eastwood – but the scale and restraint of this ‘The Beguiled’ makes it feel more like a short story. It’s a film of great economy, as John realises that being a seducer and playing his hosts against each other could be his only route to survival. And the women aren’t unwilling: Martha has a moment while giving him a bed bath; Edwina quickly falls into his arms; and young Alicia (Elle Fanning) isn’t far behind. The others have their own way of getting close to him: one gives him a Bible; another enjoys ‘just talking to him privately’. It’s a scenario that always feels on the edge of cheap exploitation: the handsome so
You might already know how the evacuation of Dunkirk in May 1940 turned out: how over 300,000 mainly British troops escaped from the beach and harbour of a northern French port while being bombarded by the Nazis. But the power of Christopher Nolan’sharrowing, unusual war film is that it tries hard, with real success, not to make any of this feel like just another war movie. Instead there’s a strong sense of this bloody, strange event unfolding in the unknowable way that those on the ground might have experienced it. It’s awe-inspiring and alienating, perhaps as it should be. At less than two hours (brief for the director of ‘The Dark Knight’ films and ‘Interstellar’) and keeping dialogue to a bare minimum, ‘Dunkirk’ gives us a short, sharp dose of the oddness and horror of war, dropping us right into the fray. It’s a staggering feat of immersive terror, blessed with such knockout photography that it has to be seen on a massive screen if at all possible (Nolan shot the film in two large formats, Imax and 65mm). It looks, feels and sounds like a nightmare, balancing naked suffering (drowning, shooting, shelling, crashing, burning) with a strong hint of otherworldliness: Nazi propaganda leaflets spookily dropping from the sky; strange foam washing up on the sand, dislocating aerial shots of sea meeting land. Nolan gives us three interlocking chapters, offering three different perspectives. There’s ‘The Mole, One Week’, taking place on the harbour wall from which thousands were
The racing world is changing in the latest ‘Cars’ escapade from Pixar. A new generation of faster, more efficient motors has arrived on the scene and a dramatic crash leaves an ageing Lightning McQueen facing retirement. Unfortunately for parents bored of the franchise or irritated by the premise (why would cars go to a bar and grill – why?), the now-not-so-cocky racer is refusing to hang up his tyres. Despite his flabby wheels and creaky joints, McQueen (Owen Wilson) is desperate to keep racing and avoid becoming merchandise (ironic, considering Disney is already selling ‘Cars 3’ swimming trunks.) In an attempt to get his engine revving, he joins a new training facility, complete with track simulators, VR and perky personal trainer Cruz Ramirez (Cristela Alonzo). Her story, at least – of self-doubt and female inclusion – is engaging. The rest of the plot simply meanders toward the race to end all races, where McQueen aims to beat his latest nemesis, newbie Jackson Storm. ‘Cars 3’ is entertaining enough. As always, the animation, attention to detail and sweeping American landscapes are ace. There’s a lot of predictable mush about following your dreams, turning negatives into positives and having the confidence to believe in yourself. That’s all well and good for the under-12s, but this movie never packs the kind of emotional punch we know Pixar is capable of.
The breakout star of 2014’s 'The Lego Movie' now gets his own action-packed, completely batshit superhero spinoff. The first Lego film was a real surprise: what could have been a lazy cash-in turned out to be sweet, funny and fiendishly original in the way it acknowledged and celebrated its own artificiality. And one of the film’s highlights was its take on Batman: a self-involved millionaire playboy who dresses in black body armour to fight crime and chase chicks. The inept egomaniac is a time-honoured comedy archetype – think Jack Sparrow, Daffy Duck or Donald Trump – but thanks to razor-sharp writing and Will Arnett’s snarling, impossible-to-hate vocal performance, this Batman felt fresh and fun. Happily, the same goes for his solo debut, a ferociously paced, wildly silly pastiche of those comic-book blockbusters we’re all getting a bit sick of. The plot may draw on another creaky comic cliché – Batman inadvertently adopts adorable orphan Robin (Michael Cera) and has no idea what to do with him – but ‘The Lego Batman Movie’ is so jam-packed with ideas, asides and barmy cameos (Lego Bane! Lego Marlon Brando! Lego gremlins!) that there’s barely time to notice. Some of it might go over kids’ heads – there’s a running gag about ‘Jerry Maguire’ that will bemuse anyone under 35 – but they will lap up the frenetic action and slapstick. Like its predecessor, ‘The Lego Batman Movie’ also manages to find an emotional centre among all this mayhem. Batman may be outwardly invincible
An evolution of the tech-heavy Hollywood blockbuster, the ‘Planet of the Apes’ franchise is a Darwinian dream come true. These movies have captured a soulfulness that’s different from anything else out there. ‘Apes’ wrangler, director and co-writer Matt Reeves (‘Cloverfield’) has steered the concept into ethically complex territory, beginning with 2014’s second chapter, ‘Dawn of the Planet of the Apes’. He now surpasses himself with a broodingly downbeat epic set 15 years after the outbreak of the civilisation-killing simian flu. As you’ll have guessed from the title, it’s a war film, but not just any war. From the scrawled markings on the human soldiers’ helmets – ‘Monkey Killer’ – to the bald, bellicose colonel straight out of ‘Apocalypse Now’ (Woody Harrelson, doing his best bug-eyed Brando), this film rewages the war of Vietnam, complete with its tangle of self-negating righteousness and mission drift. Once again our hero is Caesar (Andy Serkis in a motion-captured triumph that eclipses even his beloved Gollum – the effects here are close to magical), sensitive leader of the apes who suffers a calamitous blow to his family after a sneak attack. His peaceful nature rocked by a desire for vengeance, Caesar departs with a small detachment of shaggy aides-de-camp to intercept the humans while his tribe heads for shelter. Apart from pulling off the unique trick of having us root for human extinction, ‘War for the Planet of the Apes’ foregrounds a beautiful tension between t
Do you have a six-year-old? Are they conversant in office politics? Do they love intricate, mind-scrambling existentialist narratives that lead nowhere? Then hurry them along to this deeply strange but somehow also very dull family cartoon comedy. The setup is just plain odd: before birth, the film reveals, all babies are sorted into two categories. The majority travel to earth, where they become part of a family. The rest are trained as managers in Babycorp, the company responsible for the manufacture of babies (don’t over-think it, because that way madness lies). When promising recruit The Boss Baby (gravel-voiced by Alec Baldwin like he’s reading rejected ‘30 Rock’ scripts) is sent to earth on a secret mission that’s way too silly to go into, he goes undercover with the Templeton family. But their existing seven-year-old Tim (Miles Bakshi) isn’t best impressed with his new baby brother. ‘The Boss Baby’ is one of those snarky, post ‘Shrek’ cartoons that desperately wants to appeal to parents as well as kids, but its snappy, pop-culture-referencing script feels workshopped to death (there’s a running joke about Gandalf that’s bafflingly unfunny). Undemanding kids might get a kick out of its jazzy, restless visual style and poo jokes, but grown-ups may well find themselves taking some impromptu nap time.