Now this is more like it, Series 2 of Spooks settles into the classic feel that works so well
“This ridiculous James Bondery…do we need it?”
With this second season, Spooks really gets into its stride I think, recognising that it is an ensemble show at heart (and a rolling ensemble at that, although it’s a shame new recruit Sam doesn’t get more to do) and nailing the variation in tone and style of episodes which largely remain self-contained. Also, Nicola Walker finally arrives as Ruth, which is good news for the audience, Harry and the nation.
Topics-wise, we touch on hacker kids, Irish republicanism, Islamic radicalisation and Anglo-American relations among others. But it is ‘I Spy Apocalypse’, written by Howard Brenton and brilliantly directed by Justin Chadwick with a smothering sense of claustrophobia that really gets the pulse racing as a fire drill for a terrorist incident gets very dark very quickly – it’s possibly one of the best ever episodes of Spooks.
Praise the Lord – analyst Ruth Evershed finally arrives in Episode 2 in all her long cardigans and flowing skirts and though initially viewed with suspicion coming from GCHQ as she does, she soon wins over the team with her knowledge of Greek mythology, Russian crucifixion practices and much more besides. Continue reading “Lockdown TV Review: Spooks Series 2”
Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time!
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
Despite some considerable talent involved, I vote to leave Brexit: The Uncivil War
“It says here you basically ran the Leave campaign and yet I doubt most people have ever heard of you”
It is difficult to watch Brexit: The Uncivil War because it is hard to locate a raison d’être for telling this story as a drama rather than a documentary. Given how close it is to the present day and the way in which so much has still yet to unfold in the way the UK eventually disentangles from the EU, making the choice to start creating art around it feels an odd choice.
I’ve long been a fan of James Graham, like any rational person, and the way he has been able to dig deep and really explore so many of the issues afflicting contemporary society has been brilliantly in evidence. But it is hard not to feel that Brexit is a mis-step in the way that it seeks to reinterpret the roles of the key dramatis personae in this whole sorry shebang. Continue reading “TV Review: Brexit: The Uncivil War”
“I suppose we should start by reading it”
Atonement was only Joe Wright’s second film but crikey it’s a good’un. Following on from Pride and Prejudice with another literary adaptation was a bold move, especially in taking on such a modern classic as Ian McEwan’s 2001 Booker Prize nominee but with Christopher Hampton on script duties and Wright’s visionary eye at the helm, Atonement is a deliciously gorgeous piece of art.
From Kiera Knightley’s iconic green dress to that epic Dunkirk tracking shot, from a three-fold Briony (Saoirse Ronan, Romola Garai, Vanessa Redgrave) to narrative daring that enriches the whole piece, Atonement is a sumptuous and assured film that has lost none of its charge nearly ten years on. Wright is blessed with a top-notch cast to be sure, but it is his flair that characterises the film’s brilliance. Continue reading “DVD Review: Atonement (2007)”
“The king’s name is a tower of strength”
The Hollow Crown reaches its climax with a solid and occasionally very strong Richard III which once again shimmers with quality and hints of artistic innovation. And for all the lauding of Benedict Cumberbatch’s starring role, it is pleasing to see Dominic Cooke and Ben Power give Sophie Okonedo’s excoriating Margaret of Anjou her due as one of the real pleasures of running these plays together is to trace her complete arc (for she’s the only character to appear in them all) and root her enmity – alongside that of so many others – in something most palpable.
Cooke’s direction also benefits from loosening its representational restraints, Richard III’s monologues and asides make this a different type of play and Cooke responds with a series of interesting choices (though the surfeit of nervy finger-tapping was a touch too much for me) making great use of both gloomy interiors and hauntingly effective exteriors. Playing so many scenes in woodlands was an inspired decision as it leant a real eeriness to proceedings, whether Margaret or Richard bursting from the bushes to disrupt the private mourning of Elizabeth or Anne. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 3. Richard III”
“I was a woeful looker-on”
On a night when the real drama was unfolding in Stockholm’s Globen arena and the main internecine conflict was between the juries of music professionals and the public vote as revealed by the new counting mechanism, the BBC’s decision to schedule The Hollow Crown against the Eurovision Song Contest didn’t work for me. Last week’s Henry VI Part 1 was a great reintroduction into these quality adaptations as it started the new series but the follow-up doesn’t quite match the same level.
Part of the issue lies in the seemingly accepted wisdom that the Henry VI plays are problems that need solving – I’ve still not managed to see a conventional production of the trilogy to use as a benchmark – and so the plays are often abandoned to the mercies of the vision of writers and directors. Such is the case with The Wars of the Roses: 1. Henry VI Part 2, chopped down and frantically paced, there’s a whole lot of fury but just not enough feeling (though if you’re a fan of battlefields and decapitated heads, you might fare better than I did). Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 2”
“I am a spirit of no common rate”
The culmination of the BBC’s celebration of the 400th anniversary of Shakespeare’s death was the 2 and a half hours of Shakespeare Live, a veritable landslide of multidisciplinary performances of and responses to his work. From theatre to opera, jazz to ballet, hip-hop to musicals, the enormous scope of his influence was showcased in a very well put together (royal) variety show (Charles and Camilla were in attendance) at the Royal Shakespeare Theatre and hosted by David Tennant and Catherine Tate.
And like anything with variety, a selection box or tub of Quality Street, there are the ones you love, the ones you can tolerate and the ones that you really don’t care for (the Bounty, or the purple hazelnutty one). And I have to say as impressive as they were, the dance, jazz and opera sections really didn’t do it for me whether Berlioz or Duke Ellington. I was predictably much more interested in the theatrical side of things, particularly as such an august cast of performers was in the offing along with the thrilling thought of a Dench and McKellen reunion. Continue reading “TV Review: Shakespeare Live, Royal Shakespeare Theatre”
Show I had to tweet about
Moment that gave me goosebumps
Defying Gravity (Wicked)
Best Female Performer
Kerry Ellis (Wicked)
Best Male Performer
Benedict Cumberbatch (Hamlet/ Barbican)
Most awe-inspiring vocal
Carrie Hope Fletcher (On My Own, Les Mis)
Most Welcoming Venue
Most thought- provoking storyline
Set I want to live in
The Lion King
Can someone get me a ticket for…
Book of Mormon
Costume I want in my Wardrobe
The red boots (Kinky Boots)
Best New Play
Farinelli and the King by Claire van Kampen – Duke of York’s
Hangmen by Martin McDonagh – Jerwood Downstairs, Royal Court / Wyndham’s
People, Places and Things by Duncan MacMillan – National Theatre Dorfman
The Father by Florian Zeller, translated by Christopher Hampton – Wyndham’s
Best New Musical
Bend It Like Beckham – Phoenix
In the Heights – King’s Cross
Kinky Boots – Adelphi
Mrs Henderson Presents – Noël Coward
Hamlet – Barbican
Les liaisons dangereuses – Donmar Warehouse
Ma Rainey’s Black Bottom – National Theatre Lyttelton
The Winter’s Tale – Garrick Continue reading “2016 Laurence Olivier Awards nominations”
Best Actor In A Play Sponsored By Radisson Blu Edwardian:
WINNER – Benedict Cumberbatch, Hamlet
James McAvoy, The Ruling Class
Bradley Cooper, The Elephant Man
Mark Rylance, Farinelli and the King
Alex Hassell, Henry V
Best Actress In A Play Sponsored By The Umbrella Rooms:
WINNER – Nicole Kidman, Photograph 51
Denise Gough, People, Places and Things
Lia Williams, Oresteia
Rosalie Craig, As You Like It
Harriet Walter, Death of a Salesman Continue reading “Winners of the 2016 What’s On Stage Awards”