If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold
“Kill all the lawyers”
If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split / The Good Fight”
On the two viewings I’ve managed so far, I’m pretty sure Mamma Mia! Here We Go Again is the epoch-defining film that we don’t deserve but which we sorely need
“When you’re gone
How can I even try to go on?”
I was lucky enough to see an early screening of Mamma Mia! Here We Go Again last week and I thought it was fricking fantastic. But as the occasion fuelled by an afternoon tea that was heavy on the bubbles and the raucous atmosphere of a stagey audience and not quite bold enough to stick by the courage of my convictions, I opted to wait until seeing the film a second time before officially declaring my opinion.
And I have to say I really do think this is a superb film. The sequel that no-one really knew they wanted, whipped together in under 12 months once the green light had been given, that somehow manages to do everything you expect it to, and but better, and infinitely more moving than it has any right to be. I knew I’d shed a tear or three of joy but there was more than one moment where I was just sobbing, so rich is the emotion here. And that’s only fitting considering the bittersweet melancholy that is ABBA’s true calling card, rather than the cheesiness they are famed for. Continue reading “Film Review: Mamma Mia! Here We Go Again (2018)”
All hail Mamma Mia! As we tentatively await the sequel, I revisit a film I can’t ever imagine not loving
“I won’t be muscled out by an ejaculation”
With Mamma Mia! Here We Go Again just about to hit cinemas, I thought I’d revisit the original Mamma Mia! film to remind myself of its pleasures, Pierce Brosnan’s singing and all. Released in 2008, it managed that trick of defying a lukewarm critical reception to garnering huge popularity, something repeated by The Greatest Showman (it’s almost as if film critics can’t quite imagine audiences wanting to see a harmlessly fun musical…).
And that’s what this is in the end, lots of fun and silly with it. Based on the iconic jukebox musical of the same name, it’s a whole load of ABBA songs strung together on a gossamer-light plot of romantic comedy gold. Where it succeeds, as with the musical, is in taking the job at hand most seriously, whilst never taking itself too seriously at all. Songs are in the right places, serving as motors in the narrative, and there’s an integrity to the whole thing, even when its daft as a brush.
Continue reading “DVD Review: Mamma Mia! (2008)”
“In my experience, whenever somebody says ‘the truth is’ that usually means it’s not”
Lots to love in The Good Fight, not least its very existence as a female-led, POC-heavy US drama, unafraid to tackle the most modern of issues, as its parent show The Good Wife did in its prime. And over the 10 episodes of its first season, it has proved an engaging and entertaining watch in the midst of finding its feet about the kind of show it actually wants to be. (You can read my thoughts about Episodes 1 and 2 here).
The Good Fight tried to achieve a lot – establishing a large new ensemble, delivering enough storyline for three lead characters, paying adequate but not overbearing fan service to Good Wife devotees, and coming up with up-to-the-minute cases-of-the week. And I think we can say it did most this fairly successfully. Christine Baranski’s Diane Lockhart and her statement necklaces remaining a shining beacon of light in our cold, dark world. Continue reading “TV Review: The Good Fight Series 1”
“Diane, when did you get so cynical?”
I hadn’t intended to write about this spin-off from The Good Wife but its opening two episodes were just too full of insane goodness impossible to ignore – I mean just look at that poster art for one. The earlier seasons of The Good Wife were fantastic, US network television close to its best, but the show definitely lost some of its sparkle as its core ensemble collapsed and none of the replacement cast members were able to deal with the unchecked gravitational vortex of its key star Julianna Margulies as Saint Alicia Florrick.
Two victims of this were Christine Baranski’s Diane Lockhart, in there from the beginning and much abused by the end, and Cush Jumbo’s Lucca Quinn whose arrival in the seventh and final season promised much but ultimately suffered from writing that would not, could not, allow her independence from Florrick. So it is tempting to see The Good Fight as an apologia from series creators Robert King and Michelle King as, along with Rose Leslie’s newcomer Maia Rindell, they form the three leads of a brand new ensemble show that is serving up life! Continue reading “TV Review: The Good Fight Episodes 1 + 2”
An early birthday from my Aunty Jean saw me get to revisit those wonderfully swiveling seats at the Royal Albert Hall for the matinée of Follies in Concert, a semi-staged version of the Sondheim show directed by Craig Revel-Horwood for just two performances with an all-star cast, featuring none other than Diane Lockhart herself, Christine Baranski. Having never seen the show before, I have nothing to compare it too but after hearing the score played by the City of London Philharmonic Orchestra and conducted by the inimitable Gareth Valentine, I suspect I may never need to hear another version!
The set-up of a reunion concert for an old theatrical troupe as per James Goldman’s book works wonders for the show and especially this production. There seemed to be real joy and appreciation amongst the company as they watched their colleagues each take their turn to reprise their former glories – Anita Harris and Roy Hudd’s light-hearted skip through ‘Rain on the Roof’, Stefanie Powers’ glamorous swish through ‘Ah, Paris!’, Lorna Luft’s quirky take on ’Broadway Baby’, Betty Buckley raising the roof with a soaring ‘I’m Still Here’ – whether the onlookers were acting or not, seeing them give each turn hugs, kisses and standing ovations felt real. Continue reading “Review: Follies in Concert, Royal Albert Hall”
“Let the moment go, don’t forget it for a moment though”
The big screen version of Stephen Sondheim’s Into the Woods has now become a huge box office success, apparently heralding a new golden age of movie musicals, and as a musical it comes complete with a soundtrack which you can get in either single-disc or deluxe-double-disc edition.
The main reason to get this soundtrack would be to get Emily Blunt’s gorgeous renditions of her songs. Her voice was an absolute revelation in the film and she brings such character to The Baker’s Wife that is just irresistible – she nails all the emotional colour of ‘Moments in the Woods’ and blows James Corden off the turntable with her wondrous delight in ‘It Takes Two’. I remain a fan of Anna Kendrick’s Cinderella and Meryl Streep’s Witch is also good, solid rather than spectacular if we’re being picky, in her solo moments. Continue reading “Album Review: Into the Woods soundtrack”
“Into the woods to see the King, to sell the cow, to make the potion”
After the Oscar-winning success of Chicago, it is little surprise that Rob Marshall keeps returning to the world of musical theatre for his films and it is now the turn of Stephen Sondheim and James Lapine’s Into the Woods to get the full cinematic treatment. The story pulls together a whole raft of characters from various fairytales and asks the question ‘what happens after happy ever after?’. So we meet familiar characters like Little Red Riding Hood, Rapunzel and Jack on their respective journeys but keep on following them deeper into the woods as they’re forced to deal with the consequences of their actions.
So Cinderella has to deal with the fact she’s married to a man she barely knows, Jack is called out for thieving so many of the Giant’s possession back down the beanstalk and so on, and the characters also crash into each other’s stories too, further muddying the waters. At the heart of the film is the Baker and his wife whose desperation for a child is a key contributing factor to the chaos that emerges and Marshall manages to keep the strands of this multi-threaded story clear and comprehensible – the staging is rarely audaciously exciting but the lack of tricksiness actually works in the film’s favour.
Continue reading “Film Review: Into the Woods”