I wanted to like Mike Leigh’s Peterloo, I really did…
“You must be famished coming all the way from Wigan”
I’ve been a big fan of Mike Leigh’s film work, since discovering it in the last decade or so, and loved his last film Mr Turner. So news of his return to period drama, albeit through his idiosyncratic process, in Peterloo was a plus for me. The reality though is an epic that proved a real slog for me, even boring by the end. Continue reading “Film Review: Peterloo (2018)”
Hugh Grant delivers a career best performance in the hugely enjoyable A Very English Scandal. Just don’t mention your National Insurance card.
“Tell him not to talk. And not to write to my mother describing acts of anal sex under any circumstances whatsoever”
I don’t think I’ve ever been chilled quite so much by the end credits of anything like A Very English Scandal. You know, that bit when you find out what happened next to the people who you’ve just been watching. It helps of course that I knew nothing about the 1970s Jeremy Thorpe affair on which it was based but still, never have 11 dogs and a missing NI card seemed so ominous.
Written by Russell T Davies, adapted from John Preston’s book, and directed by Stephen Frears, A Very English Scandal is a complete breath of fresh air. Perhaps surprisingly for a true-life tale of sex, politics and attempted murder, it has a quirky, almost jolly tone that is hugely enjoyable, deftly comic as it negotiates the would-be Machiavellian moves of a politician desperate to save his skin. Continue reading “TV Review: A Very English Scandal”
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“You are the chief executive officer of the human race”
It was quite interesting to rewatch Series 8 of Doctor Who, one which I hadn’t revisited at all since it originally aired, as my memories thereof were not at all positive. And whilst disappointments remained – Robin Hood, 2D cartoons, the treeees! – there was also much to enjoy that I’d forgotten about. The smash-and-grab of Time Heist, the simplicity of ghost story Listen, and the ominous darkness of the finale.
I’m still in two minds about Peter Capaldi’s Twelve though, I want to like him so much more than I do, and I think you do get the sense of him feeling his way into his irascible take on the role. Jenna Coleman’s Clara benefits from being released from the yoke of impossibility to move to the forefront of several episodes and if she’s still a little hard to warm to, that finale really is superbly done. And then there’s Michelle Gomez, stealing the whole damn thing magnificently! Continue reading “Countdown to new Who: Doctor Who Series 8”
“We have to show the world that not all of us are like him”
I have to admit that my hopes were not high for Valkyrie, the assumption prevailing that Hollywood couldn’t manage a nuanced film about the Nazis. But I do have to commend Bryan Singer for at least exceeding those expectations. It’s still not a film that I particularly enjoyed though, not quite tense or suspenseful enough for a thriller, not quite psychologically intense.
The film concerns the failed assassination of Adolf Hitler by German officers of the Wehrmacht in 1944. Colonel Claus von Stauffenberg returns from a grisly battle in Tunisia gravely injured and is identified as a key target by the German resistance after getting a desk job that puts him in the ideal position to destroy the Nazi high command from the inside. Spoiler alert – things, however, do not go to plan. Continue reading “DVD Review: Valkyrie (2008)”
“For your love I pray you, wrong me not”
Any filmed adaptation of The Merchant of Venice is up against it for me as I adore the Al Pacino version from 2004 which makes so much sense of so many of the difficulties of the play. This Trevor Nunn production was a big success for the National Theatre, transferring from the then-Cottesloe to the Olivier, winning all sorts of awards and then filmed for the US’s Masterpiece Theatre.
And as is often the case with these stage-to-screen adaptations, it’s a little flat and disappointing, little concession made to the change in medium and so the abiding feeling is that one is left wishing one could have seen it onstage. Which is a shame, as Henry Goodman makes an excellent Shylock, viciously vengeful but clearly victimised too in this adroit resituating of the play to the 1930s. Continue reading “DVD Review: The Merchant of Venice (2001)”
“It’s quite different after you’ve grown up”
The hills are alive, with the sound of questions. Like, why. The UK’s first fully live musical theatre television broadcast saw ITV produce Rodgers and Hammerstein’s The Sound of Music though the result was a curious experiment that fell uneasily between two stools. Lacking the crucial energy that propels the best live theatre (which comes from an audience too), the production values (though often impressive) naturally fell short of the opportunities of filmed work
Which ultimately begs the question, what’s the point. Is the UK hankering for a new production of the show? It’s hardly as if we’re lacking for productions popping up regularly in theatres across the land. Is it showcasing the best of British musical theatre talent? In that case why cast someone like Strictly winner and former Eastender Kara Tointon as Maria and shunt the likes of Julie Atherton (one of the most outstanding performers we have, bar none) into the nun ensemble. Continue reading “TV Review: The Sound of Music Live”
“Your alliance would be a disgrace”
This six-part adaptation of Pride and Prejudice has gone down in history as one of the most iconic TV programmes ever, its cultural breakthrough into the mainstream taking everyone by surprise and spearheading something of a revival in period dramas. For me though, my abiding memory remains watching a documentary some years later and hearing adaptor Andrew Davies saying that the stage direction he wrote for Colin Firth, for when Darcy meets Elizabeth after she has rushed over to see her ailing sister, was “Darcy is surprised to get an erection”.
Smut aside, it is a strikingly well done piece of work though, Luxuriating over 6 hour-long instalments, it allows for the slow-burn of the central relationship which makes this version of the story really work, Firth and Jennifer Ehle so incredibly well-matched that their every interaction is scintillatingly drawn as mutual antipathy turns to mutual admiration amidst the various family dramas of the Bennetts, Wickhams, Collins et al. His brooding looks and engagingly smooth voice and her keenly intelligent eyes with her delightful pragmatism are utterly engaging. Continue reading “DVD Review: Pride and Prejudice (1995)”
Rubbish sees Martin Freeman and James Lance reprise characters from an earlier short film Call Register, best mates Kevin and Julian. Once again tussling over a girl, in this case Anna Friel’s new neighbour Isobel, this time the scenario is around recycling in the flats where they live. Ed Roe’s film neatly punctures the hypocrisy that many of us carry about green issues, the lip service we pay and in this example, how that can rebound on us. Lance carries on his laidback swagger and Freeman is brilliant once again as the constantly over-compensating Kevin, aware he’s about to lose another girl to his handsome friend.
Elephant Palm Tree
Another film from Kara Miller and another two-hander that this time charts the quietly painful collapse of a marriage. No external factors are involved, it’s just a woman realising that the relationship to which she has devoted her life is giving her nothing back and asking for a divorce. But his (unspecified) high-flying job has kept her a very plush way of life and as they do battle over what she would walk away with, it becomes clear that whereas she’s ready to leave her man, her resolve may not be strong enough to divorce herself from this lifestyle. George Harris redeems himself a little for Frankenstein and Doña Croll is subtly affecting as the torn Martha, the difficulties of her life and decisions etched upon her face.
A rather fascinating project in which the medium of short film is stretched to encompass the world of video games, all on the most meagre of budgets. It’s an experiment for sure, but worth a look.
I Am Bob
Donald Rice’s I am Bob is a rather amusing if slightly overlong film that plays like a homespun take on Being John Malkovich but with Bob Geldof at the heart of it. A mix-up with his chauffeur on a toilet break during a long ride up to a gig in Glasgow leaves him stranded in an isolated Lancashire pub without cash, cards or mobile. But far from being abandoned, it is hosting the 14th Long Marston Lookalike Convention and so he gets swept up in the baffling world of celebrity impersonations where David Bamber has already entered as Bob Geldof and the two have to do battle to be the most convincing Bob. It’s silly but fun and even if it stretches a little too languorously, it is always good-natured.
“Something bad always happens when you go upstairs”
Something is in the water of British crime drama that is making it more interesting than it has been for quite some time. Tony Basgallop’s What Remains, directed by Coky Giedroyc, has thrilled across four weeks on BBC1 making the kind of whodunnit that genuinely had one guessing right till the very end with its carousel of hugely unlikeable personalities remarkably all remaining in the mix for the crime for a very long time. Set in an inner-city townhouse split into flats, it plays on the anonymity of metropolitan life – the fact that we can live next door to people and remain strangers, dissociated from their lives entirely. Such is the fate of Melissa Young, whose decaying body is found in the loft of a building yet whose absence for two years has gone unnoticed.
She owned the top flat but as soon we get to know the rest of the inhabitants, we soon see why this wasn’t the happiest of houses. A cranky maths teacher lives in the basement with something of a dirty secret, on the ground floor is a recovering alcoholic journalist whose romance with a colleague is under threat from his self-possessed teenage son, above them are lesbian graphic designers gripped in a psychotically abusive relationship and above them are a newly-arrived and heavily pregnant young couple. Throw in a widower detective on the brink of retirement and no life outside of work and the scene is set for cracking four-parter What Remains. Continue reading “TV Review: What Remains”