Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard Series 1”
It may be Daniel Day-Lewis’ apparent last hurrah but Phantom Thread is all about Lesley Manville’s world-conquering excellence.
“No one gives a tinker’s fucking curse about Mrs. Vaughn’s satisfaction!”
Written and directed by Paul Thomas Anderson and nominated for 6 Academy Awards, a lot of the attention around Phantom Thread has been around Daniel Day-Lewis’ announcement that this would be his last film role. But for me (and for any right-thinking folk), the pleasure comes from a scene-stealing supporting role for Lesley Manville which has garnered her one of those nods. (Not sure if she’ll be attending the ceremony though or giving her understudy a brief moment in the sun.)
And it is an unexpectedly engaging and surprising film. Day-Lewis plays fashion designer Reynolds Woodcock whose rule on the world of 1950s London couture is slowly slipping due to the arrival of the New Wave. His audacious arrogance, sorry artistic temperament, is brought into question when he meets Belgian waitress Alma but when a romance sparks up between the pair, the result is a far from conventional affair which leaves its gender dynamics entirely shooketh. Continue reading “Oscar Week Film Review: Phantom Thread”
“I’d rather walk in blood than walk a slave for he thy Emperor!”
For every Blue Stockings, there’s been a Pitcairn, with a Bedlam inbetween. No matter the AD, the commitment to new writing in the later part of the summer season at Shakespeare’s Globe has thrown a marked inconsistency. And Tristan Bernays’ Boudica proves no different, given an ambitious production by Eleanor Rhode which strives a little too hard to situate the play in an Emma Rice house-style, fun as it may come across.
So Game of Thrones-style storytelling mashes up against spirited covers of the likes of ‘London Calling’ and ‘I Fought The Law’, a great sense of energy percolating through this wooden O. But Bernays’ play doesn’t always fit easily with this treatment, written in blank verse that has to balance the required info-dump to flesh out this historical fiction with something more fascinatingly insightful about what might have driven the Queen of the Iceni. Continue reading “Review: Boudica, Shakespeare’s Globe”
“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)”
And who is there to lead into…well, god know where?
The Donmar’s Faith Healer has a lot of rain pissing down in it and given the voting record of our own new faith healer, it May well feel like its pissing down for the foreseeable.
“Do you want me to recrime it sir?”
With Jed Mercurio’s Line of Duty about to start its third series on BBC2, I thought I’d go back to the first two series as they have to rank as some of the best police dramas out there. Centred on the world of AC-12, an anti-corruption unit charged with investigating suspected police wrongdoing, we’ve been so far blessed with two extraordinary stories, hanging on superb performances from the people under suspicion – Keeley Hawes (whose series we’ll get to next) and Lennie James.
James plays DCI Tony Gates, a decorated officer with an amazing clear-up rate that seems too good to be true, and so when he comes to the attention of AC-12, initially for something completely unrelated, the wheels are set in motion for a fast-degenerating state of affairs. Money laundering, drug running, cover-ups, and gruesome murders intertwine and intersect with Gates at the heart of it all, but his true connections to events always in question, right until the end. Continue reading “TV review: Line of Duty Series 1”
“Living with my son again is the best thing that could possibly happen to me; apart from your death”
If it ain’t broke, why fix it? The extraordinary success of The Father, now back in the West End for a second run ahead of a UK tour, has resulted in the Tricycle inviting another Florian Zeller play over from Bath. And if The Mother doesn’t quite scale the same heights of exquisite agony, it houses another storming lead role for another great British actor, Gina McKee following in Kenneth Cranham’s esteemed footsteps.
In the bleached white desolation of Mark Bailey’s design, wife and mother Anne is being hollowed out by depression. Triggered in the main by her adult son Nicholas’ departure from the family home, her sense of empty-nest-syndrome is exacerbated by her severe doubts about her 25 year long marriage to Peter, an upcoming trip to Leicester for a conference masking what she thinks is an affair, her confusion multiplied by her fondness for a bottle, pills or alcohol, either will do. Continue reading “Review: The Mother, Tricycle”
“Now is the winter of our discontent”
Like an addict that really should know better, I held out from seeing Richard III for the longest time, safe in the informed knowledge that I most probably wouldn’t like it. But sure enough when a ticket became available for the final matinée performance, off I obediently trotted to that most uncomfortable of theatres Trafalgar Studios for the latest instalment in Jamie Lloyd’s Trafalgar Transformed season. And guess what, I didn’t like it.
Clearly my opinions had already been shaped by friends and colleagues reassuring me it really wouldn’t be my cup of tea but the lure of a good cast is always strong and in some respects, this was true. Gina McKee’s defiant Queen Elizabeth, Jo Stone-Fewing’s oleaginous Buckingham, Maggie Steed’s mad Queen Margaret all emerge with credit but in the title role, Martin Freeman is much more of a debit, offering up a decent enough performance but one lacking any real gravitas. Continue reading “Review: Richard III, Trafalgar Studios”
Another Icelandic short (it’s a slippery slope once I start on these things…) and this time it’s a jet black comedy. Hrefna Hagalín and Kristín Bára Haraldsdóttir’s Knowledgy follows a naïve Icelandic couple as they get suckered into an LA-based cult by the charismatic leaders (and the example of Ashton Kutcher). Following their every move is their lodger who is filming their story for his film project and provides an excellent external view into this ever-darkening tale.
Another short and sharp clip, James Spinney’s Audiobook is a wryly funny look at the recording of an actor’s memoirs. Daniel Ings’ arrogant Aussie is a volatile presence who threatens to completely overwhelm Oliver Stevens’ young sound technician with his over-inflated and easily-pricked ego. Stevens also wrote the film, which may be short but has a punchy sense of humour about it.
Eddie Loves Mary
A dinky little thing, Hannah Rothschild’s Eddie Loves Mary is a lovely sweet-natured film that wears its sentimental heart proudly on its sleeve. Kevin McNally and Gina McKee lead the cast but there’s a host of brief appearances from familiar faces like Steven Mackintosh, Anna Maxwell Martin and Stephen Mangan as we get closer to the mystery of who is spray-painting Eddie Loves Mary all over the place.
Ivan Madeira’s Grow Up serves as a really nice companion piece to Kate Tempest’s Wasted starring as it does Cary Crankson who appears in both. Grow Up is the precursor, a 10 minute blast through the trials of getting through the mundaneness of young adulthood and the onset of real life and responsibility. Lots of fun and full of astute observations.
“If you’re lucky enough to have a friend you grew up with in this way, you believe the arrangement is for life”
The Hampstead Theatre has managed to give further life to a couple of their Downstairs productions to other theatres, but Di and Viv and Rose marks the first time that one has been promoted to a full run in their main house. Happy news for me as I loved the play when I saw it back in 2011, though I was a little saddened to see that it wasn’t the original cast being brought back with this three-hander. Tamzin Outhwaite has returned but Claudie Blakley and Nicola Walker have been replaced by Anna Maxwell Martin and Gina McKee respectively, in Amelia Bullmore’s wonderfully frank and funny take on friendships.
My review of the original production can be read here, and my review of this new version for The Public Reviews from a more objective perspective is here, so I’ll just limit myself to a bit of a compare and contrast exercise here. By and large, I loved the play just as much second time around and it probably had a greater emotional impact due to the knowledge of what was to come in terms of the more dramatic moments. Bullmore has tweaked the play a little, adding a scene to the beginning of the second act but it has been seamlessly done and if I hadn’t have read the programme note about it, I doubt I would have noticed. Continue reading “Re-review: Di and Viv and Rose, Hampstead Theatre”