54 years is quite the wait for a sequel but Mary Poppins Returns is full of nostalgic sweetness and charm
“Are you sure this is quite safe?
‘Not in the slightest. Ready!'”
54 years is quite the wait for a sequel but the sweetness and charm with which Mary Poppins Returns lands on our screens makes it pretty much worth it. It’s a film that does more than wrap you up in a warm blanket of nostalgia, it tucks you in, throws another log on the fire and makes you a steaming hot chocolate (no marshmallows though!).
Set 30 years after the much cherished original, the story (by David Magee, Rob Marshall and John DeLuca based off of PL Travers’s original tales) sees us rejoin Cherry Tree Lane where the adult Michael Banks (Ben Whishaw) lives with his young family (Pixie Davies, Nathaniel Saleh and Joel Dawson). But much like the other long-held sequel of the year, a sadness fills the house for a mother has died. And Michael’s artistic inclinations and part-time job at the bank aren’t bringing in enough to keep them from repossession. Who could possibly save the day…? Continue reading “Film Review: Mary Poppins Returns (2018)”
Sexed-up rather than subtle, I can’t help but be won over by this fresh take on Oscar Wilde’s The Importance of Being Earnest at the Vaudeville Theatre
“I hope you have not been leading a double life…that would be hypocrisy”
I find it increasingly hard to get too excited about the prospect of Oscar Wilde these days, hence having been a rare visitor indeed to Classic Spring’s year-long residency at the Vaudeville. My problem is that, as with Noël Coward’s work, there’s an insistence on the specificity of its staging which means it is far too easy to feel like you’ve seen it all before, silk pyjamas, bustles, handbags, the lot. So the notion that Michael Fentiman’s The Importance of Being Earnest has ruffled a few feathers by daring to do something different, plus the kind of casting that I could never resist, meant that I had to see for myself.
And ultimately, there’s something laughable in the idea that there’s only the one way to do Wilde. It’s more that ‘certain people’ prefer it done the way they’ve always seen it done, which is all well and good (if soul-destroying) but to bemoan a lost art because someone is finally ringing the changes? Shove a cucumber sandwich in it mate. What’s even funnier is that you’d be hard-pressed to tell the difference really, it’s not as if this production is set in space, or it’s being mimed, or it’s been directed in a…European way. It has just had a good shaking down, the dust blown off the manuscript, the cobwebs swept from the velvet curtains, and an enjoyable freshness thus brought to proceedings which are sexed-up rather than subtle. Continue reading “Review: The Importance of Being Earnest, Vaudeville”
“Is he supposed to be nice?”
Just a quickie to cover the first episode of this new Jack Thorne drama on Channel 4, and I’ll review the series as a whole once all four episodes have aired. National Treasure takes its inspiration directly from Operation Yewtree and its revelations about the nefarious activities of veteran TV personages, to give us an exploration into how such a scandal could unfold, sweeping up everyone in its path and uncovering a painstakingly hidden past.
Robbie Coltrane takes the role of Paul Finchley, one half of a much-loved TV comedy duo, whose world is rocked by a historical accusation of rape. Placed under investigation by the police, his personal life is shaken, not least his marriage to Julie Walters and his shaky relationship with recovering addict daughter Andrea Riseborough. And once the news conveniently slips into the media, his professional life is also called into question as the number of accusations multiplies. Continue reading “TV Review: National Treasure, Episode 1”
“This is not war…”
As with many historical films, it is easy to get caught up in matters of accuracy with To Kill A King’s portrayal of Oliver Cromwell and the puritan movement he led with Thomas Fairfax which ultimately saw the trial and death of King Charles I. The casting of Tim Roth instantly points toward the direction Mike Barker’s film leans in and before even a word is spoken, we’re left in no uncertain terms about the psychopathic tendencies of this interpretation of Cromwell. But written by Jenny Mayhew, the film’s focus is actually on the relationship between the two friends and the strain it faces as they set about rebuilding a nation.
And in that respect I think it is quite a successful piece of work. Roth’s furious intensity as he fights for a republican ideal is tempered by Dougray Scott’s intelligent ambivalence as Fairfax, less inclined to shake up the societal order that is such a major part of his and his family’s life, not least his wife Lady Anne, played excellently by Olivia Williams. The way in which the two are slowly pulled apart as their political ideals are twisted by the realities of negotiating with a recalcitrant Parliament and a manipulative King, active even after his deposition, is compellingly told and engagingly performed. Continue reading “DVD Review: To Kill A King”
“What in the hell is going on?”
It could just be a matter of coincidence but it does rather seem that the deal with the devil in order to get the Best Actor and Best Actress Academy Award was to also play a camp villain in a middling sci-fi/fantasy film. Eddie Redmayne’s cape-swirling alien aristocrat Balem Abrasax threatens the earth’s very safety in Jupiter Ascending and in Seventh Son, Julianne Moore plays cape-swirling uber-witch Mother Malkin who probably also threatens the earth although I have to admit I’m not entirely sure what her endgame was. There’s something rather hilarious about watching these performances in light of the Oscar bait that was The Theory of Everything and Still Alice, which is kind of necessary as neither is particularly great shakes.
Jupiter Ascending sees the Wachowski siblings eschew the profundity of much of their oeuvre delve into the realm of the straight-up blockbuster or space opera, but without sacrificing any of the complexity of the cinematic universes they love to create. Problem is though, it’s all rather dense and dull despite the visual grandeur of the special effects – the Wachowskis’ screenplay is complex and unwieldy and frankly just not that interesting. The only thing that kept me going was the bizarrely theatre-friendly supporting cast and cameos – blink and miss Vanessa Kirby here, wonder if that is Tim Pigott-Smith there, ponder if Bryony Hannah’s presence is a nod to Call the Midwife and marvel too at the randomness of Samuel Barnett’s arresting turn(s).
And then there’s Redmayne, oh Eddie Redmaybe with your lovely Oscar. His villainous Balem is a bizarre confection and marked by a vocal delivery that sounds like he’s receiving a blowjob, all the time (or so I would imagine) it is hypnotically so-good-it’s-bad. But it’s not enough to save the film, which relishes its laborious set pieces far too much with over-extended chase sequences put in to show off the VFX rather than serve the story. For my money, Seventh Son was a more effective piece of fantasy storytelling, based as it is on the first book in Joseph Delaney’s The Wardstone Chronicles (retitled The Last Apprentice in the US) although Matt Greenberg, Charles Leavitt and Aaron Guzikowski’s screenplay similarly turns its potential into tedium.
Continue reading “Film Review: Jupiter Ascending / Seventh Son, or ‘What you had to do to win an Oscar in 2014’”
“You sap the foundations of civilisation”
Based on one of Chekhov’s novellas, The Duel is set in a seaside town in the Caucasus which could be somewhere like Sochi (if I’ve got my geography right). But the Winter Olympics are far from the subject here, unless they’re giving out medals for passive-aggressiveness, pretentious moping and hopelessly futile inaction. These of course are the hallmarks of Chekhovian drama and they’re all present and correct in this 2010 film by Dover Kosashvili which boasts an excellent Anglo-Irish cast including Andrew Scott, Tobias Menzies and Michelle Fairley.
The plot focuses on Scott’s Laevsky, a Russian aristocrat whose sense of entitlement has abdicated any form of responsibility from his life. So he’s hugely in debt, he’s careless in his work at the civil service, and he’s engaged in an affair with a married woman, Nadya, whom he has coaxed away from Moscow. But he doesn’t love her and when the news comes that her husband has died, thereby freeing her to marry her lover, Laevsky withholds the information from her. All the while, he stands in pernicious moral judgement of all those around him, truly a product of the decaying society of this Mother Russia. Continue reading “DVD Review: Anton Chekhov’s The Duel”
“Now, now, we don’t want to be thought unsophisticated”
There’s a rather amusing moment on the Gosford Park DVD extras with a short documentary about how director Robert Altman but particularly writer Julian Fellowes tried to ensure the greatest level of authenticity in representing the world of service. Three people who were actually in service in the 1930s were employed as consultants on the film and their insights are genuinely fascinating and it shows. It’s just a shame that Fellowes took so little of that knowledge into creating the fanciful world of Downton Abbey with its blurred distinctions between masters and servants.
There’s no such problem in Altman’s film where the social divisions are sharply defined between upstairs and downstairs but where Gosford Park really grips is in the hierarchies and snobberies that exist throughout, the vagaries of the English class system permeating at all levels. The murder mystery that forms the biggest plot point is deliberately incidental as what is much more compelling is the intricate web of relationships that percolate through the McCordle’s country pile over a long weekend of shooting and the simply gobsmacking ensemble cast that was put together to portray them. Continue reading “DVD Review: Gosford Park”