Join Academy Award-winning filmmaker, Taika Waititi as he reads James and the Giant Peachby Roald Dahl, in full across 10 episodes, to raise money for @Partners In Health.
Over the series, Taika will be joined by Utkarsh Ambudkar, Cate Blanchett, Jamie Cullum, Benedict Cumberbatch, Roman Griffin Davis, Cara Delevingne, Cynthia Erivo, Beanie Feldstein, Josh Gad, Chris Hemsworth, Liam Hemsworth, Mindy Kaling, Nick Kroll, Kumail Nanjiani, Lupita Nyong’o, Sarah Paulson, Billy Porter, Gordon Ramsay, Eddie Redmayne, Ryan Reynolds, Ben Schwartz, Meryl Streep, Tessa Thompson, Olivia Wilde, Ruth Wilson and Archie Yates, with a select number of celebrities still to be announced.
A pair of album reviews for the OG Wicked stars – Kristen Chenoweth’s For The Girls and Idina Menzel’s Christmas: A Season of Love
“You know the Queen of hearts is always your best bet”
No matter how they’ve diverged now, the careers of Kristen Chenoweth and Idina Menzel will forever be connected by Wicked and so you wonder whether their respective 2016 albums being released at the same time was ‘just’ a coincidence. And those ties just won’t quit as late 2019 sees them both dropping records, albeit with a month or two inbetween this time.
Chenoweth’s album is For The Girls, a concept album of sorts, produce by Steve Tyrell and Jon Allen, focusing on tracks either written or performed by female artists. She might not exactly reinvent the wheel with her covers, but there’s something impressive about the way in which she draws the connecting line between the country pop of her upbringing – ‘Desperado’, ‘Crazy’ – to the standards for which she’s now famed – a glorious ‘The Man That Got Away’, ‘The Way We Were’. As diverse a collection it gets, it always coheres effectively. Continue reading “Album Reviews: Kristen Chenoweth – For The Girls / Idina Menzel – Christmas: A Season of Love”
What to do when you want your new film to be a new version of one of Agatha Christie’s most famous whodunnits? Well if you’re Kenneth Branagh, you call in some of your mates to play the main characters, friends like Dame Judi Dench, Johnny Depp, Michelle Pfeiffer, Olivia Colman, Penélope Cruz, Daisy Ridley, Leslie Odom Jr., Josh Gad, and Willem Dafoe. Plus you can also get some real talent to fill the minor roles – blink and you might miss the likes of Paapa Essiedu, Miranda Raison, Hadley Fraser, Adam Garcia, even Sergei Polunin.
But if you’re Kenneth Branagh, you also cast yourself as Hercule Poirot and as he’s directing himself, there’s a sense that the sharing of some much-needed constructive feedback didn’t happen. For as his ridiculously huge moustache is placed front and centre in scene after scene, this Murder On The Orient Express feels nothing so much as a vanity project. Which is all well and good if you like that sort of thing, and I quite like Branagh as it happens, but it is absolutely fatal in a story that is intrinsically about the ensemble. Continue reading “Film Review: Murder On The Orient Express (2017)”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
“How could anyone be gloomy and depressed? We’ll make you shout ‘encore!'”
The live action remake ofBeauty and the Beastwill be arriving in cinemas on 17th March but should you be so inclined, you can listen to the film’s soundtrack here on YouTube, other digital platforms or buy the album from wherever it is that records are sold near you. Alan Menken and Howard Ashman’s music and lyrics will be intensely familiar to fans of the original Disney film but after director Bill Condon decided not to include any of the songs that were written for the musical with Tim Rice, Menken composed a number of new songs for this film which ought to pique the interest of any right-thinking musicals fan.
None of the old-school classic feel of the music has been lost in this recording, which was a great relief to me, and its new twists on these old songs are certainly interesting. I really enjoyed Josh Gad and Luke Evans’ freshly comic take on ‘Gaston’ and though Emma Watson is no out-and-out singer, she gives a sweetly decent account of herself. Emma Thompson has perhaps a trickier job in tackling the iconic legacy of Angela Lansbury’s Mrs Potts, her accent choice is somewhat distracting but once you’re accustomed to it, the lushness of the orchestrations make the title track spine-tingling and ‘Be My Guest’ is immense fun as Ewan McGregor, Gugu Mbatha-Raw and Ian McKellen chip in too. Continue reading “Album Review: Beauty and the Beast (2017) – Original Motion Picture Soundtrack”
A monologue by the silken-voiced John Shrapnel is something to look forward to no matter the format, and Justin Stokes’ short film Method Actor is a brilliant vehicle for it. Mere minutes long, it courses through the imagination of an ageing actor as he dispenses bitterly-won advice on how he has gotten where he has, Glenn Smith’s script cleverly weaving its way into unexpected places and DP John Lynch creating a gorgeously lush world for him to inhabit. Continue reading “Short Film Review #37”
Disney’s Frozenis as close to a stone-cold classic as they’ve produced in many a year, a loose retelling of Hans Christian Andersen’s The Snow Queen with a delightfully forward-thinking approach to gender roles and adorned with a cracking score by Kristen Anderson-Lopez and Robert Lopez. This last fact means it is as well-conceived a musical as one could hope for, something confirmed by the Oscar nomination for Best Song received by its lead song ‘Let It Go’, and the Broadway production that has now been confirmed to be under discussion.
Its theatrical credentials are further confirmed by the voice cast that was assembled for the film, erring to Broadway performers rather than established film stars and creating a wonderful mix that nails the quirky characterisations of the film. So Idina Menzel takes on the fierce Elsa, emotionally intense due to her enforced solitude but breaking free in the most glorious of ways as she finally embraces her powers in the epic number that is ‘Let It Go’, an instant classic that has me delivering all kinds of armography whenever it plays on the stereo. Continue reading “CD Review: Frozen (soundtrack)”
Best Performance by a Leading Actor in a Play Brian Bedford – The Importance of Being Earnest as Lady Bracknell Bobby Cannavale – The Motherfucker With the Hat as Jackie Joe Mantello – The Normal Heart as Ned Weeks Al Pacino – The Merchant of Venice as Shylock Mark Rylance – Jerusalem as Johnny “Rooster” Byron
Best Performance by a Leading Actress in a Play Nina Arianda – Born Yesterday as Emma ‘Billie’ Dawn Frances McDormand – Good People as Margie Walsh Lily Rabe – The Merchant of Venice as Portia Vanessa Redgrave – Driving Miss Daisy as Daisy Werthan Hannah Yelland – Brief Encounter as Laura Jesson
Best Performance by a Leading Actor in a Musical Norbert Leo Butz – Catch Me If You Can as Carl Hanratty Josh Gad – The Book of Mormon as Elder Cunningham Joshua Henry – The Scottsboro Boys as Haywood Patterson Andrew Rannells – The Book of Mormon as Elder Price Tony Sheldon – Priscilla Queen of the Desert as BernadetteContinue reading “65th Tony Award nominations”