“It’s the Middle East Shlomo, enemies is what you make”
Only by chance did I find out that The Honourable Woman was leaving Netflix at the end of this month, so I quickly took the opportunity to catch up with Hugo Blick’s political spy thriller and as is so often the case with these things, was left wondering how I could have taken this long to watch it.
Political intrigue and personal drama coming from kidnapped children, suspicious suicides and betrayals ranging from old blood feuds to intra-familial conflict set the scene immediately for a typically dense and complex story from Blick, centred on a refreshingly new take on the Israeli-Palestinian conflict and the seeming impossibility of finding a solution when the wounds of the past are still felt so keenly and deeply. Continue reading “TV Review: The Honourable Woman”
“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’”
“We do serious plays – Russian plays and that sort of thing”
The pleasures of theatregoing, especially in London, are many and varied but amongst my favourites are the chances offered to see some of our best actors in the most intimate of surroundings. So the opportunity to see the glorious Celia Imrie in the 50 seater Finborough Theatre in Earls Court was one I was never likely to miss. She is part of a large company performing Drama At Inish, a 1933 Irish comedy by Lennox Robinson which has not been seen in London for 60 years, in a strictly limited engagement. Also known as Is Life Worth Living?, the play is something of a farcical comedy, set in the small village of Inish where a travelling repertory company arrive for the summer, replacing the usual circus with their weightier fare of Ibsen, Tolstoy, Strindberg and Chekhov. But their serious drama soon begins to impact massively on the mood of the town with the inhabitants sinking into a melancholy morass of neuroses, unduly influenced by the theatre going on around them.
Fidelis Morgan’s production is full of hustle and bustle as the cast of thirteen swirl around the Seaview Hotel, where the entire show takes place, spread over a week. The actor couple of Hector De La Mare and Constance Constantia – a delightfully expansive pair of performances from Rupert Frazer and Juliet Cadzow – watch on bemusedly as their drama plays out in real life with character after character affected by what they see: political consciences, long hidden romances and secret dead children are exposed, people are moved to attempt suicide and murder, but it is all played with a jovial silliness that lifts the heart. Continue reading “Review: Drama at Inish, Finborough”