Now this is more like it, Series 2 of Spooks settles into the classic feel that works so well
“This ridiculous James Bondery…do we need it?”
With this second season, Spooks really gets into its stride I think, recognising that it is an ensemble show at heart (and a rolling ensemble at that, although it’s a shame new recruit Sam doesn’t get more to do) and nailing the variation in tone and style of episodes which largely remain self-contained. Also, Nicola Walker finally arrives as Ruth, which is good news for the audience, Harry and the nation.
Topics-wise, we touch on hacker kids, Irish republicanism, Islamic radicalisation and Anglo-American relations among others. But it is ‘I Spy Apocalypse’, written by Howard Brenton and brilliantly directed by Justin Chadwick with a smothering sense of claustrophobia that really gets the pulse racing as a fire drill for a terrorist incident gets very dark very quickly – it’s possibly one of the best ever episodes of Spooks.
Praise the Lord – analyst Ruth Evershed finally arrives in Episode 2 in all her long cardigans and flowing skirts and though initially viewed with suspicion coming from GCHQ as she does, she soon wins over the team with her knowledge of Greek mythology, Russian crucifixion practices and much more besides. Continue reading “Lockdown TV Review: Spooks Series 2”
With the eroticism dialled right down, Lady Chatterley’s Lover ends up leaving me disappointed
“I wondered what the hammering was”
From the creator of the likes of Line of Duty, you might have expected something more of a rollicking version of DH Lawrence’s perennial classic Lady Chatterley’s Lover. Or maybe vague memories of the 1994 version with Sean Bean and all the teenage hormones thus provoked linger a little too long… Either way, Jed Mercurio’s adaptation plays out just a little too safely to really inflame any passions.
Everything is present and correct. The core of the story – after her husband is fucked by the First World War, Lady Chatterley gets fucked by the gamekeeper – remains, random bits of artistic license make the literary translation to the televisual medium more effective (as well as inevitably riling up purists), and a photogenic cast led by Holliday Grainger, Richard Madden and James Norton. Continue reading “TV Review: Lady Chatterley’s Lover (2015)”
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
Luther Series 5 aka the one that maybe goes too far?
“Can we do that?
Not quite flogging a dead horse yet, but the much anticipated fifth series of Luther indulges its title character far too much in the name of shocks and thrills, whilst simultaneously begging us not to misunderstand him, Nina Simone’s glorious voice plays out over the violent wreckage of the final scene.
As a crime drama, Neil Cross’ Luther really does manage to come up with inventively appalling serial killers and attackers that seem design to lurk in nightmares (the bus murder here…). But it is also increasingly tied up in the mythology of the show itself, the design here clearly aiming for some kind of apotheosis. Continue reading “TV Review: Luther Series 5”
“By the thrice-beshitten shroud of Lazarus”
Peter Straughan’s adaptation of Hilary Mantel’s Booker Prize-winning Wolf Hall and Bring Up The Bodies into a six-part TV serial has no right to be this good but somehow, it manages the extraordinary feat of being genuinely excellent. I didn’t watch it at the time and so caught up with its complexities and nuances over a binge-watch at Christmas. And though I’m no real fan of his acting on stage, there’s no doubting the titanic performance of Mark Rylance as the almighty Thomas Cromwell.
Mantel charts the rise of this lowly-born blacksmith’s boy through service as lawyer to Cardinal Wolsey (a brilliant Jonathan Pryce) to the heights of the Tudor court as Henry VII’s (Damian Lewis on fine form) chief fixer, predominantly in the matter of securing the dissolution of his marriage to Katherine of Aragon to enable him to wed Anne Boleyn. Rylance really is very good, subtler than he is onstage as he negotiates the world of ‘gentlemen’ – in which he is constantly underestimated – from the sidelines, wielding increasing amounts of power, though with it fewer and fewer scruples. Continue reading “DVD Review: Wolf Hall”
“One simple, elegant equation to explain everything”
Alongside The Imitation Game, The Theory of Everything offers a double whammy of Oscar-baiting, British-biopicing filmic goodness – Benedict Cumberwhatsit’s Alan Turing and Eddie Redmayne’s Stephen Hawking seem dead certs for Academy Award nominations alongside their respective films – and for my money, it is the latter has the edge on the Cumbersnatch-starring film as something slightly less Hollywoodised and thus more interesting. That’s not to say that James Marsh’s The Theory of Everything is all rough edges – it is based on Jane Wilde Hawking’s memoir of her marriage after all and both she and Hawking have ‘blessed’ the film – but it is a complex love story that doesn’t shy away from too much challenge.
The focus of the film is in fact the relationship and marriage between physicist Stephen and Jane Wilde, his contemporary at Cambridge University where she studied literature, and the severe pressure that it came under after his diagnosis with motor neurone disease and then his increasing fame as his discoveries broke exciting fresh ground. Redmayne’s physical performance as Hawking is undoubtedly astounding as his condition worsens but there’s something deeper there too that comes across later on, in the merest flicker of the lips and glints in the eye that come before the synthesised voicebox kicks in, an enigmatic level of emotion that we never get to truly discover and that is entirely beguiling.
Continue reading “Film Review: The Theory of Everything”
A new set of short films for your delectation.
Laura Degnan’s film Blind Eye is chiefly so effective because it taps into one of those fears that is so current and real and the reason why most sensible people avoid the top decks of buses that populated by roving youths. Anchored by a compelling performance from Liz White as the mother torn between doing the right thing and protective self-interest for herself and her daughter, Degnan explores the ‘what would you do’ scenario with visual interest and a little imagination. And if it gets a little heavy-handed towards its ending, then it worth remembering that it’s an issue where we’d all need a little prodding to decide where we’d ultimately come down.
Continue reading “Short Film Review #10”
“They can have us spooning and forking any time between breakfast and bedtime”
Continuing the 30th anniversary celebrations at the Finborough Theatre is the world premiere of a new play by Peter Nichols, Lingua Franca. The play is set in 1950s Florence, where Flowers gets a job teaching English at Lingua Franca, a shambolic language school housing a ragbag collection of individuals from across the globe, all struggling to come to terms with a new society in a Europe no longer at war, whilst luxuriating in the Florentine cultural bounty all around them. The programme informed me that the lead character Steven Flowers is also in one of his earlier plays, Privates on Parade, it made no difference to me not having seen that but there’s a neat bit of casting in that Ian Gelder who appears here in a different role, played that character in the original RSC production.
At the centre of the story is a love triangle of sorts: once Stephen has become accustomed to his new way of living, he throws himself into a life of gay abandon, whipping his classes up into a raucous frenzy of singalongs and chants as a different way of learning and having already caught the eye and rapt attention of repressed and depressed English Peggy, launches headlong into a passionate, physical affair with German Heidi. As Stephen, Chris New brings a wonderfully warm charm which makes it easy to see why so many women fall for him and plays the darker, crueller streak that comes as he ruthlessly pursues his sexual urges at the expense of all else equally well. Continue reading “Review: Lingua Franca, Finborough Theatre”