Despite no lack of ambition (and a reputed £17 million budget), Beowulf: Return to the Shieldlands proves a sore disappointment
“I was beginning to think you wouldn’t come”
Looking back at my review of Episode 1 of Beowulf: Return to the Shieldlands, there really was a naive hope on my part that this would be something of a success, as ITV lunged for a slice of the epic fantasy TV market. But lawksamercy it hasn’t been good.
Cleaving so closely to the Game of Thrones template (seriously, those opening credits…) does the show no favours at all, as they can’t hope to compete with the meticulousness of the years of George RR Martin’s world-building or the heft of HBO’s cinematic-sized budget. Continue reading “TV Review: Beowulf: Return to the Shieldlands”
“Some people say that heroes are born and some that they’re made”
As Da Vinci’s Demons draws to a close and Game of Thrones fans have to wait until the end of April for Season 6 to start, ITV step into the big-budget historical fantasy genre with their 12-part serialisation of Beowulf: Return to the Shieldlands. Created by James Dormer, Tim Haines and Katie Newman, Beowulf is based on the epic Old English poem set in the Dark Ages in Northumbria but spins its own fantasy world out of the source material, something that looks promising on the evidence of this first episode.
With any new series, there’s a certain amount of setting up to be done in the first episode and Dormer’s writing does well to weave plenty of exposition into the story without weighing it down too much. After seeing his father killed by a fearsome beast which he then slaughters, the young Beowulf is adopted by the local thane Hrothgar. This is shown in a brief prologue as as the show starts proper, we’ve skipped a couple of decades ahead where Beowulf, long estranged from his family, returns to the frontier town of Herot to mourn Hrothgar’s passing. Continue reading “TV Review: Beowulf: Return to the Shieldlands Episode 1”
The Icelandic Vesturport company are well known here for their theatre work – I’ve seen their collaborations on Faust
and The Heart of Robin Hood
– but they are also film producers, both long and short. The first of their shorts that I caught was Björn Hlynur Haraldsson’s Korriró as it starred two actors I’ve previously seen – Nína Dögg Filippusdóttir and Gísli Örn Garðarsson. Filippusdóttir plays a homeless woman who happens on an open garage door into a luxury home which offers a brief respite from the drudgery of her life. It is beautifully shot and uncompromisingly direct – confronting us all with our attitudes towards the homeless and those from whom we avert our gaze.
Continue reading “Short Film Review #34”
At what point does a short film stop being a short film?
Hereafter comes in at just over half an hour so I’m not sure exactly where it stands but no matter what you want to call it, there is no denying it is a rather nifty bit of sci-fi. Set in a grim version of the near future, a figure called The Ghost is haunting the minds and actions of people, driving them to murder and suicide, and it is up to The Guardians to stop it if they can. Becoming a Guardian is a perilous business but resourceful orphan Katcher is shortlisted for the process, which turns out to be brutal beyond belief and made more dangerous by the ever-approaching Ghost. Continue reading “Short Film Review #32”
“A forest is owned by no man”
I don’t have any memory of booking The Heart of Robin Hood at all! But sometime late in November I did indeed book it and failed to put it in my calendar – I may well have been drunk, I most definitely was tired! – and it was only The Trainline sending me a reminder about the train journey that alerted me to what I should be indeed be doing this Thursday afternoon.
The most impressive thing about the production, that is evident from the off, is Börkur Jonsson’s set design which has to rank as one of the most inventive uses of a thrust stage ever. A huge branch of a tree is suspended above a wide green swathe of astroturf which slopes from on high at the back of the stage, down into the auditorium. Thus the forest of Sherwood is evoked, with platforms and sections peeling back to suggest the castle of the nobles. It really is an ingenious piece of staging, endlessly delightful in the constant little reveals and surprises it came up with and even in the sheer fun of seeing people slide down into view from the top. Continue reading “Review: The Heart of Robin Hood, Royal Shakespeare Theatre”
Based on a well respected (although I’d never heard of it, let alone seen it) film, A Matter of Life and Death sees Cornish theatre company Kneehigh take the cavernous Olivier theatre by storm with a highly inventive and physical reinterpretation of this story. Peter, a World War II pilot is shot down whilst on a mission but doesn’t die because the angel sent to collect him gets lost in the fog. Instead, he meets and falls in love with June, the radio operator who tried to help him down. Peter is then forced to plead his case in the court of Heaven to see how his future will play out.
As the romantic leads, both Tristan Sturrock as Peter and Lyndsey Marshal as June seemed a little overwhelmed by the production, not really able to give us much of a sense of the relationship between the two and too often required to do something gymnastic or wacky instead of focusing on the emotion of the moment. In the more light-hearted characters, like Douglas Hodge’s Frank and Gisli Örn Gardarsson’s gymnastic Conductor, there’s more freedom and opportunity for fun, but by and large this wasn’t a production about strong acting. Continue reading “Review: A Matter of Life and Death, National Theatre”