Spoiler-free territory as Daniel Craig steps into 007’s shoes for the last time in the lengthy and long-delayed No Time To Die
“You know, history isn’t kind to men who play God”
If anything has characterised Daniel Craig’s tenure as James Bond, then it has been a marked inconsistency in the quality of those films. The heights of Casino Royale were followed by the disappointments of Quantum of Solace, the game-changing Skyfall chased by an underwhelming Spectre. So the hope was certainly that No Time To Die, directed by Cary Joji Fukunaga
would follow the pattern of soaring to a high peak to round off this era.
And whilst it certainly climbs somewhat out of the valley, it is by no means an all-time classic Bond movie, despite the raft of rave reviews. It could safely be an hour shorter, it has one of those villains whose plan you’re never really quite sure about and much as I like Léa Seydoux, her Madeleine Swann being the Bond woman who gets to have a second film is a real heard-scratcher as the chemistry with Craig just isn’t there. Continue reading “Film Review: No Time To Die (2021)”
Emma Stone and Emma Thompson have lots of fun in the entertaining Cruella, which is only just a little bit too long
“Darling, if I’m going to need to repeat myself a lot, this isn’t going to work out”
There’s something a little curious about a film that simultaneously wants to highlight one of cinema’s most iconic villains yet also neuter her most defining attributes. So we can rest assured that no dalmatians are harmed in the telling of this story (or presumably making of this movie) nor is there a cigarette holder to be seen. So what’s left for Cruella to do?
A fair amount as it turns out. Craig Gillespie’s film finds an origin tale for her in 1970s London (story by Aline Brosh McKenna, Kelly Marcel, and Steve Zissis), locating her at the vanguard of the nascent punk movement (or at least a Disneyfied version of it). It’s a nifty move that forefronts her creative endeavours, whilst adding to a notorious canon of fashion geniuses gone ‘woo-hoo’. Continue reading “Film Review: Cruella (2021)”
Yesterday, all my troubles seemed so far away…this British romcom doesn’t do it for my heartbear or my funny bone
“I’m trying to live outside the traditional concept of time”
Truth be told, I’ve never been the biggest fan of The Beatles (I know). Their music wasn’t a part of my childhood soundtrack and my first real memory of it comes from having to learn ‘Yellow Submarine’ and ‘When I’m Sixty-Four’ in primary school choir. So the notion of Yesterday wasn’t one that particularly jumped out at me, even as it posits a world in which no-one has heard of the Fab Four.
Written by Richard Curtis, from a story by Curtis and Jack Barth, and directed by Danny Boyle, it aims squarely for that ineffably British romcom aesthetic and pretty much lands it. Unrequited love interest/friend of the opposite sex, gawky best pal, garrulous inner circle, Himesh Patel’s Jack checks off all the Curtis tropes one by one, with the added twist of twee sci-fi in the mix too. It should work, right?
Continue reading “Film Review: Yesterday (2019)”
“Everything was free”
A late jaunt to the National to The Suicide, Suhayla El-Bushra’s fiercely contemporary updating of Nikolai Erdman’s 1928 play, before it closed. Though I have to say I wasn’t entirely convinced by it, Nadia Fall’s production is visually hugely ambitious, retooled for the world of YouTubers and hipsters, but ultimately feeling as shallow as the societal trends that it is trying to satirise.
Javone Prince’s Sam Desai is long-term unemployed and newly bereft of benefits, so disillusioned with the world is he that he decides to top himself but when a film clip of him making that decision goes viral, he’s swept along for the ride as all of society try to co-opt him for their own ends. To publicise a café, to get a music deal, to highlight the lack of adequate mental health care. Continue reading “Review: The Suicide, National Theatre”
“What visions have I seen”
When the RSC announced their production of A Midsummer Night’s Dream, surtitling it ‘A Play for the Nation’ as it tours the UK, working with amateur theatre groups across the land, they probably weren’t expecting it to be a play for the nation because somebody would be putting on another production of it every couple of weeks. Or maybe they were, it is one of Shakespeare’s more popular plays – indeed it is among my favourites as the first I ever read – and so why wouldn’t Filter bring it back to the Lyric Hammersmith, the Reversed Shakespeare Company put their own spin on it, Emma Rice opened her tenure at the Globe with it, and the Southwark Playhouse open their own version of it with Go People early next week…
For those outside of the London theatre bubble though, the opportunity to see a televised version of the play, adapted by Russell T Davies’ gay agenda and directed by David Kerr, won’t have felt like overkill. And there was much to commend in a reimagining of the play which dabbled in just a fair few changes for the most part and then decided to rip up the rulebook in a jubilant final ten minutes that will doubtless seize the headlines and rile the purists among us but regardless, managed to remain unerringly faithful to exactly how you would imagine Davies’ Dream might play out (Flute/soldier fanfic please!). Continue reading “TV Review: Russell T Davies’ A Midsummer Night’s Dream”
Idris Elba – Luther as DCI John Luther (BBC One)
Stephen Graham – This Is England ’90 as Andrew “Combo” Gascoigne (Channel 4)
Mark Rylance – Wolf Hall as Thomas Cromwell (BBC Two)
Ben Whishaw – London Spy as Daniel “Danny” Edward Holt (BBC Two)
Claire Foy – Wolf Hall as Anne Boleyn (BBC Two)
Suranne Jones – Doctor Foster as Gemma Foster (BBC One)
Ruth Madeley – Don’t Take My Baby as Anna Watson (BBC Three)
Sheridan Smith – The C-Word as Lisa Lynch (BBC One) Continue reading “2016 British Academy Television Awards nominations”