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)”
Antonia Campbell-Hughes and Johnny Flynn lead psychological thriller Cordelia through its uneasy relationship with reality
“You’re tortured by guilt”
There’s a lot of double duty going on in Cordelia, with writers Antonia Campbell-Hughes and Adrian Shergold also taking on the roles of leading actor and director respectively. Not only that, Campbell-Hughes plays twin sisters Cordelia and Caroline in a quirkily, dark movie that lurks somewhere close to psychological horror. Rather randomly, it also marks the debut of Sally Hawkins as an executive producer.
After a traumatic event some 12 years ago, Cordelia has retreated from the world. A RADA-trained actress, she has now scored a part in the company of a production of King Lear at the Donmar and so can no longer remain holed up in the basement flat she shares with her sister in London. Over the course of a weekend when Caroline is away, Cordelia’s dalliances with the outside world are shaped, for better or worse, by her growing connection with the handsome cellist who lives upstairs. Continue reading “Film Review: Cordelia (2019)”
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)”
W1A remains entirely watchable in Series 3 but repetition sets in to blunt its comic edges
“It may be the future but it’s still the BBC”
Returning to W1A has been good fun, though watching its three series back-to-back, it is interesting to see just how much it wears its concept increasingly thin. Series 1 was a winner, introducing its cast of misfits all trying to navigate the bureauracy of the BBC and avoid doing as much work as possible but even by Series 2, the strains were clear to see.
John Morton’s Twenty Twelve, the show that kicked off this mockumentary mini-universe, had an inbuilt advantage in that it had a clearly defined end-point, the thing that everyone was working towards. By contrast, W1A has a sense of ambling on which, while perfectly pleasant to watch, means that a terminal case of diminishing returns sets in. Continue reading “TV Review: W1A (Series 3)”
Something doesn’t quite click right with Series 2 of W1A, as it struggles to live up to what has gone before though still remaining quite gently funny
“I don’t want to be dramatic about it, and I mean we all love Sue Barker, but I’ve to to say we are looking at a situation here”
I’ve loved going back to watch Twenty Twelve and my memories of the shift to W1A were that it was just as good, if not better. I’d definitely say that about the first series but having just gone through series 2, I found myself just a little disappointed. The bar having been raised so high, it feels like this collection of four episodes just doesn’t have the same zing that really grabs your attention.
In many respects, nothing has really changed. There’s still much comic currency in the exposure of the labyrinthine bureaucracy of the BBC and the determination of any middle-to-senior manager to avoid actually making a decision. But there’s also a slight sense of familiar ground being retrodden that dulls the edge – I mean once again any and every female is falling at the feet of Ian Fletcher, really? Continue reading “TV Review: W1A (Series 2)”
Series 1 of W1A hits the spot when its humour tends towards the gently absurd. And at any moment when Monica Dolan, Jason Watkins or Sarah Parish are onscreen.
“I’m sorry…I don’t want to be rude or anything but Ian is not Justin Bieber”
Following on from the success of Twenty Twelve, John Morton’s W1A scooped up its key personnel and shifted them from the bloated organisational chaos of the Olympics Deliverance Team over to the no-less-unwieldly bureaucracy of the BBC. So Ian Fletcher Hugh Bonneville) takes the scarcely defined job as Head of Values there, is saddled once again with Siobhan Sharpe (Jessica Hynes) as Brand Consultant and the whole thing is deliciously narrated by a super-dry David Tennant.
And to a large extent, the transplant is successful. The key to these shows is the quality of an evenly-balanced ensemble and W1A knocks it out of the park from top to bottom. Monica Dolan’s bruisingly plain-spoken comms officer, Nina Sosanya’s too-good-for-this-world TV producer, Rufus Jones’ hilariously too-rubbish-for-this-world counterpart and best of all, Jason Watkins’ director of strategic governance and Sarah Parish’s head of output both delivering masterclasses in avoiding making any decisions at all. Continue reading “TV Review: W1A (Series 1)”
Despite an excellent Samuel Barnett, the second series of Twenty Twelve isn’t quite at the level of the first, though still very enjoyable
“I’m not from the sanitary world, I’m from Yorkshire”
Perhaps inevitably, the second series of Twenty Twelve doesn’t quite live up the revelatory quality of the first, the tinkering with the formula knocking the exact chemistry of the ensemble ever so slightly off-balance. Split into two (although you wouldn’t know it watching it now), the final episode ran just a couple of days before the Opening Ceremony of London 2012, and the show’s success was such that it made the move from BBC4 to BBC2.
In many ways, the recipe for John Morton’s mockumentary series didn’t change. The Olympic Deliverance Commission continued their hapless march towards the opening of the 2012 Olympic Games, battling their own ineptitude and institutitional intransigency as personal ambition sets up against religious rights, the Royal Family, the nation’s comparative lack of interest in women’s football and sportsmen’s innate lack of personality to name but a few. Continue reading “TV Review: Twenty Twelve (Series 2)”
I succumb easily to the charms of Paddington 2 and Hugh Grant having the time of his life
“Exit bear, pursued by an actor”
In a year when sequels have outperformed expectations (at least mine anyway), I should have heeded the signs that Paddington 2 heralded back last winter that sequels were ‘in’. Paul King’s follow-up to his 2014 warm-hearted original, reintroducing us to our ursine Peruvian hero, occupies a similar space of resolutely British family films that are a cut above.
Written by King and Simon Farnaby, the film is unafraid to take its audience seriously and for every adorably sweet sequence, there’s genuine peril and even darkness in there too. Hugh Grant is the main antagonist, an actor called Phoenix Buchanan who has been reduced to making dog-food adverts and his ne’er-d-well ways see Paddington framed for a crime he did not commit. Continue reading “Review: Paddington 2 (2017)”
Outstanding Performance by a Male Actor in a Leading Role
Bryan Cranston – Trumbo as Dalton Trumbo
Johnny Depp – Black Mass as James “Whitey” Bulger
Leonardo DiCaprio – The Revenant as Hugh Glass
Michael Fassbender – Steve Jobs as Steve Jobs
Eddie Redmayne – The Danish Girl as Lili Elbe / Einar Wegener
Outstanding Performance by a Female Actor in a Leading Role
Cate Blanchett – Carol as Carol Aird
Brie Larson – Room as Joy “Ma” Newsome
Helen Mirren – Woman in Gold as Maria Altmann
Saoirse Ronan – Brooklyn as Eilis Lacey
Sarah Silverman – I Smile Back as Elaine “Laney” Brooks Continue reading “22nd Screen Actors Guild Awards nominees”
“We want people who know what must change and why”
The phrase ‘timely revival’ is one much abused by reviewers and theatre marketers alike but it is genuinely amazing how strongly the resonances of a piece of writing from 1882 chime in today’s world. Ibsen’s An Enemy of the People, retitled here as Public Enemy in a terse new version by David Harrower, rails against government corruption, the treatment of whistle-blowers, unscrupulous clothing factory owners and foretells a world of growing ecological and environmental calamity. It is a powerfully compelling tale, cheekily updated to the 1970s here, and one which wriggles uncomfortably beneath the skin.
Stockmann is a principled doctor in a provincial Norwegian town famed for its spa baths but when he discovers that the waters are poisonous and need to be shut down and announces this to the town at large, he is not met with the gratitude and acclaim he expects but rather is ostracised and demonised by the leaders of the town’s society. Chief among these in the mayor but as is often the way in small-town politics, he just happens to be Stockmann’s brother. The battle for public opinion that ensues is then bitterly fought as Stockmann, Ibsen thinly veiling his contempt for the frosty reception of his previous play Ghosts, reacts to becoming the enemy of the people. Continue reading “Review: Public Enemy, Young Vic”