Not even a precious few shots of rippling abs and a cast full of talent can save the mad folly of The English Game, someone stop Julian Fellowes now please
“Lads, football is not complicated”
Who would have thought it? Julian Alexander Kitchener-Fellowes, Baron Fellowes of West Stafford has zero facility for writing Northern working class characters. (Or on this evidence, any characters at all.) Not having watched Downton Abbey in any meaningful way (though I did suffer through the film), I wasn’t prepared for just how cringeworthily bad it would be in his Netflix series The English Game.
I remembered Lucy Mangan’s excoriation of the show in the Guardian just as the first lockdown kicked in but it has taken me this long to get round to watching it myself, despite Netflix constantly flicking it onto my homepage. And there’s actually something quite magisterial in just how jawdroppingly awful the first episode is, even with the changing room scenes that have somehow been screenshotted here. Continue reading “TV Review: The English Game (2020)”
Sean Bean does Sean Bean in the slight oddity that is Series 1 of The Frankenstein Chronicles, good work too from Vanessa Kirby
“This will be my penance”
Just a quickie for this, as it was one of those shows I’ve been meaning to watch for ages due to the list of actors in its first series (rather than its subject). Elliot Cowan, Anna Maxwell Martin, Ryan Sampson, Ed Stoppard, Sam West…a supporting company right out of Clowns central casting.
Created and mostly written by Benjamin Ross and Barry Langford, The Frankenstein Chronicles plays out as an “inspired by” Mary Shelley’s novel rather than a direct adaptation. It is essentially a 19th century police procedural but given we open with the discovery of a stitched-together body and its dramatis personae include William Blake and Shelley herself, it is clear what kind of universe we’re operating in. Continue reading “TV Review: The Frankenstein Chronicles, Series 1”
Series 5 of Peaky Blinders plots a particularly dark path for Tommy Shelby but leaves a little too much up in the air – spoilers abound
“It was a consequence of good intentions”
Getting Elliot Cowan into the new series of Peaky Blinders made my heart sing, getting him to play a closeted gay journalist was just gilding the lily, so naturally he didn’t make it past the end of the first episodes. Such are the ways that this show breaks your heart.
As the race through the years carries on apace, we’re now in the time of the Wall Street Crash of 1929 and the rise of fascism with the arrival of Oswald Mosley, and these two points are the main drivers of this fifth series. The recalibration of the family business to cover their losses, and Tommy’s burgeoning political career serving his increasingly varied ambition. Continue reading “TV Review: Peaky Blinders Series 5”
“A body without a head in a body bag just doesn’t turn me on”
Was no fan of Natal’ya Vorozhbit’s Bad Roads I’m afraid. Plays about war in the Ukraine will perhaps predictably be brutal but the experience of watching it doesn’t have to be the same way. Vicky Featherstone’s trailblazing at the Royal Court gets her a long way but it’s hard not to feel the programming has been decidedly mixed and something of a challenge. Too much, for me, in this case.
Running time: 23rd December
Booking until 95 minutes (without interval)
“People lie Danny, they lie very well”
Well this was a disappointment wasn’t it, there’s no two ways about it. Tom Rob Smith’s London Spy started its five episode run most promisingly with its forthrightly modern gay love story – between emotionally reclusive Secret Service operative Alex and Danny, a shift worker and regular on the hard-partying Vauxhall gay clubbing scene. Edward Holcroft and Ben Whishaw made a powerfully effective couple, negotiating their differences beautifully and believably so that by the time Alex went missing, the substance of the emerging conspiracy theories actually meant something.
But as the plot wound vaguely into labyrinthine dead ends and red herrings, it became increasingly hard to get a handle not just on what was happening but what Smith was trying to say. And directed in would-be sepulchral (but actually just frustratingly dark) gloom by Jakob Verbruggen, the joys of recognising bits of my local Vauxhall soon wore off as you realised that such a stunning supporting cast as Adrian Lester, Clarke Peters and Harriet Walter were indeed being criminally underused or landed with heinous dialogue and what started off irresistibly disintegrated into implausibility. Continue reading “TV Review: London Spy”
“When Tessa dies, can we go on holiday?”
Now is Good is a remarkably clear-eyed entry into the teen weepie genre, based on Jenny Downham’s novel Before I Die. Ol Parker’s film centres on Tessa, a girl dying of leukaemia but who has put together a bucket list to ensure she enjoys every last moment. Chief among these is losing her virginity and falling in love, giving the story its main thrust, but more moving is Tessa’s relationships with her family and friends and even with herself as the inevitable comes ever closer.
Dakota Fanning is the sole US interloper in what is otherwise a very British film but her strong and sarcastic performance and the mordant strain of humour – mainly delivered by Edgar Canham’s younger brother Cal – keeps the sentimentality from overwhelming much of the story. Jeremy Irvine’s Adam is a more interesting love interest than one might expect and the delicacy of their emotional journey is well-handled throughout. Continue reading “DVD Review: Now Is Good”
A wryly amusing look at the demands placed on one particular actor during an audition, Tom Edmunds’ Beard is lots of fun indeed – Tim Steed giving some great facial hair work and Oliver Chris and Katie Brayben adding quality as the auditioners.
Continue reading “Short Film Review #61”
Toilets from Gabriel Bisset-Smith on Vimeo.
Gabriel Bisset-Smith’s Toilets is a great twist on your average rom-com, focusing on the people that just pop into your life every now and again but leaving such lasting impressions that one always wonders what if… For George, it is the American Fee who is his recurring theme, always appearing when he’s in the middle of something with his almost-out lesbian friend Link, and these fleeting moments are brilliantly conceived. Centring these encounters around conveniences is a neat way of linking them and the common threads of sex, drugs and dance music add an entertaining edge to this almost-love story.
Continue reading “Short Film Review #59”
Roger Allam as an ageing rocker called Quentin with stagefright? Yes please. Danny Stack’s Trading Licks sees him at a particular low point as unable to play, there’s no money coming into the house and his wife has just had to call the plumber to fix a broken toilet. The issue of payment, in kind as it turns out, sets Quentin off on the route to potential salvation but it being Allam, there’s much surliness in the old rocker which means it isn’t quite that easy – an entertaining bit of fun, not least with Justin Edwards’ cheeky plumber in support.
“The morning star always get wonderful bright the minute before it has to go”
Some images sear themselves into the mind, never to be forgotten and for me, the staging of the third act of Thornton Wilder’s Our Town was such a one – something so simply done yet achingly powerful in effect, all the more so given it isn’t immediately apparent. And after Mr Burns, it is the second time in three plays that the Almeida has delivered a doozy of a third act – one can’t help but feel sorry (or laugh) at the doofuses that left at any of the intervals.
It is interesting to see the strength of the reactions to David Cromer’s version of this show – in the Evening Standard, Fiona Mountford decries it as glib, desultory and that final act as smug(!) and Jake Orr dismissed it thus Continue reading “Review: Our Town, Almeida Theatre”