“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“Can you tell us how Cruella De Vil became plain Ella”
Cos you gotta have a sequel right? I really enjoyed revisiting 101 Dalmatians but remembered very little at all about the sequel that came 4 years later, even whether I’d actually seen it or not to be honest. 102 Dalmatians takes place three years after the original, Cruella De Vil having served her time in prison and undergone therapy to cure her of her tendency to have the fur off anyone’s back.
It just so happens that her parole officer Chloe loves dalmatians and is the owner of Dipstick, one of the original puppies, who has a family of his own with Dottie. So when Cruella’s treatment is reversed by the sound of Big Ben, because…you know…that’s how therapy works, she and her faithful manservant Alonzo are well-placed to recommence her fur coat-loving ways, this time aided and abetted by fashion designer Jean-Pierre LePelt. Continue reading “DVD Review: 102 Dalmatians”
“The drug is the key”
Written and directed by Justin Trefgarne, British sci-fi flick Narcopolis marks his major directing debut and on a limited budget, especially for this genre, it very much looks the part. Set in a dystopian near-future where drugs are no longer illegal but a black market still flourishes, hard-bitten cop Frank Grieves finds himself drawn into a dark mystery when he’s called onto a job. And as the dead bodies, estranged families, corporate conspiracies and mind-bending narcotics pile up, this complex case proves a tough one for Frank to crack.
With Elliot Cowan in the lead role, it should be little surprise that Narcopolis appealed to me but I do like a good sci-fi film and without a huge amount of money to spend, Trefgarne’s focus has clearly been on richly defined character interaction and it pays off. Amongst others, Cowan’s grizzled former addict has to deal with the boss he accidentally shot in the face (a wry Robert Bathurst), his adoring but neglected son (a sweet Louis Trefgarne) and mysterious woman Eva Gray (Elodie Yung) who holds many of the secrets needed to expose the truth. Continue reading “DVD Review: Narcopolis”
Michael Frayn’s 80th birthday is being celebrated by BBC radio with a mini-season of his work, featuring a new version of his play Copenhagen and adaptation of his novels Skios and Headlong. First up was Skios, a farcical tale somewhat in the vein of Noises Off and something really quite funny indeed. The tale itself, of mistaken identities, fake professors and frustrated lovers, is mostly entertaining if not quite as masterfully complex as his other work, but what really lifts this dramatisation by Archie Scottney is the kind of dream comic casting one would pay through the nose to see in a theatre.
Tom Hollander plays Oliver Fox, who is going on an ill-advised romantic break to Greece with a woman he has just met. When he is taken for someone else at arrivals, he soon finds himself installed in the warm embrace of the Toppler Foundation who believe that he is Dr Norman Wilfred, the keynote speaker at their conference on Scientometrics and has his every need attended to by super-efficient PA Nikki Hook, Lisa Dillon in sparklingly funny form, who finds herself rather taken by him. Meanwhile, the real Dr Wilfred, a bumbling High Bonneville, also finds himself the victim of misidentification as he ends up in the remote Greek villa where Oliver was meant to be going and where his would-be girlfriend is still headed, the glorious Janie Dee starring as the unawares Georgie. Continue reading “Radio Review: Skios/Copenhagen/Headlong”
Marking my first visit to the National Theatre since moving to London, His Girl Friday is a play which has been adapted by John Guare from 2 sources: the 1928 play The Front Page by Ben Hecht and Charles MacArthur and the 1940 film adaptation His Girl Friday by Howard Hawks which inverted the gender of the lead protagonist. Thus a madcap romantic element to this story of energetic newshound Hildy Johnson and her editor (and ex-husband) Walter Burns who will stop at nothing to stop her impending wedding to another man. In the midst of all of this is the scoop of the century which Hildy cannot resist as she revels in the world of cutthroat journalism.
As the central couple, Zoë Wanamaker and Alex Jennings were simply fabulous, the electricity between them just crackles with suppressed sexual energy as it is clear that this couple really does belong together and their fights full of whip-sharp wisecracks and putdowns are a joy to watch as the intersection of their professional and personal relationships makes for a whole lotta farcical fun and they are both excellent at showing how dog-eat-dog their world is. Continue reading “Review: His Girl Friday, National Theatre”