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)”
Johnny English, Johnny English Reborn and Johnny English Strikes Again prove ideal brainless festive watching
“I’ve been dropped into the Kalahari Desert carrying nothing more than a toothbrush and a packet of sherbet lemons”
I don’t believe in any of my pleasures being guilty, if something makes you smile then who is anyone else to dictate whether that’s acceptable? The Johhny English film trilogy – Johnny English (2003), Johnny English Reborn (2011), and Johnny English Strikes Again (2018) – holds a special place in my heart (well, the first two do) as they formed the backdrop to a couple of great family holidays and several of the funnier lines have snuck into the family vernacular.
Written by Neal Purvis, Robert Wade and William Davies and directed by Peter Howitt, Johnny English is an amusing entry into the series. Rowan Atkinson’s English is a hapless MI7 employee whose bumbling sees their top agent accidentally killed and then all their other agents massacred in a bomb at his funeral. As the sole agent left, he has to thwart a plot to steal the Crown Jewels and decipher John Malkovich’s comedy villain French accent. Continue reading “Film review: the Johnny English trilogy”
Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
Marking the month in which he would have turned 90, the Guardian delves into the Harold Pinter chapter of Tristram Kenton’s photo archive:
Photos: Tristram Kenton
It is Caryl Churchill’s turn to get the Tristram Kenton treatment from the Guardian’s archive, and what an impressive array of talent that have understandably flocked to this most remarkable of playwrights:
Photos: Tristram Kenton
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn to the many David Hare productions he has been witness to. Highly recommended (the photos, not the Hare):
Photos: Tristram Kenton
Renée Zellweger is sensational in Judy, a deeply moving account of Judy Garland’s final months in London directed by Rupert Goold
“I just want what everybody wants. I seem to have a harder time getting it.”
As if there were any doubt, Judy is a phenomenal success, and should see its star Renée Zellweger add to her tally of Academy Award nominations, if not the award itself. Loosely based on Peter Quilter’s play End of the Rainbow, it recalls the final year of Judy Garland’s life as a roll of the dice sees her decamp to London to perform in a series of concerts that she hoped would reignite interest in her career whose light was seriously fading in the US.
But years of substance abuse and the relentless ride of showbusiness have taken a serious toll, even just turning up on time proves a struggle (hard relate!) and that iconic voice can no longer be relied upon. Thus Tom Edge’s screenplay takes a slightly more realism-based approach than the play to show us the riskiness that accompanied Judy’s every step towards a stage and the slow, crushing realisation of what her life has amounted to. Continue reading “Film Review: Judy (2019)”
The Half – Photographs of Actors Preparing for the Stage by Simon Annand
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
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)”
Beginning with a burst of confetti and ending in a sombre drop of petals, Pinter One is the far darker side of Pinter at the Pinter
“They don’t like you either, my darling”
I found myself enjoying Pinter Two much more than expected and so momentarily forgetting that I’d sworn off the whole thing, I rashly decided to book in for Pinter One, which proves to be an entirely different kind of affair. Not just thematically – it’s an overtly political collection of works and thus considerably darker – but structurally, gathering together no less than nine short pieces, eight of which run together to make the first half.
They’re Press Conference / Precisely / The New World Order / Mountain Language / American Football / The Pres and an Officer / Death / and One for the Road (all directed by Jamie Lloyd) with Ashes to Ashes (directed by the Lia Williams) following after the interval. And so ultimately it feels a bit more like a showcase of Pinter which brings with it some challenges, alongside the interest value in unearthing some lesser-seen works, including a world premiere. Continue reading “Review: Pinter One, Harold Pinter Theatre”