Essentially a three-hander between Tamara Lawrance, Fiona Shaw and Jack Lowden, Kindred eschews the supernatural for the simply scary
“I’m not paranoid…”
There are horror cinematic references aplenty in Joe Marcantonio’s Kindred, inspiration drawn from some recognisable classics of the genre but the end result is something which speaks loudly, and effectively, with its own voice. The particular insidiousness of unvoiced racism, maternal mortality, the dangers of being near a horse…all are dealt with gradually impending doom.
Lawrance’s Charlotte has discovered she’s pregnant and she’s not sure how she feels about it, not least because she and hunksome partner Ben (a briefly seen Edward Holcroft) are intending to emigrate to Australia. Ben’s mother Margaret is not best pleased at the prospect of losing her first grandchild to another hemisphere and when Ben gets too close to that horse, sets in motion a nefarious plan to ensure it doesn’t happen. Continue reading “Film Review: Kindred (2020)”
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)”
Despite a mostly good cast, Tulip Fever proves a punishingly dull film – not even self-isolation should drive you to this one
“Amsterdam was captivated by a flower”
The signs weren’t good. Tulip Fever was filmed in 2014 but was pushed and pulled around the schedules before it finally surfaced in 2017, notorious producer Harvey Weinstein clearly hoping that some post-production magic would win over reluctant test audiences. Safe to say though, such an amount of chopping and changing does no-one any favours as Justin Chadwick’s film remains punishingly dull.
Based on Deborah Moggach’s book, with screenplay by Moggach and Tom Stoppard, the story (mainly) centres on Sophia, an orphan whisked out of convent life by a wealthy merchant who wants her essentially as a brood mare, But things ain’t clicking in the bedroom, so Sophia tumbles into an affair with the artist her husband has commissioned to do their portrait. And competing for screentime, tulip mania has hit the Netherlands. Continue reading “Lockdown film review: Tulip Fever (2017)”
“You are a curiosity”
American versions of Shakespeare (whether his plays or the man himself) are always worth looking up, even if only for a chuckle and new TNT TV series Will is certainly no exception. There’s some weight behind it – it was created by Craig Pearce, the longtime writing partner of filmmaker Baz Luhrmann and has Shekhar Kapur, who directed the award-winning Elizabeth and Elizabeth: The Golden Age, directing and executive producing and in the role of the Bard himself, there’s a potentially star-making role for British newcomer Laurie Davidson.
I watched the first two episodes and they sure make an arresting introduction. You feel Luhrmann’s influence almost immediately as this is no antiquated version of a sedate Elizabethan London, but rather it is one shot through with bright colours and a punk-filled attitude. Literally so, as they have conceived the burgeoning theatre scene of the time as being akin to the contemporary(ish) world of punk rock – theatres filled with patrons in leather and mohicans, the soundtrack filled with the Clash and drunken singalongs to Lou Reed. Continue reading “TV Review: Will, Episodes 1 + 2”
“We underestimated her”
The first series of Line of Duty was well-received by critics and audiences alike, hence a second series of Jed Mercurio’s police show being commissioned. With the centre of the anti-corruption team AC-12’s investigation DCI Gates having reached a conclusion of sorts, their attentions are turned onto Keeley Hawes’ DI Lindsay Denton, the sole survivor of an ambush on a witness protection scheme that leaves three police officers dead. Suspicions are aroused by some suspect decision-making on her part but it’s soon evident that there’s much more to the case, not least in the tendrils that connect it to the past.
Series 1 was very good but Series 2 seriously raises the bar, firstly by engaging in some Spooks-level business in casting the excellent Jessica Raine and well…spoilers, but secondly in getting from Hawes the performance of a lifetime in a masterpiece of a character. Denton is so multi-faceted that she’d beat a hall of mirrors at its own game and from her manipulative use of HR to her way with noisy neighbours to the shocking abuse she suffers in custody to the machinations of her superiors, the slipperiness of this woman is merciless and magisterial in its execution, its inscrutable nature utterly compelling. Continue reading “TV Review: Line of Duty Series 2”
“We cry that we are come to this great stage of fools”
One of the hottest tickets of the New Year is undoubtedly Sam Mendes and Simon Russell Beale tackling King Lear for the National Theatre, a show which has now started previews in the Olivier. I saw it tonight but as press night is a week away next Thursday, I’m opting to preview the show rather than reviewing it per se, offering tasters and teasers about what to expect whilst trying my best to avoid spoilers.First up, you can read an interview here with Simon Russell Beale about how he got his hair did. I assume more features and things are due this weekend as this was the only one I could find about this production. The show currently comes in at a shade under 3 hours 30 minutes and though my initial reaction was along the lines of
Continue reading “(P)review: King Lear, National Theatre”
“They’re old men…
‘But they’re still Nazis.’”
The second half of the International Playwrights Season at the Royal Court shifts its focus to new Eastern European writing. I attended the first reading last week, of Pavel Pryazkho’s The Harvest, but the main show, playing upstairs, is Latvian-based playwright Aleksey Scherbak’s Remembrance Day, presented here in a translation by Rory Mullarkey.
On 16th March, veterans of the Latvian Legion of the Waffen SS march through the capital Riga, increasingly being joined by other native Latvians as a celebration of their national independence against Soviet oppression. The complicating factor though, being that in order to fight the Soviets, they had to align themselves with the Nazis. The march therefore is a focal point for tensions as both anti-fascist and fascist movements in the country seek to capitalise on the emotions provoked here to promote their own agendas. Sherbak’s play uses the tensions in a Russian-speaking family to explore this struggle as teenage Anya finds herself becoming more and more radicalised as a political activist whilst her father’s attempt to preach a calmer message of tolerance is misinterpreted and whips up an intense fervour of damaging extremism. Continue reading “Review: Remembrance Day, Royal Court”