Series 2 of Liar shifts the focus from rape to murder but does little to raise this from bog-standard thriller territory
“Sometimes bad things happen and we just have to deal with them”
Was the world calling out for a second season of Liar? When the first apparently did such great numbers for ITV, it seems the decision was inevitable but it has taken more than two years for it to arrive and I’m not sure that it carries the same level of impetus with it – I don’t imagine ratings will have held up to anywhere near the same degree.
That first series did show much promise, complicating a rape story by presenting a he said/she said narrative that asked some big questions. But midway through, Liar tipped its hand and ended up as a bog-standard thriller and it is in that same spirit that it continues here. A bit of story-telling trickery allows for Ioan Gruffudd’s Andrew to return alongside Joanne Froggatt as Laura but I have to say I really wasn’t gripped. Continue reading “TV Review: Liar Series 2”
Arriving on the big screen four years later, Spooks: The Greater Good does little to make the case for its existence
“You can do good, or do well”
Arriving some four years after the end of the TV series, Spooks: The Greater Good was an ill-advised coda to the Spooks experiment, leaving writers Jonathan Brackley and Sam Vincent at the helm despite the decidedly mixed results of their ascension to head writers on the show (poor Lucas).
Cinemas are hardly calling out for new spy franchises yet there’s an added sense of ‘what’s the point’ as along with the four year wait, there’s a story with no real connection to the 10 series that preceded it, and a cast sprinkled with the characters who survived but which prioritises brand new ones. Continue reading “Film Review: Spooks: The Greater Good (2015)”
“For your love I pray you, wrong me not”
Any filmed adaptation of The Merchant of Venice is up against it for me as I adore the Al Pacino version from 2004 which makes so much sense of so many of the difficulties of the play. This Trevor Nunn production was a big success for the National Theatre, transferring from the then-Cottesloe to the Olivier, winning all sorts of awards and then filmed for the US’s Masterpiece Theatre.
And as is often the case with these stage-to-screen adaptations, it’s a little flat and disappointing, little concession made to the change in medium and so the abiding feeling is that one is left wishing one could have seen it onstage. Which is a shame, as Henry Goodman makes an excellent Shylock, viciously vengeful but clearly victimised too in this adroit resituating of the play to the 1930s. Continue reading “DVD Review: The Merchant of Venice (2001)”
Even goddesses sometime make mis-steps and this modern-day rewriting of Frankenstein by Jed Mercurio probably fits closer to that category than anything else I’ve seen her in. A 2007 ITV special, it adapted Mary Shelley’s story into a contemporary world of stem cells and genetic engineering and cast McCrory as the lead, Doctor Victoria Frankenstein if you will. The new take is superficially surprisingly effective as the main thrust of the story is that Victoria is running an organ-growing experiment – the Universal Xenograft project – and is extremely motivated by the fact her young son is suffering from a terminal disease, his only hope being multiple organ transplant… As his condition worsens, so her desperation increases, resulting in her injecting her son William’s blood into the procedure though it is too late to save him. This has unexpected consequences though and in the murky void between bioethics and unscrupulous moneymen, the experiment is allowed to continue though no-one is sure exactly what has been created.
The emotional power of the story is heightened by the simple gender switch, McCrory excels at evoking the earth-shattering grief of a mother nursing her dying child and struggling to come to terms with the reality of his condition. That she channels her energies into her research is unsurprising and it is not by chance that it takes 9 months for the being – the UX – to enter the world. The relationship that then develops between creature and creator is then a most twisted one because of the genetic material contained within, part of her dead son is in the UX and in her grieving state, the lines become blurred. Contrasted against this relationship is the cold calculating mind of Victoria’s boss, Professor Pretorius – a steely turn from Lindsay Duncan – who is alive to the monetary and business potential that has come from this huge scientific breakthough. Victoria’s estranged husband also reappears on the scene though he is not all he seems as he has his own designs on the UX. Continue reading “DVD Review: Frankenstein”
“If you intend to f*ck with the god of power, then make sure you don’t fall asleep besides him”
Any play that can use the epithet “your mother-f*cking brother” with complete accuracy has to be worth your attention and sure enough, Welcome to Thebes, a new play by Moira Buffini opening in the Olivier auditorium at the National Theatre, is more than equal to the challenge. The play is quite huge in scope, it looks at the role of women in politics, the state of Africa, the aftermath of war, the relationship between Africa and the West, the tragedy of child soldiers and it tells of them through the prism of Greek mythology, but relocated to the modern day and an unspecified (West) African state.
So we have the story of a female president-elect, Eurydice, struggling to exert herself in both her domestic situation in a country reeling from years of civil war, but also in the male-dominated world of international relations as she needs to establish links with global superpower Athens for much needed aid and investment by engaging with its charismatic leader, Theseus. The clearest analogy to make is with Liberia, the only African state to have an elected female leader of state in Ellen Johnson Sirleaf who came to power after the concerted efforts of a mass movement of women hungry for peace after years of civil war. And if Thebes equates to Liberia, then Athens becomes the United States, the superpower and apparent bastion of democracy but unwilling to provide assistance without considerable caveats; Theseus being an Obama-like leader with a touch more arrogance. Continue reading “Review: Welcome to Thebes, National Theatre”
Perhaps better known for the Tom Cruise, Demi Moore and Jack Nicholson starring film, A Few Good Men was originally a 1989 play written by Aaron Sorkin, but is being revived here at the Theatre Royal Haymarket with Rob Lowe making a rare stage foray in the role played by Cruise in the film.
It is a courtroom drama set in Washington DC, revolving around the trial of two US Marines who have been charged with the murder of a fellow Marine at a naval base and the tribulations of their lawyers as he prepares a case to defend his clients but comes close to unmasking a high-level conspiracy which threatens to unravel all their work. Continue reading “Review: A Few Good Men, Theatre Royal Haymarket”