An entertaining cast make the curious Effie Gray more engaging than it might otherwise have been
“Marriage, dear boy, is all about learning how to wait”
In what turned out to be an afternoon of staid, true-life Victorian romances, Effie Gray turned out to be the odder. Richard Laxton’s film, written by Emma Thompson, follows the story of the troubled marriage between polymath John Ruskin and Euphemia ‘Effie’ Gray which was never consummated and ended when she bucked the social mores of the time to pursue an annulment, which she was indeed granted.
And starting as we do with the marriage between the pair, we see a lot – a LOT – of the dry and dessicated home life of the couple which kicks off with him professing disgust at her naked person and agreeing a five year abstention from sex so he could focus on his work. Plus, his family – with whom they live – aren’t much keener on her, so life’s generally a downer. Continue reading “Film Review: Effie Gray (2014)”
Sovereign is proud to announce the return of Effie Gray, the true story of a scandal that shocked Victorian England, on 19th April in Virtual Cinemas and on VOD, and out 31st May as a special collector’s edition DVD and Blu-ray.
Nineteen-year-old Effie Gray marries esteemed art critic John Ruskin, a cold and distant man who, seemingly repelled by his young bride, refuses to consummate their marriage. Neglected and shunned, and her health suffering from the strain of the crumbling relationship, Effie defies Victorian society by striking up a friendship with one of Ruskin’s acolytes, the Pre-Raphaelite Brotherhood painter John Everett Millais. It’s friendship that blossoms into something else, that sends shockwaves through polite society. Continue reading “News: Effie Gray to be re-released in the UK”
Series 4 sees Jonathan Creek lose its way badly as chauvinism slides into misogyny amid Alan Davies and Julia Sawalha’s strange chemistry
“Now it’ll save your time and mine, I think, if I truncate”
I found series 4 of Jonathan Creek surprisingly difficult to watch. Even if the quality had started to taper off over the course of the previous three seasons, something critical had been lost at this point, far over and beyond the departure of original star Caroline Quentin. Her replacement was Julia Sawalha’s Carla, introduced in the 2001 Christmas special and though she shares a screwball-ish energy with Alan Davies’ duffle-coated protagonist, she’s been married off to Ade Edmondson’s svengali Brendan.
It’s an odd choice that unsettles the whole rhythm of the show, as it devotes way too much time to the uneasy relationship between the pair. And as David Renwick’s writing fully immerses itself in its worst male chauvinist excesses – just look at how women are presented in the first episode, from the prizewinner presented as a grotesque to Anna Francolini being done dirty as a ditzy assistant – the idea that the majority of female characters now have to throw themselves at Jonathan’s feet, is delusional nonsense. Continue reading “TV Review: Jonathan Creek, Series 4”
The ninth and final series of Waking the Dead works well as a brutal finale even if it never quite addresses Boyd’s key issues
“Get the collar and the ‘how’ doesn’t matter”
Series 9 proved to be Waking the Dead’s last and I’d say it goes out on a good’un. Stacey Roca’s DS Howard suffers the familiar fate of so many of the show’s non-OGs, hustled out off-screen. But her replacement is actually cleverly worked, by not being a replacement at all. Instead, Eva Birthistle’s Detective Superintendent Sarah Cavendish is transferred in from Counter-Terrorism and with the subject of Boyd’s retirement brought up from the off, there’s a completely different dynamic in the team for once.
And I really liked it, particularly with the brutal honesty with which Cavendish diagnoses the screwed-up relationships of the cold case team and the almost-Stockholm Syndrome nature of everyone’s defence of Boyd’s behaviour, even when it is threatening their lives and careers (btw whatever happened to Spencer working for CID?). But in the way of these things, she is made to suffer for this (and how!) as the show careers towards the kind of final scene you just know is on its way. Continue reading “TV Review: Waking the Dead Series 9”
The neglect of Stanley Tucci aside, The Children Act does a decent job of bringing Ian McEwan’s novel to the screen, with Emma Thompson on fine form
“I think it’s my choice
‘I’m afraid the law doesn’t agree'”
The first half of The Children Act is astounding. Family court judge Fiona Maye is utterly devoted to her career, deciding carefully but firmly on the most delicate of ruilngs. But the case of Adam Henry gives her cause, a 17 year old cancer victim whose Jehovah’s Witnesses’ beliefs are leading him to refuse the blood transfusion that could save his life.
As Maye, Emma Thompson makes you feel every inch of the emotional stoicism she has developed in order to rise through the judicial ranks so. There’s admiration sure but also a touch of apprehension – the brittleness with which she interacts with her devoted clerk (Jason Watkins) and the casual callousness with which she takes her long-suffering husband (Stanley Tucci) for granted. Continue reading “Film Review: The Children Act (2017)”
Despite an excellent Samuel Barnett, the second series of Twenty Twelve isn’t quite at the level of the first, though still very enjoyable
“I’m not from the sanitary world, I’m from Yorkshire”
Perhaps inevitably, the second series of Twenty Twelve doesn’t quite live up the revelatory quality of the first, the tinkering with the formula knocking the exact chemistry of the ensemble ever so slightly off-balance. Split into two (although you wouldn’t know it watching it now), the final episode ran just a couple of days before the Opening Ceremony of London 2012, and the show’s success was such that it made the move from BBC4 to BBC2.
In many ways, the recipe for John Morton’s mockumentary series didn’t change. The Olympic Deliverance Commission continued their hapless march towards the opening of the 2012 Olympic Games, battling their own ineptitude and institutitional intransigency as personal ambition sets up against religious rights, the Royal Family, the nation’s comparative lack of interest in women’s football and sportsmen’s innate lack of personality to name but a few. Continue reading “TV Review: Twenty Twelve (Series 2)”
Full of shocks that actually mean something, Series 5 of Spooks is one of its absolute best
“The British people will accept anything if you serve it up with a picture of Will Young in the shower”
A cracking series of Spooks that starts off with a series of bangs, robbing Colin of his life and Juliet Shaw of her ability to walk, the introduction of Ros Myers to the team is an invigorating success, particularly as she inspires Jo to become more badass too. This incarnation of the team really does click well, responding smoothly to the enforced changes in personnel, though newly single father Adam’s mental health crisis too often feels like a plot device rather than a genuine exploration of PTSD.
Subject-wise, the relevance level remains high, particularly pertinent when it comes to national crises with panic buying and over-stuffed hospitals feeling all too real. The role of fundamentalist zealots is shared equally between Christian and Islamic believers over the series and even if the finale underwhelms somewhat, the eco-terrorism theme hasn’t become any less significant.
I’m still not over it, the defenestration of Ruth Evershed. Having finally made it to a date with Harry, which went about as well as could be expected, she runs up against a murderous Oliver Mace conspiracy and ends up having to fake her own death to protect Harry and ends up fleeing the country. An ignominious end for the heart of the team. Continue reading “Lockdown TV Review: Spooks Series 5”
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“You haven’t lost your faith in people, have you?”
The problem with using superlatives is that it is so easy to get carried away. And having declared the second series of Unforgotten to be sure of being one of the best pieces of television we’ll see this year, I’m now having to add The Moorside to that same category. The first episode blew me away and the second, directed by Paul Whittington and written by Neil McKay, confirmed the show as a devastating tour de force.
Occupying the slightly hazy ground of docudrama, where real-life events are augmented with highly researched dramatised scenes, The Moorside nevertheless smacks of the ring of truth from start to finish. The second instalment picks up with Shannon Matthews having been found by the police and whilst the community who came together so dramatically to search for her celebrate, questions about Karen Matthews’ involvement in the disappearance of her daughter hang ominously in the air. Continue reading “TV Review: The Moorside Episode 2”
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”