Emma Stone and Emma Thompson have lots of fun in the entertaining Cruella, which is only just a little bit too long
“Darling, if I’m going to need to repeat myself a lot, this isn’t going to work out”
There’s something a little curious about a film that simultaneously wants to highlight one of cinema’s most iconic villains yet also neuter her most defining attributes. So we can rest assured that no dalmatians are harmed in the telling of this story (or presumably making of this movie) nor is there a cigarette holder to be seen. So what’s left for Cruella to do?
A fair amount as it turns out. Craig Gillespie’s film finds an origin tale for her in 1970s London (story by Aline Brosh McKenna, Kelly Marcel, and Steve Zissis), locating her at the vanguard of the nascent punk movement (or at least a Disneyfied version of it). It’s a nifty move that forefronts her creative endeavours, whilst adding to a notorious canon of fashion geniuses gone ‘woo-hoo’. Continue reading “Film Review: Cruella (2021)”
“Come and be a real man”
I couldn’t possibly start recommending that one should drink before every show but nestled in the late timeslot (10.15pm start) at the Soho Theatre, it would be rude not to imbibe at least a little before going in to see Guilt & Shame’s Going Straight (although I would imagine it is just as much fun whilst stone-cold-sober, as long as you’re up for it). Somewhere between a play and a comedy sketch – on entrance, we get a blue or pink hairnet depending on gender – it’s a raucous, supremely silly but also relentlessly funny experience that would be well worth searching out if there were more performances scheduled (tomorrow is the last night).
Gabriel Bisset-Smith and Robert Cawsey play Gabe and Rob, a pair of friends who are struggling with their sexuality. Well, Rob’s sexuality, he’s a gay virgin and overly vocally heterosexual Gabe is determined to get him on the straight (and narrow) by indoctrinating him in a six step program he has developed called The Church of Clarksianity. The tasks Rob must fulfil are increasingly daft and incorporate a great deal of audience participation which is where the loosened inhibitions may well come in useful (though I don’t think tonight’s audience needed too much guidance in the glory hole-based dance routine!) Continue reading “Review: Guilt & Shame – Going Straight, Soho Theatre Upstairs”