27th Screen Actors Guild Awards winners

Film
Outstanding Performance by a Male Actor in a Leading Role
Chadwick Boseman – Ma Rainey’s Black Bottom as Levee Green 
Riz Ahmed – Sound of Metal as Ruben Stone
Anthony Hopkins – The Father as Anthony
Gary Oldman – Mank as Herman J. Mankiewicz
Steven Yeun – Minari as Jacob Yi

Outstanding Performance by a Female Actor in a Leading Role
Viola Davis – Ma Rainey’s Black Bottom as Ma Rainey
Amy Adams – Hillbilly Elegy as Beverly “Bev” Vance
Vanessa Kirby – Pieces of a Woman as Martha Weiss
Frances McDormand – Nomadland as Fern
Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas Continue reading “27th Screen Actors Guild Awards winners”

27th Screen Actors Guild Awards nominees

Film
Outstanding Performance by a Male Actor in a Leading Role
Riz Ahmed – Sound of Metal as Ruben Stone
Chadwick Boseman – Ma Rainey’s Black Bottom as Levee Green (posthumous nomination)
Anthony Hopkins – The Father as Anthony
Gary Oldman – Mank as Herman J. Mankiewicz
Steven Yeun – Minari as Jacob Yi

Outstanding Performance by a Female Actor in a Leading Role
Amy Adams – Hillbilly Elegy as Beverly “Bev” Vance
Viola Davis – Ma Rainey’s Black Bottom as Ma Rainey
Vanessa Kirby – Pieces of a Woman as Martha Weiss
Frances McDormand – Nomadland as Fern
Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas Continue reading “27th Screen Actors Guild Awards nominees”

TV Review: The Crown, Series 4 Episodes 1-3

I ration myself to Episodes 1-3 of Series 4 of The Crown in the first instance but find it is losing its lustre a little

“I’m struggling to find any redeeming features in these people at all”

Kicking off in 1977, Series 4 of The Crown swiftly moves into my lifetime with its second scene taking place in 1979, although not quite into events that I remember, at least in these first three episodes. And with the arrival of both Diana Spencer and Margaret Thatcher on the scene, there’s quite the decade to explore.

But something has gone a little awry for me and The Crown. The sheer scope of Peter Morgan’s writing means that there’s a mahoosive ensemble at work here but the nature of his construction of episodes that drill down to intimate focus means that there’s huge gaps and terrible wastage, particularly of Helena Bonham Carter’s delicious Princess Margaret. Continue reading “TV Review: The Crown, Series 4 Episodes 1-3”

26th Screen Actors Guild Awards winners

Film
Outstanding Performance by a Male Actor in a Leading Role
Joaquin Phoenix – Joker as Arthur Fleck / Joker
Christian Bale – Ford v Ferrari as Ken Miles
Leonardo DiCaprio – Once Upon a Time in Hollywood as Rick Dalton
Adam Driver – Marriage Story as Charlie Barber
Taron Egerton – Rocketman as Elton John

Outstanding Performance by a Female Actor in a Leading Role
Renée Zellweger – Judy as Judy Garland
Cynthia Erivo – Harriet as Harriet Tubman
Scarlett Johansson – Marriage Story as Nicole Barber
Lupita Nyong’o – Us as Adelaide Wilson / Red
Charlize Theron – Bombshell as Megyn Kelly Continue reading “26th Screen Actors Guild Awards winners”

TV Review: The Crown Series 3

Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carter rocks though

“Sometimes duty requires one to put personal feelings…
‘And frivolity”
…aside”

Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.     

Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”

26th Screen Actors Guild Awards nominees

Film
Outstanding Performance by a Male Actor in a Leading Role
Christian Bale – Ford v Ferrari as Ken Miles
Leonardo DiCaprio – Once Upon a Time in Hollywood as Rick Dalton
Adam Driver – Marriage Story as Charlie Barber
Taron Egerton – Rocketman as Elton John
Joaquin Phoenix – Joker as Arthur Fleck / Joker

Outstanding Performance by a Female Actor in a Leading Role
Cynthia Erivo – Harriet as Harriet Tubman
Scarlett Johansson – Marriage Story as Nicole Barber
Lupita Nyong’o – Us as Adelaide Wilson / Red
Charlize Theron – Bombshell as Megyn Kelly
Renée Zellweger – Judy as Judy Garland Continue reading “26th Screen Actors Guild Awards nominees”

TV Review: The Crown, Series 3 Episodes 1-3

The Crown returns with Olivia Colman and Tobias Menzies at the helm, and Helena Bonham Carter stealing the show

“Everyone at the Post Office is delighted with the new profile”

Gotta get those hits…who knows how far behind I am, given I’m 9 hours ahead of the UK at the moment, but I thought I’d jot down my initial thoughts on the first three episodes of series 3 of The Crown (all written by Peter Morgan and directed by Benjamin Caron), as Netflix kindly offered them up as holiday entertainment. (And since I’m away, I’ve been a little insulated from all the Prince Andrew drama, which from over here almost feels like a random bit of guerilla marketing).

  • I wonder if I have a little hangover from just how good Claire Foy was, but I’m 100% feeling Olivia Colman in the role yet. She doesn’t seem quite as subsumed into the character, in the way that Foy’s every minutely detailed movement seemed to be. That said, there’s some scorching moments when Jason Watkins’ Harold Wilson dares to suggest her response to the Aberfan tragedy is lacking.
  • The excellent Tobias Menzies hasn’t really had enough screen time yet to have his Prince Philip make an impact, though I’ve every faith.
  • The casting of Helena Bonham Carter as Princess Margaret is inspired, the extravagance of the character is perfectly suited to her but she’s bringing a real depth at the same time. 
  • And I have to say I miss Matthew Goode’s hugely erotic insouciance as Antony Armstrong-Jones, Ben Daniels’ much more wearied take hasn’t quite ticked my boxes yet.

Elsewhere, the headlong rush through the years means that we’re doomed to the smallest contributions from some excellent actors – Samuel West’s Anthony Blunt and Angus Wright’s MI5 bod were gone too soon, though I live in hope of more from Penny Downie’s Duchess of Gloucester, Aden Gillett as Richard Crossman and Sinéad Matthews as Marcia Williams (seriously, her accent is a thing of pure beauty).

And given the budget is allegedly in the many millions, it certainly looks a treat once again. From glistening palatial lushness to agonisingly destroyed villages, these are fully realised worlds no matter how short a space of time we end up spending in them. Caron’s direction also makes room for a more uncomplicated cinematic as well though, choosing iconic visual to close out each episode – the regal silhouette, juxtapositions of Margarets old and new, the children playing. This is a Crown that has lost none of its lustre.

Photo: Sophie Mutevelian

Review: Deathtrap, Theatre Royal Brighton

“Always when moon is full, I am in top form”

The floorboards in Sidney Bruhl’s isolated barn conversion may squeak underfoot, but there’s nothing creaky about Adam Penford’s smart revival of Ira Levin’s 1978 play Deathtrap, first seen at Salisbury Playhouse last year and now touring the UK. A play full of twists and turns, with a play-within-in-a-play and added cinematic meta-commentary thrown in for good measure, this production proves there’s still a place for classic crime thrillers in this post-Scandi-noir world.

Bruhl is a playwright struggling to accept that he is past his prime but when Clifford Anderson, a talented young playwright sends him one of only two copies of his brilliant new whodunnit, he spies an opportunity to ape the thrillers on which he built his now-flagging reputation and steal the newcomer’s success for himself, despite his wife’s reservations. But Anderson is as much a student of the genre as Bruhl and so the stage is set for, well, the unexpected. Continue reading “Review: Deathtrap, Theatre Royal Brighton”

Review: Sweet Bird of Youth, Chichester Festival Theatre

“‘I think that hate is a feeling that can only exist where there is no understanding”

There’s something a little depressingly predictable about my inability to resist a neat bit of star casting – Marcia Gay Harden’s long-in-the-making UK theatrical debut being the guilty party here. It’s depressing because Tennessee Williams’ Sweet Bird of Youth is a play I wasn’t much of a fan of the one time I saw it before and the heart wasn’t beating any faster at the prospect of sitting through it once again.

And maybe there’s an element of self-defeating prophecy at work because I was bored rigid by Jonathan Kent’s production here for Chichester Festival Theatre. A quiet audience (never seen the upper seats curtained off like that before) sweltered in the stifling atmosphere but sadly, there was no heat being generated on the stage of Anthony Ward’s distractingly-conceived design. Continue reading “Review: Sweet Bird of Youth, Chichester Festival Theatre”

Review: Much Ado About Nothing, Shakespeare’s Globe

“How much better is it to weep at joy than to joy at weeping”

Sometimes I have aspirations of being a serious writer and sometimes, I just want to look at something pretty. And so once it had been established that Simon Bubb was lighting up the stage of the Globe in the touring production of Much Ado About Nothing, #SexyBenedick was born and I quickly got myself into a nearly-sold-out matinée performance to inspect the evidence personally. And it was true, he makes for a most handsome leading man indeed and as it turned out, the play wasn’t half bad either.

I can’t even take credit for the best bit of insight about it. @3rdspearcarrier identified its key success as egalitarianism, this being the first version of the play for a long time that hasn’t been a star vehicle for Beatrice and Benedick and with a cast of eight doubling up and more, the energy of Max Webster’s production emphasises how much of an ensemble show it really is. With the rough and tumble aesthetic of James Cotterill’s easily portable design, there’s something deliciously playful about the whole affair which made it an absolute delight to watch in the early May sunshine. Continue reading “Review: Much Ado About Nothing, Shakespeare’s Globe”