Despite a fabulous returning cast, Series 2 of The Split is classy-looking tosh. Very watchable but tosh all the same.
“The last thing we need is for any more salacious details to come out”
Much like Series 1, the second season of Abi Morgan’s The Split treads a line between legal drama and deluxe soap opera and more often than not, it is less of a balancing act and more of a case of elements of the former sprinkled into a heavy dose of the latter.
Which in many ways in just fine. Getting to see the likes of Nicola Walker, Deborah Findlay and Anna Chancellor strutting in expensive contemporary costumery is a blessing in itself and the production values of this show never dip below the glossy magazine standards it has set itself. Continue reading “TV Review: The Split Series 2”
If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold
“Kill all the lawyers”
If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split Series 1 / The Good Fight Series 2”
All hail the return of Nicola Walker to our TV screens in new Abi Morgan drama The Split
“Divorce shouldn’t be easy”
Just a quickie to cover the first episode of this new legal drama which looks extremely promising, not least because of a swooningly wonderful cast. The aforementioned Nicola Walker, Annabel Scholey and Fiona Button as sisters, the ever-marvellous Deborah Findlay as their fearsome mother, people like Stephen Tompkinson and Meera Syal as clients, hunky Dutchmen like Barry Atsma looming on the sidelines, and the likes of Rudi Dharmalingam and Kobna Holdbrook-Smith also on the fringes.
Photograph: Mark Johnson/BBC/Sister Pictures
“Are you a giraffe?”
Birthday Girl is a rather odd little thing, a 2001 film from Jez Butterworth (he of Jerusalem) that seemed to slip under the radar somewhat. It’s not brilliant but by the same token it isn’t terrible either and plenty worse films have made bigger waves. Ben Chaplin’s John is hapless in St Albans (is there anything else you can be there? ;-)), having no luck in love and so resorting to getting himself a Russian mail-order bride called Nadia. She turns up in the form of Nicole Kidman, who else, and though she can’t speak a word of English, she indulges his S&M fantasies and so job’s, it would seem, a good’un.
But it’s no happily ever after, Nadia’s two rough cousins soon turn up on the doorstep (played by Frenchmen Vincent Cassel and Mathieu Kassovitz, assumedly because the Russians were out on the day they were casting?) and John’s job as a bank clerk turns out to be rather important. Their unpredictable violence pulls John deep into a morass of deception and criminality but after the mid-film twists take place, the movie runs out of energy and trundles towards a rather uninspired ending that no amount of random Brit cameos (Ben Miller, Reece Shearsmith) can rescue. Continue reading “DVD Review: Birthday Girl”
“Let the bedlam begin”
The final play to premiere in Nicholas Hytner’s final season in charge of the National Theatre is Sam Holcroft’s Rules for Living, directed by Marianne Elliott in the Dorfman. Was it a pointed decision to end his reign with a show both written and helmed by a woman, who knows? Either way, it’s always good to see this venue providing such high profile opportunities for the writers it nurtures. Holcroft’s short(ish) Edgar and Annabel played as part of the Double Feature season in 2011 and she was a writer-in-residence here at the NT in 2013, from whence this rather cracking new comedy has emerged.
And boy is it funny, I don’t think I have laughed this thoroughly and consistently at a play in ages. As someone for whom farcical goings-on too often fall flat, I’m often left bemoaning the fact I’m sitting stony-faced in a sea of hilarity (cf. One Man Two Guvnors et al) but for once I was right with them. Holcroft’s set-up has an extended family coming together for Christmas lunch, an event for which Edith has been preparing since January. She’s looking forward to seeing both her sons, Matthew and Adam, and their partners, and they in turn are keen to see their father who has been in the wars recently. Continue reading “Review: Rules for Living, National Theatre”
Another Icelandic short (it’s a slippery slope once I start on these things…) and this time it’s a jet black comedy. Hrefna Hagalín and Kristín Bára Haraldsdóttir’s Knowledgy follows a naïve Icelandic couple as they get suckered into an LA-based cult by the charismatic leaders (and the example of Ashton Kutcher). Following their every move is their lodger who is filming their story for his film project and provides an excellent external view into this ever-darkening tale. Continue reading “Short Film Review #35”
“Do what to a what?”
The whole Jeeves and Wooster thing has passed me by in life – I’ve never seen the TV show or read PG Wodehouse’s stories, nor ever felt the need to catch up. But I do like me some Matthew Macfadyen and so the lure of seeing him onstage – after an absence of three years – meant that a trip to the unwieldly titled Jeeves & Wooster in Perfect Nonsense was in order. The play was adapted by Robert and David Goodale and is directed by Sean Foley, who brings a strenuous theatricality to the whole affair.
The conceit sees Stephen Mangan’s toff Wooster intending to put on a one-man show but soon finding that he needs the assistance of his trusty manservant Jeeves, played by Macfadyen, who helps him relay the tales of Wooster’s adventures by stage-managing the whole affair and portraying any number of supporting players. Thus we get a dizzying whirl of characters, locations and scenarios all conjured from Jeeves’ resourcefulness but not content with the The 39 Steps-style carousing, there’s possibly the hugest amount of arch nudge-nudge-wink-wink business ever seen on a London stage. Continue reading “Review: Jeeves and Wooster in Perfect Nonsense, Duke of York’s Theatre”
The latest set of short films that have crossed my path.
I haven’t covered any animated films before, but the voice cast for Cooked was just too irresistible, featuring as it does Katherine Parkinson, Stephen Mangan and David Morrissey. And I’m glad I did as this tale of an everyday love triangle between a walrus, a lobster and a seal by German animators Jens & Anna is just adorable. My limited experience in the field makes the comparison with Aardman’s work a little lazy but it really does have some of the same fresh and quirky sense of humour about it and visually it looks really impressive, using a variety of techniques to create something that feels nicely different. At barely six minutes long, you should definitely give this a watch. Continue reading “Short Film Review #11”
The best cultural experiences, no matter the medium, is the way that it can make one feel. So where classic Broadway-inspired choreography makes my soul soar, musical comedies make me laugh helplessly and my painstakingly curated iTunes collection can fit any mood I want, this group of shorts contains two films that made me weep for days, I’m welling up just thinking about one of them now, and so I am pleased to be able to them with you. The first and the last are the weepies, with a smattering of less sad films mixed in the middle.
Continue reading “Short Film Review #8”
“It’s not the same for a man…”
It is a rare treat these days to be able to go into a show not knowing a huge amount about it and so it was with Birthday, just opening for previews now at the Royal Court. The reveal of the central premise was a great surprise and to be honest, if you don’t know it yet and are going to see it soon (although I imagine once it opens it will become impossible to avoid) I’d recommend leaving yourself unspoiled (and then of course coming back to read this later, hehe.)
Set in a modern-day maternity hospital, Ed and Lisa are having their second child, but in this world there are considerably more options open to them and given the difficult circumstances surrounding the birth of Charlie, they have opted for one of these. Thus playwright Joe Penhall takes us on a 90 minute journey through a somewhat alternative view of childbirth, and how men and women deal with it differently, to sometimes comic and sometimes perplexing effect. Continue reading “Review: Birthday, Royal Court”