I seem to have seen so many films recently, on TV, DVD and at the cinema and I've not had time/inclination to write a lot about each one. So for the sake of completeness, I'm going to zip through what I've seen here, starting with TV drama Page Eight (2011), a slow yet solid tale of espionage starring Bill Nighy. Then there was Bringing Up Baby (1938), the hilarious screwball comedy that sees Cary Grant and Katharine Hepburn trading barbs as they try to track down the titular Baby, a pet leopard on the loose, and Hepburn tries her darndest to snag her man. I've seen this film before and it's an absolute hoot, so I was eager to get Andrew to watch it to see what he thought - for the same reason we watched The Birdcage (1996), the hilarious US remake of La Cage aux Folles starring Robin Williams and Nathan Lane as a gay couple who are shocked to learn 'their' son is to marry the daughter of a Republican senator. Funny and unexpectedly touching, The Birdcage doesn't do a great deal for the gay cause, but it's hard to be offended when everyone's having so much fun.
A change of tack to documentary and Sarah Palin: You Betcha! (2011), where Nick Broomfield investigates the strange world of the one-time VP hopeful through interviews with family and friends. And once it becomes clear that Broomfield is making an honest documentary rather than a puff piece about how amazing Palin is, the access to family dries up pretty quick. I didn't think that Broomfield set out with a liberal agenda per se, but he soon uncovered a lot of dodgy back story and delusion behind the soccer-mom smokescreen that painted a convincing and scary picture of Palin.
Panned by the critics and shunned by audiences, I went into John Carter (2012) with an open mind (and a buy-one-get-one-free email voucher from Disney) and was completely blown away. I cannot see why everyone is down on this movie, it's exciting, it's funny, it's original and it is much better than many other CGI sci-fi epics I can think of (yeah, Phantom Menace, I mean you). I've not stopped talking about it to friends and colleagues since. Taylor Kitsch is hunky and a hero to route for as the title character, a widowed US Civil War veteran who is mysteriously transported to Barsoom/Mars where he gets caught up in the red planet's own internal fights. Filled with spectacle, non-irritating CG characters, suprisingly dark moments and much more, John Carter's fully-realised world is one I'd love to go back to in future films, but alas that's unlikely.
Special effects on a much smaller budget and screen made last Christmas' The Borrowers (2011) a believable and fun tale that up-dated Arrietty's family and found them living under Victoria Wood's floorboards. Stephen Fry's scientist gets wind and determines to expose the little folk to the world in a plot that is bigger than the Ghibli movie but less sweetly engaging. A much more odd interpretation of a classic children's story, Wes Anderson's stop-motion Fantastic Mr. Fox (2009) features an assortment of indie voices plus George Clooney and Meryl Streep as Mr and Mrs Fox, and a laconic tone that suits the story to a tee.
After reading William Goldman's novel I revisited The Princess Bride (1987) on DVD. I didn't get the big deal the first time around, and while I can see why it has earned cult status, like the book before it I still felt it was lacking an extra something to expand the idea of a parody fairytale into a roaring success. What the movie did was make me want to watch Cary Elwes really letting loose in Robin Hood: Men in Tights again! The Princess Bride felt oddly low key as a whole, something that could also be said of Monsters (2010), the economically made movie about two characters who are thrown together to travel across alien-infested landsThe low budget meant that this was more a character study than a John Carter style action-fest, with the CGI aliens only briefly glimpsed. Perhaps actually it is more of a love story than anything else, as well as a pretty trip around the jungles of Central America.
Finally, last Wednesday we went to the cinema to see The Pirates! In an Adventure with Scientists! (2012), in 3D, Aardman Animation's latest claymation feature. The most joyfully silly movie I've seen since The Muppets, The Pirates is packed full of sight gags and witty lines, run through with an earthy Britishness and randomness reminiscent of Monty Python. While not as consistently laugh-filled as Chicken Run, I found The Pirates more satisfying than Curse of the Were-Rabbit and left the cinema with a massive smile on my face. And that concludes the movie part of the update!
In the last 4 weeks I've managed to fit in 5 trips to the theatre, two as a volunteer at the Playhouse and three as paying punter at The Grand. Back on 15/03/12 was Chess (The Grand), a musical by Benny Andersson and Björn Ulvaeus (i.e. the BB in ABBA) and Tim Rice written during and set within the context of the Cold War. Happily I didn't need to know anything about the rules of the boardgame to enjoy the plot, which centred around clashes between the US and Soviet chess champions and some tricky political shenanigans, but it helped that I had an understanding of the historical context. The company, LAOS, handled the staging well with a central chess board/dance floor that changed colour and acted as a playing area for the characters to scheme around. The voices of the female cast were particularly impressive, and I discovered that 'I Know Him So Well' has its origins in the show. The show has made me want to visit the original concept album that preceded the West End musical.
We returned to The Grand on 23/03/12 for Travelling Light, a new play written by Nicholas Wright, a name I'm not familiar with, although I was pleased to see he'd authored some of the excellent yet short lived The No. 1 Ladies' Detective Agency. The main draw for this drama was the fact that it was about the early days of cinema, a subject I have become more and more intrigued about. It also starred the talented, attractive Damien Molony, who we were enjoying so much in Being Human at the time - it also turned out we'd seen his professional debut in 'Tis Pity She's a Whore last year, so we've now seen all of his work. (Sir) Antony Sher also starred as the jovial Jewish merchant who funds Molony's nascent efforts at making a movie in their Eastern European shtetl - he was much better here than in the awful production of The Tempest we saw back in April 2009. The whole production was gripping from beginning to end, from the subject matter, setting and characters to the unexpected plot developments and semi-history lessons about movie making outside Hollywood.
The day after Travelling Light I flew solo (left Andrew at home) in order to volunteer at Swallows & Amazons (24/03/12). Unfamiliar with the story, I wasn't expecting much, particularly as I believed this would be a show for the kids. I was happily suprised to find that this semi-musical drama was actually rather fun and very inventive in the staging. A family of 5 'jolly hockey-sticks' type middle class kids in inter-war Britain go on holiday to an island and have a fantasy adventure as the Swallows, a gang of explorers who are out to defeat the nafarious pirate captain and rival sisters, the Amazons. It's a good natured affair, utterly inoffensive with a smattering of toe-tapping songs that didn't linger too long in the memory. Leaving aside the one black child among the siblings, an inclusive gesture that came across somewhat token (and the fact the character's named 'Titty'), there was nothing to gripe about. The scenery movers and props people provided many (intentional) laughs with their ways, like flicking water at the cast to simulate moving through a storm, or holding up toy boats within circles of cardboard to represent telescope sights. A fun, free night out, musn't grumble.
Helen Edmundson, co-writer of Swallows & Amazons, was also responsible for Mary Shelley (28/03/12), showing in the Playhouse's other theatre. This was a more adult show that delivered a biographical drama about the woman who, at the age of just 18, write the massively influential Frankenstein, along with her poet husband Percy Shelley and her famous family. The female-weighted cast delivered bravua performances that brought each family member alive and worked to show how Mary's experiences informed her signature novel. It was a play that I appreciated greatly as I watched, but one that hasn't stuck around in my head long afterwards.
Finally, on 04/04/12, we had a group outing to see Sister Act, a musical for which I had high expectations, based on how much I enjoyed the movie and it's soundtrack (none of which was ported over into the stage version), and because of the potential for camp exuberance. I can almost say that I found the musical to be even more fabulous than the film! Set in the late seventies, the music was a soul/disco mix that never hit a bum note, and the expansion of the plot from the original's murder-witness-hides-out-in-a-convent, with bigger roles for the bad guy Eddie and an added love interest in cop Curtis, were beneficial and created a show that can comfortably inhabit the same world as the movie without feeling redundant. I'd go so far as to say the sheer joy that Sister Act engendered in my whole being puts it up there with The Lion King and Hairspray as a favourite musical. The 'star' names, Denise Black (seen before in Bedroom Farce) and Michael Starke (the narrator in Rocky Horror) were competent but the real star was Cynthia Erivo in the lead role of Deloris - she fairly belted out infectious numbers like Take Me to Heaven, Fabulous Baby!, and the beautiful Sister Act. She was ably supported by a host of singing nuns on show-stoppers Raise Your Voice and Spread the Love Around. I can't wait to get the soundtrack!
I seem to have been to the theatre a lot the past couple of weeks, as well as getting through several books, movies and TV shows. I'm just going to bundle them together so that I can start afresh in April. Too busy/lazy to give each the review it deserves!
Roger and Val Have Just Got In: Series 2 (2012) built on the touching, funny first series of two-handers between Dawn French and Alfred Molina by introducing new conflicts (Roger's living, estranged son from an adolescent fling) and resolving old issues, such as Roger's tribunal and Val's desire to be Deputy Head. Rarely predictably, always heart-felt and honest, this little series goes to show that you don't need exciting locations, massive casts or manufactured incidents to create laughs and warmth, you just need the talented French and Molina cooking tea or hiding in a wendy house. And that last moment was simply wonderful.
A million miles away from the subtly of Roger and Val was the fourth series of Let's Dance for Sport Relief (2012), a gloriously silly spectacle of 'celebrities' and sports people creating dances for charity. Rowland Rivron was quite rightly crowned winner after a knackering version of Fatboy Slim's Weapon of Choice - a relief after the boring winners last year. Other favourites this year included a couple of women from Eastenders doing a creditable Telephone; Eddie 'the Eagle' Edwards' gloriously daffy, and exceptionally competent, Austin Powers dancing to Soul Bossa Nova; and Arabella Weir's sultry Can't Get You Out of My Head, unfairly beaten by Omid Djalili to the final. Not quite as instantly classic as previous years, but still good Saturday night entertainment.
While on the subject of daft Saturday night TV, I must make mention of Harry Hill's TV Burp, which came to an end (bar the best ofs) with the conclusion of series 11. It may not have been as consistently funny as it used to be, but it was still practically the only regular show worth watching on ITV. Childish and daffy it may have been, but Harry was also knowing and aware of the ridiculousness of much of the telly he poked fun at. There were regular laugh-out-loud moments, as well as joyfully sublime/ridiculous scenes of Harry dancing around his desk with busts of Queen Victoria, a horse and various old characters. Where the final series was lacking in the dearth of celebrities getting involved, there were far to many random people plucked from documentaries to perform odd musical pieces at the end of episodes. Where was the star-packed 'cataracts?' piece of previous series? At least in the final show, the real Heather from Eastenders turned up, alongside Amanda Lamb (never 'eard of her!) to give some kind of weird closure.
More serious yet at the same time still full of light moments of delicious British humour was Being Human: Series 4 (2012). After dispensing with Mitchell in the last episode of series 3, the first show of the new series wasted little time in preparing the new dynamic that would find George and Nina (the latter offscreen) killed off, leaving Annie to look after their baby alongside Damien Molony's new vampire, Hal, and Michael Socha's werewolf, Tom. In no time at all I had invested in the new characters and their foibles - Hal's OCD and curious mannerisms, combined with Tom's sweetly naive youth and Annie's kick ass new role as mother/protector of baby Eve made for compelling viewing (Annie was much less wet as a mother than Scully was in season 9 of The X-Files). By the end of the final, heart-breaking episode I'd almost completely forgotten about George and Mitchell (but not Nina, who deserved an on-screen ending). The new ghost character is spunky, and although some great villains were hatched and then quickly despatched this series, the seeds of series 5 have already been sown and have left me hungry for more.
You, the Living / Du Levande (2007) caught my eye in the schedules as it was billed as a Swedish comedy. It was fairly amusing... and decidedly odd. There was no narrative as such, merely a collection of 'sketches' or vignettes featuring ordinary moments of daily life in a very raw, dramatic yet blackly comic style. The tone put me in mind of Sound of Noise but that was a much more linear movie, with a point to it. The indecipherable impetus behind You, the Living didn't end up making for an unsatisfying whole, I quite enjoyed the movie... I'm just unable to articulate why I liked it. Weird.
Much more straightforward was Adventureland (2009), an American comedy starring Jesse Eisenberg as a geeky kid who ends up working at the titular theme park for the summer between high school and college. While there he befriends Kristen Stewart, who plays a variation of her unreasonably mopey misery-chick schtick from the Twilight franchise but manages to be less irritating with it. Oddly he falls for and ends up dating the park's resident cool chick (in a bit reminiscent of Bandslam's geek-gets-the-girl genre subversion) but it's obvious who he should really be with. It's a slight movie with an unoriginal premise yet Adventureland is hugely enjoyable, mainly because Eisenberg is so damn charming and cute. He's like Michael Cera with less attitude. The supporting cast are a wonderful array of freaks and misfits, including a small role for Bridesmaids' Kristen Wiig, and Bill Hader (who also crops up in Hot Rod below), plus a turn by Ryan Reynolds as a likable bastard.
An evening of pizza, wine and chat at our friend's flat last Friday also involved watching the fabled Hot Rod (2007). Twice. Watching with a group of friends is not normally how I like to see a new movie, but the reverence that certain of my mates show this film made for a pretty hilarious experience. And from what I had the opportunity to see, Hot Rod turned out to be pretty hilarious, full of really silly, unexplained humour that wouldn't be out of place in The Muppets (although some of the racier stuff would need taming). Andy Samberg's daredevil/idiot lead is endearing and not just stupid, and his relationship with his stepfather, Ian McShane, is deliriously deranged - his goal is to earn enough money through stunts to save his stepfather's life... so that Rod can kick his ass. There were many bits that had us all laughing out loud, from the 'cool beans' sequence, the wacky grilled cheese sandwich and burrito fight and my favourite, the random dancing Chinese guy who gets a montage of bill posting and crotch thrusting... It really is a movie that has to be seen to be believed. And quite rewatchable as it turns out.
While recuperating from a manky cold this week I watched the British horror/thriller simply titled F (2010) - no relation to US high school Othello adaptation, O (2001). After an opening set up that sees teacher Mr Anderson (David Schofield) head-butted by a pupil and thus more resigned and timid in his role, the movie settles in to the confines of the school campus after most of the inhabitants have gone home. Unfortunately for the cleaner, secutiry guards, headmistress, secretary, woodwork teacher, Mr Anderson, his daughter and her boyfriend, they're still in residence when a gang of hoodies turn up to kill them off, one by one. The growing menance is effected by tight camera angles, right up in the victims' faces, and some creepy choral/lullaby music when the speechless, faceless bad 'uns turn up to bash, stab, burn, maim, slice, axle-grind and generally murder all involved. There's not much character development or even really any plot after the first 10 minutes of set up, just a series of offings. No explanation is given as to why these hoodlums are committing these graphic acts or even who they are - are they connected to the guy who headbutted Mr Anderson? The script doesn't care, there are plenty of people to be bloodying up to bother with motivation. The lack of impetus leaves the film feeling a bit hollow, although it is effectively chilling. Thankfully the final scene/ethical dilemma is a real humdinger and makes the previous 80 minutes well worth the price of admission (y'know, if I'd seen it in a cinema).
basics... The Muppets return to the big screen for the first time in years. Massive Muppet fan Walter and his brother Gary (co-writer Jason Segel) learn of Tex Richman's (Chris Cooper) plan to tear down the disused Muppet Studios and set out to convince Kermit and the rest of the gang, who have gone their separate ways, to reunite and put on a telethon to save the theatre from destruction.
brilliant... I had high hopes for The Muppets, and when I heard that Jason Segel would be scripting and starring I prepared to lower them a little. How wrong I was. What Segel, writing partner Nicholas Stoller and director James Bobin is a celebration of everything that is fantastic about the Muppets, that is respectful of their history and celebrates their unique brand of comedy in a fresh, modern way. It is as much a film as a love letter to everything the Muppets were and are, in much the same way that Hugo and The Artist drew on and celebrated early cinema. Hilarious from start to finish, the human cast, including Amy Adams and a host of cameos from the likes of Jack Black, Emily Blunt, Jim Parsons and Whoopi Goldberg, are just as funny but thankfully do not overshadow the Muppet performers. Once the story is set in motion (and the plot's nothing new, a similar 'theatre-in-jeopardy' macguffin was used in TV-movie It's A Very Merry Muppet Christmas Movie) and the Muppets get back together, the humans fall into the background and Kermit, Miss Piggy, Fozzie, Swedish Chef et al get to be their incredibly funny selves. The references to the original Muppet Show, including a lingering shot of Jim Henson's photograph, are touching and connect the new movie with the modern Muppets. Some of the best bits of the movie: the introduction of 80's Robot; the inspired song and dance numbers, including Oscar winning Man or Muppet; the myriad of Muppet cameos from the TV show - nearly every shot with multiple Muppets features one or two familiar faces; the montage sequence and travelling by map; and the part that had tears of laughter rolling down my face: Clarissa and the Chickens performing 'Forget You'... Priceless.
It would be remiss of me not to mention the unexpected bonus that preceded the movie in the form of the Toy Story Toon: Small Fry, a short that sees the whole of the Pixar gang reunited. A Happy Meal sized Buzz stows away in the toy's new kids' backpack while regular Buzz is inducted into a Forgotten Toys Anonymous therapy group. The magic of Pixar is well and truly captured in just 7 minutes. I'm also rather looking forward to new animation Brave, which was trailed alongside 3D Beauty and the Beast.
briefly... The best Muppet movie in years, I left the cinema with a massive grin on my face, full of enthusiasm and praise for such a lovingly-crafted film.
basics... Almost a year after I watched the movie, Angus, Thongs & Perfect Snogging, an adaptation of the popular teenage girl's book Angus, Thongs & Full Frontal Snogging I found myself at the musical theatre production on a volunteer shift at WYP. Following much the same plot as the film, but with more musical interludes, the play charts Georgia's experiences in young love with sex god Robbie, love god Masimo and best mate Dave the Laugh.
brilliant... The evening started well with upbeat pop music playing as the audience entered, giving me something to do (dance on the spot) while handing out dance-move fliers and pointing people to their seats. It was like a night out, not an evening at the theatre - this even extended to posters permitting people to Tweet during the performance, which thankfully few people appeared to be doing. As with the film, protagonist Georgia walks a fine line between annoying and cute/funny, mostly straying to the latter side thankfully. Imaginative set design and use of props, breaking some of the 'fourth' wall, made for a fun, loose experience that I'm sure charmed the majority young, female audience. There was also plenty of bawdy humour and references that would go over the heads of the tweenagers, most of which I picked up on and laughed along with. The live music was excellent, very catchy, very poppy, and the whole thing was such a sweet confection it would be difficult not to get caught up in it all (unless you're a heterosexual male perhaps). The highlight of the whole show was a 2 minute, condensed version of Romeo and Juliet (or as the characters hideously call it, Roms and Julz *shudder*), the school play performed by Georgia and co near the play's end. I laughed so much at this I'd have been happy just to pay to see that.
but... Some of the language irritated me - mainly the way Georgia added '-osity' to the ends of words unnecessarily, to create a language shared by her clique. These moments did feel like an older writer trying to be 'cool' and jarred a bit. I was pleased that most actors had Yorkshire accents though, as Louise Rennison, created of Angus... and co-writer of the stage version is from Leeds. It's churlish to say but Robbie in the play isn't half as hot as Aaron Johnson's portrayal in the movie, one of that adaptation's main plus points.
briefly... A more pink and fluffy yet accessible night at the theatre I've yet to see. Angus, Thongs and whatever kind of Snogging (what's so offensive about the phrase 'full frontal'?) has an endearing story that clearly skews teenage girl but which contains humour and recognisable moments for all ages.
The Diamond Queen (2012) Andrew Marr's 3 part series about Queen Elizabeth II, made as part of the Diamond Jubilee year, was a fascinating insight into the monarch and her life. Marr had fantastic access to a multitude of royal engagments over the past year, from state visits to Australia and Ireland, to the Royal Wedding and on to smaller occasions like the Garden Party and the Queen's Speech. Far from being the royal propoganda that Republicans have claimed, I found The Diamond Queen to be a measured approach to a woman who has a unique position in the UK, the Commonwealth and the world and who is not always understood or fully appreciated. Through his investigations Marr explored the Queen's past, her family life, her devotion to her job and came to the conclusion that she works hard, moves with the times and is still, in her eighties, eager to be a force for good where she can. I already admired the Queen and I'm looking forward to the updated version of Ben Pimlott's peerless biography, so this programme provided an excellent introduction to the Jubilee year. Long live the Queen!
The Story of Musicals (2012) Another 3 parter, this one had a wider focus than the last. It should have been called The Story of British Musicals but that's no matter, it did a solid job covering many shows I've seen - Cats, Billy Elliott, Blood Brothers - many I haven't - Les Mis, Starlight Express, Phantom of the Opera - as well as plenty I'd never even heard of. Spanning several decades, the series interviewed many of the big players in the genre, from Andrew Lloyd Webber and Cameron Mackintosh to Elaine Paige and, erm, John Barrowman, and it felt pretty comprehensive and packed full of interesting back stories and anecdotes. Most of the interviewees seemed to have a good sense of humour and a perspective on the musical's place in the world while having massive respect for the producers and stars - and after seeing this documentary I can certainly see why. If nothing else, The Story of Musicals made me want to get out and see even more of them!
Little Matador (2011) Another movie in the True Stories strand, Little Matador is oddly an Irish movie about child bull fighters in Mexico. It follows 3 bull-bothering hopefuls, each of whom has their own reasons for pursuing a life as a matador, from pushy parents, absent parents and a young girl's desire to be a famous female matador... if only she didn't run crying when the bulls run at her. I didn't really have an opinion on bull fighting before watching this documentary - most of the images of stereotypical matadors I have come from Looney Tunes cartoons. I quickly realised how distasteful and barbaric the 'sport' is - it's basically aggrivating and then torturing a riled up creature, before savagely thrusting a blade into it's brain. The successful matador then receives the bull's shorn off ears as a grisly trophy to display triumphantly to the baying crowds. You'd have thought that this sort of practice would have died out with the gladiators of Rome, but apparently not - there are even matador schools in Mexico, training children to do this stuff. It's horrible. I had to look away when the bulls were murdered. I'm no animal rights activist but I can see no up-side of this practice in the 21st Century, no matter how much it's part of the Mexican/Latin culture. The documentary itself left me feeling sad for the 3 delusional children, who deserve to be loved by their parents and allowed to be young, to play and to enjoy life, not taught to face down angry bulls before slaughtering them.
The Cricklewood Greats (2012) Ok, I'm cheating now, this wasn't an actual documentary but rather a mockumentary of those rather earnest types of show on BBC4 that celebrate a particular era/icon of film. I'm including it here as it was a fun one-off, and to take the edge off Little Matador. As co-writer, director and 'presenter', Peter Capaldi has created a very funny, almost touching piece about a fictional British film studio that would be believable were it not for the presence of Kelly 'Emma from Hustle' Adams and Tim 'Yates from The Royal Bodyguard' Downie as a number of different actors from Cricklewood's roster of stars. Gently mocked are silent comedies, Hammer-type horror schlock, monster B-movies and Carry On camp. Everything is played straight with a firm tongue in cheek - my favourite scene has Capaldi ('playing' himself) visit the site of the Cricklewood Studios with a 'historian' (Alex MacQueen) and strolling through the Wickes DIY store that has been built in its place, pointing out where the toilets used to be and sensing the aura of the old Studios. Ludicrous and oh so very based in fact - the fact of these types of documentaries.
basics... The final series of the cocky con-men (and woman) show saw more daring heists, more celebrity guests stars and a final episode that brought back old friends.
brilliant... Hustle has so much charm, such glossy production values and a core cast of likable rogues that it's easy to forgive some of the weaker plots - there are only so many different variations of con that you can do over 8 series - and although I can't pick any particular ropey scripts out, I can say with confidence that the final episode was one of the best they've ever made. Bringing back Stacie (Jaime Murray) and then Danny (Marc Warren) was a masterstroke and brought good closure for the gang and the viewer. The cheeky, Moonlighting-style breaking of the fourth wall that Hustle has played around with over the years came to the fore in a final scene that saw the characters leave the set of Eddie's Bar and drive off into the sunset was satisfying and appropriate. I've enjoyed Hustle so much over the years, it's always been a pleasure to watch. Even though it has been light and fluffy it has never been cheap or soapy, yet never tipping over into life-threatening drama. The perfect antidote to some of the more serious shows out there.
but... I liked the return of two original cast members, but why has Ashley Walters' series 4 character, Billy Bond, who replaced Mickey and preceded Emma and Sean, never even received a passing mention since he inexplicably left? Even a throwaway line in the final episode would have been nice.
briefly... I now have to try and live in a world with no more Spooks and no more Hustle. It's going to be hard.
basics... Will Burton (Gaelan Connell), a somewhat geeky type with a penchant for indie music and writing letters to David Bowie, moves to a new school and ends up best friends with ex-cheerleader Charlotte (Aly Michalka) and manager of her band, who he renames I Can't Go On, I'll Go On, in preparation for a school battle of the bands.
brilliant... I had certain expectations about Bandslam. The title and front cover of the DVD, as well as the presence of Vanessa Hudgens of High School Musical fame led me to believe that this would be a fluffy music-filled confection to warm my cockles, and that Hudgens would at least turn up in the first 20 minutes. Happily, Bandslam turns out to be much better than expected, and a much different film. Like Todd Graff's Camp before it, Bandslam subverts the sugary teen movie cliches with wit and fresh characters. Connell is an unusual lead, he's an unknown and quite ordinary looking (he's no Zac Efron) but he has charm and a good line in sarcasm, plus has Lisa Kudrow playing his mother. He was bullied at his previous school because his dad was a drunk driver responsible for a hit and run, and later in the movie his friend Charlotte's dad dies. This depth to the characters' backstories and emotional baggage leads to a more reasoned, less fluffy movie than I'd imagined. That's not to say that Bandslam is sad or dour, rather it is grown up and is aware that there are not always happy endings, but the journey is the fun part. Hudgens downplays well as moody Sa5m (the 5 is silent), who tries to be Will's girlfriend in competition with his love of music and the band. As for the musical numbers, there are a few, but this is no musical: the performances are mainly in the last 20 minutes when the Bandslam competition actually takes place. The big showpiece is a cover of Boy George's Everything I Own, a quirky, offbeat choice in a movie full of them. It totally makes sense. About the only predictable thing in Bandslam is the choice of cameo at the movie's end. but... Although I did really enjoy Bandslam a great deal it would have been even better with a peppier script, with some more memorable gags. And more Lisa Kudrow. But then every movie needs more Lisa Kudrow.
briefly... Subverts expectations (and a misleading title/advertising campaign) to become a worthy companion piece to the similarly refreshing Camp. Todd Graff is a director to keep an eye on.
basics... A trio of morality plays about the state of Britain at the beginning of the 21st century, as told by the warped wind of Charlie Brooker and featuring an all star cast (well, episode 1 anyway).
brilliant... The best episodes were those (co-)written by Brooker; the first, The National Anthem was a blackly hilarious skewering of the media, politics and the public appetite for spectacle wherein the people's princess is kidnapped and the ransom demands that the PM must have sex with a pig live on TV. Played completely straight by the likes of Rory Kinnear and Lindsay Duncan, the drama feels like it is but a single breath from reality in the way that the media manipulates public opinion and how both fuel political actions. It all ends up rather bleak and distressing, and the title of the series is never more apt.
15 Million Merits is very different, and very good. Directed by Doctor Who veteran Euros Lyn, the story is set in an unspecified future in which our hero (Daniel Kaluuya) is one drone among many. He sleeps in a room that is wall-to-wall TV screens, with an avatar able to wander around Second Life type worlds while he must cycle daily to power the constant stream of stimulation on the channels that feature game shows that poke fun at fatties, computer game shoot-em-ups featuring the world's cleaning staff, salacious pornography and an only-just exaggerated form of Britain's Got Talent/X-Factor. It's a chilling, dystopian vision, and the young cast captures the tedium of the world well. I've been saying for a while how much I dislike the way our lives are dictated by screens of every discription, and here is such a world. Part Big Brother, part game show, the story at the heart of the show, our hero gives the credits he has inherited from his brother to a girl he's sweet on so that she can go on Hot Shots and become a singer, is nicely subverted when she is forced into porn. Bleak, original and terrifying stuff.
Third programme, The Entire History of You, written by Jesse Armstrong was less compelling, with fewer ideas. The main idea was a good one though. In this world everyone has a 'grain' implanted behind their ear that records everything a person sees and does, which then allows a person to rewatch moments from their lives either on their own or synched up to a TV screen. Husband and wife Liam (Toby Kebbell) and Ffion (Jodie Whittaker) are at the centre of a small, more personal story than the two previous shows, that deals with the former's sexual jealousy, which is exacerbated by the grain's ability to exactly revisit old arguments and takes obsession to dangers levels. It's an interesting idea but I think it would have worked better on a grander scale, with a more compelling narrative - perhaps some humour too, something this installment lacked.
briefly... Thought-provoking cautionary tales with lashings of originality and wit, Black Mirror's 'play of the week' style should be more common on British TV.
basics... A truly unique performance, Showstopper! The Improvised Musical does exactly what it says on the tin: when the show opens the sole actor on stage is on the phone to a theatrical agent, telling him about his new musical, the setting, style and events of which are plucked there and then from the audience. Armed with this information, the lights go down and the 5 performers come on to present an inevitably funny musical set in the Antarctic, on a ship carrying a host of love triangles and treacherous characters... who sing numbers in the style of Ghost, Sondheim, flamenco, Noel Coward and Wicked.
brilliant... Showstopper! is what live theatre is made for, a one-off show, made up on the spot by a crazily talented company of comedy improvisers with great voices. I laughed throughout and didn't stop marvelling at the creativity and gusto (and guts) that the cast combined to create a narratively satisfying piece of theatre. The two female cast members were particularly memorable as female cabin crew with dubious Eastern European accents and powerful sets of pipes.
briefly... I'll never see anything quite like it again. Although I will make sure I see the company next time they come back to the Playhouse.
basics... A French action-comedy-drama-fantasy-sci-fi hybrid based on a comic book series, The Extraordinary Adventures of Adèle Blanc-Sec shares sees our titular heroine going all Tomb Raider in early twentieth century Egypt before chasing a pteradactyl around Paris in the search for a cure to revive her tragically-injured sister.
brilliant... There's nothing that extraordinary or adventurous about this film, other than the opening 15 minutes in Egypt, which borrows liberally from Indiana Jones and director Luc Besson's own The Fifth Element. It's an exciting beginning, preceded by a typically French prologue featuring narration that wouldn't be out of place in Amelié. Where the movie comes into its own is when Adèle returns to her home town, Paris, to find her one hope for saving her sister's life, a barmy professor, is being put to death for unwittingly bringing a prehistoric monster back to life which is now terrorising the city's residents. What follows is a quirky, oddly subdued and suprisingly emotional tale of sisterly love and unfortunate coincidence, backed up by some amusing fish-out-of-water comedy moments from a revived Pharoah and his minions. Wacky, inventive and with a particularly gallic Besson sensibility, Blanc-Sec is a charming movie, with a plucky, interesting heroine at the centre of it all.
but... It seems churlish to complain that the film is not adventurous enough, but the title promises more than the film delivers - this is no country-hopping travelogue movie, but it certainly whets the appetite for any possible further adventures. I didn't really need to see Louise Bourgoin's boobs though, as pretty as they were.
briefly... Not reaching the dizzy heights of confection that made Amelié dazzle, Adèle Blanc-Sec's Diverting Adventure is still more exciting and inventive than many of its peers.
We recently watched Dave Gorman's Googlewhack Adventure that I had recorded on TV... and then realised I actually own it on DVD! The perils of a large DVD collection. Anyway, I enjoyed it all the same, and it brought back memories of when I saw it live in Stoke-on-Trent while at uni, and I got a photo with Gorman afterwards. I need to find that and dig it out to scan and put with my 'James Meets...' celebrity photo ops on Facebook.
Something I hadn't seen before was The Comic Strip Presents... The Hunt for Tony Blair (2011), a one-off comedy starring Stephen Mangan as the PM who finds himself in trouble and ends up on the lamb. The twist here is that the story takes place in a black and white, old-Hollywood noir world, where Margaret Thatcher (Jennifer Saunders) is a corpulent Barbara Cartland type predator, modelled on Gloria Swanson in Sunset Boulevard, and Harry Enfield is a sweary Alistair Campbell, with Ross Noble putting in a great performance as a socialist and another of Blair's victims. Short for a one-off (running an hour on Channel 4), Hunt was very well made and had laughs at Blair's expense so it was enjoyable enough, but it did feel like it could have stretched a bit longer.
Back at Christmas 2010 the BBC showed The One Ronnie, a hilarious one-off vehicle for Ronnie Corbett and a host of comic cameos, and early this year they took the format and applied it to create The One Lenny Henry, Jasper Carrott, and Griff Rhys-Jones(2012). The title really only makes sense in the case of Griff as his comedy usually involved Mel Smith, who turns up for a great head-to-head conversation in his episode. I enjoyed all 3 episodes - it was good to see the comedians doing what they should be doing rather than fronting daytime game shows or light-entertainment documentaries. Carrott's stand up was funny because he moaned about getting older in the current tech-obsessed world and didn't come off as fusty, just funny - and while the reunion with Robert Powell as the inept pair from The Detectives had a low gag-rate, the sketch with real-life daughter Lucy Davis that reversed the father-daughter relationship was a hoot. Lenny Henry was good but the weakest of the 3, but then I've often found his comedy a bit hit and miss. The best of the trio was Griff Rhys-Jones, who eschewed the stand-up / sketch / stand-up / sketch pattern for a series of hilarious sketches, including the aforementioned Mel Smith update. Griff has a real knack for stupid characters and brings good acting chops to the comedy dialogue - his persistent football fan, desperate to get Tom Hollander's non-fan to talk about the game was gold. I hope that Griff more than any of the others gets back into comedy after this. And if Mel Smith wants to join in as well that would be fine.
A show from last year that we took a while to getting around to watching, Death in Paradise: Series 1 (2011), turned out to be a warm, easy show to like - once the first episode was over anyway. I liked the first show because they wrong-footed the viewer and made a character you assumed was a starring role into the murderer (stealing an idea from Spooks' very first episode), but for some reason the hour felt long and the set up, though intriguing, didn't hook me straight away. Ever reliable Ben Miller is DI Richard Poole, sent to the beautiful Caribbean island of Saint-Marie (really Guadeloupe) to investigate a murder and then told to stay there, along with French DS Camille Bordey (Sara Martins). Poole loves the rain and cold of Britain so he's none to happy to have to suffer in the sun and heat of this unfamiliar island, particularly with a French sidekick. While the plots were often fairly easy to work out for anyone who's ever seen a crime show before, the joy of Death in Paradise was how easy and relaxed and comforting it all was, and with great performances from Miller and co, including Danny 'Cat from Red Dwarf' John-Jules as a laid back policeman, and a host of British character actors like Miranda Raison, Shirley Henderson and Keith Duffy(!). Oh and this being a Caribbean-set show there are some great accents, mostly shown off by a who's who of black British talent - very much like The No.1 Ladies Detective Agency. The camaraderie of the main cast kept me coming back, along with the gentle humour and the exotic locations.
The Royal Bodyguard (2012) was equally as gentle as Death in Paradise, but it wasn't nearly as satisfying. I decided to watch the whole series to see whether it would improve, and other than brilliant comic work from David Jason as hapless, disaster-prone bodyguard Guy Hubble and sublime straight-man Geoffrey Whitehead as his boss, it fell flat in terms of believability and truly funny comedy. I realise that comedy doesn't need to be realistic, but the central idea - that someone as old and useless as Hubble would be entrusted with looking after the royal family - just does not ring true, however much Jason is adept at playing the gullible fool. For such an unexciting show the production values were good, it's a shame that more time wasn't spent on the scripting and curiously drawn out jokes.
basics... I have decided that were I able to travel back in space and time to any period, I'd choose to go back to twenties Hollywood to witness the spectacle of the movies - the birth of sound, of animation, Walt Disney, a time when movie stars were Stars, not celebrities, when they retained a mystique and weren't like mere mortals like you or I. And through Hugo and The Artist, two critically acclaimed movies set around the period I'm talking about, my dream came true, for a few hours at a time at least.
Hugo is an atypical Martin Scorcese fantasy about a young boy (Asa Butterfield) who lives in a Paris train station with a broken clockwork man for company. Through his friendship with Isabelle (Chloe Grace Moretz) he discovers silent-movie pioneer George Mélies (Sir Ben Kinglsey) working in his station.
The Artist is a French-made movie set in Hollywood, in black and white, full-screen, and silent. They really don't make them like that anymore! The stars and director of the OSS 117 spoofs reunite to create a film that doesn't parody early silent movies, rather it celebrates the ingenuity of the form and uses the same story-telling devices to construct a plot akin to Singin' in the Rain (talkies coming along to make silent stars redundant) that still manages to feel fresh and involving in a world of CGI and special effects.
brilliant... Both movies are utterly magical - but I'd have to say that Hugo was suprisingly the one I found most enjoyable. Hugo looks beautiful, the train station set is gorgeous and Scorcese's camera-work, even in 2D, is breath-taking. Butterfield and Moretz are charming and surrounded by some fantastic English actors, including Kinglsey and Richard Griffiths, and the fantastic 'villain' played by Sacha Baron Cohen, who turns out to actually have a heart in a very real way. Once the young protagonist discovers who Mélies is, or was, the movie becomes more than an adventurous fantasy and turns into a love-letter to the filmmakers of the early 20th Century, and the whole thing becomes even more magical and exciting.
The Artist is less about spectacle and history than it is proof that special effects do not make a movie more exciting, and that you don't need a honed speech to present emotion on screen. A lot of plaudits have been given to Jean Dujardin for his star turn as George Valentin, yet the person who made the film come alive even more than he is the stunning Bérénice Bejo as superbly named Peppy Miller. Every moment she is on screen is a sheer joy, there is so much enthusiasm and warmth emanating from her. Together, Dujardin and Bejo are a formidable double-act, and they are complemented by brilliant mime-work from James Cromwell and John Goodman. There are some ingeniuous sequences, including one of Valentin's dreams in which he can hear sound effects but not speak, and the final frenetic tap number. A clip of Safety Last! is shown at one point, with the audience reacting to the tense yet funny aspect of the final climbing scene, and the spirit of this edge-of-the-seat emotion that early movies strived for is replicated in the potentially bleak final act of The Artist. I really wasn't sure if either lead character would survive. It was nice too that the movie shied away from a traditional romance - Valentin never really reciprocates the adoration that Miller feels for her hero, and this is to the film's credit and it's ability to subvert expectation.
briefly... Two beacons of originality and creativity in a medium awash with remakes, star-vehicles and trash, Hugo and The Artist are easily the best movies I've seen or expect to see for some time.
basics... The continuing adventures of celluloid Holmes and Watson, starring Robert Downey Jr and Jude Law in Victorian London, plus the return of Benedict Cumberbatch and Martin Freeman as Sherlock and John, modern day problem solvers on a TV budget.
brilliant... Very little seems to have been written, at least in the things I read, discussing these two very different adaptations in the same breath, which is odd considering they both back in sequels released/broadcast within a few weeks of the other. The movie is a less cerebral, more visceral, action-packed affair than the trio of new episodes, yet each 'product' is recognisably Sherlock Holmes, and each is a joy to behold. Key to each is the chemistry between the duo of actors in the starring roles - Downey Jr and Law seem so comfortable sparking off each other, while Freeman is a knockout as his (platonic) love for quirky Cumberbatch's super-sleuth translates through to the audience. A Game of Shadows is more fun, more assured than its predecessor, and the inclusion of both Stephen Fry, as Holmes' brother Mycroft, and Jared Harris as nemesis Moriarty are masterstrokes. The TV show has an equally compelling villain in Andrew Scott's Jim Moriarty, and the final episode, in which he sets Sherlock up for an almighty fall was nail-biting stuff. Damn Stephen Moffat's love of cliff-hangers!
but...
I reiterate my complaint from my review of Sherlock: Series 1: 3 episodes is not enough! Even if they are each feature length. While it's nice to see Noomi Rapace on screen in A Game of Shadows it would have been even better if her character had something useful to do - the dearth of female characters gives a real boys' own adventure feel to the film. Women are better served in the TV version, particularly Lara Pulver's Irene Adler - I hope we see more of her next series (although in the infamous naked scene we've already seen quite a bit).
briefly... Worthy successors and happy bedfellows, each adaptation/version has a lot to recommend it.
The Christmas / New Year period was fairly busy for some reason, and it's only since this last weekend I've been able to unwind, at least that's how it feels. So I'm going to do a quick catch up on the stuff I've been watching and reading to bring me up to date to start the new year.
Back at the end of 2011 I loved every minute of Forbrydelsen II / The Killing II (2009). While not as long or perhaps as compelling as the first series, the second still held my rapt attention. Sarah Lund returned to Copenhagen to track a series of killings involving the army and incident in Afghanistan many years before. Grisly murder scenes and lots of pensive Lund moments mixed with new politician Thomas Buch's investigations into his predecessor's conduct as Justice Minister combined for some pretty exciting TV. I did not see the ending coming AT ALL and it was super intense. The intelligent way that The Killing handles plot, character and drama makes it one of my favourite show of the year. Roll on series 3!
Another returning series was Merlin: Series 4, which kicked things up a notch early on by dispatching Uther (and Lancelot) and crowning Arthur King of Camelot, before treading water with some ho-hum warlock-of-the-week episodes before shifting gear again on the overarching plot and marrying off the new king to Gwen. Still no sign of Merlin revealing his magical secret to his best mate and boss, but there were more interesting developments that almost got forgotten in the final episode of the series when the boy magician finished off evil Agravaine! I'm sure that's going to come back to haunt Merlin and add some angst to series 5.
The small yet perfectly formed Rev came back with a new series that saw some big name guest stars in Reverend Adam Smallbone's tiny congregation. Still funny, endearing and often unexpectedly, refreshingly rude, Rev still feels like a hidden gem.
While in Crewe for New Year I had the 'pleasure' of watching a few bits and pieces on my in-laws' new 3D TV, including some Kylie concert, a bit of a CGI movie and a whole programme in the form of nature documentary The Bachelor King 3D. Narrated by Sir David Attenborough the over-long one off followed the life and times of a king penguin - at least it purported to do, until the closing credits revealed that the penguin lead was actually 'played' by several different birds. The 3D was a nice touch, but as I've said before, watching something in 3 dimensions does not improve the actual experience. It's a novelty and nothing more, and after 75 minutes with heavy 3D glasses it's also a bit of a headache. The programme was good, though didn't shed any new light on the lives of a well-documented species.
TV short Ice Age: A Mammoth Christmas was charming though distinctly odd. I understand the conceit of talking mammoths, sloths, etc, but I just cannot credit the presence of a human Santa Claus or the very notion of Christian Christmas many thousands (millions?) of years too early. I know it's a kids' holiday special but come on! Paradoxes aside, the short was a lot of fun and made me want to finally watch the movie sequels to the not-quite-classic-but-better-than-most-cgi-movies original.
I found time to read a couple of books over Christmas. The first I actually received as a gift last year, The Interrogative Mood(2010) by Padgett Powell. A bizarre 'novel' constructed entirely throughout its 164 pages by a random string of questions. It's an odd beast, and not really my idea of a novel, but it's hardly non-fiction either. Occasionally there seem to be groups of questions that link but there is no connected through-line. Strangely the overall impression of the book is that whatever it is, it works. It really has to be read to be believed.
More straightforward was Kate Mosse's Labyrinth (2005), an epic grail quest that feels incredibly sedate compared to the Da Vinci Code. I say grail quest, it's not until the last third of the novel that the relic evens merits a mention. Before that the story is split between Alice in the present and Alaïs in the 13th century as the former pieces together bits of the life of the latter until both narratives cleverly converge in the same cave in the French Pyrenees. I rarely had this book out of my hands over New Year, I very much relished the dual-narrative style, the subject matter and the wonderfully drawn characters. I particularly liked Alaïs' experiences in a foreign country and a dim and distant past for the fact that both aspects of her life were so different and original. Where Dan Brown's book felt like a thriller for the MTV generation, Labyrinth was more like a 20 part Danish drama, slowly unfolding over time to reveal a deftly plotted adventure.
Once I come back from the in-laws in January, and have finished my next Open Uni story I'll update on the great TV series that finished in December (The Killing II, Rev, Merlin) but for now I thought I'd update on a few one-offs I've watched in this no man's land between Christmas and New Year.
Following a viewing of the original on Christmas Eve, on Boxing Day we settled down to watch Home Alone 2: Lost in New York (1992) over dinner. While not quite as innovative or original as the first, this film gets off to a strong start with inventive (and believable) new ways of separating Kevin from his family. This time they go to rainy Florida while he ends up in snowy New York, with his dad's credit card, and, inconventiently, recently escaped burglars the Wet Sticky Bandits. More time is spent this time around on the main set piece of Kevin attempting to murder the Wile E. Coyote-related burglars with ingeniously placed holes and buckets. There is some great comedy to be had with reliable Tim Curry as an over zealous hotel concierge and some good continuity gags from the first film, such as Harry still having Kevin's front door handle burned onto his palm. The pigeon lady's emotional arch isn't as touching as the scary neighbours in Home Alone, especially as the scenes between Kevin and his mother are where the real heart of the film lies.
A couple of programmes starring Alexander Armstong and Ben Miller caught my attention on Channel 4 the other night. First we watched The Best Bits of Armstrong & Miller (2001), which featured highlights from the duo's final Channel 4 sketch show, and not any of the first 3 series for unknown reasons. I remember laughing along to this series when it went out, though many of the sketches I'd forgotten. I remembered Nude Practise though, which sees the characters running an inexplicable naked vets... Odd. Some of the best bits are the running gags and one liners, such as the inspirational teacher who tells his class to 'fuck off' as soon as the bell goes, or the camp TV gossip columnists who open the episodes. It's all good stuff, up there with the best of their BBC work. I suppose the purpose of this strangely scheduled clipfest was to help promote the sitcom pilot that preceded it, also starring Armstong and Miller as a pair of Edwardian fops, Felix and Murdo. It was a curious set up. Written by Simon 'Men Behaving Badly' Nye it had an oddly disjointed, undercooked feel. I suppose, as a pilot episode, it's flaws can be forgiven, especially as Armstrong and Miller's central performances were so reassuringly well delivered. If it were to run to a series I'm not sure I'd be tempted back, but we shall see.
Another comedy one-off, on BBC2, was I suppose a pilot too, for a TV version of the Radio 4 programme I've Never Seen Star Wars. Oddly though, this has already been on TV, on BBC4 and hosted by Marcus Brigstocke. The terrestrial (mainstream?) version here was hosted by Jo Brand and featured Stephen Fry as the guest, apparently because he had time among his other many projects to fit in a bit of boxing, ear piercing, building flatpack furniture and watching Only Fools & Horses. It's an interesting premise for a show, thought I think it would work better without the studio bit and if it just featured footage of the guest enjoying the new experiences. To be fair, it was the attraction of Brand and Fry that drove me to the special, which I suppose was the point, and I doubt I'd bother with it again unless the guest was someone of interest.
There's a second episode of It'll be Alright on the Night airing before the year ends, but I'll write about the first to cover both. This is one of the few shows I'll make a point of watching on ITV, even more so now that isn't-he-dead-yet Dennis (S)Norden doesn't host it. Griff Rhys Jones is a much more agreeable guide to the pratfalls, fluffs and plain weirdness that makes up the long running blooper-fest. I'd seen several of these clips before, but that didn't make them any less funny. From the Blue Peter presenter dropping the Trafalgar Square Christmas star to Martin Clune's inability to write a prescription, there's something so funny about the material found on this show. I love it, and am not ashamed to admit it!
After reading William Goldman's novel I revisited The Princess Bride (1987) on DVD. I didn't get the big deal the first time around, and while I can see why it has earned cult status, like the book before it I still felt it was lacking an extra something to expand the idea of a parody fairytale into a roaring success. What the movie did was make me want to watch Cary Elwes really letting loose in Robin Hood: Men in Tights again! The Princess Bride felt oddly low key as a whole, something that could also be said of Monsters (2010), the economically made movie about two characters who are thrown together to travel across alien-infested landsThe low budget meant that this was more a character study than a John Carter style action-fest, with the CGI aliens only briefly glimpsed. Perhaps actually it is more of a love story than anything else, as well as a pretty trip around the jungles of Central America. 
