“The Hippopotamus” the novel came out in 1994. At the time the book was mildly shocking, moderately funny and quite witty. Stephen Fry was at the height of his popularity, he was clever, droll and sharp. 23 years later and everything has changed, the storyline is slightly distasteful, the writing seems bland and the dialogue is pompous.
Roger Allam is good as Ted Wallace, a washed up poet who investigates a series of miracles taking place in a country house, but he is just about the only good thing about this film. As a comedy it is remarkably banal, his vicious put downs and arch insights fall flat because everyone in the film has some major character flaw that makes the shot too easy to be funny.
The most interesting thing about this movie was trying to work out what had changed in the intervening years, that made the experience of watching it in 2017 so different to reading it in 1994. In the end, I decided that there was a combination of factors conspiring against it. Watching it over an hour and a half as opposed to reading it over a few days, intensified the characters, made them less rounded, and as the flaws were the part that was important to the storyline, these were the traits that were magnified. My taste has changed, and although I still enjoy a barbed riposte, I prefer it when both sides have the wit to take part. Sitting ducks make unexciting targets. Attitudes have changed in the last 23 years too, and the story that was shocking, but quite funny in 1994, appears borderline abusive now in 2017.
These things go in cycles, and although Stephen Fry’s star is on the wane currently, in the future he may again be recognised as a major talent. However, at the moment there is not much to recommend this film – save it to watch in 2040.
From the second the opening whistle sounds and the cast of 50 begin their football chants, the audience is dragged in – to a world of youth tribalism, disaffection and tough choices. Wilton’s Music Hall is the perfect size for this play, large enough that the cast doesn’t outnumber the audience, small enough that the cacophony of sound envelops you to feel part of the crowd.
Zigger Zagger is a late 20th century parable, ostensibly about football hooliganism but also about loyalty and fitting in. The protagonist, Harry Philton, excellently played by Josh Barrow, is a school leaver searching for belonging and is drawn to the local football terraces. He is aware of its limitations as a life choice so investigates the alternatives.
Among these are: Police, Army, Religion, Apprenticeship and, settling down. These options are caricatured, often in musical or poetic form. Adam Smart is particularly funny as the Youth Careers Officer. In between each option we are brought back to the terraces for a song and each time we feel the allure of being part of the crowd.
The soundtrack is great, T.Rex, Mud, Bay City Rollers even the Sex Pistols. The crowd songs are classical and traditional, with some chanting thrown in for good measure. Zigger Zagger is a boisterous and entertaining evening, with some great performances, and an interesting reminder of a specific moment in this country’s development.
Don’t sit down to watch this expecting any deep revelations about the meaning of life. Think more in terms of an episode of Glee with opera music and old people.
Dustin Hoffman’s directorial debut is full of visual metaphors for old age. The time of year is late autumn, there are beautiful sunsets and it is all set in a wonderfully maintained ancient building. The acting is good, the direction is good, the setting is beautiful and the music is lovely. The story is undemanding, particularly predictable, in fact it is almost facile but it is all very likeable and chilled. It is probably perfect Sunday afternoon fare, you could doze off for a few minutes and when you come back you will still know exactly where you are in the storyline.
It has a cracking cast and the director has left them to do what they do best. Maggie Smith has some great arch put downs, which she delivers perfectly. Michael Gambon is a wonderfully camp, self obsessed director. Pauline Collins is giddy and dizzy. Tom Courtenay is wounded and rueful, and Billy Connolly is a rude and distasteful old charmer. The dialogue is sharp and there a few nice cameos and set pieces.
Easy and comfortable, if films were shoes, then quartet would be the tartan slipper!
Shrek has just turned sixteen and it is now available on Netflix. I remember having enjoyed it when it came out, so it is interesting to see how it has fared in the intervening years.
It has aged well. It is crammed full with jokes and these are still funny, the cultural references have remained relevant and the story is that rare mixture of knowing and sweet. The cast of fairytale characters are timeless and their lines are clever and likeable. The evil lord is wonderfully nasty without being either frightening or creepy. The story has a nice uplifting moral tone and you are longing for the heroes to prevail. The animation and delivery are both well done, Eddie Murphy is particularly good as Donkey, how bittersweet to have your most enduring role as an animated ass!
This film won the first Oscar for Best Animated Film and it is a deserving opening winner. It is a big feat to have a movie that is principled and simple enough to entertain you as a child, but subversive and referential enough to provide a new set of pleasures when you watch with your own kids. I believe that I enjoyed it just as much now as I did then.
Hunt for the Wilderpeople is the antithesis of a Hollywood movie. It feels home made and local, but that is exactly what it sets out to do. This film makes a point of being unsophisticated. It is set in New Zealand, it has New Zealanders as characters and it shows a New Zealand ethic to the world.
It is a rough film with a warm heart, about a grumpy old man and a juvenile misfit who don’t understand each other at first, but who look after each other’s welfare when needed. Taika Waititi, the director, has a deft hand at showing characters expressing care without using soft words. True affection here is shown by honesty with humour.
It is not a perfect film, but it doesn’t try to be perfect, and that is part of its charm. This film revels in the rebellious; all the main roles are outsiders and happy that way. It is a strange mixture of rural realism and wild fantasy. Some of the characters, especially the baddies are comic book caricature. It is chock full of great lines and the good characters are well defined and warm. Sam Neill is good as Hec, and Julian Dennison is excellent as Ricky. There are also a few, beautifully quirky, cameos.
The scenery is, unsurprisingly, amazing; it is set in outback New Zealand, it is part travelogue, reminding the world why they should want to visit. The soundtrack is unusual and endearing, the birthday song is surprising and funny. It is lovely to see a film that manages to blindside you, and I hope the success of this one results in more of this type of film being made.
The reviews for this show had been so good, but it was sold out. I know that NT have a few restricted view seats that they sell at 9.30 on the day. I got there at 9.20 and BINGO! I was in. The seat was £15 and I wouldn’t have called it restricted view at all. Apparently some are less good, but I was only second in the queue, and the view was perfect.
The reviews are well deserved, the writing is dazzling. Nina Raine is a huge talent with a wonderful ear for dialogue. She tackles some really complex subjects and manages to make you aware of each different person’s point of view, see the validity in it, and even make it funny! We are going to hear a lot more of Nina Raine as a playwright.
Of course, this writing would come to nought if the actors weren’t able to deliver, and here we have six main characters of talent, all on top form, and all buoyed by the knowledge that they have great material to work with. Anna Maxwell Martin and Ben Chaplin are excellent as the couple, Kitty and Edward, managing to make us loathe some of their actions while still understanding the reasons behind them. Adam James is brilliant as Jake, the husband who is able to rationalise his bad behaviour, and Priyanga Burford is perfect as his witty intelligent wife, who is laughing at herself for accepting it.
The set is simple and clever; an array of lights hang above the stage, and different ones lower and light, to convey which home we are in. The direction is uncomplicated; allowing the dialogue to speak for itself. Everything about this production is top quality.
I loved this play. I know it is sold out, but it is worth going along in the morning; to see if you can get day tickets, or if you hear of it getting a transfer or a revival; make sure that you are quick off the mark.
School of Rock’s plot has more holes than a polo mint factory. I almost had to talk myself into suspending my disbelief. However, when I did, this show has funny lines, great tongue-in-cheek, rock songs, and some very talented children.
The opening song “I’m too hot for you” is a clever parody and “Stick it to the man” and “School of Rock” are crowd pleasing, audience participation, stadium rock pastiches. There are other good songs too “You’re in the Band” is catchy and I liked the “Faculty Quadrille” which has recognisable Lloyd Webber moments.
David Finn is likeable and irritating in equal measures as Dewey, but this is as it meant to be. The plot involves him living out his teenage fantasy by changing a class of nerdy kids into 1980s style rock stars. The story is fun, ridiculous and there is a big enjoyable finale, where the crowd goes wild. The children play all their own instruments and their acting and singing is excellent.
This show is a real crowd pleaser, the whole audience was involved by the end and there was a standing ovation. The cynic in me saw a lack of narrative, did not see the ending as happy and felt a bit manipulated. However, I took a lesson that I learned from the “Book of Mormon” song “Turn it Off” and did just that.
Put away your critical eye, embrace your inner teenager, and you will enjoy it too!
Get Out has a number of “jump back in your seat” moments which is always a good thing in a horror movie. It also has humour, both laugh out loud bits, and some sly, embarrassing, observational moments. These carry you along nicely to the next scary part.
The acting is good, Bradley Whitford is excellent as a white liberal intellectual, explaining his guilt away. Catherine Keener is creepy as the psychologist mother. Daniel Kaluuya is good at noticing the slights but not taking offence, a fine line to tread.
I really liked Jordan Peele’s manner of dealing with incidental, institutional racism in this film. It is there throughout the movie, and it isn’t ignored, but it is supposedly not the main storyline. The front story is a brainwashing, Stepford, comedy/horror thing. He shows great promise in his first film, with his light touch on an awkward subject. Interestingly, he has just become the first black debut director to have his film gross over $100 million.
There is some gore, enough to make you feel some disgust, but not enough to want to hide behind your cinema seat.
The ending is interesting too, it is always nice to have a finish that is unexpected, and this finale suited the movie much better.
I have to say that I really enjoyed this film, a great mixture of comedy, horror and social comment.
The 17th Century version of this play closed, after only one performance, because of its repulsive and offensive nature. It was not shown in an uncensored form again for almost 150 years. Marber updates the setting to 21st Century Soho, but stays remarkably faithful to the original story.
It is shocking, ribald, offensive but that is the point of the play, Don Juan is not meant to have any redeeming features. David Tennant is very good as the debauched libertine, who is patronising, misogynistic and self serving. Adrian Scarborough is fantastic as Stan, his forgiving manservant, who is just as taken is by his master’s guile as any of the women he seduces. Together they make a fantastic double act, funny and argumentative, Stan feels the guilt that his master doesn’t, but yet he cannot help himself from becoming involved in the collusion. Their duet to close the first act was brilliant.
The script is witty and sharp, Don Juan’s diatribe against social media and celebrity culture is funny, and made it feel current, even if it did not advance his argument. I have to admit that I am not sure what the addition of the dancers in their underwear added to the proceedings, but the use of music is good, the occasional pieces from Mozart’s, Don Giovanni are a nice juxtaposition to the modern score.
This play is always going to a controversial choice, if it doesn’t disturb and distress people, it is not doing its job. It is a brave play for the leading actors to take on because it relies so heavily on the capability and rapport of the two lead characters and if it is not done well, it will always be a mark on their career. However, David Tennant and Adrian Scarborough are both excellent and carry it off admirably.
With the vogue in theatre now, for women to take on roles that have traditionally been played by men, this would be an interesting proposition – and it would go some way to counteracting the misogyny criticisms often levelled against it.
Until that happens, this is a very enjoyable show, an excellent night out and the perfect start to a night of revelry in nearby Soho.
This is a curate’s egg of a film – good in parts. It’s sets out to be a pastiche of a corny 1970s Blaxploitation movie, and it succeeds almost too well for its own good. The plot is very ’70s, a light, far fetched, political conspiracy theory.
The characters are caricatures. Ryan Gosling as Holland March is quite knowing about it and carries it off very well, we get to like him and he is actually very funny. Russell Crowe seems to be just walking through the film saying his lines, so his character is two dimensional. Angourie Rice is great as Holland’s daughter and also has some of the best lines of the show.
This movie contains violence, sex references, nudity, bad language and drug use; all gratuitous, all characteristic of the time. Not so funny in itself but funny because in the 70s they were only recently able to put these into films, so they did, even if it was unnecessary. The humour is broad, bordering on slapstick, but it works, mostly
The sets are perfect and costumes are right on. I particularly enjoyed the soundtrack, apparently some of the songs were too late for the time in which it was set, but they felt right to me.
On balance, Shane Black has done an excellent job directing “The Nice Guys” in that, from slight material, he has made a little go a long way.