Stage: You should be dancing

Saturday Night Fever
dir Bill Kenwright
choreo Bill Deamer • design Gary McCann
stage adaptation Robert Stigwood, Bill Oakes
with Richard Windsor, Olivia Fines, Melody E Jones, Phillip Aiden, Marios Micolaides, Jasmin Colangelo, Kevin O'Dwyer, Paul French, Faizal Jaye, James Brice, Micharl Cortez, Tosca Fisher, Ashley Luke Lloyd, Celeste Zollino
Peacock Theatre, London • 4.Feb-26.Mar.22

A riot of lights, colour, great music and stretchy fabrics, this massively engaging stage show takes the audience back to the 1970s disco heyday with a lot of style. Even the story's darker turns can't stop the large ensemble cast's boundless energy as they strut their stuff on the Peacock's almost comically glammed-up stage.

Set in 1977 Brooklyn, the show centres on Tony Manero (Windsor), a gifted dancer from a working class background who lives for the chance to get up and boogie each weekend at a local nightclub, where all the girls know his name and his group of childhood buddies is never far away. Then he hears about an upcoming dance competition, and he dumps his current partner Annette (Colangelo) for mysterious pro-dancer Stephanie (Fines). But his focus on Stephanie strains his relationships with his family and friends.

The plot takes some darker turns along the way, both in slightly under-developed side-stories and a major gang clash that adds a violent dance-style streetfight. All of this is staged with hugely expressive choreography, sending characters in constant motion around the multi-levelled stage. And while the darker drama and a steady stream of sharp comedy add plenty of texture, it's the dancefloor sequences that bring the show to pulsating life. Frankly, the performers' stamina is astonishing.

Costumes are a wondrous sea of doubleknit trousers, polyester shirts and nylon chiffon skirts (no doubt rendered in kinder fabrics to protect the dancers from melting down). And the lighting is fabulously lurid, with lots of glitter balls and underfloor illumination reflected in a huge on-stage mirror. And with some 20 dancers on-stage, the group choreography is downright jaw-dropping: fast and complicated, mixing all of the favourite disco moves with moments of ballet and ballroom.

The audience can't help but applaud the Bee Gees (Luke Byrom, James Hudson and Oliver Thomson) when they first emerge to oversee everything from above. There are also songs from the group's earlier and later work woven into the show alongside the iconic Saturday Night Fever setlist. And key cast members get to belt out a number themselves (Fines steals the show with What Kind of Fool). So while the plot itself sometimes feels a little harsh, the point is that there's always the weekend coming to let off steam. When the dancers return to their formations, striking poses in rapid-paced gyrations, we can't help but wish we were up there sweating with them.

For more information, click HERE 

photos by Paul Coltas • 17.Feb.22

Critical Week: Somebody's watching

It's been a quiet week as far as press screenings go, but I've been keeping busy with various events, as well as the usual collection of movies to watch using online screening links. BFI Flare held an event to launch the programme for its 36th festival, and it was great to have an in-person event again - although without the usual festival afterparty. The festival runs 16-27 March as a mix of cinema and virtual screenings and events, and I'm looking forward to it as usual. Flare is easily London's most festive film festival.

BEST OUT THIS WEEK:
Strawberry Mansion
Kimi • Uncharted
The Real Charlie Chaplin
ALL REVIEWS >

As for the movies, I watched Steven Soderbergh's superbly involving Hitchcockian thriller Kimi, which stars Zoe Kravitz (above) as a tech worker caught in a properly suspenseful mystery. Naomi Watts is terrific in The Desperate Hour, essentially a one-woman show about a mother panicking to get back to her children. It's emotive but a bit contrived.  From Australia, Streamline is an intriguing but far too gloomy drama about a swimmer (Levi Miller) who goes off the rails. From Greece, Echoes of the Past is a familiar WWII drama elevated by the great Max von Sydow, in his final film role. The surreal adventure Strawberry Mansion is a wonderfully inventive journey into dreamscapes starring Kenrucker Audley, who also cowrote and codirected. And from France, A Night in the Fields is an involving short feature about two teens working out their friendship and more.

I also revisited the sensitive, improv-style 2020 New York drama Cicada before hosting a Valentine's Day Q&A with writer-director-star Matthew Fifer, producer Jeremy Truong, producer Ramfis Myrthil and editor Kyle Sims. The film's UK release was delayed by the pandemic, and it was great to finally get to meet them, welcome them to London and chat to a very receptive audience.

In this coming week, films to see include Channing Tatum in Dog and the Palestinian thriller Huda's Salon. I'm also heading off on a break for a couple of weeks, so blog entries may be a bit sporadic. But I'm hoping to catch up with the Foo Fighters in Studio 666 and, yes, Robert Pattinson in The Batman along the way.

Critical Week: Go ahead jump

Oscar nominations this week threw the awards season into some chaos, and put some races into focus. There will be lots of conjecture before the ceremony at the end of March. Then after several weeks with a drip-feed of big releases, three come along all at once. All three had late press screenings this week in London just before they opened. The most fun was Uncharted, a lively adventure that just about gets away with its simplistic script because Tom Holland is so ludicrously charming. And Mark Wahlberg almost keeps up with him, which is pretty impressive. Kenneth Branagh is back with another lavish but underwhelming Agatha Christie adaptation, Death on the Nile, which has lovely (mainly digital) Egyptian settings and an all-star cast that includes Gal Gadot, Armie Hammer, Letitia Wright, Russell Brand and an underused French and Saunders. And Jennifer Lopez and Owen Wilson find surprising chemistry in Marry Me, a romcom that never veers form the formula, but has some fun with it.

BEST OUT THIS WEEK:
Flee • Wheel of Fortune and Fantasy
ALL REVIEWS >

More offbeat films included Johnny Depp in the biopic Minimata, about a noted photojournalist raising awareness of toxic waste in 1970s Japan. It's well-made but a bit dull. Give or Take is a charming little drama about two men who share a grief and little else. Watching them find friendship is nicely underplayed. Small Body is a bold fable from Italy about a woman on an epic quest from the sea to the mountains. It's packed with provocative themes, and is deeply haunting. And I also watched the six short films featured on The French Boys 3, another collection of terrific small dramas that grapple with masculinity.

This coming week I'll be watching Naomi Watts in The Desperate Hour, Zoe Kravitz in Kimi, Jason Isaacs in Streamline, Max von Sydow in Echoes of the Past, the French coming-of-age drama A Night in the Fields and the surreal drama Strawberry Mansion. I'll also be at the press night for the London stage musical production of Saturday Night Fever.

Screen: February TV Roundup

I watched more TV than usual over the Christmas break, and then in January there was an onslaught of new material, while film screenings have been quiet. So here's an update on what I've been watching to kill time in between the movies...

Hawkeye
Due to my general exhaustion about Marvel-world, I was planning to skip this series. But the clips revealed a lively comical sensibility, so I've been sucked back in. And this is an enjoyable romp, with sparky turns from Jeremy Renner and Hailee Steinfeld as arrow-shooting heroes who bicker because the script insists that they must. The story is enjoyably convoluted and a bit out of control, packed with characters who are rather too sure of themselves based on flawed information. As Kate, Steinfeld's refusal to be the usual brooding hero is hugely refreshing. And the best surprise is the sizzling action-banter between Steinfeld and Florence Pugh's Yelena. Please give them their own movie. (Disney)

The Tourist
Jamie Dornan is terrific as a guy who wakes up in an Australian Outback hospital with no memory of who he is or how he got there. He makes a connection with Danielle Macdonald's rookie cop, while she intrepidly investigates his identity against all advice. Details about who he is and the trouble he's deeply into dribble out slowly over six episodes, maintaining a ripping sense of mystery while throwing in some heart-stopping action here and there. It's more violent than was strictly necessary, with one villain to many. But the variety of the baddies (from Olafur Darri Olafsson's man-beast to Alex Dimitriades' swaggering billionaire to Damon Herriman's wheezy cop) keeps things very lively. (BBC)

The Woman in the House Across the Street From the Girl in the Window 
Kristen Bell somehow maintains a straight face all the way through this thriller pastiche, which deploys every imaginable cliche of the mystery thriller genre with gusto. Although because those movies are essentially spoofs themselves (they never resemble anything like real life), this show really needed to go much further than this. Even the requisite steamy sex montage is oddly undercooked, as it were. Still, it's hilarious to watch Bell guzzle litre-sized glasses of wine as she gazes out her window, so emotionally wounded that no one believes she's witnessed a murder. As the whodunit takes some silly turns, more arch, over-the-top satire might have set this apart from the shows it's poking fun at. (Netflix)

A Very British Scandal
Claire Foy and Paul Bettany are terrific as the real-life Duke and Duchess of Argyll in this three-part drama about a 1963 court case that caused a seismic shift in Britain's tabloid coverage. There's a problem woven into the fact-based narrative, because it's impossible to end this story on a satisfying note. But the writers bravely refuse to embellish anything, so all of the events are deliberately left as hazy or undefined as history has recorded them, which is also slightly frustrating. Still, the entire cast is excellent, and the period is recreated with understated flair. It's also an eye-opening exploration of gender roles, centring on a woman who simply refused to be bound by the rules. (BBC)

Around the World in 80 Days
Lavishly produced on a remarkable scale, this grand adventure stars David Tennant and Ibrahim Koma as Phileas Fogg and Passepartout, with Leonie Benesch as a gender-swapped Fix, who's now a feisty journalist rather than a tenacious detective. Switching characters around isn't a problem, but the writers have essentially abandoned Jules Verne's novel completely, with big set pieces that feel contrived to add thrills at specific intervals. And the plot contrivances that have been inserted are surprisingly lazy and underdeveloped. Thankfully the actors are terrific, creating a nice sense of camaraderie between the bickering-but-loyal trio. And the landscapes are spectacular, augmented by above-average effects work. (BBC)

The Wheel of Time 
Clearly straining to be the new Game of Thrones, this over-serious epic about ancient lands and terrible wigs is bursting with convoluted mythology about the nature of fate (see the title) and how various people tap into power for good or evil, represented as white or black swirls, of course. The costumes designs are just as cliched, but at least the production is splashed with some bright colours to liven up the usual drab beige-greyness. Rosamund Pike produced the show, so it's surprising that she's wasted in an underdeveloped role (including two episodes in which she's unconscious). The rest of the cast has a fresh-faced intrigue that bodes well for a second series. Just give Pike more to do, please. (Amazon)

T H E Y ’ R E   B A C K !

And Just Like That: aka Sex and the City series 7 
This reunion show catches up with three of the central characters: Carrie, Miranda and Charlotte, played by Sarah Jessica Parker, Cynthia Nixon and Kristin Davis (Kim Cattrall's Samantha has moved to London). It works best when it's exploring how the characters have maintained their spark into their mid-50s, although packing so many momentous life events into these 10 episodes feels rather artificial. It also feels awkward as it tries to tick a series of trendy and politically correct boxes, while the darkly emotive sequences are rather soggy, as if concocted by writers to add depth on cue. That said, revisiting these characters is fun, and the lively and engaging new cast members add a fresh perspective. (HBO)

Dexter - New Blood: aka Dexter series 9
All these years later, we catch up with our favourite blood-spatter expert Dexter (Michael C Hall), who's now calling himself Jim and working in a weaponry shop somewhere very snowy. He's also being haunted the ghost of his snarky sister Debra (the great Jennifer Carpenter). Of course he's managed to fall in love the local police chief (Julia Jones). Then his now-teen son (Jack Alcott) turns up, triggering a series of momentous events that churn into a powerful finale. This has never been the most tightly scripted show, with its gaps in logic and continuity, but its characters have been so indelible that we hate to miss a single episode. And this limited series has clearly been created for the fans. (Showtime) 

A N O T H E R    S E A S O N

The Great: series 2 
Even more raucous than the first season, this historical romp continues to play loose with the facts while unpicking deeper truths about humanity. Everyone in the story is somewhat cartoonish, and the plots are bonkers, but that's the point, as present-day attitudes and dialog are overlaid on the 18th century Russian court. Now that Catherine (Elle Fanning) has seized control of the Russian Empire, her lovelorn husband Peter (Nicholas Hoult) languishes in house arrest. Although he can't be contained at all. The surrounding characters come into their own this season, orbiting hilariously around these bickering rulers. And then there's Gillian Anderson's riotous appearance as Catherine's mother. (Hulu)

The Witcher: series 2 
While this show still has some self-effacing wit, this season is far more serious than the lively, scruffy first set of episodes. This time it's much more about politics and power, as the characters jostle for position and engage in a lot of soapy melodrama that just seems silly because everyone maintains such a straight face. Which is even more astonishing since everyone is wearing an appalling wig. Thankfully, Henry Cavill knows how to rock a terrible weave, and his costars have plenty of tetchy energy as they circle each other. What makes this show so engaging is the fact that everyone is trying to find their place in this crazy world. But the writers need to have a lot more fun with it next time round. (Netflix)

Dickinson: series 3
The American Civil War is now raging, and the Dickinson family continues to battle among themselves, comically butting heads on all sides as poetry-minded Emily (Hailee Stanfield) tries to make sense of things in her askance, observant way. The narrative unfolds in a flurry of modern-day expressions mixed in with period detail in a way that's sometimes oddly jarring. But there's an important point being made here about the power of poetry to heal both a family and a society that are torn in half. And while the bigger issues may be rather overly pointed, and given rather a lot of artistic licence, the show does draw some well-deserved attention to the iconic poet and the challenges she faced. (Apple)

M O R E   T O   C O M E

Star Trek - Discovery: series 4a
Things get very dense very quickly this season, with yet another undefined "anomaly" causing catastrophe and confusion across the galaxy. The crew's various attempts to investigate this are rather tiresome, distracting from the much more intriguing interaction between them, which leaves their personal journeys to develop more slowly than usual. Sonequa Martin-Green is still a tremendous presence at the centre, complex and fascinating, and her connection with David Ajala's Book is at the show's heart. Also terrific are characters played by Anthony Rapp, Wilson Cruz and the excellent Blu del Barrio. But the departure of Mary Wiseman's Tilly feels like a mistake, as her fresh vibe is badly missed. (Peacock)

Ozark: series 4a
It hardly seems possible, but this saga turns even darker this season, as the Byrdes find themselves increasingly squeezed between the FBI, the Mexican drug cartel and local suppliers. As if the show needed another psychopath, the kingpin's nephew Javi (Alfonso Herrera) is perhaps even more wildly unpredictable than terrifying opium farmer Darlene (Lisa Emery). Meanwhile, Marty (Jason Bateman) keeps a level head, and Wendy (Laura Linney) is properly losing a grip on reality, especially where their daughter Charlotte (Sofia Hublitz) and 14-year-old son Jonah (a series-stealing Skylar Gaertner) are concerned. And it leaves things set up for even more carnage in the final run of episodes. (Netflix)

C A T C H I N G    U P 

Squid Game 
I defiantly refused to watch this Korean show when everyone else did, then finally gave in when I was in covid isolation over Christmas. It's an entertaining thriller packed with terrific characters and some gasp-worthy violence as society's losers are given a chance to make a fortune, or die trying. Colourful visual flourishes also make it stand out from bleak American thrillers. Although some more sharply pointed satire might make it more memorable. (Netflix) 

What/If 
I find Renee Zellweger mesmerising, even with her oddly pinched physicality. She's the driving force in this series, but remains mainly in the background as the central plot follows a young couple (Jane Levy and Blake Jenner) drawn into the gravitational pull of Renee's billionaire. The show is slick and prudishly sexy and, aside from the melodramatic reveals, it makes some nice observations about the power of greed and the strength of real relationships. (Netflix)

NOW WATCHING: The Book of Boba Fett, Peacemaker, The Afterparty, Pam & Tommy, Murderville, Euphoria (2), Snowpiercer (3), The Connors (4), This is Us (6).
COMING SOON: Severance, Star Trek: Picard (2), Star Trek: Discovery (3b), Killing Eve (4), The Marvelous Mrs Maisel (4).

Critical Week: It's the end of the world (again)

Awards season continues to accelerate, this week with the Bafta nominations giving predictions a good spin. I'm the chair of the London Film Critics' Circle, and our awards are announced on Sunday night, so I've been preparing for that all week. And Oscar nominations come next week. 

BEST OUT THIS WEEK:
The Worst Person in the World
The Eyes of Tammy Faye • Azor
Belle • The Souvenir Part II
ALL REVIEWS >

Meanwhile, I had: my first experience in the outrageously all-encompassing rollercoaster of 4DX cinema with Moonfall, Roland Emmerich's latest ridiculous disaster epic, this time pitting Halle Berry, Patrick Wilson and John Bradley against melodramatic family issues as they try to stop the moon from smashing into Earth. More than a decade after the last movie, Johnny Knoxville is back for Jackass Forever, in which the original crew get up to their usual limb-jeopardising antics, although they leave the most violent stuff to some newcomers.

Set in Britain and Mexico, the romantic comedy Book of Love starring Sam Claflin and Veronica Echegui feels fresh and engaging, even as it plays on the usual formula. The horror thriller The Long Night has lots of atmospherics and some slick filmmaking touches, but is oddly disjointed. From Argentina, Azor is a proper stunner, a slow-burn thriller about a man's journey into pure evil. From Spain, Bringing Him Back is a contained, intriguing drama about four people and the shifting dynamic between them. And the documentary The Tinder Swindler is a riveting account of a dating app con man whose scam was mind-bogglingly huge.

This next week I'll be watching Kenneth Branagh's the all-star sequel Death on the Nile, Tom Holland in Uncharted, Jennifer Lopez in Marry Me, Johnny Depp in Minimata, the Cape Cod drama Give or Take and the Italian drama Small Body.