Venezia79: Starting time

The 79th Venice Film Festival kicked off tonight on the Lido with the world premiere of Noah Baumbach's White Noise, just one of the movies I will miss at this year's festival! I arrived too late to catch it, but I'm already facing a full schedule, long days and, for the first time, an extended commute across the Lagoon to where I'm staying. Here's a first batch of highlights...

Living 
dir Oliver Hermanus;  with Bill Nighy, Aimee Lou Wood 22/UK ****
With a smart, delicate script by Kazuo Ishiguro and incisive direction by Oliver Hermanus, this remake of Kurosawa's 1952 classic Ikiru is skilfully shot in period style. Sensitive filmmaking and an incisive story tackle themes that still feel powerfully relevant nearly 70 years later, and everything is delivered in a subtle, understated way that's carefully tied in with the story's characters and setting. It also offers Bill Nighy a wonderful lead role. 

Blue Jean
dir-scr Georgia Oakley; with Rosy McEwen, Kerrie Hayes 22/UK ****
Set in a northern English seaside town during the tumultuous Thatcher years, this drama has an earthy, kitchen-sink realism that finds timely themes in a story set almost 35 years ago. While the personal story is compelling and full of involving detail, it's also not always easy to watch a film in which everyone is so miserable. Thankfully, writer-director Georgia Oakley finds moments of humour and joy along the way, and the cast is excellent.

Three Nights a Week [Trois Nuits par Semaine]
dir Florent Gouelou; with Pablo Pauly, Romain Eck 22/Fr ***.
Beautifully shot with a lush sense of light and colour, this French drama spins around a warm, offbeat relationship that catches two people, and their friends, by surprise. The drawn-out narrative plays a bit like a gay fantasy, as that cute guy isn't as straight as he thinks he is. And the plot points sometimes feel very deliberate. But there are honest feelings running through each scene, finely played by the actors in a naturalistic way. And thankfully director Florent Gouelou isn't afraid to lean right into a feel-good moment.

Casa Susanna
dir-scr Sebastien Lifshitz; with Kate, Diana, Susanna Valenti 22/Fr ****
Illustrated with a wonderful collection of home movies and snapshots, plus scene-setting newsreel footage, this quietly observational documentary offers a glimpse into a secret society from the early 1960s where cross-dressers could gather without fear. Director Sebastien Lifshitz gets out of the way and lets these people and their children tell the story with colourful anecdotes, big feelings and a lovely sense of nostalgia.

Full reviews will be linked at Shadows VENICE FILM FESTIVAL page, eventually! 

FrightFest: Scary monsters

The 23rd FrightFest is running this weekend in central London, scaring the life out of happy moviegoers. I tend to only catch a handful of films each year, and here's my selection this time round, starting with one of the best films I've seen all year...

Piggy [Cerdita]
dir-scr Carlota Pereda; with Laura Galan, Richard Holmes 22/Sp ****.
Bright, sunny and blackly humorous, this small-town Spanish drama takes an unblinking look at bullying and the complex emotions it evokes. Even more than a fiendishly clever approach to a serious topic, the film is an audacious genre mashup, mixing a high school comedy with a tense horror movie. Writer-director Carlota Pereda has a terrific eye for detail, and notable skill as a storyteller who cares about her characters.

Fall
dir Scott Mann; with Grace Caroline Currey, Virginia Gardner 22/US ***.
Shamelessly playing on its vertiginous premise, this adventure thriller keeps us in a state of nerve-wracking suspense right from the start. We're so frazzled that we never mind that many of the scares are gratuitous, the filmmaking is painfully obvious, and the continuity is more than a little iffy. This is a nonstop exercise in the most basic fear, and it's feels almost exhilarating when we survive it... REVIEW >

Burial
dir-scr Ben Parker; with Charlotte Vega, Tom Felton 22/UK ***
Set at the end of WWII, this mystery thriller generates a sense of secrecy at every step. It's packed with skirmishes that are nasty but not always easy to follow, while the story structure moves from one incident to the next without much overall momentum. It's sharp enough to hold the interest, but it lacks a compelling point of view, relying on intrigue rather than any human element.

Hypochondriac
dir-scr Addison Heimann; with Zach Villa, Devon Graye 22/US ****
Opening with a caption noting that it's "based on a real breakdown", this psychological horror immediately gets under the skin. Writer-director Addison Heimann creates a superbly subjective perspective, using inventive camerawork, editing and effects to explore the central character's thoughts. It's a terrific approach to internalised terror, which continually grounds mind-based delusions in earthy authenticity. This adds emotional angles that make the movie both gripping and bleakly moving... REVIEW >

Incredible But True [Incroyable Mais Vrai]
dir-scr Quentin Dupieux; with Alain Chabat, Lea Drucker 22/Fr ***.
French filmmaker Quentin Dupieux delights in telling wildly bonkers stories with a straight face. This lightly farcical tale involves time travel but delights in never quite explaining it. But while the premise is blatantly silly, with several riotously funny scenes along the way, the film has a warm heart that brings its characters to life. So while the central point feels somewhat simplistic, it's an engaging little romp.

Deep Fear
dir Gregory Beghin; with Sofia Lesaffre, Victor Meutelet 22/Fr ***
Earthy and confident, this French thriller maintains a lightly comical tone while layering in the usual hints that something horrific is brewing. This includes a standard randomly violent opening scene and a freak-out dream before the plot even begins, sending four young people on a day out that looks intriguing, fun and of course more than a little harrowing. It's a sharply well-made movie with a seriously vicious streak.

The Leech
dir-scr Eric Pennycoff; with Graham Skipper, Jeremy Gardner 22/US **.
There's a deranged sense of humour in this black comedy, which places an upstanding priest on a slippery slope to hell. Writer-director Eric Pennycoff encourages the cast to go for heightened performances that play up the in-your-face characters and dialog. As the story continues, it gets relentlessly darker, spiralling through swirly dream sequences before revealing some bleak truths about people who aren't particularly easy to empathise with.

Orchestrator of Storms: The Fantastique World of Jean Rollin
dir-scr Dima Ballin, Kat Ellinger; with Veronique D-Travers, Brigitte Lahaie 22/US ****
Brisk and packed with detail, this documentary traces the life of a little-known filmmaker who told poetic stories about dreams and memory, often using horror and sex. Critics dismissed his work as exploitation, but scholars now see his roots in the art world and his important contribution to the French New Wave. Even if it's overlong, this is an essential doc about a rarely explored side of cinematic history.

These and other full reviews will be linked at Shadows FRIGHTFEST page >

Critical Week: Super Sly!

For some reason, August has been one of my busiest months this year, with barely a free moment between all of the movies I need to watch. And yes, it feels like work! At least, to balance the heavy arthouse fare, there were two loud masculine thrillers this week. Sylvester Stallone gets to play an ageing superhero in Samaritan, an unusually violent movie that seems made for kids. Its writing and direction are simplistic, but Sly is great, as is Pilou Asbaek as the villain. Meanwhile, Idris Elba takes on an angry lion in Beast, an entertaining but simplistic thriller with some terrific action moments. Its family angles have a bit more texture.

BEST OUT THIS WEEK:
Private Desert • Funny Pages
Official Competition • The Good Boss
PERHAPS AVOID:
Samaritan
ALL REVIEWS >

The British post-WWII thriller Burial stars Tom Felten and Charlotte Vega (with a boost from Harriet Walter) in a dark tale about a Soviet mission. It's  messy, but atmospheric. The British thriller Black Mail is slick and watchable, but the filmmakers' inexperience shows in its lack of originality. And I also watched six films for the forthcoming FrightFest in London (coverage is coming this weekend) and just started working through my advance list of films that will be shown at the 79th Venice Film Festival (coverage starts next week).

This coming weekend is FrightFest in London, and then next week I'm heading to the 79th Venice Film Festival. I have 13 films to watch before I go (yikes!), then need to find time to write about them before seeing even more movies in Venice. Watch this space for updates...

Stage: Dance around India

Beyond Bollywood
writer, director, choreographer Rajeev Goswami
with Alessandra Whelan, Sahil Mayenkar, Pooja Pant, Goral Joshi, Sudeep Modak, Soham Josh
music Salim and Sulaiman Merchant
lyrics Irfan Siddiqui
costumes Prajakta Gore
Peacock Theatre, London • 24.Aug-3.Sep.22

Setting out to explore the various dance traditions in India, this high-energy stage show is colourful and often beautifully performed. And with its 600th performance now under its belt, it's the company's cheerful and soulful talent that sustains what sometimes feels like a slightly undercooked show. When it focusses on either sheer spectacle or ancient traditions, the show is at its best, offering both riveting entertainment and some lively schooling in India's artistic gifts to the world.

Numbers are linked by a narrative about Shaily (Whelan), a young dancer who has grown up in Germany. Her late mother Jaswinder (Pant) drew huge audiences at an Indian dance theatre in Munich, and as Shaily takes over the show she struggles to understand her heritage. So she travels to India with her friend Emma (Joshi), where she meets sparky choreographer Raghav (Mayenker) and his goofy assistant Ballu (Modak). Together, these four adept hoofers travel around the country, learning a range of steps including kathak, lezim, bihu, garba and kalbelia.

Bollywood is a combination of these and other traditions, including more modern dance, deployed to tell emotional stories. So the show merrily mixes styles together in elaborate set-pieces, complete with often jaw-droppingly beautiful costumes. While some of the more modern numbers have a flashy charm (including a purely random Kinky Boots-esque burst of It's Raining Men), it's the traditional steps that catch the attention. And while the plot centres on the movie-style romance between Shaily and Raghav, the true star of the show is Pant, whose performances as Jaswinder are show-stopping.

Scattered between the dance numbers are little scenes with the characters, ranging from broadly silly slapstick to yearning melodrama. A team of first-rate dancers surrounds the lead figures all the way through the show, providing lots of spark and an almost blinding number of sequins. Their physicality is expressed joyfully, complete with some lively audience interaction. And the main characters dive in amongst them with even shinier costumes and full-on bravado. In the second act, there's even a gorgeously performed aerial interlude.

It's unsurprising that the show as a whole is uneven, partly because the stage set consists only of giant video screens with often dodgy digital backgrounds. This makes most of the more modern-tinged numbers feel thin, even if they're thumping along to a great track like Jai Ho. By contrast, the folkloric pieces are much more mesmerising, combining intricate movements that carry the weight of centuries of meaning. And there are enough of these to tilt the show's overall balance in the right direction.

For information, visit SADLER'S WELLS >

photos courtesy Sadler's Wells • 24.Aug.22

Critical Week: Soaking up the sun

Even though there aren't many actual screenings at the moment, there's an excess of films to watch simply because film festival season is imminent. There's just over a week until London hosts FrightFest, and immediately after that I'm heading to Italy for the Venice Film Festival. It's my first trip to mainland Europe since November 2018 (now where have I stashed those leftover euros?), and five years since I've been in Venice. Meanwhile, I caught up with two of this year's festival darlings this week. Ruben Ostlund's Triangle of Sadness, starring Charlbi Dean and Harris Dickinson (above), won the Cannes Festival's Palm d'Or, and rightly so as it's a wild ride packed with themes and class-based provocations. And After Yang premiered at Sundance, featuring a remarkably nuanced, internalised central performance from Colin Farrell as a father exploring the connections in his family. Director Kogonada makes unusually thoughtful films.

BEST OUT THIS WEEK:
My Old School
The Feast • Anais in Love
PERHAPS AVOID:
The Runner • Glorious
ALL REVIEWS >

Rather a lot more mainstream were three B-movies: the splintered-reality comedy Look Both Ways with Lili Reinhart is enjoyably corny; the perhaps too-tightly contained horror movie Glorious with Ryan Kwanten is gleefully grisly; and the thriller The Runner relies on corny movie cliches but has a strong central actor in rising star Edouard Philipponnat.

As if I didn't have enough on at the moment, I'm also involved in a project with the Kyiv Film Critics, and watched four Ukrainian films this week: the rural dramatic thriller Pamfir and the harrowingly personal odyssey Butterfly Vision both premiered at Cannes this year; the intimate mothers-daughters drama How Is Katia recently premiered at Locarno; and the inventive, blackly comical coming-of-age film Rock Paper Grenade is still awaiting its premiere.

Films to watch this coming week include Idris Elba in Beast, Sylvester Stallone in Samaritan, Tom Felten in Burial and the British thriller Black Mail, plus various films for the forthcoming FrightFest in London and the 79th Venice Film Festival.

Screen: August TV Roundup

After the disruption of the pandemic, we're finally getting to see several delayed series (with more still to come). These long gaps between seasons continue the shift in the way TV shows roll out, so the old network schedule of launching new episodes every autumn feels like it's becoming rare. There's been plenty for me to watch in between my film and theatre work, both enjoyable returning shows, original series and several that are adaptations, spinoffs, reboots or based on existing properties. And that's definitely a trend that is continuing...

Stranger Things: series 4 
With its epic-sized episodes and ramped-up plot, this series powers straight through to set things up for the final fifth season. Since the actors have all aged significantly, they perhaps seem a bit older on-screen than written, but this allows for intriguing nuances in the evolving relationships between them, superbly played by a tremendous cast. Splintering the story into three main strands is sometimes annoying, especially as the Russian plotline, as wildly entertaining as it is, clings to several coincidences. Otherwise, various set pieces produce proper thrills as everything builds to an enormously cathartic intake of breath, then leaves us gasping for more. (Netflix) 

Hacks: series 2  
Pushing these characters further into their rather tense working relationship, this series feels like it gets stronger with each episode. And this is largely due to the towering performance from Jean Smart as Joan Rivers-style comic Deborah, straining to kickstart her career with the help of messy writer Ava (Hannah Einbinder). This series also spirals out to follow Deborah's assistant Marcus (Carl Clemons-Hopkins), which isn't strongly enough developed yet to be involving. But this season's central idea, putting the characters on the road for a series of warmup gigs, is inspired. And having Laurie Metcalf turn up (too briefly) is a stroke of genius. (HBO)

The Umbrella Academy: series 3
This rather madcap action show continues to play with both alternate realities and the end of the world, as the Umbrellas have returned to the present and find themselves replaced by the Sparrows. Clashes, romances and lots of mayhem ensue, as reality begins collapsing in on itself and these oddly supercharged antiheroes need to once again rescue humanity. The actors are what makes this unmissable, as each character is such a bundle of nutty quirks that it's a wonder they get anything done at all. There isn't a weak link in the excellent ensemble, and the writers make sure each gets plenty of chaotic development along the way. Bring on a fourth season. (Netflix)

Physical: series 2 
Carrying on with the story, this new season continues the extremely slow evolution of Sheila Rubin (Rose Byrne), an intelligent wife and mother who keeps her personal demons secret, then punishes herself by becoming a fearsome 1980s aerobics expert. The narrative focusses on tiny shifts rather than momentous changes, and the cast goes all-in to each twist and turn, most notably Rory Scovel, Paul Sparks and Murray Bartlett, who arrives with a lot of promise but never gets to fully deliver on it. That's kind of how the whole show feels, as so little seems to happen. But the underlying thoughts and feelings make it entertaining and even important. (Apple)

The Boys: series 3 
Things continue to escalate for the rather awful people who populate this show, and this time the eponymous superhero-battling team dabble with their own temporary powers, ramping up clashes enormously. The writers cleverly put key characters in real danger, although we have to wait quite a while to see if they'll bump anyone off. It's a rare show in which both the good and bad guys are abrasive and often unlikeable, and most of them have the ability to kill someone without trying too hard. So it's violent and nasty, but also wry and knowing. And all of the lead actors are terrific at layering vulnerabilities and emotions in unexpected ways. (Prime)

The Marvelous Mrs Maisel: series 4 
A huge step up from the uneven third season, this new series is much more sharply focussed on both the characters and the overarching themes. So Rachel Brosnahan is able to both broaden and deepen Midge, while also remaining genuinely hilarious in her stand-up performances. Meanwhile, the side roles aren't merely spiralling aimlessly this time around: each narrative thread weaves together cleverly to offer meaty scenes for the actors while pushing this extended family further forward. And Alex Borstein just gets more intriguing with each episode, building her business on hilariously fragile foundations. And you can never go wrong with the fabulous Jane Lynch. (Netflix)

M O S T L Y   N E W

Ms Marvel 
Lively and engaging, this Marvel origin series has Pakistani culture and history engagingly woven through it, similar to Moon Knight's Egyptian connection. But this one's an American high school sitcom, as lively junior Kamala (Iman Vellani) engages in banter with her goofy friends and hilariously insistent Pakistani parents. Then a bangle taps into her grandmother's ancestral power, sending Kamala on an odyssey as she realises that she's a superhero connected to ancient folklore. The comical vibe helps make the more violent plot elements easier to take, and the characters are so vivid that we can't wait to see more of them on either big or small screens. (Disney) 

Obi-Wan Kenobi 
Filling in a gap in the Star Wars timeline, this six-episode series returns Ewan McGregor to his eponymous role as the now-jaded Jedi, while Hayden Christensen's Darth Vader marauds across the galaxy trying to finish him off. It feels oddly ill-imagined from the start, focussing on edgy action scenes that are bereft of tension due to the usual prequel issue: we know none of the main characters is in any real danger. A more dramatic approach and some more central (expendable) new characters would have given the series a much stronger sense of intrigue. Still, it's produced to a gloriously high standard, and McGregor and his ensemble of costars are excellent. (Disney)

Uncoupled
Essentially writer-creator Darren Star has created an out-gay remake of his earlier show, Sex and the City, this time starring three New York men grappling with love-life issues. It's equally underwritten and over-designed, but it's also hugely likeable, thank to the up-for-it Neil Patrick Harris as Michael, newly single after a 17-year relationship. His pals (Tisha Campbell, Emerson Brooks and Brooks Ashmanskas) offer the usual mix of good and bad advice/support, mainly for comical effect. Plus the great Marcia Gay Harden as another new singleton who worms her way into Michael's life. It's also actually funny, even if the humorous edges are superficial. (Netflix)

Loot 
Maya Rudolph is terrific in this comedy about a pampered, newly single billionaire who hasn't a clue how to engage with the real world, but wants to try by getting involved in her foundation. Many of the jokes are rather ridiculous, but the Rudolph is so good at playing endearingly naive that we can't help but love her, especially as she begins to connect with others. The wonderful Michaela Jae Rodriguez is terrific as her main foil, plus the absurdly endearing Joel Kim Booster as her hyperactive assistant and Adam Scott as her smarmy ex. The range of subplots are a bit uneven, but if one isn't working the attention quickly shifts to one that is simply genius. (HBO)

Star Trek: Strange New Worlds 
Now that Discovery has leapt into the distant future, this spin-off reverts to the past to follow Captain Pike (Anson Mount) in the years before the original series, complete with a younger Spock (Ethan Peck) and a rookie Uhura (Celia Rose Gooding). The idea here is to mimic the first series' exploratory episodic style, although the showrunners can't resist wallowing in those murky over-arching plot threads. This allows for some character depth, but it also makes the show feel a bit gimmicky, never fully diving in to the adventure of the week because everyone is preoccupied with their larger stories. Thankfully it's sharply well made, and very watchable. (Paramount)

Queer as Folk
Russell T Davies' landmark show gets a second reboot, this time set in New Orleans. The writing cleverly captures present-day attitudes, as sexuality is much blurrier than it was in the 1999 British original or 2000 American remake. Even as characters echo earlier versions, the plot strikes out in new directions, with a group of people whose lives are entangled in the wake of a nightclub shooting. The cast has a sparky freshness, anchored by the Devin Way as likeable disaster Brodie. The range of characters around him feels a bit overly curated, but each one engages with their messy decisions as they try to both fit in and find someone to love. (Peacock)

T H A T ’ S   A   W R A P

Love, Victor: series 3 
With its final season, this warm-hearted teen sitcom carries on with the likeable Victor (Michael Cimino) and friends. In these episodes, Victor ping-pongs between three smart, adorable guys -- Benji (George Sear), Rahim (Anthony Keyvan) and Nick (Nico Greetham) -- as he faces the usual foibles of the dating scene. It ends in the expected bearhug, but along the way, the story veers through some remarkably open-handed themes. Each cast member is particularly strong at playing vulnerability, especially in the face of genuine obstacles, so the pointed explorations of religion (both Catholicism and Islam) and sexuality feel inspiring and important. (Hulu) 

NOW WATCHING: Surface, Black Bird, Only Murders in the Building (2), Kevin Can F**** Himself (2), Never Have I Ever (3), What We Do in the Shadows (4).
COMING SOON: Andor, House of the Dragon, The Rings of Power, Reboot, She-Hulk, The Handmaid's Tale (5).

Stage: Gunfight at high noon

The West
director Bertie Watkins
writers Bertie Watkins, Ben Chamberlain, Charlotte Potter and company
with Owen Jenkins, Grace Dunne, Sam Skoog, Chris Keegan, Liam Fleming, Alex Walton
Colab Tavern, London • 13.Jul-1.Oct.22

An immersive theatrical experience, The West pulls the audience right into the action in a sprawling story that has several strands and concludes with an enormous explosion of action and a couple of big plot twists. Each person attending the event takes his or her own journey through the story, so the narrative is different for everyone. And while the venue feels a bit cramped and musty, the crew has clever tricks up their sleeves that make it feel like a complete world removed from the reality of South London.

Entering a courtyard, we're greeted by the jovial Sheriff Hank (Jenkins) and his wife Adelaide (Dunne), who is looking for votes as she seeks re-election as the mayor of Olverton. They also introduce their black sheep of a son Francis (Skoog), who has returned home from a life of crime and is now the town's preacher. There has just been a terrible sandstorm, and only a few buildings are left standing: the saloon, the church, the town hall and the sheriff's office. These settings are recreated inside the Colab Tavern.

Skoog

Quickly, events start to spiral around us, as word arrives that Francis is suspected of involvement in a train robbery, and he is escorted to a cramped basement jail cell with a group of his possible cohorts, including me. The cell turns out to be an escape room, and using clues and props we find a tunnel into an abandoned mine, which is the headquarters of a group of bandits who are planning an assault on the town. Now part of this gang, we are given a series of secret missions that eventually lead to a full-on gun battle in the town.

Scenes are cleverly written to allow for a lot of improvisation from both the cast and the audience members, especially in a freewheeling courtroom trial. It's a lot of fun to feel like we're conspiring with the actors to cause mayhem, without knowing how the other groups will react (they have their own crazy storylines). And when they hand all of us pistols and set us loose, the convergent shootout is riotously good fun, complete with sound and light effects, and lots of smoke.

Dunne

The whole thing feels a bit messy, which actually adds to the setting, and there are elements that feel over-complicated as well as under-cooked. But the cast is so good that there's never a dull moment We spend the whole time engaging with the actors, running around the venue (with an interval to allow for some fresh air) and coming up with ever more ridiculous directions to send the story and keep everyone laughing right to the rather outrageous ending.

Jenkins

For information, visit COLAB >

photos by Alex Walton • 11.Aug.22

Critical Week: Life is like a golgappa

London's heatwave continues, following the driest July in 111 years with an uptick in temperatures that has everyone heading for anywhere that's air conditioned, like a movie theatre. This week I particularly enjoyed India's lovely Forrest Gump remake Laal Singh Chaddha, which adapts the story to make it culturally resonant in unexpected ways while emphasising the epic romance at the centre of the plot. David Cronenberg's latest body horror drama Crimes of the Future has had a mixed reaction since its Cannes debut, but I loved its moody tone, insidious plot and deeper themes. Great cast too, led by Viggo Mortensen, Lea Seydoux and Kristen Stewart.

BEST OUT THIS WEEK:
Fall • Laal Singh Chaddha
Nope • Girl Picture
ALL REVIEWS >

And then there was the bracingly original coming-of-age comedy Funny Pages, by filmmaker Owen Kline, starring Daniel Zolghadri as a teen cartoonish. It's in-your-face funny, and emotional too. The thriller No Way Out has some nicely harrowing and sexy touches, but is ultimately too grim. There were two very different animated movies: From Japan, Fortune Favours Lady Nikuko is a dramatic anime with a remarkably strong point of view about its quirky characters. And from Estonia, The Old Man: The Movie sends its characters on a wildly surreal and utterly bonkers adventure. Finally, the finely assembled documentary Bloom Up takes a remarkably straight-faced look at an Italian couple that runs parties for swinging couples.

Films to watch this coming week include Harris Dickinson in this year's Palm d'Or winner Triangle of Sadness, Colin Farrell in After Yang, the splintered-reality comedy Look Both Ways, the horror movie Glorious, the thriller The Runner.

Stage: What happens in Malta...

Straight and Narrow
by Jimmie Chinn
director Mark Curry
with Lewis Allcock, Todd Von Joel, Carol Royle, Kerry Enright, Harriett Hare, Damon Jeffrey, Gavin Duff
sets/costumes David Shields
lighting Vittorio Verta, James Whitmarsh
Above the Stag, Vauxhall • 3-28.Aug.22

This revival of the late Jimmie Chinn's astute mix of comedy and character drama has sadly had its run cut short when Above the Stag Theatre abruptly shuttered its doors on 7th August. It's a terrific show that plays out like an especially witty sitcom even as it begins digging deeply under the surface. There's a lot going on between these beautifully realised characters, and the themes feel as timely today as they did when the play was first staged in 1992.

Narrated to the audience by Bob (Allcock), the show unfolds out of sequence in a clever way that builds intrigue into the humorously awkward situations. He begins with a little stand-up monologue that highlights the central idea about how we so easily tell little lies in an effort to protect each other. Without ever preaching, the show then unpicks this idea with farcical precision, revealing a series of relationships in ways that draw out telling insight.

It's 1980s Manchester, and Bob shares a kitchen installation business and a home with his partner Jeff (Von Joel). But his drama-queen mother Vera (Royle) thinks Jeff is just a housemate who is distracting Bob from finding a wife. The story begins as Bob's sisters are housesitting while he and Jeff are on holiday in Malta. Lois (Enright) is heavily pregnant with her fourth child with Bill (Jeffrey), who hilariously has learned to stay out of the family chaos. Nona (Hare) is still reeling that her husband Arthur (Duff) ran off with another woman, although he turns up later.

Then Bob and Jeff return home, and something momentous has happened in Malta. Bob is wounded, Jeff is confused, and Vera is the only one who doesn't know that they are a couple in a crisis. What follows expertly puts each of the characters on the spot, forcing them all to examine the point where the truth and lies are coexisting in their connections to each other. And since neither Bob nor Vera are particularly good at facing the truth, they're the ones who are going to have to take the trickiest journeys.

Each cast member hits the comical beats expertly while adding layers to his or her character, drawing out intriguing details that provoke strong reactions even as we're laughing. Their amusing interaction echoes with terrific one-line zingers. Royle is the scene-stealer, reeling off the best jokes (most of which Vera doesn't get). And the writing smartly shifts the audience sympathies back and forth between Bob and Jeff, giving Allcock and Von Joel some very strong moments along the way. All of which makes this a show that gets under the skin and keeps us thinking about both its smaller joys and its resonant kick. Keep an eye out for another revival.

photo by PBG Studios • 6.Aug.22

Critical Week: Take aim

Londoners aren't used to such a long spell of warm, dry weather, so it's especially unusual to see the parks turning golden rather than green. (Although this is something I grew up with in Southern California.) It's been warm enough to welcome trips into air conditioned cinemas to cool off. The bigger films this week were the Predator prequel Prey, an involving and well-made 18th century adventure with some proper suspense, even if some cliches are distracting. Daniel Kaluuya and Keke Palmer are terrific as siblings in Jordan Peele's Nope, a witty and inventive take on the alien invasion thriller that's involving, surprising and perhaps just a little overcooked. 

BEST OUT THIS WEEK:
Bodies Bodies Bodies
Fadia's Tree • Luck
ALL REVIEWS >

And then there was Brad Pitt, who saunters engagingly through the silly chaos of Bullet Train, a messy action comedy that feels oddly thin despite terrific performances from an ensemble cast that includes Aaron Taylor-Johnson, Brian Tyree Henry, Joey King and the great Hiroyuki Sanada. The brightly hued animated adventure Luck has a lively story, with terrific voice work from a starry cast that includes Jane Fonda and Whoopi Goldberg. Charlotte Rampling is of course terrific in the dark, witty and thoughtful Kiwi drama Juniper. And the refugee doc Fadia's Tree tells a vividly personal story of a life diverted by conflict.

This coming week I'll be watching the thriller No Way Out, coming-of-age comedy Funny Pages, India's Forrest Gump remake Laal Singh Chaddha, comedy-drama anime Fortune Favours Lady Nikuko, quirky claymation adventure The Old Man: The Movie and the documentary Bloom Up.