Critical Week: School daze

Well, Britain didn't reopen as planned on Monday, as the mishandling of new variants meant any lightening of regulations has been delayed. Thankfully, the accelerated vaccination programme seems to be making headway, so fingers crossed for any steps we can take back to normality. Cinemas, theatres, restaurants, bars and clubs particularly depend on this. In the meantime, big films are beginning to appear again, some with enormous press screenings. This past week's main offerings included the teen comedy-horror mashup Freaky, an uneven but witty concoction in which serial psycho Vince Vaughn swaps bodies with cute high schooler Kathryn Newton. And those vrooming speedsters were back on the Imax screen for F9 (aka Fast & Furious 9), which is an unusually joyless instalment in the saga but pushes the spectacle to new (ahem!) heights.

BEST OUT THIS WEEK:
Supernova • I Carry You With Me
The Man Standing Next • Bare
ALL REVIEWS >

Smaller movies this week included Harvey Keitel as Lansky, a finely made but familiar biopic tracing the fascinating life of the notorious gangster. The intriguing but never quite provocative The God Committee stars Kelsey Grammer in a serious role, exploring the people who decide who receives an organ transplant, and who doesn't. From Spain, the silly animated romp Dogtanian and the Three Muskehounds brings the 1980s 2D cartoon characters to 3D imagery, with mixed results. And the horror comedy Vicious Fun is a snappy and rather cartoonish play on horror movie tropes, centred around a film critic.

Coming up this next week I have Channing Tatum as George Washington in the action pastiche America: The Motion Picture, Timothy Spall in The Last Bus, the fantastical romance Jumbo and the shorts collection Upon Her Lips: Heartbeats. I'll also be heading to a West End theatre to finally catch Everybody's Talking About Jamie ahead of the movie adaptation in the autumn.

Stage: Music and comedy all summer long

Cabaret Lounge
Summer 2021 • Above the Stag, Vauxhall
For full listings, visit: CABARET LOUNGE

At the launch of the summer season at Above the Stag Theatre's Cabaret Lounge, attendees were treated to a delicious array of performances, a sampling of events to come over the next few months. The lounge is a glittering space (literally, glitter covers almost every surface, including the grand piano) that has a terrific sense of intimacy as the audience sits at tables with continuous service from a friendly bar staff, and the performers are close enough to almost touch, pandemic restrictions notwithstanding.

Performances at the launch represented a sampling of what's on offer, so check out the website for full details. They're listed here in the order they'll be taking over the stage...

With her powerful voice, Nicole Faraday (My Life in Song, 25th June) is adept at belting out big songs. And there's a honeyed quality that adds subtle texture at every step, especially when she delivers a number from her idol Karen Carpenter. Simply gorgeous. The launch event was hosted by the sparky, mischievous Ada Campe (Jollies, 26th June), whose fabulously funny personality is infectious. She's riotously enthusiastic, and skilfully dives into her nutty songs with an engaging cheekiness. And then there's Helen Anker (The Essence of Audrey, 27th June and 4th July), who brings Audrey Hepburn vividly to life. Her casually open-hearted storytelling is funny and riveting, as she shares anecdotes and trivia. Stories about making Roman Holiday are hilarious, and her stripped-back rendition of Moon River from Breakfast at Tiffany's is powerfully moving.

The lounge is programmed by Tim McArthur, a cabaret star in his own right, and he has a few nights of his own, taking to the stage in conversation with the likes of journalist Matt Cain (27th June) and iconic comic Helen Lederer (4th July). He's also hosting Secret Star (8th July), a wonderfully queer spin on The Masked Singer featuring West End stars in silly disguises. The engaging couple Chris Hamilton & Shimi Goodman (What a Time to Be Alive, 3rd July) are a pianist and actor-singer who delight in deconstructing pop songs into a range of random genres. And it helps that both are hugely talented, having a lot of optimistic, jaunty fun as they talk about their life together and their love of music. Sitting at a piano, Stefan Bednarczyk performs the songs of Noel Coward (10th July) with an easy authenticity, playfully getting into character to tell musical stories about unexpected romance.

Also at the piano, Ian Elmsie sings numbers from his musical Old Boyfriends (15th July), exploring deeper ideas about love. They're funny and romantic, and very involving. For a sassy change of pace Flat and the Curves (18th July) is a massively entertaining group of women who delight in performing hysterically rude songs. Their operatic ditty about porn is a deadpan delight. And their Abba-style song about how a visit to Ikea can devastate a relationship is priceless. With a mixture of performance art and old Hollywood glamour, Keith Ramsay (Eve: All About Her, 23rd July) offers fascinating, darkly meaningful music and storytelling. Haunted by the ghost of Judy Garland, he's utterly mesmerising. And finally, Rhys'Pieces (Queefy, 4th August) offers a stunningly original take on lip-synching, blurring genders as a hot muscle man dancing acrobatically in a skimpy leotard and thigh-high stilettos. His performances are full-on, seriously cool and evocative too. And his chatter in between numbers is charming.  

Meanwhile in the theatre space, CONTACT: STORIES OF DIVISION AND UNITY is a series of plays running through the summer exploring a range of buzzy topics like conversion therapy, social media shaming, first love and much more.

Critical Week: Put that thing down

As Britain enjoyed a sunny heatwave, we were clobbered with the news that pandemic restrictions won't be further lifted on 21st June as planned: we have another month to go before things will get back to a semblance of normality. Most things are open now with distancing regulations, which means that press screenings are few and far between (literally!). I only had one this week, a special celebrity packed screening of the sequel Hitman's Wife's Bodyguard, introduced by the always lively Salma Hayek in person. The film is messier than the first one, too busy and distracted to really hold together, but it has quite a few hilarious moments along the way. Meanwhile, Disney is bypassing cinemas with Pixar's latest minor masterpiece Luca, a gorgeous story about friendship and the importance of diversity set on the sunny Italian coast (and under the seas around it). 

BEST OUT THIS WEEK:
Luca • The Reason I Jump
It Must Be Heaven
Summer of 85
Truman & Tennessee
ALL REVIEWS >

The rest of the films I watched this week were an eclectic mix: Untitled Horror Movie is a computer-screen based comedy-thriller that's very well put together, with a terrific cast, but isn't very scary; from Brazil, Half Brother is a naturalistic, moving drama about two people finding themselves; and premiering at Tribeca Film Festival, Pray Away is a straightforward, expertly shot and edited doc about gay conversion therapy, as seen through the eyes of the people who ran those programmes and are now trying to make amends.

Finally, I revisited Stephen Frears' 1985 classic My Beautiful Laundrette, starring breakout young actor Daniel Day-Lewis. I'm hosting a conversion with the film's writer Hanif Kureishi on-stage before a screening of the film on Friday night at BFI Southbank as part of the London Indian Film Festival. It's a remarkably timely story about connections between communities, adeptly touching on ethnicity, culture, class and sexuality. And it's depictions of right-wing bigotry are eerily current.

Coming up this next week are the latest entry into the Fast & Furious franchise, F9: The Fast Saga, as well as Isabelle Huppert in Mama Weed, 1980s-set horror comedy Vicious Fun, the action thriller Unchained, the Argentine comedy thriller Rock Paper & Scissors and the Roma drama Carmen and Lola.

Stage: Dare to shine

Topsie Redfern’s Crystal Balls
by Sarah Chew & Nathan Kiley
dir Sarah Chew
music Connor Fogel
with Nathan Kiley, Connor Fogel
Above the Stag, Vauxhall 30.May.21 
Two Brewers, Clapham 28-30.Jul.21

With his own distinct style of drag, Nathan Kiley takes a remarkably moving look at his identity in this involving cabaret show. Not only does he shine as his colourful alter-ego Topsie Redfern, but he pointedly reveals the fact that Nathan and Topsie are actually one multi-faceted person, blurring the lines we have come to draw between drag artists and their backstage selves. So while the show is a little rough around the edges, and gets perhaps too pointed here and there, its open heart is in the right place. And Kiley has something important to say.

At the start, the lively and hilarious Topsie takes the stage alongside pianist Connor Fogel to sing a few songs and indulge in some goofy jokes. Both the music and the patter are packed with sharp references to the iconic musical Chicago, in which Kiley made his West End debut playing Mary Sunshine. And the story begins that will string everything together: about a crystal ball left to him by his grandmother, who went by the name Madame Olga and was a fortune-teller to the stars of her day, including some icons who have inspired Kiley as an LGBTQ+ artist.

Kiley makes running references to his shininess, his lifelong penchant for flamboyant showmanship which he says his father could never quite see. The set list is a terrific collection of silly songs, big numbers from musicals (including Mary Sunshine's A Little Bit of Good), an enormous-voiced operatic burst from Carmen, 1980s pop and an Irish folk song. The range of songs is remarkable, eclectic but never haphazard, and always accompanied by a meaningful connection. And as he recounts his quest to learn more about Madame Olga, Kiley veers off on observant sideroads to describe sparky stories from his childhood, adolescence and adult life. 

With his relaxed, chatty personality and endearing nervous energy, Kiley knowingly tells stories as both Nathan and Topsie, zeroing into the dualities he sees everywhere he looks. Astute observations abound, such as noting that Topsie's oversized charisma is a result of him compensating for feeling like an outsider as a young gay boy, or connecting the crystal ball with the drag art of reading people. Stories weave in many more ideas, always circling back to the idea of how perilous it feels to live in hiding, pointedly calling out racism, sexism and homophobia.

Over the course of the show, Topsie gives way to an unapologetically honest and bare Nathan, a gifted young man who realises the importance of engaging with himself and his past while pursuing his passions and finding love in the people around him. And he teaches us that shininess is a blessing, not a curse.

30.May.21

Critical Week: Rock the block

With summer weather finally arriving in Britain (we basically skipped spring this year), it's tricky for us to go back to the newly reopened cinemas or spend time outside in the sunshine. But it's been too long since we were able to watch movies! My screenings this week included In the Heights, the film of Lin-Manuel Miranda's musical celebrating New York's Caribbean subculture. It's exuberant and fun, and has a terrific cast. But the songs felt a bit thin to me. And both Vera Farmiga and Patrick Wilson are back for a third go-round with the supernatural in The Conjuring: The Devil Made Me Do It, a genuinely creepy thriller about demonic possession based on a true story. That narrative is somewhat watered down by rather a lot of effective movie nonsense.

BEST OUT THIS WEEK:
Sublet • The Father
The Dose • Ellie and Abbie
To the Ends of the Earth
ALL REVIEWS >

The British comedy-thriller School's Out Forever is a fresh but over-violent take on the genre, as teens go into military mode following a deadly pandemic. From Australia, Ellie & Abbie (and Abbie's Dead Aunt) is a charming romantic comedy about teen girls in love, with an added witty ghost. Palestinian filmmaker Elia Suleiman's It Must Be Heaven is a serious charmer, a surreal trip from Nazareth to Paris to New York packed with witty and very pointed observations. From Japan, To the Ends of the Earth is an offbeat and very likeable odyssey for a confused young TV host on location in Uzbekistan. And the riveting Swedish documentary The Most Beautiful Boy in the World follows the life of actor Bjorn Andresen following his explosion onto the world scene in Visconti's Death in Venice.

This next week I have a screening of the sequel Hitman's Wife's Bodyguard, plus review links to watch include Disney's animated adventure Luca, Willem Dafoe in Lansky, the spy thriller The Serpent and the comedy Untitled Horror Movie.

Critical Week: Let your colours burst

Pride month kicked off this week, and I had my first few LGBTQ+ movies to watch. Showing at San Francisco's Frameline, Being Thunder is a remarkable documentary about Sherente Harris (above), a two-spirited Native American teen from Rhode Island who is challenging artificial gender roles. It's a gorgeously observant film worth looking for. Offbeat indie comedy-drama The Carnivores takes a loose, skilfully improvised approach as it tells the story of two Texan women with dog and relationship issues. And from Chile, My Tender Matador stars the great Alfredo Castro as a crossdresser who befriends a revolutionary in the Pinochet-era. It's moving and beautifully thought-provoking.

BEST OUT THIS WEEK:
A Quiet Place Part II • After Love
My Tender Matador • The Carnivores
Undine • I Am Samuel • Gunda
PERHAPS AVOID:
Introducing Jodea • Gully
ALL REVIEWS >

Closer to the mainstream, Flashback is a swirly thriller starring Dylan O'Brien in his meatiest role yet, although the supernatural elements kind of blur everything. An edgy drama set in inner-city Los Angeles, Gully features another terrific role for Kelvin Harrison Jr, although the movie is too fragmented to ever come into proper focus. The micro-budget comedy Introducing Jodea has some charm as it tells a story in the movie industry, but the cast and crew reveal their inexperience. And finally, I indulged myself in Friends: The Reunion, a couple of hours of shameless nostalgia that felt a bit contrived and over-structured. It was fun to see these six iconic actors in their less orchestrated reactions and interactions. And the celebrity fans were fun (Gaga! Bieber!), although they highlighted a number of recurring cast members who were oddly missing.

Films to watch this coming week both in cinemas and on screener links include Lin-Manuel Miranda's musical In the Heights, Aussie romcom Ellie & Abbie (and Abbie's Dead Aunt), horror comedy School's Out Forever, Spanish romance Carmen and Lola and Hungarian drama Treasure City.

Screen: June TV roundup

There's been rather a lot to watch lately on episodic television, handily filling in some free time between watching movies. These are the shows I've followed over the last month or so, and another handful of series are coming to a close in the next few weeks. Basically, there's always something to watch...

Mare of Easttown
Skilfully written by Brad Ingelsby and directed by Craig Zobel, this murder mystery is much more about its small-town Pennsylvania community than the convolutions of the murder/kidnapping case(s). At the centre, Kate Winslet delivers another textured powerhouse performance as a local police detective whose life seems is not so quietly unravelling. She's absolutely riveting: engaging, tenacious, compelling and, as an actor, generously allowing ace costars like Jean Smart, Evan Peters, Angourie Rice and Guy Pearce to steal their scenes. Best of all is that it doesn't matter whodunit: this is a story about resilience, connection and healing. It's rare to see a TV show produced at this level of quality across the board; this is essential viewing. (Sky)

Hacks
The fantastic Jean Smart continues to subvert every genre on television, triumphing in a range of dramatic roles (see Watchmen and Mare of Easttown). And now she reminds us that she's a queen of comedy too with a storming, scene-chomping role as a veteran Joan Rivers-style Las Vegas stand-up. She's so good that you hardly notice that the cast around her are experts as well. Co-lead Hannah Einbinder is solid in an oddly thankless role, but others are more likeable, most notably Carl Clemons-Hopkins. Meanwhile, Smart continually surprises us with her on-point delivery of devastating punchlines. And the writers keep quite a lot going on in this show, with emotional undercurrents and sharp commentary about show business. (HBO)

Halston
Ewan McGregor is terrific in this glossy series about the iconic American designer who rose to fame in the 1970s and then vanished in the 1980s. It's beautifully produced, creating intriguing characters with seriously spiky interaction. And it certainly never shies away from the darker angles of the story, including Halston's turbulent relationships, rampant drug use and a stubborn streak that ultimately cost him the right to use his name. It's perhaps a bit slick and flashy, focussing on the glamorous highs rather than the emotional lows, and rushing through his final years. But there are a few grittier sequences, from outrageous arguments to wrenching grief, that make it resonate. (Netflix)

The Falcon and the Winter Soldier
A lot more like standard Marvel fare than WandaVision, this series features the usual witty banter, too-dense plotting and outrageously over-produced action. I was tempted by stars Anthony Mackie, Sebastian Stan and especially Wyatt Russell, playing against type as the new Captain America. The actors kept me watching to the end, even when the writing had me rolling my eyes with frustration. There are some intriguing plot elements, but everything is so painfully obvious, quick to violence and ludicrously momentous that it might have worked better as a spoof. And even the adjusted title at the end is wrong: clearly it should be Captain America and the White Wolf. Still, fans will eat it up. (Disney)

Girls5eva
From the makers of Unbreakable Kimmy Schmidt, this comedy has the same absurd, lightning-fast sense of humour as it follows the four surviving members of a girl band who are making a comeback attempt at 40. This quartet is superbly written and played (by Sara Bareilles, Busy Philipps, Renee Elise Goldsberry and Paula Pell), with a constant stream of riotous gags. And big-name cameos adds witty touches, including producer Tina Fey as Dolly Parton. Thankfully, the silliness is grounded in knowingly funny observations on everything from the vicious music industry to the perils of ageing, with pointed nods to themes relating to gender and sexuality. (Peacock)

Jupiter's Legacy
Based on a comic by Mark Millar (Kick-Ass/Kingsman), this darkly shaded superhero series has similarities with The Boys, but isn't quite as deliberately nasty. The central conflict is fascinating, pitting traditional rule-based morality against today's more reactionary ethics. Although the writers never really take this anywhere. And while the cast is strong across the board, no one emerges as a vivid central figure to rally around. The most interesting people (like Andrew Horton's loyal son Brandon) are oddly sidelined in favour of less nuanced characters (like Josh Duhamel's self-righteous patriarch). More adventurous writing might make this better in seasons to come. (Netflix)

Frank of Ireland 
Almost infuriatingly bonkers, this Dublin comedy starring Gleeson brothers Brian and Domhnall is far too cartoonish to properly engage with. But it's very funny as these chucklehead buddies embark on a series of crazy antics centring on family, girls and their community. Nothing much grabs hold as all of the characters are noisy, over-the-top nutcases, led by the painfully dim and self-involved Frank (Brian) and his even dopier best pal Doofus (Domhnall). Frank's mother Mary (Pom Boyd) is just as ridiculously obtuse, while the only vaguely sensible person is Aine (Greene), as she's desperately trying to escape Frank's orbit. You would too. (C4)

Invincible
With a Scooby-Doo tone and a premise similar to The Boys, this adult-aimed animated series is funny, violent and exhilarating. The animation is generic but eye-catching, while the voice cast is extraordinary, featuring the powerhouse likes of Steven Yeun, JK Simmons, Sandra Oh, Mahershala Ali, Zachary Quinto, Andrew Rannells and Mark Hamill, for starters. They make even the smaller side characters burst with personality. The story of father-and-son superheroes has plenty of wrinkles and textures to it, bringing out much bigger themes about the nature of humanity through recognisable relationship issues. And the writers have room to get much more daring (more queerness, less blood) in future seasons. (Netflix)

Why Are You Like This
This politically incorrect comedy from Melbourne takes a few episodes to find its footing, and then it's over (there are only six half-hour instalments). The three self-absorbed 20-somethings at the centre are very difficult to like at first, but actors Naomi Higgins, Olivia Junkeer and Wil King find ways to deepen them in a series of rather pathetic attempts to get on with their lives. The main problem is that they blame everyone and everything for their own problems, causing misery everywhere they go. But their antics are also rather endearing, and the themes deepen over the course of this season. (Netflix)

Paradise City 
A bit of a mess, this cheesily written soap set in the hard-rock music industry has a wide array of characters, many of whom are superfluous, and lots of arch storytelling touches, including supernatural wackiness with camp angel and demon figures. More problematic is a strong undercurrent of misogyny in both the imagery and male-centred plot points (even when a woman is involved, it's all about the man). There isn't an unsubtle moment on the screen, but it's still watchable simply because of the intriguing premise and full-on approach. Also, the rock-n-roll vibe is strong, and the lead actors are solid even when their characters are strangely inconsistent. (Prime)

BACK FOR MORE

This Time: series 2
Alan Partridge is back for another hilarious season of painfully well-observed awkwardness. Steve Coogan plays this role so effortlessly (and so unapologetically) that he has become a part of Britain's national culture over three decades. Coogan's understanding of this character is so deep that it provides laughs at every level, from big slapstick silliness to riotously witty details (watch his field reports carefully). It's almost shocking that Alan can still be so enjoyably squirm-inducing after all these years. And this particular incarnation of him also offers a wonderfully fresh pastiche of glib TV news-chat shows. (BBC)

Everything's Gonna Be Okay: series 2 
Josh Thomas is a talented guy, but his character in this sitcom (a young guy who has become guardian of his teen sisters) is so insufferable that he's difficult to believe, especially in the self-involved way he mistreats his ridiculously gorgeous and nice boyfriend (Adam Faison). And he's only able to see problems faced by his sisters (Maeve Press and Kayla Cromer) as part of his own story. The offbeat approach makes the show watchable, especially with characters who refuse to fit into the usual boxes. But it's very difficult to engage with Nicholas on any level. (Freeform) 

The Neighbor: series 2 [El Vecino]
The goofy residents of a Madrid apartment block are back, as Javier (Quim Gutierrez) now has to share his superpowers with ex-girlfriend Lola (Clara Lago). There's also a global threat from some sort of reptilian race, and a galactic civil servant (Javier Botet) struggling to make sense of what's happening amongst these idiots. These eight brisk episodes are very easy to watch, eliciting a lot of smiles and a few solid laughs as they skewer corrupt politicians and messy relationships. But there isn't much else to it, and the broadened cast leaves the central characters feeling thinner than before. But the cliffhanger finale promises more to come. (Netflix)

Lucifer: series 5b
This nutty season wraps up with a few oddly tame episodes that are too plot-heavy to allow us to enjoy the gleefully ridiculous antics of the sexy characters. Even the murder-of-the-week storylines are part of a bigger narrative arc that pushes everyone toward a major confrontation, leaving Lucifer (the increasingly over-the-top Tom Ellis) in a whole new place. For a show that's basically just mindless fun, these episodes feel rushed and serious, and they also feature even more of this series' trademark fragmented conversations in which characters neither listen nor say what they truly think. Although any show that adds Dennis Haysbert to its cast (as God no less) is worth a look. (Netflix)

IT'S ALL OVER

Younger: series 7
This dopey sitcom (in which the situation never provided much comedy) is finally wrapping up the scrambled romantic lives of its characters. It's become increasingly saccharine season by season, while the actors look like they've been severely nipped and tucked, except star Sutton Foster, who's now styled as a 50-year-old for some reason (after pretending to be in her 20s for the years). But all of the actors are hugely watchable, including Hilary Duff, Nico Tortorella, Debi Mazer and the great Miriam Shor, who sadly only occasionally skypes in this season. So I've decided to stick it out, even though the writers are clearly determined to offer the wrong happy ending. (MTV)

Shameless: series 11 
This epic comedy-drama wrapped up its run with 12 momentous episodes, as the extended Gallagher family finally faces up to the gentrifying forces in South Chicago, and Frank (the awesome William H Macy) begins to suffer alcohol-induced dementia. It's a clever way to bring things to a close, playing on the characters' quirks to push them in new directions and force some big decisions. And while the show's wilder impulses have been tamed somewhat over the years, each of these colourful characters gets to go out with a bang. And some well-earned emotion too. (Showtime)

CATCHING UP

The Queen's Gambit 
I put off watching this because, well, chess and drugs. But when I had a bit of time, I quickly realised why the whole world was caught up in the series. It's bracingly well-written and beautifully directed with some seriously clever flourishes. And it features yet another stellar performance from Anya Taylor-Joy, plus a terrific cast of fellow Brits. I particularly loved the clever way chess comes to life on-screen, without ever getting bogged down in the details. And the personal odyssey Beth takes through the narrative arc is properly epic, and very moving too. (Netflix)

I GIVE UP

Dad Stop Embarrassing Me • About 10 minutes into the first episode it's clear that this is a turkey slathered with inane dialog and awkwardly insulting slapstick. The cast (led by Jamie Foxx) is promising, but it feels like like one of those painfully unfunny SNL sketches that just won't end. (Netflix)

Cinema Toast • This anthology series starts with a great idea: re-editing public domain film footage with a new soundtrack to tell different stories. Each episode takes nuttiness to the extreme in a way that's experimental rather than entertaining. Far too indulgent. (Showtime)

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NOW WATCHING: The Underground Railroad, The Mosquito Coast, The Upshaws, Star Wars: The Bad Batch, Special (2), Pose (3), The Handmaid's Tale (4), Younger (7).

LOOKING FORWARD: Blindspotting, Physical, Kevin Can F**k Himself, Dave (2), Lupin (2), Love Victor (2), The Kominsky Method (3), Master of None (3), Elite (5).