Reviews
emma.simmonds
"We're too old for this shit," quips Jenko (Channing Tatum), quoting one of the greats of weary screen policing - Lethal Weapon's Murtaugh - in response to his latest nonsensically spectacular brush with death. "We started off too old for this shit," shoots back his partner Schmidt (Jonah Hill). Welcome to 22 Jump Street: a film that wears a lack of originality not just on its sleeve but as its whole outfit. Its predecessor 21 Jump Street was the big screen remake that promised little but delivered in belly laughs. But surely a sequel is stretching the joke too thin?Thankfully this turns out Read more ...
Adam Sweeting
It's something of a cliche to regard concert pianists as mad geniuses or nutty professors, and John Ogdon fitted the formula only too well. Born in Nottinghamshire in 1937, he displayed absurdly precocious musical brilliance as a child, and in due course became one of the highest-flying students at the Royal Northern College of Music. When he won the International Tchaikovsky Competition in Moscow in 1962 (he came equal first with Vladimir Ashkenazy), a star was born and his international career lifted off instantly.With his science-fiction hair, brainiac beard and heavy-framed glasses, Ogdon Read more ...
graham.rickson
Khachaturian: Violin Concerto, Shostakovich: String Quartets 7 and 8 James Ehnes (violin), Melbourne Symphony Orchestra/Mark Wigglesworth, Ehnes Quartet (Onyx)Moving from Khachaturian's breezy circus music to two of Shostakovich's darker quartets is quite a journey; you're best programming a generous pause halfway through this CD. The Khachaturian, composed for David Oistrakh in 1940, is a blast, its raucous optimism totally out of step with its time. James Ehnes's total lack of inhibition is just what the work deserves, and this full-blooded performance is glorious. Ehnes can change Read more ...
alexandra.coghlan
Tumblers, confetti, stiltwalkers, flags, crowds, a giant skull, and that’s just the overture. If anyone thought that Terry Gilliam might struggle to match the scope, scale or impact of 2011’s Damnation of Faust with his follow-up then they’re probably feeling rather foolish right about now.Gilliam’s Benvenuto Cellini is one of the most expensive productions ever seen at English National Opera. It’s also a notoriously challenging, rarely-staged hybrid of a work that failed (repeatedly) during the composer’s lifetime, and has since been largely consigned to the concert hall. So was it all worth Read more ...
Tom Birchenough
Palestinian director Annemarie Jacir excels at catching both individuality of character and wider background context in her second feature, When I Saw You. The initial background is a refugee camp in Jordan in 1967, where displaced families arrive from their lost homes across the border after the Six-day War (the film’s title alludes to the fact that Palestine is so close as to be almost visible, at the same time almost impossibly far away). And the character is 11-year-old Tarek (Mahmoud Asfa, main picture), a mischievous yet thoughtful boy who’s there with his mother Ghaydaa (Ruba Blal), as Read more ...
Stuart Houghton
Much fuss is made about realism in gaming. In the drive to recreate the real world in smaller and more numerous polygons, game developers have had to pass through the “uncanny valley” where things look nearly right but subtly, creepily wrong. The very best CGI can fool the eye but even the most canny next-gen console or PC programmer will still produce in-game graphics that are recognisably fake.Photorealism isn’t the only thing worth striving for, of course. The unreal can be just as, if not more interesting and with “Monument Valley”, Ustwo have crafted a beautiful world that is anything Read more ...
Kimon Daltas
In the year of his 85th birthday, and his 60th season as a conductor, Bernard Haitink is hardly taking it easy, with concerts with various orchestras around Europe and the US including an appearance at the Proms. In this visit to London with the Chamber Orchestra of Europe he may not have been bounding up the steps to the stage, but his powers with the baton remain undimmed.His is a stately and commanding presence at the podium, almost still apart from the arms and the occasional emphatic step forwards. This proved plenty with which to wring out the tragic drama from the two works in the Read more ...
aleks.sierz
Posh hotels are good settings for drama. They look cool, feel alien and can rapidly acquire a sense of claustrophobic intensity. Most importantly, in real life they feel like stage sets. Playwrights from Noël Coward (Private Lives) to Sarah Kane (Blasted) have set their work in luxury hotels, so Polly Stenham’s latest play, her first for the National Theatre (and performed in the small studio space), follows in some large footsteps. But she brings her very own in-yer-face style to the party.From the first, there’s a tense atmosphere. An upper-middle-class English family is staying at a luxury Read more ...
Tom Birchenough
It’s been a decade since the television drama Sex Traffic brought writer Abi Morgan into the mainstream. It won an impressive collection of awards, and its tale of international prostitution networks, and their brutality, was as harsh and under-the-skin as they come.In the time since, Morgan has established herself as one of the go-to British writers of her generation, with film work including The Iron Lady (Meryl Streep as Margaret Thatcher, pictured among enemies, below right) and Shame, television drama (for, and about, the BBC, The Hour), and plenty of theatre work. We haven’t heard, Read more ...
Adam Sweeting
Great idea. Round up a dozen 20-something American girls whose idea of a royal family is the Kardashians, whisk them off to a stately pile somewhere in the south of England, and put them in a beauty contest to see which one can take the fancy of a bloke who might just be Prince Harry.... but a terrible programme. Matt Hicks, the fey posh chap with slightly Harry-esque ginger hair who (oddly) looks like both Wills and Harry after they've been processed through a Photoshop blender, is a personality-vacuum blessed with the chat-up skills of the Speaking Clock ("er... you're a bit brazen"). Also Read more ...
Matt Wolf
Kevin Spacey is seen before he is heard in Clarence Darrow, the solo play that is doing a brief if ferociously bracing run at the Old Vic, but once the actor stops fiddling with his onstage desk and starts to talk, well, watch out. A master ironist who can often stand at an intriguingly cool distance from the parts he plays, Spacey hasn't sounded this impassioned in years, and when the standing ovation arrives nearly two hours later, it is entirely deserved. The audience can feel this performer all but taken over by the assignment at hand, and I would be surprised if this engagement doesn't Read more ...
David Nice
A voluptuous dream in sequined silver, the nearly-27-year-old Georgian pianist Khatia Buniatishvili sat down at the keyboard and instantly transcendentalised her mermaid look as Ravel’s Ondine. Even Brahms took to the life aquatic of her recital’s first half. For the second, though, there should have been a costume change into a clown suit with a tatty tutu pulled over it. Never have I witnessed a crazier trip through the distorting mirror – and if even Stravinsky’s mad puppet Petrushka couldn’t take the relentless onslaught, what about the poor old Chopin Second Scherzo and the Ravel La Read more ...