America
Death of a Salesman, Piccadilly Theatre review - galvanising reinvention of Arthur Miller's classicTuesday, 05 November 2019
It is 70 years since Willy Loman first paced a Broadway stage; 70 years since audiences were sucked into the vortex of a man trying to live America’s capitalist dream only to see his life crash and burn around him. This production, which transfers... Read more... |
Michael Connelly: The Night Fire review - unputdownableSunday, 03 November 2019
Ballard and Bosch sound like some dystopian upmarket commodity. They are, but deep in with the low life. They are Michael Connolly’s new duo of detectives, one in semi-disgrace, one retired. Throw in Mickey Haller, the Lincoln Lawyer, and you’ve got... Read more... |
Benjamin Markovits: Christmas in Austin review – Essinger family reunionSunday, 03 November 2019
Paul Essinger has quit life as a professional tennis player and retired to his native Texas where, over the course of seven days, he and his extended family are due to spend Christmas at his parents’ family home. This is the straightforward premise... Read more... |
Doctor Sleep review - heartfelt return to the Overlook HotelWednesday, 30 October 2019
Stanley Kubrick’s The Shining ended in ice, Stephen King’s in fire which consumed the Overlook Hotel. King’s frightening, emotionally rich novel was written by an alcoholic about an alcoholic, Jack Torrance, and his suffering family. Kubrick’s film... Read more... |
Pose, Series 2, BBC Two review - satisfying return for one of TV's most triumphant dramasSaturday, 26 October 2019
Pose offers something that is really rare in the TV world: it’s a show that manages to be both darkly sombre and completely uplifting. The drama, which is about New York City’s 1980s ball culture, focuses on the lives of trans women and gay men... Read more... |
Black and Blue review - police thriller aims high and missesThursday, 24 October 2019
Police corruption has fuelled many a Hollywood thriller, but sadly Black and Blue is no Training Day or The Departed. Naomie Harris plays US Army veteran turned rookie cop Alicia West, just three weeks into a career with the New Orleans police... Read more... |
CD: Neil Young and Crazy Horse - ColoradoMonday, 21 October 2019
Neil Young’s prolific, patchy output rejects the very notion of major releases, though only a major artist would be given so much rope. His thirtieth album of the century (new or archive) still stirs anticipation as his first with Crazy Horse in... Read more... |
Zombieland: Double Tap review - dead dull redoThursday, 17 October 2019
Another unnecessary sequel: we’re used to this sort of thing. The film knows it, too, as lead dork Columbus (Jesse Eisenberg) meekly thanks the audience during the opening credits: “There are lots of options when it comes to zombie entertainment, so... Read more... |
The Peanut Butter Falcon review - sentimental comedy is so damn heartwarmingWednesday, 16 October 2019
It’s an uncomfortable feeling to find oneself completely at odds with an audience in a cinema, but it happens. The recent London Film Festival screening of The Peanut Butter Falcon came complete with the two lead actors and the co-directors and... Read more... |
LFF 2019: The Irishman review - masterful, unsentimental gangster epicTuesday, 15 October 2019
Time passes slowly and remorselessly in The Irishman. Though its much remarked de-ageing technology lets us glimpse Frank Sheeran (Robert De Niro) executing German POWs aged 24, none of the gangsters here ever seem young. Everyone is heavy with... Read more... |
Thomas J Campanella: Brooklyn - The Once and Future City review - out of Manhattan's shadowSunday, 13 October 2019
For visitors to New York, it’s all about Manhattan, its 23 square miles of skyscraper-encrusted granite instantly familiar, its many landmarks – enshrined in movies and music – must-sees on the itinerary of first-time tourists. The other... Read more... |
Gemini Man review - high-concept, high-tech Zen weirdnessFriday, 11 October 2019
Will Smith’s giant hand looms out of the screen towards you, gripping his gun’s trigger with weird realism. Director Ang Lee’s lonely devotion to filming in 120 frames per second 4K 3D, already widely loathed by audiences in less developed form in... Read more... |
