Reviews
Jasper Rees
Ben-Hur, the remake of the remake, is an epic misfire starring no one you’ve ever heard of apart from, inevitably, Morgan Freeman. What in heaven, you may ponder if accidentally trapped at a screening, were the producers thinking? Their rationale is writ large in the film's no-messing-about opening sequence. Like its own trailer naming the elephant in the room, this Ben-Hur heads straight to the chariot race. It's some mission statement. Forget William Wyler's 1959 epic that won more Oscars than any film in history, it says. And forget Fred Niblo's ground-breaking 1925 silent classic. The CGI Read more ...
Adam Sweeting
Having recently seen Chris Pine reprising his role as the headstrong but heroic Captain James T Kirk in the latest Star Trek, it's a revelation to find him in this gritty tale of crime, punishment, righted wrongs and moral ambiguity. To his credit, he doesn't wilt in the glare of his co-stars Jeff Bridges and Ben Foster, both of whom are giving it both barrels here.One way of looking at Hell or High Water is to consider it as a double buddy movie. It's the story of West Texas brothers Toby and Tanner Howard (Pine and Foster), who rob a string of local banks in order to pay off a reverse Read more ...
aleks.sierz
Ever since Lucy Prebble’s hit masterpiece, Enron, opened our eyes to the possibilities of staging plays about global finance in a thrillingly theatrical way, the hunt has been on for another story that can be as informative and as well staged. Step forward Beth Steel, whose Wonderland, her previous play at this address, looked at Yorkshire miners in the 1980s Miners Strike. Now she travels across the pond in the late 1970s, to look at the similarly arcane activities of New York bankers. This time her characters are not the good sons of toil, but at the bad boys of spoil.Sadly, much of the Read more ...
David Nice
Soft power in the shape of cultural ambassadors can go a long way. With a little help from its big guns in banking and industry, Germany has given this year's Proms no less than four of its major orchestras – from Leipzig, two from Berlin, and now from Dresden: all the more reason to wave those EU flags on a typically international Last Night in three days' time.There's even been co-ordination this week in the shape of Mozart piano concertos and Bruckner symphonies three nights running, first from Barenboim and now from Christian Thielemann. A failsafe interpreter of the Austro-German Read more ...
Clem Hitchcock
Neon was once the triumphant glowing symbol of commerce and capitalism. In the 1930s the distinctive tube lighting gleamed above broadway theatres and on prominent billboards in the world’s great metropolises from New York to Paris. These glory days were not to last. Within just few years neon signs were removed from their downtown pride of place, demoted instead to apologetically jutting out from roadside motels and peripheral dive bars.By the time that a group of American artists became known for using neon in the 1960s it had become the go-to metaphor for philosophers and writers lamenting Read more ...
Gavin Dixon
Daniel Barenboim is as distinctive as he is unpredictable. His considerable strengths – dynamism, passion, keen intellectual engagement – are balanced by some notable weaknesses – clunky tempo changes, lack of detail – but all configure differently in each performance. This Prom was a success largely for the fresh perspectives he brought to Mozart and Bruckner, both composers prone to stiffness and formality from less adventurous performers.If the Mozart was the less successful, it was because Barenboim seemed to take his ideas too far, always working just outside the bounds of classical Read more ...
Veronica Lee
Motherhood seems to be a thing for Sharon Horgan at the moment. First came Catastrophe, the Channel 4 comedy about unplanned parenthood she writes and co-stars in with Rob Delaney, and now Motherland, a pilot co-written with Graham and Helen Linehan and Holly Walsh for the BBC.Like Catastrophe, it's an acutely observed comedy, this time about middle-class mums in suburban London. Anna Maxwell Martin is superb as Julia, a time-stressed events organiser with two young children who has been relying on her mother for childcare. Julia's day starts out badly and unfolds into a series of disasters Read more ...
Markie Robson-Scott
"Did she bite you often?" Julien Gahyde (Mathieu Amalric) is being questioned about his affair in minute detail, over and over again, by lawyers and detectives. This is an ingenious flashback device. We don’t know yet what crime has been committed, but his lover Esther (Stéphanie Cléau) draws blood right at the start of this claustrophobic and ambiguous film, set in a provincial French town somewhere near Poitiers.Their passion is the grandest thing for miles around: you can sense the frustration behind the unassuming shop-fronts and flat landscapes. La France profonde-ly dull, where everyone Read more ...
alexandra.coghlan
Owen Wingrave is the Britten opera that always comes with a caveat, an apology. Dramatically flawed (a problem partially, but by no means entirely, accounted for by its genesis as a television opera) and musically uneven, it has nevertheless emerged recently as a favourite choice for young singers, with Guildhall (2013), the Royal Conservatoire of Scotland (2016) and now British Youth Opera (2016) all choosing to stage it, with varying degrees of success.Owen, last of the soldiering clan of the Wingraves, leaves officer training, casting his family’s history aside in favour of an avowed Read more ...
Jasper Rees
You can usually tell a show is in trouble when it executes one of its main characters. By the end, Cold Feet had run out of gas. Its instinct to laugh at life rubbed up against genuine grief, and there was nowhere for it to go but off air. But 13 years on here we are again. Historical precedent suggests it has no right to work. This Life didn’t profit when exhumed and nor in the end did Upstairs Downstairs. But if Cold Feet was your thing, it looks so far as if it still will be.What’s changed? Everything but also nothing. Adam (James Nesbitt) is now working in Singapore and after an Read more ...
james.woodall
It could be a book, film, TV or radio piece, essay or exhibition. If it’s about or based on The Beatles, the question is always the same: how on earth can anything new be said? In the case of Ron Howard’s Eight Days a Week: The Touring Years, surprisingly quite a lot, is the answer.Factually, there’s little with which the Apollo 13 and A Beautiful Mind director can grab even the most noddingly acquainted. Four boys from very modest backgrounds test themselves as a band in the early 1960s in Europe’s raciest city (Hamburg), get noticed in a scuzzy Liverpool basement by a posh shopkeeper (Brian Read more ...
Jasper Rees
Those who frequent Cornwall know that most of its place names begin with one of three prefixes. Indeed, check your copy of Richard Carew’s Survey of Cornwall (1602) for the source of the rhyme: “By Tre, Pol and Pen / Shall ye know all Cornishmen”. (With thanks to Wiki). As to the suffixes, well there it’s open season. The name Poldark was Winston Graham’s invention – and, if we're being pedantic, the stress really should be on the second syllable. As he embarked on his novel sequence about the adventures of a stubborn, raffish hero, he might as easily have gone for something even grabbier. Read more ...