sat 24/10/2020

adaptation

Come As You Are review - a road trip with a difference

At a point in the early noughties, every third film was a teen comedy about a road trip to lose one's virginity. It’s a genre most were glad to see the back of. What a pleasant surprise Come As You Are is then, which brings much needed heart and...

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Blueprint Medea, Finborough Theatre online review – well-meaning but clunky update

Medea is the original crazy ex-girlfriend: the wronged woman who takes perfectly understandable revenge on the man who made her life hell. In Blueprint Medea, a new adaptation premiered at the Finborough Theatre in May 2019 and available on YouTube...

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Scoob! review - mostly bark, little bite

Scooby fans have waited over 50 years for a proper big screen adaptation of everyone’s favourite cowardly dog (sorry Cartoon Network’s Courage). The 2003 live-action version starring Matthew Lillard and Sarah Michelle Gellar failed to capture the...

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The Old Guard review - serious silliness

It’s hard to take The Old Guard seriously — it’s an action film about thousand-year-old immortal warriors. Pulpy flashbacks and fake blood abounds. But The Old Guard doesn’t need to be serious or even memorable: it’s a fun, feel-good film, a rare...

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Birdsong, The Original Theatre Company online review – a gutsy experiment

Birdsong, Sebastian Faulks’ best-selling First World War novel, has been adapted quite a few times in its twenty-seven years. First came the TV series in 2012, starring Eddie Redmayne and Clémence Poésy; then there was Sir Trevor Nunn’s 2010...

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My Brilliant Friend, Season 2: The Story of a New Name, Sky Atlantic review – a troubling friendship deepens

In her surprisingly self-revealing collection of essays and interviews Frantumaglia (Neapolitan dialect word for a disquieting jumble of ideas), the writer who calls herself Elena Ferrante often ponders the metamorphosis from novel to film. “The...

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The Luminaries, BBC One review - one of the most visually arresting dramas of the year

Alarm bells start ringing whenever you discover an author is adapting their own work for a screenplay. In the case of New Zealand novelist Eleanor Catton, the alarm proves to be false. Over the course of seven years, and apparently 200 drafts...

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Artemis Fowl review - flash bang nothing

It’s taken over 18 years for Artemis Fowl to reach the big screen, with Miramax originally buying the rights in 2001. Finally, Disney have brought the world’s youngest criminal mastermind to life, but was it worth the wait? Well, the fact it’s...

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I Know This Much Is True, Sky Atlantic review - riding a carousel of catastrophe

Adapted by writer-director Derek Cianfrance from Wally Lamb’s 1998 novel, this HBO production (on Sky Atlantic) presents a huge canvas for Mark Ruffalo, who plays the twin brothers Dominick and Thomas Birdsey. He had a particular interest in I Know...

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Frankenstein, National Theatre at Home review – creature discomforts

So far, it could be said that the National Theatre is having a good lockdown. Every week, this flagship streams one of its stock of NT Live films, which are always a welcome reminder of the range of its output over the past decade or so. This week...

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Normal People, BBC One review – adaptation of Sally Rooney’s novel evokes the deep cut of first love

Sally Rooney’s 2018 novel, which was long-listed for the Man Booker Prize, was a psychologically rich, emotive journey into the psyches of two Irish teenagers who fall in love. Only two years on from publication, it has been turned into a 12-part...

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Treasure Island, National Theatre at Home review - all aboard this thrilling adventure story

Swaggering pirates, X marks the spot, a chattering parrot, “Yo-ho-ho and a bottle of rum”? All present and correct. But Bryony Lavery’s winning 2014 adaptation of Robert Louis Stevenson for the National, directed by Polly Findlay, also features...

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