family relationships
emma.simmonds
Balancing cool calculation with a touch of Potiche’s farce, In the House (Dans la Maison) sees French director François Ozon return to the story-within-a-story structure and enigmatic imposter subject matter of Swimming Pool.It stars Fabrice Luchini as Mr Germain, a frustrated French teacher, disenchanted by pupil apathy and his school’s new initiatives. His zeal for teaching is re-awakened when a talented pupil, Claude (Ernst Umhauer), starts turning-in intriguing but alarming assignments. These reveal that Claude has conned his way into a classmate’s house, and is observing and manipulating Read more ...
graeme.thomson
The 1989 production at the Tron in Glasgow of Bill Findlay and Martin Bowman’s translation of Les Belles-Soeurs, the 1965 play by Québécois writer Michel Tremblay, has become a landmark event in Scottish theatre. This new co-production between the Royal Lyceum Theatre Company and the National Theatre of Scotland marks a major and very welcome revival of a work which, although initially written to challenge the prevailing cultural constraints of Canada in the 1960s, retains a real contemporary kick.The themes of The Guid Sisters – economic desperation, the politics of language, religion, the Read more ...
graeme.thomson
The Special Relationship might be on a sticky wicket politically, but in telly at least it seems to be thriving. Spooks, Downton and Episodes have all recognised the sound commercial sense in bringing together marquee names from both sides of the pond. Now comes Cuckoo, a new six-part comedy series which pitches budding US film star and Saturday Night Live stalwart Andy Samberg against our very own comic giant Greg Davies. The third lead, Helen Baxendale, presumably ticked several boxes simply for being known on either side of the Atlantic seaboard for her (terrible) turn in Friends.So much Read more ...
emma.simmonds
Described by Peter Falk as, “a love story between a woman who’s half wacky and a guy who’s inarticulate”, John Cassavetes’ seventh feature from 1974 is without doubt one of his finest achievements. It’s one of several collaborations between Cassavetes and his actor wife Gena Rowlands, here giving a performance of show-stopping complexity.Falk plays Nick Longhetti, an overworked construction foreman. Rowlands is his wife Mabel and the mother of his three young children. She’s struggling with mental illness and - though their relationship is placed under violent strain - their love for each Read more ...
Kieron Tyler
The onset of puberty is difficult, and especially so for girls in art house films. Marta is 12 and has been away from Italy for 10 years. In the days after returning with her mother and sister, she contends with being prepared for her first communion and her changing body. Quietly, as if not there, Marta observes the hypocrisy of adults. Dog-tired from working in a bakery, her mother is forced into the background.As Marta, Yle Vianello is terrific, a watchful presence who tries hard to do the right thing but is frustrated, who keeps a distance but is forced to interact. She bakes a cake for Read more ...
Veronica Lee
John Barrowman's Dallas was a shameless ad for Channel 5's upcoming new series, an updated retread of the American soap opera, but an enjoyable pointer nonetheless to what pleasures await us - the amuse-bouche, if you will, to the meaty main course starting next week.For those old enough to remember the original, the prospect of Ewing family shenanigans starting over is a treat indeed. For those too young to have experienced the Emmy-winning show, which was broadcast on BBC One between 1978 and 1991, let me fill you in. Dallas, with its bombastic theme tune and much copied split-screen Read more ...
Laura Silverman
Affairs, arguments, accidents. Feminism, marital failure and a fear of ageing. Jumpy has plenty of conflicts and issues, dunked in a wonderful bittersweet humour. But while April de Angelis faces uncomfortable truths, she fails to deal with them with equal courage. This play gnashes its teeth – at the gap in communication between generations and at the eternal pursuit of youth – but it lacks bite.Jumpy, which was first on at the Royal Court last autumn, is worth seeing for Tamsin Greig alone. Greig plays Hilary, a middle-class, middle-aged mother having an identity crisis. As Tilly, her Read more ...
emma.simmonds
Those familiar with Italian director Paolo Sorrentino’s elegant political feature Il Divo (2008), or perhaps the beautiful, cynical The Consequences of Love (2004) may find themselves struck (pleasantly) dumb by the direction of his latest. Inspired by Lynch’s The Straight Story, This Must Be the Place takes its name from the Talking Heads track (with David Byrne providing original songs and popping up for a cameo). This curio sees Sean Penn’s mischievous goth rocker turn Nazi hunter, taking up his dead father’s mantle of revenge.Penn plays retired rock star Cheyenne, the sartorial twin of Read more ...
philip radcliffe
Visualise a large lost property office, such as that for Transport for London at Baker Street, which inspired this production, its racks stuffed with thousands of items, from false teeth to umbrellas, prosthetic limbs to mobile phones. You name it, it’s been lost – and found. Why, only the other day, some loved one’s ashes were left on the tram between Manchester and Bury.Now, think what tales each of those items could tell about their owners and the circumstances of their loss on a journey, especially the journey of life itself. That is the trigger for Jackie Kay’s new play, Manchester Lines Read more ...
Ismene Brown
As Mrs Thatcher used to say, don’t bring me problems, bring me solutions. Solutions have been flung with a will at the problem ballet of Kenneth MacMillan’s last years, his orientalist fairytale The Prince of the Pagodas - the Royal Ballet’s retiring director Monica Mason revived it last night as one of her last presentations, determined that a new generation should have the chance to love it.Cut, tightened up, re-edited 10 years after its choreographer’s death (a collaboration between MacMillan’s widow and the Royal Ballet, with the reluctant blessing of the Benjamin Britten Estate), The Read more ...
emma.simmonds
With its precocious youngsters, enchanting title, wonderful wit and delight in hand-crafted detail, Moonrise Kingdom is every inch a Wes Anderson film. This year’s Cannes opener is steeped in The Royal Tenenbaums’ director’s faux-naïf, frivolous worldview, with nearly every one of its magical frames carrying his signature. He has always presented adult strife as if seen through a child’s fertile eyes - spinning the prosaic, dark or melancholy into something altogether more quixotic. Anderson’s films are poised and peculiar, with their thrift-store chic and deadpan protagonists. Grim reality Read more ...
Matt Wolf
Replace the charmingly quirky with the merely cute and you have All in Good Time, Nigel Cole's film of the popular 2007 National Theatre play by Ayub Khan-Din about a British-Asian family confronted with the kind of crisis for which happy endings were invented. Khan-Din's previous stage success, East is East, made it zestily to the screen in 1999, suggesting no reason why Rafta, Rafta ... (to lend this later play the Urdu title from its stage incarnation) couldn't follow suit. That the results are more conventional testify to the ways of the celluloid world, though at least Meera Syal Read more ...