Just For Lookin' Thru

Fabulous cinematography creates a moving painting; colours and images stay in the mind long after the film has ended. Intense darkness, golden lighting and lustrous colour bring the Old Masters to life. Costume designer Sandy Powell used old works of art for research, so costuming is lavish and rich while the camera lingers on fabric, skin and hair to produce an acutely sensory experience. Scarlett Johanssen plays the loyal and affectionate younger sister, Mary, used as a honey trap to charm the king and gain power for her family. Reluctant at first, she seems cast as unwilling whore but this fictional representation portrays Henry VIII and Mary Boleyn as tender lovers. Henry (Eric Bana) is shown to be capricious and easily bewitched by Anne although her power appears fleeting. Natalie Portman plays the scheming Anne, maturing from cocky, arch young girl to challenging temptress, before she loses her hold over him, and her descent into terrified desperation is effective an...

Tommy Lee Jones plays Hank, a retired military policeman, father to two soldiers. Mike, the youngest, goes missing shortly after his return to base from Iraq, and Hank sets out to find him. He comes up against Charlize Theron playing a desensitized female detective working amongst misogynistic officers. Hardened to human suffering, this woman in a man’s world is impatient with Hank when he asks for her help. However, the nature of the murder intrigues and touches her, and they form an uneasy alliance in the search for Mike’s killers. Theron is convincing as the isolated single mother; fallible, human but also determined. Lee Jones is on good form as the disciplined, methodical military man, who loses control just once, his emotions only for him to know. Susan Sarandon, as the bereaved mother, conveys the loneliness of grief and deep, internalized suffering. Handled with restraint throughout - dialogue, performances and cinematography, writer and director P...

Dodgy Clutch Theatre Co in assoc with The Market Theatre, Johannesburg UK Tour, March - April 2008 A bewitching production providing a great evening’s entertainment, with story, dance, music and song. The elephants of the title are stunningly beautiful, enormous puppets that are both awe inspiring and enchanting. Dancers and singers from Johannesburg and the UK combine to perform Elephant, a cautionary tale about forgiveness and humanity. This is Chief Zanenvula’s story: refused entry to heaven, he has to look back over his life to discover his mistakes. Accompanied by a manipulative new ‘friend,’ who has something of Alexei Sayle about him, the Chief revisits key scenes in his childhood, adolescence and maturity. He gradually understands how he has offended the spirit of Africa and learns how to redeem himself. This an energetic production: the dancing is varied, athletic and graceful; songs are soulful and lively, the text touching and comic. Staging and lighting recreates the warmth...

Pitch perfect. Laura Linney and Philip Seymour Hoffman play a brother and sister (Wendy and Jon) with some distance between them. Both writers, he is a college professor specializing in Brecht, she is an aspiring playwright. Both are uneasy about their childhood and have put it behind them, until a crisis recalls them to their estranged father. They have to care for him when he had never cared much for them. Seen from Wendy's viewpoint, she reacts emotionally, tries to do the right thing and feels guilty, while Jon takes a practical line, refusing to make a fuss about any of it, which she misinterprets as a callous attitude. It reveals an interesting difference in approaches to the elderly, and his calm, reasoned approach seems the more effective. When Wendy agonizes about how to ask their father what they should do in the event of his unconsciousness or 'possible' death, their father shouts 'Pull the plug! Bury me!' as though they are idiots. Now and a...

The Northcott Theatre Company perform the UK premiere of Tennessee Williams’ 'The Notebook of Trigorin,' a free adaptation of Anton Chekhov’s 'The Seagull' to an almost exclusively white and grey haired audience. Why does Chekhov not appeal to the under 55s, or is it that tragedy appeals only to the worldly wise? Chekhov’s play about human fragility and the impossibility of people relating to each other in an equal and meaningful way is a depressing premise. However, despite the gloomy subject matter there are touches of intentional comedy. Mme Arkadina, a successful dramatic actress, clings to her youth and glory, and fears the decline of her powers. She is unable to recognize – or she resists – the talents of her son, Constantine; he has youth, vigour and a passion for writing ... and the whole of life ahead of him. He merely reminds her of her age. Liz Crowther plays a sprightly Arkadina although the choreography has her skipping around the stage at times which is in...

Unrelenting, gratuitous violence in the mould of spaghetti Westerns, this film provides superb tension throughout, with touches of dark humour. Largely silent, with close focus on minutiae, it’s an acute visual experience but also a philosophical treatise on the meaning of life, or lack of it, and the role of chance. Western lovers will enjoy the abandoned and wrecked pick ups in a circle with corpses strewn about, not a rifle deal gone wrong or a wagon train ambushed by pesky red Indians, but a Mexican drug deal. The lone figure who comes upon this scene is not cheroot smoking Eastwood but a capable, resourceful and monosyllabic ex-Vietnam veteran who keeps one step ahead of his pursuer, the psychopathic assassin who wants to recover the cash. The Coen brothers drive the narrative along, providing the expected markers of stalking movies: laconic, indestructible assassin Chigurh (Javier Bardem) and his fearless and confident prey, Llewellyn (Josh Brolin), working towards t...

Covert assistance doesn't get much PR so this seems to be an American propaganda film demonstrating how the US funded the defeat of Russian troops in Afghanistan during the eighties, whilst making the point that after sales service is non-existent at US inc. Congressman Charlie Wilson is persuaded to visit the refugee camps in Pakistan and is converted to the cause of the Afghan people fleeing occupation. More than simply a tale about Wilson’s realization that civilians suffer in wartime, this could have the subtitle, ‘Americans love guns.’ Wilson manages to persuade various committees to supply money which provides anti-helicopter weaponry and the chaps get very excited about these big tools. He is, however, unable to persuade them to provide any cash for schools or hospitals once those Ruskies are whupped. Iraq war anyone? West Wing scriptwriter Aaron Sorkin delivers a rapid fire script which, with mumbling, is sometimes hard to follow but it’s nicely acted. Hanks is bel...

Shame runs right through this redemption story, the filmed adaptation of the bestselling novel by Khaled Hosseini. The central character, pre-pubescent, aspiring writer Amir, is not an easy boy to like, and he disappoints his father, (an apparently shining example of the chivalric), because he is not a manly boy. Amir’s doggedly loyal young friend and servant, however, is a moral barometer, a knight in the making, saintly and ballsy by turns. The opening credits use fabulous graphics and atmospheric music to create a sense of the eastern exotic and conjure up childhood tales from 1001 Arabian nights – Amir is a storyteller after all – but the film is strongly realist. The Russians invade Afghanistan, Amir escapes to America with his father, and they must adapt from their ancient code of caste rules and family honour to consumer culture. Twenty years later, he returns to war torn Kabul, in the grip of the Taliban, his time of revelations. Wholly masculine, apart from ca...

Immeasurable gloomy, the length of the title and the running time of 2 hrs 39 mins give pretty strong indications - it’s too long and too slow. However easy on the eye Brad Pitt may be, close ups of his face and that of Casey Affleck as Ford fail to illuminate a tedious and near incomprehensible movie. Strong on atmosphere and weak on story, interminable shots of snow, winter landscape and bleak interiors are overlaid with voiceover historical narrative which make the heart sink. We could go and read this stuff for ourselves. What could have been an interesting psychological profiling of the lead characters is instead dreary. Contradictory behaviour gives clues to James’ psychotic state - he talks about suicide and feeling depressed, is coldly violent then almost maniacal. There are also demonstrations that he is a ruthless killer - but he’s quite nice really because he plays with his children and is affectionate towards his wife. Following the savage beating of a teenage boy ...

The Frames’ front man Glen Hansard plays a wounded busker singing songs of heartache and heartbreak on the streets of Dublin. He is spotted by a young Czech immigrant who loves his songs although they are pretty maudlin. She is the driving force that shakes him out of his inertia, prompts him to pick up the pieces and follow his dream, and it’s interesting that she is making such a success of her life in a new country whilst he is floundering in his own. Without her inspiration he'd still be fixing vacuum cleaners in a back street shop. They recognize each other as a pair of love casualties and this film is a touching study of two people meeting at a vulnerable time in their lives and making a deep connection. It shows how even a transitory relationship can have a profound effect on our lives, without the obvious outcome, and avoids the cliché of boy meets girl. Despite the hand held camerawork being a bit jerky at times, intentionally arty but disconcerting, and the poor ...

Newton Faulkner’s returned to Truro after visiting Europe this autumn. He’s a sell out in most British venues and his last date is back in Cornwall where, only in March, he was the support for James Morrison. Since the success of his single Dream Catch Me with its summer sound that gets right in your head and stays there, he’s also getting plenty of airtime for his new single, Teardrop. Relaxed and easy on stage, Faulkner chats between numbers, his long dreads swinging in front of his face. He goes into a soft reggae song, just off the beat, for ‘People Should Smile More’ and the warm crowd of 1700 go crazy for him, cheering, waving and calling out, ‘I Love You.’ Strumming and banging, using his guitar as percussion, he’s backed up by bongos and a bassist, and moves from ballad to funk. He’s got such a great voice it seems he can’t make an ugly sound, then he shifts into a stomping rhythm for ‘UFO.’ Whatever he does the crowd love it, and he’s having fun. He raises a finger - they chee...

Writer David Stuart Davies has created a superb one man show, and the script is spot on, combining humour and pathos with drama and keeping the tension throughout. Sherlock Holmes returns to Baker Street after the funeral of his old friend, Watson and, from the moment he appears on stage Roger Llewellyn is riveting. It is impossible to tear your eyes from him as he talks to Watson, or to the memory of him, recalling their first meeting, reminding him of conversations past, and recreating the cases and the stories they worked on together. He demonstrates a tender and regretful affection for Watson which is often poignant, but also amusing. Llewellyn’s performance is spellbinding. He plays a whole host of characters, switches accents and posture with bewildering ease, and terrific direction from Gareth Armstrong keeps him moving around the stage in surprisingly physical theatre. He is both fit and graceful. The pace is fine tuned so that moments of high melodrama move seamlessly into tou...

Written in 1621, The Changeling requires a modern audience to cast aside twenty-first century social and sexual politics. A pre-show talk by Nottingham Playhouse Theatre Company’s Steve Unwin explains that, far from being distressed, Beatrice-Joanna would have been honoured to have her husband chosen for her by her father, and that her disobedience would have struck contemporary audiences as deeply shocking. Days before her wedding to an unwanted suitor, the apparently indulged Beatrice-Joanna instead falls for Alsemero. An awkward situation, further complicated by her father’s devoted servant de Flores, who is obsessed with her. She repels de Flores until she decides to make him useful, asking him to kill her bridegroom and leave her free to marry Alsemero. It has not occurred to her that she has made a deal with the devil. To her horror, he refuses money but claims her as his reward, switching her from privileged and headstrong young woman to hapless victim. Not only a Jacobean reven...

Clooney is mesmerizing as smooth, smart fixer for a large corporate law firm in New York. He’s brought in to tidy up the mess when friend Arthur (Tom Wilkinson) appears to have a breakdown whilst working on a lengthy compensation case for an agro-chemical corporation. The case stinks; small farmers and their families have been poisoned by the company’s carcinogenic weed killer, and Arthur switches sides. He’s up against Karen (Tilda Swinton), ruthless boss of the agrochemical company. There are no caricatures and no clichés in this cracking, believable, suspense movie. It’s a fine character study of Clayton, who operates alone using an extensive network of legal contacts. Cool and adept on the job, he is distracted and inattentive when he’s with his bright and thoughtful son, and the boy provides a nice counterbalance to Clayton’s worldly effectiveness. Wilkinson is on superb form as a clever lawyer, suffering from mental health problems and overcome with guilt. The hi...

Desperately slow moving focus on Alain (Depardieu) and Marion (Cecile de France), with the camera lingering particularly lovingly on the latter. Her beautiful eyes are almost spellbinding but that doesn’t make for enough of a story. Alain is a singer and the cheesy material and excruciating lyrics are difficult to sit through. The film quality is grainy which makes it look like a home movie but does add to the seventies, downbeat, dance hall atmosphere. However, this simple drama about an older, fading, local celebrity, falling for a young, enigmatic woman is touching at times, mortifying at others, and Alain’s dogged pursuit of the obviously reluctant Marion is embarrassing. You just want to tell him to stop it and leave her alone. She is deeply troubled, suffering from a recent relationship break-up, and hardly ready to be wooed and won by an older, overweight man. Alain persists, is rejected, then seemingly toyed with as Marion develops an affection for him. Both charac...

Gripping quarry and pursuit movie for landscape junkies. Quality cinematography and direction keep the tension going throughout the lengthy chase after Gideon (Pierce Brosnan) by Carver (Liam Neeson) and his men. Starting high in snow covered mountains, the relentless hunt continues downriver as Gideon evades his pursuers, determined to survive not only them, but an embedded bullet, freezing, near drowning, starvation and thirst. He comes up with some ingenious but brutal survival techniques. The squeamish may need to look away at times; the camera spares no detail in this visceral and thrilling adventure. However, when Gideon gets down to a dried up riverbed in an arid landscape, (which looks like seasonal confusion, but is possibly symbolic) the story dries up too. There are some surreal references to Eastwood’s classic ‘The Outlaw Josey Wales’ in the inexplicable appearance of a medicine seller and a wise Indian in the desert which are plain silly. Possible nods to Josey Wa...

Some of these musicians are massive, I mean American massive. One of them forces his bulk through the coffee shop holding a piece of cake and a drink, and drops his napkin. It is returned to him with the comment, ‘You may want to get a fresh one.’ He doesn’t respond, even with a glance, but collects another and sits down with his co-singers exuding the attitude of a spoilt child. Moments later, when one of the other band members asks what the cake’s like, he says, ‘It’s sum kinda baaaed sheeeit.’ He doesn’t finish it. Who would have expected black Americans to be so precious but it’s the Health and Safety culture that’s to blame, when a perfectly good piece of cake is simply not good enough and a paper napkin that has touched the floor is a noxious thing. On stage, the Stylistics exude professionalism and charm. The huge guys are the Style Orchestra; the Stylistics are up front in matching suits, shirts and shoes and look in pretty good shape for a band that’s been together for 39 year...

Ryan Phillippe plays Eric, a young, bright, FBI employee whose IT skills and quick thinking get him a job spying on Robert Hanssen (jailed for life in 2001 for providing the KGB with military secrets for 15 years.) Ambitious and motivated, Eric takes it on, hoping for fast track promotion to agent. Hanssen’s certainty that he is smarter than anyone else is what drives him, but Eric’s smart too, and this suspenseful, intelligent film keeps us guessing as to which one will outwit the other. Eric keeps his cool despite his prey becoming his predator when Hanssen (Chris Cooper) monitors him just as closely, turns up at his house, anticipates every move Eric makes, and is aware of every level of FBI surveillance. He’s a hard man to dupe. Alongside their egos clashing, the story covers the moral dilemmas of both men. Hanssen is a devout Catholic who fantasizes about Catherine Zeta Jones and sells movies of himself having sex with his wife, while young Eric isn’t happy with the w...

It’s unclear whether this film is supposed to be a romance, a road trip, or a creative documentary, and the result is a bewildering series of unconnected scenes. A disturbed French girl, Zingarina, arrives in Transylvania with her anxious sister as carer, and an interpreter, and the trio are searching for Zingarina’s absconded lover. She finds him, he rejects her, and she descends into a prolonged schizophrenic episode and, because we know nothing about these characters and have been shown nothing to evoke our interest or sympathy, it’s meaningless and irritating. Zingarina whirls around in her own misery, messing up a really interesting carnival procession of national costumed musicians and singers when, as a documentary, this could have been fascinating and illuminating. At various times during the film there are tantalising glimpses of local performers but there is little dialogue and no insight into either gypsy or local culture, leaving the impression of a film shot o...

This doesn’t sound like an interesting premise for a film; an unsuccessful writer faking the autobiography of Howard Hughes and getting caught, but it’s gripping, and true. Clifford Irving’s breathtaking audacity is so outrageous and implausible that you have to keep watching because you can’t believe he’ll pull it off, and he nearly does. Richard Gere plays Irving with what looks like a dodgy black perm and he looks so unlike the Gere we know that he manages to convince. Although the film is about the trickery involved in fooling his publicist, the publishers and their legal advisors, it is also a close study of friendship and relationships. Irving’s friend joins him rather reluctantly in the venture, which is a sort of literary hussle, but fails to put a brake on the increasingly complicated and unnerving fraud, while Irving’s wife has concerns about his easy lying in his private life. Irving’s obsession with Hughes grows, and threatens to disrupt his life; he becom...