Showing posts with label Film. Show all posts
Showing posts with label Film. Show all posts

Monday, 12 March 2012

New Content

Hello there! You may have noticed that there's a couple of non-theatre reviews on the blog now - shock horror! I've been reviewing a wider range of things, just to develop my confidence as general culture vulture reviewer; and to get a place as an editor on Le Nurb (Brunel University's paper). I hope this is all still to everyone's interest! Everything is interesting stuff to see out and about in London, I've either been very generous lately or the culture scene in London is booming; I've given out more four and five star reviews in a month than I usually do in a year!

And just because I'm very excited, I'm posting the Sweeney Todd trailer again because in a week I'll be sitting in the audience! Also to come: an interview with Peter Polycarpou who plays the Beadle in Sweeney Todd, and a review of Cleanskin, the film he stars in with Sean Bean.


Swing your razor high! Sweeney...

The Muppets *****

Since I heard this film was being released, I have literally been counting down the days on my calendar. I remember being even shorter than I am now and going to the cinema to see the last Muppet movie, Muppets From Space; twelve years later it feels just as it did then. I haven’t left the cinema with a smile like that for a long time...twelve years maybe.

The unabashed joy of the Muppets goes much further back than my childhood of course; they’ve been going for thirty five years, and return in this movie acknowledging without shame that, well, they’ve been forgotten about since our childhood. Disbanded for years, the Muppets now pursue separate careers: Miss Piggy is editor of French Vogue, Fozzy is in a tribute band called The Moopets, Gonzo is a plumbing magnate, and Kermit sits and reminisces about the good old days in his Beverly Hills mansion. It takes their biggest fan, Walter (a Muppet who’s struggled in the human world), and his brother Gary (played by Jason Segel, who arguably is the Muppets biggest human fan and wrote this film with Forgetting Sarah Marshall director, Nick Stoller) to bring the Muppets back together. They must raise enough money to buy their studio back from an evil oil baron (Chris Cooper’s maniacal laughs and rap – yes, rap – are a major highlight).

A lot of the laughs come from the film’s ability to laugh at itself. The whole town fall into a dance break at the beginning of the movie, MGM musical style, but then collapse thankfully once the chirpy threesome have left for Hollywood. It screams, ‘I am a cheesey movie; you know it, we know it’ and reminds us how magical the movies can be if we just sit back and let it cast its spell. Amy Adams has always looked something of a Disney princess, and so is delightfully cast in this movie. The strained relationship between her and Segel parallels Kermit and Miss Piggy’s, and is played well against the Muppets’ otherwise comical plot. It’s insane how these unique furry friends are able to make you feel not only warm and fuzzy inside, but insanely good about yourself. The music is composed by Bret McKenzie of Flight of the Concords, and the Oscar winning song, ‘Man or a Muppet’ is genuinely both moving and amusing; by the time you reach this song, your heart is like warm putty in their little hands.

There are a few cameos from the likes of Whoopi Goldberg and Jack Black, but for this comeback, the real stardom is the Muppets’. I had never realised how much Cee Lo Green sounds like a flock of chickens or how much I missed Fozzy’s “Wacka wacka!”, for instance. The finale feels like a family reunion, and I’m about five years old all over again. In the state this country is in, it takes a pretty powerful movie for a whole audience to skip out singing ‘Everything is great, life’s a happy song’. The Muppets are back!

Sunday, 18 December 2011

Farewell to Priscilla the Musical


Richard Grieve, Don Gallagher, Oliver Thornton, in Priscilla. Photo Credit: The Guardian

I’ll admit immediately: it’s the end of its run, and I hadn’t seen Priscilla before due to my snobbery towards the ‘jukebox’ musical. However, Priscilla reminded me why London - poor, troubled London, is embracing the jukebox musical this year: the pure joy of it all! I felt practically old, it having been so long since I’d heard an audience stand up and dance and sing along. The smiles in this show are infectious, but (for me at least) the ballads therefore felt forced, necessary to the plot forumla; illustrating those moments in life where one might ‘feel a song coming on’. Yet I do wish that I had a personal orchestra and could spontaneously burst into song, so don’t blame the characters for it.

The ensemble were terrific (as I should expect by now), bursting with energy. Like in Crazy For You, this is a dance heavy musical, and it therefore is worth mentioning Kanako Nakano who’s sharpness and smiles always stood out. The production and costumes too were even more impressive than expected, by the end I felt blinded by all the glitter balls and sequins (not that this was a bad thing). It is a tremendous example of the spectacle we’ve come to expect as an audience. Dancing paintbrushes, levitating divas, gigantic heels and so much more: Priscilla literally sparkles.

Camp-ness runs through the veins of this musical. It not only dazzles, it waves its perfectly formed arse in the face of homophobia. This is a life-affirming story of three men who have already embraced the song ‘I am what I am’, and instead are pursuing much more personal goals; and yet the bluntness of the sexual humour occasionally just felt too crude, surrendering to stereotyping. Still, the three leads (Don Gallagher, Oliver Thornton, Richard Grieve) work seamlessly together; that powerful embodiment of triple threat. This all singing, all dancing show pulls it off because at the centre of it all, the lead stories act with heart; something such a vibrant musical could easily have fallen into the trap of foregoing for pure spectacle. But Priscilla has everything. The perfect show for the Christmas season.

P.S. When is the Palace Theatre going to undergo a renovation so that at the very least, fifty percent of the audience can see from their overpriced seats?