Month: May 2015

Unfriended

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08/05/15

There have already been a few unsuccessful attempts to marry the fright movie to the world of social media – Chatroom (2010) springs to mind, or last year’s low budget offering, Open Window – but Unfriended is the first film to really understand how the medium actually works and to exploit it to maximum effect. The film’s events are completely confined to the screen of a computer and the interconnected Skype calls of five young friends who find themselves being trolled by a sixth, initially unidentified caller. Whoever it is seems intent on carrying out an ever more vicious revenge for something the others have all been involved in. Could the trolling have anything to do with the first anniversary of the suicide of Laura Barns (Heather Sossaman) a young woman who killed herself after a humiliating film of her drunken indiscretions was publicly aired on Facebook? It’s in no way a spoiler to say, yes, it could, big time.

Considering the restrictions of the staging, Unfriended manages to generate almost unbearable levels of tension, often in the most unexpected ways – the time, for instance, it takes for an emailed link to download, or the way in which characters, composing text messages, repeatedly edit themselves before pressing send. The young cast of unknowns do a pretty good job of convincing us that they are genuinely terrified. As events move from the explicable to the paranormal, there’s plenty of stylish chills to enjoy, despite the film’s 15 certificate. Some of the (admittedly fleeting) gore effects surely challenge that categorisation, but maybe I’m being picky. The film certainly isn’t for everyone. There were a few mid-movie walkouts at the screening I attended and a row of kids sitting behind us, seemed to think it was fine to chatter all the way through it, just as they would if they were on social media themselves. Maybe they don’t get out much.

Unfriended is a valuable addition to the horror genre, much more satisfying that the majority of found-footage, shaky cam offerings that have arrived, seemingly relentlessly,  in the wake of the seminal Blair Witch Project. But be warned. This film could put the more nervous viewer off using social media for life.

4.2 stars

Philip Caveney

The Falling

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03/05/15

Carol Morley’s The Falling is an intriguing and occasionally mesmerising film, that has somehow managed to stake a claim at the multiplexes, amidst the tub-thumping superhero and action flicks. You’ll have to go back a long way to find something similar; all the way, in fact, to 1975, and Peter Weir’s Picnic At Hanging Rock, with which this film seems to share an affinity for the languorous, sensual qualities of nature. Weir’s story was, of course, based in Australia and this one, somewhere in the UK (it’s never actually specified exactly where) but Morley is fond of counterpointing luscious shots of lakes and woods with the tightly corseted, emotionless wasteland of a girls’ private school. Indeed, the two films have so many scenes in common, I refuse to believe that it’s coincidental.

It’s 1969 and the wild and rebellious Abbie (Florence Pugh) is beginning to discover the depths of her own sexuality. Her best friend, Lydia (Maisie Williams) can only watch helplessly as Abbie is inexorably drawn away from her towards Lydia’s brother, Kenneth (Joe Cole). Lydia lives with Kenneth and her tightly buttoned mother, Eileen (Maxine Peake) an agoraphobe who never leaves the house and who seems incapable of portraying any kind of emotion whatsoever. When Abbie finds she is pregnant, it threatens to blow apart the closeted world of the private school she attends and Lydia starts to look for ways to procure an abortion for her friend – but shortly afterwards, Abbie collapses and dies. The resulting shock has a profound effect on her fellow pupils. Lydia begins to experience rapturous fainting spells and as hysteria mounts, more and more more girls (and even one of the female teachers) experience the same phenomenon. In the film’s most powerful scene, pretty much the whole morning assembly succumbs. Is it simply a case of mass hysteria? Or is something deeper and more sinister at work?

The film revels in throwing out more questions than it has answers for. Morley’s slow, sensual direction generates an atmosphere of incredible tension and there are occasional uses of subliminal imagery that lend the film an almost hallucinatory quality. As Lydia, Williams delivers an unforgettable performance, while Pugh is so charismatic that her memory haunts the proceedings despite her early exit. Interesting too, to see former Merchant Ivory pin-up Greta Scaachi, taking on the role of the school’s sternest teacher.

The Falling is by no means a perfect film, but it’s far more experimental than most movies you’ll see these days and it has an ephemeral quality that will prompt you to talk about it long after the final credits have rolled. Not something you would say about Iron Man or The Avengers.

4.4 stars

Philip Caveney

Whose Lunch is it Anyway? Stu and Garry’s Free Improv Show

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The Stand, Edinburgh

03/05/15

Stu Murphy and Garry Dobson’s residency at The Stand is an inspired way for the comedy club to draw in the punters during that entertainment dearth otherwise known as ‘Sunday lunchtime.’ We’ve seen the pair before (a twenty-minute slot during a night of stand-up), but this is the first time we’ve managed to catch their full-length act, and it really didn’t disappoint.

For starters, it’s free. I suppose it would need to be; this improbable time slot depends on people taking a punt, and thinking, ‘Well, why not?’ The place was bursting (although, as the eponymous duo pointed out, it was raining, and it was a bank holiday weekend). Perhaps the numbers aren’t always so good. We didn’t eat, but plenty around us did. This seems to be a popular gig for the hungry and hungover.

As for the act, it’s just a series of well-trodden improvisation games, but they’re played so well and with such joy and mischief, that it’s a real delight to be there. The comedians are inventive, clever, witty and warm. I can’t think of a better way to round off a weekend.

Oh – and Philip even got to go onstage, after volunteering to be the ‘puppeteer,’ controlling Stu’s every move during one (hilarious) scene. Now there’s funny for you.

4 stars

Susan Singfield

The Venetian Twins

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02/05/15

Lyceum Theatre, Edinburgh

Carlo Goldoni is, of course, the playwright whose earlier work, A Servant of Two Masters was so fruitfully adapted by the National Theatre to create One Man, Two Guvnors. The Venetian Twins is cut from the same bolt of gaudy cloth (indeed, can it really be a coincidence that lead actor Grant O Rourke is a dead ringer for James Corden?) At any rate, it matters not. This is a farce majeure, beautifully played, timed to precision and rib ticklingly funny from start to finish.

The action takes place in Verona. Rich and somewhat dim country boy, Zanetto (O Rourke) comes in search of a bride, specifically the nice but equally dim Columbina (Angela Darcy) whose gold-digging father, The Provost senses an opportunity to refill the family’s depleted coffers. But Zanetto has an identical twin brother, Tonino (also played by O Rourke) from whom he was separated as a child. When Tonino flees his native Venice for Verona along with his sweetheart, prototype feminist Beatrice (Jessica Hardwick), the scene is set for a bewildering series of ‘mistaken identity’ disasters. It’s a cliche to say that much hilarity ensues but in this case, that’s exactly right.

In the wrong hands, farce can be toe-curling, but there’s not a foot put wrong here (unless you count the hilariously drunken old landlady who falls repeatedly through an open trapdoor.) This owes much to Commedia Dell Arte, but this is no ‘off-the-peg plot. Much of the wittily updated script by Tony Cownie is delivered in broad Scots accents, which work brilliantly, and there’s a wonderfully foppish performance by John Kielty as the effete (and inevitably English-accented) Florindo. There’s some wonderfully fruity innuendo, a fistful of malapropisms from Columbina and a stomach-churning scene involving a blocked toilet that modesty forbids me to describe in detail. Meanwhile, O Rourke slips effortlessly between the two roles simply by doing up the top button on his jacket and adopting a different expression. The two acts galloped by while the audience, myself included, were convulsed with laughter from start to finish. If laughter is something you relish, then you really should see this before it moves on. It’s a Venetian blinder.

5 stars

Philip Caveney

My Big Fat Greek Kitchen, Edinburgh

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01/05/15

We visited this restaurant after a recommendation from a friend. It’s situated on Brougham Street, a stone’s throw from the Meadows. The interior is fairly Spartan and has the atmosphere of a simple taverna. I don’t know for sure, but I’d hazard a guess that MBFGK is a family-run affair and it’s clear from the hugs and kisses handed out by the proprietor to various guests as they departed, that this place generates a lot of return custom. Service, it has to be said, through warm and friendly, was a tad erratic. Our waitress kept galloping about the place to rearrange chairs and tables, even in the middle of taking our order.

For starters, I chose Whitebait, a dish that’s notoriously difficult to find these days. These were somewhat larger than expected and nicely cooked, lightly dusted with breadcrumbs. They came with nothing more than a small bowl of mayonnaise and the traditional slice of lemon. Susan chose Feta Cheese with kalamata olives and that’s exactly what she got – a generous hunk of cheese and a pile of bitter-tasting olives; but the dish needed something more to complete it – a couple of slices of pitta bread would have been a welcome addition. Perhaps some salad garnish?

For the main course, I went with Stifado – a rich and peppery beef stew. It arrived slapped into a white bowl, accompanied by a couple of pieces of dry toasted bread and an almost risible selection of fries – there were perhaps six of them in total, tasting of very little. The stew itself was hearty and satisfying, but once again, the dish felt incomplete and there was no attempt to make it look appetising. Susan’s choice of Lamb Souvlaki was pretty good, I thought, a generously sized skewer of tender meat,  onion and peppers, resting on a bed of rice, but once again, the dish looked rather underwhelming. The chef clearly knows how to prepare the meat elements of the meals, but would do well, I think, to put a little more effort into his presentation skills.

We drank a bottle of house white and I would have expected this to be a traditional Greek wine – an Assyrtiko, perhaps or a Savatiano, but instead we were served a (fairly decent) Italian Pino Grigio. Go figure. Overall, we enjoyed the food, but the name leads you to expect some kind of gastronomic blowout, which this certainly wasn’t. Don’t get me wrong. It was decent food, but with a little more work on the presentation, it would have scored much higher.

3.2 stars

Philip Caveney

Kro, Heaton Moor

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31/04/15

Kro has been in a prime location on the Moor since 2007. Back in the day, it was mostly famous for it’s Danish-inspired specialities, but that aspect has been somewhat reined in and these days it operates as an upmarket pub grub venue. The place has a relaxed atmosphere and the open plan, glass-walled extension makes for pleasant dining, especially in the summer months. On Sunday evenings there’s ‘Song Swap’ where various musicians come together to perform their material. The staff are relaxed and friendly and nothing is too much trouble. Make no mistake, this isn’t a place where you’d come for haute cuisine. If however, you’re in the market for a great value bit of scran and you’re not in the mood to cook something at home, this is hard to beat. There’s a fairly comprehensive a la carte and every evening, you’ll find a selection of specials chalked up on a board, offering two courses for £10 and three for £12.50.

On our latest visit, we decided to stick entirely to the specials board. I began with Lamb Kofta served with tzatziki, rocket salad and pitta bread. The Kofta was spicy and crunchy, though there was only a single skewer. It was accompanied by a generous side bowl of tzatziki and a dry pitta bread. Susan’s choice was Breaded Salmon Bites with sweet chilli sauce. The bites were light and fluffy, delicately flavoured and nicely set off by the sweet sauce. I thought it was the better of the two starters, certainly more generous, though both were perfectly acceptable.

For the main course, I sampled the Crab Cakes, served with wilted spinach, tartare sauce and French Fries. The cakes themselves were a little dry, though flavoursome enough and there was a large bowl of tartare sauce into which to dunk them. The fries were unremarkable and in my estimation, could have done with another minute in the fryer. Once again, Susan fared better with her choice of Slow Roasted Pork Belly, served with crushed new potato cake and a saje (sic) and onion gravy. The pork was melt in the mouth tender with a pleasing crunchy top layer and the rich onion gravy brought everything together nicely.

The portions were generous enough to eschew a sweet, though all three choices sounded appealing. The total bill for the meal, with a round of drinks, came to less than £30, which any way you look at is exceptional value for money.

3.6 stars

Philip Caveney