Month: September 2015

The Savoy Cinema – Reloaded

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11/09/15

Heaton Moor, Manchester

For many people (me included) it sounds like the proverbial dream job. But for Louis Mundin and his fiancée, Sophie Smith, it’s soon going to be a reality. This likeable young couple will be managing Heaton Moor’s iconic Savoy Cinema when it reopens, fully refurbished, in late October.

The Savoy has been a fixture on ‘the Moor’ since 1923. Its first feature was silent movie, The Virgin Queen, which was accompanied by music from a string quartet. Over the years, the Savoy has endured, surviving a barbaric 70s refit, sporadic attempts to turn it into a ‘fun-pub’ and the dark mutterings of those who predicted that the advent of digital cinema would finally sound its death knell. But, as it turned out, the doom mongers were wrong. The Savoy is currently in the midst of an extensive refurbishment.

When I arrive on a sunny Friday afternoon, the place is a hive of industry and it’s apparent at a glance that this must be a labour of love, although – at the moment -it’s more like hard labour as the Mundin family work around the clock to ensure they meet their launch deadline of October 23rd. Sophie is painting wood stain onto sheets of plywood, while Louis is in conference with a team of builders. Louis’s mum Amanda is there too, overseeing the workforce and, somewhere amidst the thumping of lump hammers and the screeching of electric saws, I catch a fleeting glimpse of Tony, Amanda’s husband. It’s clear that the Mundins are an industrious crew, who rarely stop for a break, but I eventually manage to coax Louis and Sophie to a (relatively) quiet spot where we can chat.

I begin by asking if this is the realisation of a long-held ambition.

Louis: Well, yes. We first got into cinema about eight years ago, when Mum took over the Ritz Cinema in Belper. We worked there part time, helping out behind the bar and so forth. Me and Sophie both love film so when this opportunity came up, we grabbed it with both hands.

I remark that they seem to possess an enviable skill set between them.

Sophie: Well, we recently did up our home, so we used that very much as a training exercise!

The Savoy offers reasonably priced membership deals and the Mundins were initially expecting to sell 500 of them at most. So they must have been absolutely blown away with the response they’ve had.

Louis: It’s amazing. We’ve been absolutely inundated with support from day one. At last count we had 3,400 members, which is completely unheard of.

Indeed, the response was so enthusiastic that initial plans to restore just a proportion of the Savoy’s seating had to be hastily rejigged and now all 180 seats will be brought back into play – and not just any old seats! The standard kind will be augmented by luxury Pullman style seating and, for the more romantically inclined, there’ll even be double sofas so customers can snuggle up while they view.

Sophie: They are incredibly comfortable seats!

But, I ask, with so many members, what happens if everybody turns up on the same night?

Louis: That would actually be a good problem to have!

Sophie: As with our other cinemas (the family also run the Regal in Melton Mowbray), booking will be a key element. Members will receive film listings a few days prior to general release so they’ll have the opportunity to book seats for the films they really want to see.

Louis: And a week before we officially open we’ll be starting our free members’ previews, a whole week’s worth of them, as a thank you to everyone who has put their faith in us. Depending on take up, we’ll probably also offer free Sunday shows that week, so nobody is disappointed.

I ask what their biggest challenge has been and both of them say that restoring the frontage has been a real struggle. The original plan had always been to expose the elegant Doric columns that supported the portico, but once revealed, it soon became apparent that whoever boxed them in back in the 1970s had not treated them with the necessary degree of respect. In short, they’d knocked the living daylights out of them.

Louis: We worked with the conservation officers on that. It was in everyone’s interests to preserve them, but unfortunately they’d been too badly damaged and were no longer safe. In the end, we had to accept that they’d have to come down, but we’re going to replace them with cast stone pillars, that will recreate the original look. They’ll be as close to identical as we can possibly get.

Of course, it’s not just about restoring the original style. The Savoy will boast state-of-the-art digital projection, surround sound, and there’ll even be live link- ups to ballet and opera events. There’ll be intelligent programming, a mixture of art house and commercial films, silver screen shows for pensioners and weekend matinees for the kids.

I can’t resist asking Louis and Sophie to name their favourite films.

Louis: I’d have to go for The Lord of the Rings trilogy. I’m a massive Peter Jackson fan.

Sophie: I like a good psychological thriller, so I’d definitely go for Shutter Island. It’s got Leonardo Di Caprio and it’s got one of those endings that you can’t stop talking about afterwards.

Plans are already afoot for Halloween. Members have been asked to choose from a shortlist of five movies for the big night. (At the moment, Ghostbusters is the frontrunner, closely followed by The Shining, though my personal choice from the list would have to be Rosemary’s Baby.)

I finish up by asking about the couple’s mission statement. What do they hope to achieve by bringing this beautiful old cinema back to its former glory?

Louis: We want it to be an asset to the community. We would like to give something back to the people who have given us so much faith and trust. We want the Savoy to be one of the best cinemas in the country and there’s absolutely no reason why it can’t be exactly that.

Sophie: The Savoy is going to have the best projection, the best sound, there will be no compromise on quality and people will even be able to enjoy a glass of wine while they watch.

Sounds like heaven, I tell them. Lead me to it!

Read more about the cinema’s progress at

http://www.savoycinemaheaton.com/blog.htm

Ricki and the Flash

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06/09/15

Let me start with a question. Is there any role on this planet that Meryl Streep can’t actually play? I only ask this because we’ve segued straight from a trailer for Suffragette, where she portrays Emmeline Pankhurst, to this little gem, where she plays Ricki Rendazzo, an ageing rocker, struggling to keep her dreams of stardom alive as she fronts a small time band (the eponymous Flash) by night and works by day at the checkout of an LA supermarket.

And you know what? Streep absolutely nails it.

The film starts as it means to go on, with Ricki’s band blasting out a credible version of Tom Petty’s American Girl and for once, in a movie, this sounds like genuine musicians playing genuine music – as well it should, because Streep recorded her own vocals for this and she’s fronting a real band, featuring Rick Springfield as the new man in her life, Greg.

When Ricki takes a call from her ex-husband, Pete (Kevin Kline), informing her that their daughter, Julie (Streep’s real life daughter, Mamie Gummer), has just been dumped by her husband and is feeling pretty low, Ricki heads back to Indianapolis, to try and mediate with Julie and to reconnect with her two sons, who have pretty much cut Ricki out of their lives since she broke up with their father. She also has to deal with Pete’s new wife, Maureen (Audra McDonald), a woman who seems to have been invented simply to illustrate the true meaning of perfection. Can Ricki have any hope of patching up all those wounds from the past? Or has she simply been away for far too long?

This is a gorgeous film, perfectly pitched to avoid stereotyping and mawkishness. It’s cleverly scripted by Diablo Cody – the scene where Ricki sits down for dinner with her estranged family (including her son’s fiancee) is a comic masterclass – and there’s a resolution here that, in the wrong hands, could have come across as hopelessly sentimental but, guided by seasoned professional Jonathan Demme, is an absolute triumph. Cody has some history here. Her mother in law apparently fronted a rock band for years and that experience has clearly paid dividends. That odd title isn’t doing the film any favours at all, but you really should check this out. It’s a heartwarming tale about love, relationships and the redemptive power of rock n’ roll,  well worth the price of admission.

4.6 stars

Philip Caveney

American Ultra

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05/09/15

Mike Howell (Jesse Eisenberg) is a small-town guy, stuck in a dead end job at the local convenience store. He spends his spare time smoking dope and doodling ideas for a comic book featuring a space travelling super monkey called Apollo Ape. Luckily, he’s in a long term relationship with Phoebe (Kristen Stewart), who seems to be his perfect soulmate and who tolerates the fact that Mike has crippling anxiety attacks whenever he tries to travel. Most recently, a long-desired vacation to Hawaii is nixed, when he finds himself running to the john to vomit. As is so often the case in movies like this, all is not what it seems and circumstances conspire to reveal that Mike is in fact, a brainwashed undercover CIA operative, who has been waiting for a certain sequence of words to reactivate him.

Eisenberg is, as ever, a likeable screen presence and Kristen Stewart was always a better actress than the execrable Twilight series allowed her to demonstrate. The first third of this movie is great fun, as Mike realises that he has the potential to be a highly skilled assassin – but once those talents are acquired, the film loses some of its appeal as it becomes a series of ever more complicated Heath Robinsonesque  murders. All manner of gadgets are utilised in Mike’s struggle for survival – mallets, screwdrivers, frying pans and claw hammers – you get the impression that here’s yet another film that must have been sponsored by B & Q. The action is unflinchingly bloody, but shot with enough cartoonish relish to just about excuse its most brutal excesses. Topher Grace and Connie Britton as two warring CIA honchos add depth to Max Landis’s script and there’s an appealing cameo from Bill Pullman as their ruthless boss, but the conviction remains that this could have been better if it had managed to maintain the more appealing elements on show in the first half hour.

American Ultra is eminently watchable, but could easily have been something more than that.

3.8 stars

Philip Caveney

Sneak Peek at: Dead Dog In A Suitcase (and Other Love Songs)

Dominic Marsh as Macheath in Dead Dog in a Suitcase (and other love songs) at Liverpool Everyman (c) Steve Tanner (2) Sarah Wright in Dead Dog in a Suitcase (and other love songs) at Liverpool Everyman (c) Steve_Tanner

It’s an exciting opportunity… not to mention a real privilege, to be allowed a sneak preview of a theatre company rehearsing for their latest production. But that’s exactly what I get from Kneehigh who are currently prepping their production of Dead Dog In A Suitcase (and Other Love Songs) at Home, Manchester. The show opens there officially on the 11th of September and then heads out on tour around the UK.

As I settle into a front row seat I’m presented with a view of the entire thirteen strong company. To my left, there’s a band, featuring guitar, bass, drums, keyboards and a whole plethora of assorted instruments. To my right stands a traditional Punch and Judy theatre and a veritable menagerie of creepy looking puppets (always a good sign) including a row of rosy faced babies in a cot, who, we’re assured, are the ‘bastard offspring of Macheath.’

Director Mike Shepherd and musical director Charles Hazlewood stand up and say a few words. The show is, of course, an adaptation of The Beggar’s Opera by John Gay, (1728) itself radically reworked by Bertholt Brecht as The Threepenny Opera in 1928. ‘This version,’ says Shepherd, ’gives the Beggar’s Opera back its teeth.’ He tells us that the story is a musical satire, prescient for our times, and that it’s a perfect reflection of an age of austerity and outrage – ‘a cathartic production in every sense of the word.’

Hazlewood adds that it’s been a wonderful privilege working with Cornwall-based Kneehigh Theatre Company, and says that their marvellous generosity of spirit has injected a sense of humanity into what is, at heart, a bleak and harrowing storyline.

‘The play begins with the contract killing of the city Mayor,’ says Shepherd. ‘Which will give you some idea of how dark the story is.’

Then without further ado, we’re treated to a ten minute selection. The band punch out a lively reggae rhythm, the cast leap into action, there is singing and dancing and movement and puppets – and I sit there mesmerised by the way the show is coming together, after only a relatively short rehearsal time.

Afterwards I ask if I might have a quick chat with MacHeath (Dominic Marsh) and Polly Peachum (Angela Hardie), so we seek out a quiet space where I can record their answers without too much background noise. I begin by pointing out that the pair are about to take on one of the most infamous duos in theatrical history. How do they feel about that challenge?

Angela: It’s very exciting to be able to take on these characters, because there are so many dimensions to them. They’re not just good or bad, weak or strong, they have the full run of humanity with all its glory and ugliness and for young actors that’s just an exceptional opportunity.

Did they have any qualms about taking on the roles?

Dominic: No, I think that one of the healthiest things about the rehearsal process is that deference is left outside the door. The Beggar’s Opera is called the longest running musical and all those juke box musicals in the West End that we’re so familiar with these days probably stem from it. But there were no qualms at all.

I point out that there are a lot of different disciplines to master in this show – acting, singing, dancing, musicianship, puppetry. It must be a tall order trying to perform so many of them to the best of their abilities. Exhausting too, I shouldn’t wonder.

Dominic: It is an incredibly tiring, but very rewarding way to work, but a lot of Kneehigh projects are like that, they’re these big, chaotic shows that create a whole world on the stage. Everything’s so visceral and powerful, there’s light and shade, dark humour, wonderful romantic moments, everything you could possibly want.

What qualities, I wonder, do the actors think they share with their onstage personas? Does Angela identify with Polly?

Angela: Oh yes, I hope so! I get to do such a great journey with this piece, I start out naïve and find out about life the hard way. I think anyone who’s ever had their heart broken… and I have… will identify with her. Mind you, I haven’t quite graduated to running a gang yet, but I suppose there’s still time…

And Dominic? MacHeath is surely nobody’s idea of a positive role model?

Dominic: He is rather dark. I’m not sure I identify with him on many levels, but we all have within us the kernel of good and evil, we’re all capable of being misunderstood and I think that MacHeath has his own valid reasons for going down the route he goes down. He’s almost like a Robin Hood figure, shining a light on the corporate conspiracies that are going on all around him, which we all know are happening all the time. When we started rehearsing this there was that stuff about MP’s expenses and… well, you just have to look at what’s happening now…

For both of them it’s their first appearance at Home, Manchester’s hub for the performing arts. What do they make of the place?

Angela: It’s lovely, it’s such an exciting place to work, it’s all brand new. We’ve been bowled over by how friendly and accommodating everyone is.

Dominic: There’s such an exciting buzz about this piece and also about the venue. I think the two of them will slot together really well.

So they’re both looking forward to opening night?

They tell me that they can’t wait.

Well, I assure them, that makes three of us.

(Our review of Dead Dog In A Suitcase will follow soon.)

Mission Impossible: Rogue Nation

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02/09/15

We were far too late getting on to this – largely because an entire month of reviewing at the Edinburgh Fringe left us with too little time to actually make it to the cinema: a sorry state of affairs. Rogue Nation is the latest improbably titled instalment in Tom Cruise’s evergreen TV spy spinoff and as the series goes, it’s one of the better efforts – an adrenalin fuelled romp with an outrageously daft plot and a whole heap of inexplicable gadgetry to help the IMF team achieve their goals.

The film starts as it means to go on with the throttle wide open. Ethan Hunt attempts to board a plane… after it’s taken off. (Don’t try this at home. That’s my old stamping ground of RAF Wittering hundreds of feet below, by the way and yes, that is Cruise clinging on to the side of the plane. Nobody can say he doesn’t earn his millions.)

Hunt is on the trail of a mysterious organisation called The Syndicate, who have dedicated themselves to the eradication of the IMF and who are headed up by evil villain, Solomon Lane (a deeply creepy Sean Harris.) As Hunt hurtles around the world, evading assassins and leaping athletically from very high buildings, back at base, Brandt (Jeremy Renner) is engaged in a more pedestrian battle as grumpy CIA man, Alan Hunley (Alec Baldwin) attempts to get the Impossible Missions team shut down. It seems he finds them a bout too reckless for his liking. Soon Hunt is pretty much out there on his own, aided only by his hapless bessie mate, Benjie (Simon Pegg, who must be relieved to add a much-needed hit to his CV) and by the mysterious Ilsa Faust (Rebecca Ferguson) who keeps popping up just in time to save Hunt’s life.

It’s fairly pointless to go into the plot. Most of it is unfathomable and all of it is unlikely, but it’s presented with enough tongue-in-cheek brio to suspend your disbelief. There’s an ingenious set piece at the Vienna opera house, while an underwater sequence where Hunt has to hold his breath for three minutes wracks up the tension to an almost unbearable degree. On the downside, there’s a  motorbike/car chase that seems a tad perfunctory this time around, but that’s a minor quibble. Overall, this is a superior slice of entertainment, which should keep you riveted till the final credits. And of course it still features Lalo Schifrin’s sinewy, unforgettable theme tune, which is a thriller all by itself.

What else can I say? Mission accomplished.

4.2 stars

Philip Caveney