Author: Bouquets & Brickbats

20th Century Women

18/02/17

Not so much a film about women as their life-changing influence upon one young man, 20th Century Women has the great misfortune to be released amidst a crop of bigger, more hard-hitting films, which means it isn’t really getting the degree of attention it  deserves. This is a shame as it many ways it’s one of the most remarkable releases in what has already been an exceptional year.

It’s 1979 and teenager, Jamie (an appealing performance from relative newcomer, Lucas Jade Zuman) lives in a great big crumbling house in Santa Barbara with his eccentric mother, Dorothea (Annette Bening), a divorced woman who lives by her own quirky set of values. Fearing that Jamie might be missing a father’s touch, and after he fails t0 bond with live-in handyman William (Billy Crudup), Dorothea enlists the help of two young women to help her son broaden his horizons. Julie (Elle Fanning) is Jamie’s girl friend, a wayward spirit who sneaks into his room and shares his bed most nights but resolutely refuses to allow things to go any further, even though he clearly longs for more. She teaches him about friendship and the importance of looking good when you smoke a cigarette. Abbie (Greta Gerwig) is the artistic lodger who has recently survived a run in with cervical cancer and who is an absolute authority on clubbing, gender theory and the importance of speaking your mind. All three women submit powerful performances that linger in the mind long after the closing credits have rolled.

The story is presented as Jamie’s memories as he looks back on the events of 1979 from some unspecified point in the future and the resulting film, written and directed by Mike Mills, has a gorgeous elegiac feel, with Jamie’s occasional voiceovers commenting on what happened then and in some cases, what will happen to the lead characters later. The cinematography helps to reinforce this feel – it’s a series of shimmering images, brilliant, evocative, almost iridescent at times. I should also add that the script is very funny in places, though nobody would describe this as a comedy – it’s a lovely, life-affirming jewel of a picture, which I would urge you to see at your earliest opportunity, before it escapes the cinemas and heads for the small screens, where it will inevitably lose some of its mesmerising power.

5 stars

Philip Caveney

Moonlight

17/02/17

Moonlight is a coming-of-age movie, chronicling the life of a young black man, and the problems he faces as he tries to forge his identity in the unforgiving environs of his Miami neighbourhood.

We first meet Chiron as ‘Little’ (Alex Hibbert). He is a quiet, introverted boy, preyed upon by bullies and neglected at home. Salvation comes in the unlikely form of Juan (Mahershala Ali), a local drug-dealer, who assumes a fatherly role in Little’s life, and whose softer side is a welcome nuance, so often missing from the cartoon villainy of on-screen criminals. He recognises Little’s vulnerability, and seeks to help him out: teaches him to swim, reassures the boy about his sexuality. He has a conscience too, and is clearly affected when Little’s mum (Naomie Harris) points out his responsibility for her neglectful parenting: he supplies the crack that renders her incapable. Hibbert’s performance is achingly good in this first third of the film: he doesn’t articulate his neediness, but its plain for all to see. He’s so full of hope and potential; we don’t want to witness his pain.

The second section of the film details Chiron’s teenage years, and Ashton Sanders takes over the lead role. It’s a seamless transition: this version of Chiron is less open, more furtive, but his neediness is just as naked as it ever was. He’s still being bullied, and Juan is no longer around – although he does still see Teresa (Janelle Monáe), Juan’s erstwhile girlfriend. He’s less confused about his sexuality, though just as incapable of expressing himself, and far too dependent on his one friend, Kevin (Jharrel Jerome). It’s difficult to watch this sweet young man harden himself against the outside world; heartbreaking to see his future narrowing before our eyes.

In his third and final incarnation, Chiron – now known as ‘Black’ – is played by Trevante Rhodes. His transformation is absolute: the events of the past have shaped him in Juan’s mould – clearly, he’s chosen to emulate the strongest, most positive male role-model in his life. He’s a trapper now, selling the very drugs that blighted his own youth. But he’s still Chiron, still kind and inarticulate, still just the same inside. But he’s taken control – sort of – and he’s no longer quite so vulnerable when he meets up with Kevin again.

This is an affecting movie, a personal tale so precisely told that it shines a light on a common ill. This is not just Chiron’s story – it is the story of so many boys. It articulates everything that Chiron can not. And if the ending feels abrupt (and it does; I was startled when the credits rolled), that’s the only criticism that I have of this fine piece of work.

4.6 stars

Susan Singfield

Hidden Figures

17/02/17

Sometimes the biggest changes in history are achieved, not with violent rebellion but with quiet tenacity. Hidden Figures tells the real life stories of three remarkable mathematicians. Katherine G. Johnson (Taraji Henson) is a mathematical genius, who from an early age could perform the most complex equations without breaking a sweat. Dorothy Vaughan (Octavia Spencer) is a natural organiser, able to turn her skills to all kinds of problems, even the complexities of an IBM computer; and Mary Jackson (Janelle Monae) is a sassy young lady who dreams of one day being a fully qualified engineer.

The three of them are enlisted to work for NASA, but it’s not as straightforward as you might suppose – for they are not only women, they are African-American women and this is 1962, a time when (incredibly) segregation still holds sway. They cannot share bus seats, toilets or even, as it turns out, a coffee percolator, with their white colleagues. Meanwhile, the Russians have just sent Yuri Gagarin into space and the race is on to be the first country to put an astronaut on the moon… And as John Glenn embarks on his historic flight into space, only a complex mathematic equation stands between him and disaster…

Theodore Melfi’s film skilfully captures the period detail and there’s a nicely judged performance from Kevin Costner as Al Harrison, the unfortunate man charged with heading up one of the most demanding projects in history. The main focus is on Katherine Johnson, her struggles with overbearing colleague Paul Stafford (Jim Parsons) and her frankly racist boss, Vivian Mitchell (Kirsten Dunst, making the best of a difficult role). If the film occasionally has a tendency to stray into the realms of sentimentality, so what? This is an important and significant story, and even though these middle-class struggles may seem far removed from the historic marches of the  black civil rights movement, nevertheless the actions of these pioneering women paved the way for those who followed.

This is entertaining cinema with a powerful message, anchored by three excellent performances from the lead actors.

4 stars

Philip Caveney

Akva Smorgasbord

16/02/17

Fountainbridge, Edinburgh

We’re in the mood for lunch out and we’ve been promising ourselves we’ll try this smorgasbord for a while. Akva is a big, spacious, Swedish-style bar with a relaxed and friendly buzz about it. It’s pleasantly located in Fountainbridge at the top of the Union Canal, one of Edinburgh’s hidden treasures. They do a conventional menu, which we’ve sampled before, but they also offer a daily lunchtime buffet.

It’s all reassuringly simple. When you choose to ‘go smorgasbord’ you’re issued with a decently sized plate and invited to fill it from the buffet for a very reasonable £7.50. If you’re an individual with a particularly hearty appetite, another fiver will allow you to return for even more and the great thing is, you don’t have to decide straight away. (Just as well as it turns out, because even we have to admit that one plate is plenty even for seasoned diners like us).

It would take forever to list everything that’s on offer today, but the array includes smoked trout, smoked salmon, freshly sliced ham, smoked cheese and a multitude of brightly coloured salads , grilled vegetables and assorted pickles. In addition to this, there are two hot dishes – today’s choice is veggie sausage casserole and a three bean chilli, both with accompanying hot rice. There’s also a selection of breads to choose from (the black bread is particularly good). When you’re presented with such a cornucopia of delights to select from, you’ll find yourself trying a little bit of everything and that’s no bad thing, because it means that every forkful you taste is different. Though we try hard to pace ourselves we manage to devour everything on our plates in record time and feel pleasantly full, rather than stuffed.

This is a refreshingly different kind of lunch, a great choice if you’re meeting up with friends and family (particularly those hard-to-please veggie ones) and when you’re finished, you can always nip upstairs and enjoy the free-to-use ping pong table, which in my book is a great addition to any bar – or, weather allowing, why not try a walk along the canal where you can happily work of some of those calories?

Next time you’re stuck for lunch, you know where to go.

4 stars

Philip Caveney

 

The Winter’s Tale

14/02/17

Lyceum Theatre, Edinburgh

The Winter’s Tale is famously a play of two halves, and Max Webster’s production for the Lyceum exaggerates and develops this juxtaposition in every possible way – and the result is thrilling.

This is an modern-day version of the play: ‘Sicilia’ is now Edinburgh; ‘Bohemia’ is Fife. Although Leontes (John Michie) and Polixenes (Andy Clark) are still ostensibly ‘kings’, they are presented more as middle-class business men, rich and successful, with teams of staff assisting them. The set design helps to cement the contrasts between them: Leontes’ apartment, slightly raised and framed in black, looks exactly like the glass boxes lining Edinburgh’s Quartermile; a walled-off sound-booth reinforces this image. It’s an inspired idea: those apartments look like stage-sets anyway, their fourth walls removed to allow us to peep in. And they are sterile and hard, seemingly perfect but ultimately lacking – just like Leontes’ relationship with Hermione (Frances Grey). The pastoral scenes, on the other hand, are deliberately hokey. The fake grass is rolled out before us: there is no attempt at realism here. The props are more panto than serious Shakespeare, all bright-bunting and shopping trolleys and rickety wooden stuff. The costumes  all look hand-made, in a local am-dram kind of way. It’s hard to imagine we’re watching the same play. Polixenes  is a big fish here, but he’s in a very different kind of pond.

The contrasts are further underlined by both dialogue and acting style. While acts one, two, three and five retain Shakespeare’s original language, act four has been recast in Scots, an audacious undertaking performed with evident delight by writer James Robertson. The performances are mismatched too: whereas the Sicilian scenes are very serious and actorly, the Bohemian scenes are played for laughs, with comedic exaggeration and audience interaction; it’s beautifully done.

If I’ve a criticism of this play – and I haven’t much – it’s that the fayre goes on too long, without adding much to the plot. It is a lovely interlude, and the scene-setting is vital, but it starts to drag after a while: we want to know what happens next.

The performances here are universally strong, but Maureen Beattie’s Paulina is a definite stand-out; she imbues the character with warmth, vitality and strength. The musicians, led by composer Alasdair Macrae, deserve a mention too: their on-stage accompaniment is integral to the story-telling, and their presence adds a strange unearthliness that really elevates the play.

Do get yourself along to the Lyceum to see this: it’s really rather wonderful.

4.9 stars

Susan Singfield

A Judgement in Stone

13/02/17

King’s Theatre, Edinburgh

The Classic Thriller Theatre Company’s adaptation of A Judgement in Stone is Sophie Ward’s play. Her performance as Eunice Parchman, the illiterate housekeeper, is astounding: she shape-shifts into an awkward, secretive, resentful old woman, and it is her subtlety and nuance that lend the piece its credibility.

Based on Ruth Rendell’s novel, AJIS is a pretty standard murder-mystery. There’s a large house, a rich family, a slew of servants – and some policemen too. But some of its effectiveness  as a whodunnit is undermined by the fact that there are four victims, which so reduces the number of potential killers that there’s not much element of surprise.

The set is stunning: the attention to detail is incredible, especially considering that this is a touring production. The wooden panelling, the leaded windows: it’s all truly remarkable. This naturalistic single-room setting works well, helping to create a sense of both the period (the seventies) and the isolation of the domestic realm.  And the regular shifts between times are well-handled: the chronology is always clear. It’s a shame, however, that there are so many exits and entrances; scenes are never allowed to overlap; the past never coincides with the present. The  constant stage traffic feels disruptive and unnecessary, and isn’t always timed quite right. It feels a little old-fashioned, all this ‘then they go off, and then they come on’ stuff, and there are moments when we’re left with an empty stage, which doesn’t help the pace at all.

Some of the characterisation feels odd: Joan Smith, for example, isn’t credible at all. To be fair, the problem doesn’t seem to lie with Deborah Grant’s gutsy performance (she’s lively and engaging and very funny at times) but with who the character is supposed to be. Maybe the source material is at fault (I haven’t read Rendell’s novel), but it’s hard to believe she and Eunice would ever become friends. There’s no sense conveyed of what connects them.

Overall, this is an entertaining piece, with some strong performances from the cast. But there are a few misfires: it’s too easy to spot the supposed twists, and the whole thing feels a bit, well, staid. That said, the theatre is almost full, and those around us seem to be enjoying what they see. Why not give it a try and make up your own mind?

3 stars

Susan Singfield

Billy Lynn’s Long Halftime Walk

11/02/17

Let’s start with an admission: we’re watching Billy Lynn’s Long Halftime Walk in 2D, and at 24fps at our local Cineworld. So we’re not going to be able to comment on its technical wizardry, not on whether the 4K 3D 120fps makes Ang Lee’s experiment worthwhile, nor on whether we agree with the critics who claim it makes the film uncomfortable to watch. But, as only five cinemas worldwide are equipped to show this movie in its full glory, our experience is more likely to chime with that of our readers. And so we’ll focus on the film behind the tech.

Based on a novel by Ben Fountain, BLLHW tells the tale of a squad of young American soldiers, brought home from Iraq for a victory tour, following the circulation of video footage showing their doomed-but-heroic fight to save their sergeant’s life. Billy (Joe Alwyn) is struggling to cope, ambivalent about the war, and unsure of much except his loyalty to his squad. They are rewarded with a day out: they are guests of honour at a football game, trotted out to stand behind Destiny’s Child to wild applause during halftime. And there is talk of a film deal, too: they’ll be famous, wealthy, given everything they need.

Joe Alwyn’s performance is subtle and nuanced: his pain is palpable. The realities of his war are revealed through a series of short flashbacks, sparked by the flash of a firework or a poignant word. It’s a touching story: he hasn’t much to stay home for, but neither does he want to go back to Iraq. His sister, Kathryn (Kristen Stewart), tries to persuade him to see a psychiatrist; she’s scared of losing him and can see that he has PTSD. And it’s heartbreaking to watch him struggle with the decision. There are no easy answers here.

I enjoyed this film a lot, and not just because of the novelty of seeing Vin Diesel in a role where he’s required to act. It’s not action-packed, and there are no clichéd moments of wonder or revelation. It’s a slow, wordy piece about ambiguity, about what we ask young men to do, and how little we know of the toll it takes. The response to Bravo Squad on their return to the US is confused: they’re heroes, but they’re ordinary. They’re revered, but they’re mocked. They’re film worthy, but no one will pay them properly. In the end, they only have each other, and their instincts – and, if that’s not enough, well that’s too bad. It’s a fascinating story, and well worth two hours of your time.

4 stars

Susan Singfield

Harvey Nichols Forth Floor Brasserie

St Andrew Square, Edinburgh

09/02/17

The Harvey Nichols Forth Floor Brasserie isn’t really on our radar, but first it pops up in T2: Trainspotting, and then we receive an email promoting their winter menu, offering us three courses and a cocktail for a more than reasonable £22 per head. It seems silly not to take advantage of the offer, so we book ourselves in and, a few days later, rock up for our meal.

We’re seated by the window, which definitely helps set the mood: not only is this where Mark Renton reprises his infamous ‘Choose Life’ monologue in T2, we also have an uninterrupted view of the cityscape and castle. And the free ‘Winter Storm’ cocktail – a Bacardi, lime and ginger concoction – is absolutely delicious. So far, so good.

We’re not let down by the food either. Okay, so it’s a little bit too quick arriving, making us feel slightly rushed. But the service is charming, and we take our time eating without anyone bothering us. And the wine we order (a Bordeaux sauvignon blanc) is cold and crisp, and we’re really rather happy here.

I start with the soup of the day, mainly because I’m cold after the walk here, and it’s a sweet potato soup, which I always like. It’s lovely too, with a fresh, citrusy tang that cuts through the creaminess. Philip has the cured Orkney herring, which comes with blood orange, chicory and a herb dressing. It’s sharp and fresh, a light and nicely textured dish, of which he heartily approves.

Philip’s main is honey-roasted Hawick ham, with grain mustard, baby carrots and mashed potato. This is the star of the day, those crispy flakes of pulled ham simply bursting with flavour. The creamy mash is delicious too. I opt for the gnocchi, with goat’s cheese, beetroot, rocket and lime preserve. This is intensely flavoured, and truly delectable, although it’s perhaps a little heavy after the soup, and I can’t finish what’s on my plate.

I still order a dessert though, opting for the chocolate rice pudding with satsuma and biscotti. This is the only disappointing part of the meal, being rather too runny for my taste, and with the satsuma not quite sharp enough to cut through the bitter chocolate. Luckily, Philip’s rhubarb crumble cake with rhubarb sorbet is marvellous, and he lets me share it: it’s warm, sticky and indulgent, and even comes with a little pot of custard, which is always a good thing.

All in all, this is a very positive experience. Would we come back? I don’t know. The vibe isn’t really us: it all seems a bit corporate maybe. But we enjoyed it anyway, and if you like that kind of thing, then it’s definitely worth checking out.

4 stars

Susan Singfield

Cirque Berserk

07/02/17

Circuses aren’t what they used to be. Take Cirque Berserk, for instance. No big top and sawdust ring for them (although all the performers are well used to that discipline). You’ll find them onstage at the Festival Theatre, until Sunday the 12th February, offering a fabulous selection of circus skills, many of which have been given an intriguing new twist.

I guess the clue is in the name. This is a series of traditional skills taken to the very edge, sexed up with thundering music and state-of-the-art lighting effects, and delivered at a breathless pace. The opening act, Timbuktu Tumblers, race onto the stage and start flinging themselves around like madmen and from there, the show is never allowed to flag. As one act exits, the next comes racing on and the action doesn’t pause until the interval. After a short break, they’re back and the insanity continues…

It would be impossible to mention every act on the bill but tonight’s highlights for me, include Cuba’s Tropicana Troupe, a group of performers who use see-saws to catapult themselves impossibly high into the air: Odka, from Mongolia, who can squeeze herself into a tiny bottle and who can fire a bow and arrow with deadly accuracy, using only her feet: Toni, from Czechoslovakia, who hurls flaming knives at a confidently smiling assistant with uncanny accuracy: and most nerve-wracking of all, The Globe of Death, in which four leather clad motorcyclists hurtle recklessly around the interior of a metal sphere, passing within inches of each other, an act that I must confess I watched whilst chewing my fingernails. One false move and this could end very badly for all concerned.

Just to cover all the bases, there’s Tweedie, a slapstick clown with a penchant for tripping over things and the occasional unexplained appearance by a giant flame-shooting robot. It all adds up to a spectacular (and occasionally jaw-dropping) evening of family entertainment and it would be a picky individual indeed who claims they aren’t being given value for money.

Check out Cirque Berserk before they head off to their next engagement. You may occasionally be terrified, but I’m pretty sure you won’t be disappointed.

4.6 stars

Philip Caveney

 

Toni Erdmann

05/02/17

Toni Erdmann is a genuine oddity of a film. Loved and trumpeted by many major critics and hotly tipped to lift this year’s Foreign Language Oscar, it’s had so much great word-of-mouth recently that we felt we had to seek it out at our earliest opportunity. We’d been led to expect a laugh-riot, but it certainly isn’t that. It’s a charming and quirky film, featuring a series of strange set-pieces, most of which work and some of which really don’t.

Winfried (Peter Simonischek) is a divorced father who has become somewhat estranged from his buttoned-up, workaholic daughter, Ines (Sandra Huller), an ambitious player in the world of corporate business. Winfried has a penchant for terrible practical jokes which generally involve him putting in a set of wonky teeth, something that his friends and family tolerate with knowing grimaces. When his elderly dog goes to the great kennel in the sky, Winfried decides to make an unannounced visit to Ines, who is working in Bucharest. He trails around after her for a day or so, saying and doing the the wrong things until she gets tired of dealing with him and asks him to leave, which he apparently does – but he returns, the same evening, wearing a dodgy wig and those teeth, introducing himself to Ines’s friends and workmates as life style guru, Toni Erdmann. Ines is initially appalled by his presence but for some reason, decides to play along with him and the resulting shenanigans help them to re-establish their bond.

The results are somewhat uneven. There’s a very funny ‘naked dinner party’ and I enjoyed the scene where Winfried forces Ines to perform a karaoke version of The Greatest Love of All to a room full of strangers…  but there’s also a misjudged (and frankly unbelievable) scene where Ines persuades a boyfriend to perform a sex act on a play of petits fours (yes, really!)  which seems to have wandered in from a different kind of movie entirely. Both Simischek and Huller give compelling performances and it’s to the film’s credit that despite a running time of two hours, forty-five minutes, it never really drags. But this isn’t the breakthrough German comedy that it’s been billed as. It’s fun, it’s unusual and writer/director Maren Ade has created a film like no other.

Just don’t expect the earth to move.

4 stars

Philip Caveney