The Greatest Showman
DF-07720 – P.T. Barnum (Hugh Jackman) comes alive with the oddities in Twentieth Century Fox’s THE GREATEST SHOWMAN.
DF-11638_R – Philip (Zac Efron) is entranced by Anne’s (Zendaya) trapeze artistry in Twentieth Century Fox’s THE GREATEST SHOWMAN.

03/01/17

Okay, so we need to get one thing clear: The Greatest Showman is in no way a biopic. It may purport to tell the tale of PT Barnum, but it’s so far removed from the insalubrious truth that it’s more accurately filed under fiction. It borrows Barnum’s name, that’s all, and a few details from his life. Otherwise, it’s pure fantasy: a complete reimagining of the infamous freak show.

That’s not to say it doesn’t work; it’s a highly entertaining and lively piece of cinema, beautifully produced and performed with precision and wit. It’s bright and exhilarating, with catchy tunes. No doubt about it: this is fun.

In this version of events, PT Barnum (Hugh Jackman) is a striver: a poor tailor’s son with huge ambitions, who falls in love with Charity (Michelle Williams), a rich, upper-class girl, and is determined to provide her with the lifestyle he believes she deserves. He’s a risk taker and a charlatan, but he’s charming with a big heart, and disarms everyone he meets. When they fall on hard times, he decides to open a circus, showcasing such ‘freaks’ as a bearded lady, conjoined twins, a dwarf and a fat man. In his fictional incarnation, he’s not exploiting them, exactly, although he is making money from their efforts; he’s celebrating them, offering redemption to those society has rejected, helping them to forge a kind of family. And all progresses swimmingly, until he can’t resist the charms of opera singer, Jenny Lind (Rebecca Ferguson), who seems like a passport into the higher echelons of society. He risks everything to promote her, and it all comes crashing down.

It’s utterly enchanting, even if it isn’t true, and there are some excellent set pieces, such as the freaks’ defiant song of self-determination, This Is Me, led by bearded lady Lettie Lutz (Keala Settle), whose voice is just spectacular. Jackman is very good too, and Michelle Williams proves again that she’s a real chameleon, able to convince – it seems – in almost any role.

I was disappointed, though, to learn that Rebecca Ferguson doesn’t sing her own songs  (she is dubbed by Loren Allred); Ferguson is a fine actress with a face just made for the big screen, but was there really no one available who could deliver the whole deal? It seems a shame to give the part to someone who can’t play it, just because she is a ‘name’. There are enough stars in this film to carry it, surely?

Still, quibbles aside, this is eminently watchable, itself fulfilling (ironically perhaps) what it claims were Barnum’s aims: it’s rare indeed to see such a diverse range of performers given such prominent roles in a movie. It has the feelgood factor in bucketloads, and is eminently suitable for a family audience.

4.2 stars

Susan Singfield

 

 

Three Billboards Outside Ebbing, Missouri

02/01/18

Martin McDonagh is an interesting writer/director. His plays are always stupendous and his first foray into cinema, In Bruges, is a five star solid gold masterpiece (and one, incidentally, that just won ‘best Christmas movie’ in our recent ‘World Cup of Everything’ game). The follow-up, however – Seven Psychopaths – wasn’t anything like as assured. Indeed, in a recent interview, McDonagh (with refreshing honesty in a business not usually associated with that sentiment) admits that he took his eye off the ball during the making of it. Now Three Billboards outside Ebbing, Missouri arrives amidst much muttering about potential Oscar wins. The truth is, it’s an interesting film but, sadly, not in the same league as In Bruges. Having said that, it’s still worth your consideration.

In the remote town of Ebbing, Mildred Hayes (Frances McDormand) rents three billboards on a lonely stretch of country road and has them papered with three simple slogans. It’s been seven months since her daughter, Angela, was raped and murdered and, enraged by the lack of any progress in the resulting police investigation, Mildred has decided to start pointing the finger of blame, primarily at Chief Willoughby (Woody Harrelson). He’s understandably miffed by this approach, particularly as he’s recently had a cancer diagnosis and knows that his days are numbered. But Mildred is not about to give up on her mission, even if it is set to make her and her son, Robbie (Lucas Hedges), the most unpopular people in the county. Meanwhile, openly racist policeman, Dixon (Sam Rockwell), is not above taking the law into his own hands…

As I said, this isn’t a perfect film but there’s plenty here to admire, not least McDormand’s searing performance in the lead role, brilliantly portraying a woman so obsessed with her daughter’s death that she’s willing to go to any lengths to obtain justice, no matter what the cost. Rockwell too, is splendid, managing to give his initially unsympathetic character some degree of redemption, and Harrelson delivers what just might be his best turn since Cheers. But there are plot strands here that don’t quite convince. Some of the minor characters are never fully developed and others seem to step in for one cracking scene and are never seen again. (I’m thinking here of the scene where Mildred exchanges some crackling dialogue with the town priest. It’s brilliant but it feels unresolved.) Likewise, Peter Dinklage’s turn as (as one character refers to him) ‘the town midget,’ a sweet-natured drunkard who carries a torch for Mildred. And is it just the presence of McDormand and that distinctive Carter Burwell score that make this feel eerily like an early Coen brothers movie?

Whether or not Oscar will come knocking for this film is debatable. Certainly if we’re talking ‘best actress,’ I for one wouldn’t be making any objections – I’ve long been of the opinion that McDormand is one of the best there is. But while this is a huge step up from Seven Psychopaths, it’s perhaps not quite the total masterpiece that many are claiming.

4.2 stars

Philip Caveney

Film Bouquets 2017

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All things considered, 2017 was a pretty good year for film – so much so that we’ve decided to award twelve bouquets – and it still means leaving out some excellent movies. Here, in order of release, are our favourite films of 2017.

Manchester By the Sea

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This bleakly brilliant film got the new year off to a great start. Powered by superb central performances by Casey Affleck and (especially) Michelle Williams, it was a stern viewer indeed who didn’t find themselves reduced to floods of tears.

Moonlight

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An affecting coming-of-age movie chronicling the life of a young black man as he gradually came to terms with his own sexuality, this film, of course, beat La La Land to the best movie Oscar in unforgettable style. It absolutely deserved its success.

Get Out

Get Out

A ‘social thriller’ that, despite it’s serious message, enjoyed a lightness of touch that made it a joy to watch. There were shades of The Stepford Wives and this witty calling card from director Jordan Peele suggested that cinema had found a hot new talent.

The Handmaiden: Director’s Cut

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Park Chan-wook’s masterpiece, loosely based on Sarah Water’s novel, Fingersmith, took us into the Korea of the 1930s and kept us spellbound for nearly three hours. Lush cinematography, a genuine sense of eroticism and fine performances from an ensemble cast – what’s not to like?

The Red Turtle

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This stunning animation from Michael Dudok de Wit, co-produced by Japan’s Studio Ghibli,  exemplified the best artistic traditions of east and west – a beautiful allegory about life and love and relationships. A delight to watch and a story that we couldn’t stop thinking about.

Baby Driver

Ansel Elgort

Edgar Wright’s adrenaline-fuelled chase movie ticked all the right boxes – a great soundtrack, breathless pacing and an intriguing central character in Ansel Elgort’s titular hero. It all added up to an unforgettable movie experience.

God’s Own Country

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This extraordinarily accomplished debut by writer/director Francis Lee played like ‘Brokeback Yorkshire’ but had enough brio to be heralded in its own right. Beak and brutal, it told the story of two farm hands slowly coming to terms with their growing love for each other. Magnificent stuff.

Mother!

Mother

Darren Aronfsky’s absurd fantasy alienated as many viewers as it delighted, but we found ourselves well and truly hooked. From Jennifer Lawrence’s great central performance to the film’s bruising finale, this was definitely a film not to be missed – and one of the year’s most discussed films.

Blade Runner 2049

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We waited thirty years for a sequel to Ridley Scott’s infamous film and I’m glad to say it was worth the wait – a superior slice of dystopian cinema that dutifully referenced the original whilst adding some innovative ideas of its own. Denis Villeneauve handled the director’s reins expertly and Hans Zimmer’s score was also memorable.

The Killing of a Sacred Deer

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Another piece of eerie weirdness from director Yorgos Lanthimos, this film also managed to divide audiences, but for us it was a fascinating tale, expertly told and one that kept us hooked to the final, heart-stopping scene. A unique cinematic experience.

Paddington 2

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Yes, really! The sequel to the equally accomplished Paddington was an object lesson in how to effortlessly please every single member of an audience. Charming, funny and – at one key point – heartbreaking, this also featured a scene-stealing turn from Hugh Grant.

The Florida Project

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Think ‘Ken Loach does Disney’ and you’re halfway there. Sean Baker’s delightful film might just have been our favourite of 2017, a moving story about the tragic underbelly of life in contemporary America. Brooklyn Prince’s performance as six-year-old Moonee announced the arrival of a precocious new talent.

Philip Caveney & Susan Singfield

Theatre Bouquets 2017

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Once again we have been wowed by some fantastic theatre this year. Here, in order of viewing (and with the benefit of hindsight), are our favourite productions of 2017.

The Winter’s Tale – Lyceum Theatre, Edinburgh

The Winter's Tale

This thrilling, modern-day version of Shakespeare’s play was dynamic and audacious – with the whole fourth act recast in Scots. We loved every minute of it, especially Maureen Beattie’s performance as Paulina.

Chess: The Musical  – Festival Theatre, Edinburgh

Chess

The students from the Royal Conservatoire of Scotland thrilled the audience with a skilful display of all things theatrical. We loved the sophisticated choreography (often incorporating the real time use of video cameras) and choral singing that sent chills down our spines.

Nell Gwyn – King’s Theatre, Edinburgh

Nell Gwyn\

This superb production of Jessica Swales’ Olivier Award-winning comedy was a delight in just about every respect. From the superbly realised set, through to the opulent costumes and the lively period music, this was fabulous to behold.

Death of a Salesman – King’s Theatre, Edinburgh

Death of a Salesman

It was the direction that made this production so good: Abigail Graham did a wonderful job of clarifying everybody’s pain. And Nicholas Woodeson was perfect for the lead role, conveying Willy’s struggle with warmth and vitality.

The Toxic Avenger – Pleasance One, Edinburgh

The Toxic Avenger

A musical in the same vein that made Little Shop of Horrors such a pleasure, The Toxic Avenger was an unqualified delight, romping happily along powered by its own exuberance and the efforts of a stellar cast, who gave this everything they had – and then some.

The Power Behind the Crone – Assembly George Square, Edinburgh

The Power Behind the Crone

This was a wonderful piece of theatre, an exemplar of a Fringe show: beautifully scripted, and acted with precision and panache. Alison Skilbeck had absolute control of the material and created an impressive range of distinct, believable characters.

Seagulls – The Leith Volcano, Edinburgh

Volcano Theatre SEagulls at Edinburgh Fringe Festival

This was the most ambitious, exhilarating piece of theatre we saw this year. Site-specific productions – when the site is as spectacular and relevant as this (we were in an abandoned church, which had been flooded with forty-five tons of water) – can be truly exciting, and this one had a lot to offer.

Safe Place – Rose Street Theatre, Edinburgh

Safe Place

Safe Place provided a sensitive, insightful examination of the uneasy relationship between trans-activism and feminism. It asked (and answered) many questions, all within the framework of a nuanced and intelligent play.

Angels in America: NT Live – Festival Theatre, Edinburgh

Angels In America

Clocking in at just under eight hours, Tony Kushner’s play offered us a “gay fantasia on national themes” – a sprawling, painful and searingly funny depiction of New York in the 1980s, fractured and ill-prepared to deal with the AIDS epidemic. A truly iconic piece of theatre.

Twelfth Night/Romeo & Juliet – King’s Theatre, Edinburgh

Twelfth Night

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Merely Theatre gave us some ‘stripped-back’ Shakespeare, performing Twelfth Night and Romeo & Juliet in rep. The plays featured only five actors and the casting was gender-blind. It all made for an interesting dynamic and prompted us to re-examine familiar scenes.

Cockpit – Lyceum Theatre, Edinburgh

Cockpit

Cockpit was a witty, clever play, which saw the Lyceum transformed into a truly immersive space.  Director Wils Wilson served up a fascinating piece of theatre: arresting, thought-provoking, provocative and demanding – and it kept us talking for hours afterwards.

Cinderella – King’s Theatre, Edinburgh

Cinderella

We never thought a pantomime would feature in any ‘best of’ list of ours but, for the second year running, the King’s Theatre’s stalwarts managed to wow us. Allan Stewart, Andy Gray and Grant Stott knew exactly how to work their audience, and the special effects were truly spectacular.

Susan Singfield & Philip Caveney

Happy End

30/12/17

It has long been a tradition in our household that I choose to visit the cinema on my birthday – but since that birthday falls at an awkward time of year, it isn’t always easy to find something decent to watch. I was therefore delighted to note that the Cameo Cinema was offering a screening of Michael Haneke’s Happy End. While it can hardly be regarded as cheery birthday fare, Haneke’s films are always challenging to say the very least.

The film centres around the upper-bourgeois Laurent family who own a construction company based in Calais, against the troubling background of the migrant crisis.  The widowed patriarch of the family, George (Jean Louis Trintignant), is rapidly succumbing to dementia and spends much of his time actively trying to end it all. Meanwhile, his daughter, Anne (Isabelle Huppert), runs the business in her own no-nonsense manner, whilst vainly trying to interest her hapless son, Pierre (Franz Rogowski), in the idea of taking over from her – but it’s clear that he’s not really cut out for this kind of life. When an industrial accident results in the death of an employee, matters come to a head – and, at the same time, George’s son, Thomas (Mathieu Kassovitz), a well-to-do doctor, has to unexpectedly offer a home to his estranged teenage daughter, Anais (a remarkable performance from Laura Verlinden), whose mother has recently died from poisoning. Thomas is now remarried and has an infant son. It’s quite clear that he isn’t really sure how to interact with Anais – and there are still disturbing questions to be asked about what happened to her mother…

This is typical Haneke territory – the story is never clear cut, but gradually unfolds in a series of incredibly realistic vignettes. There are long takes, often shot from a distance, where the viewer is made to feel like a voyeur spying on the proceedings, an effect heightened by the way Anais records much of the action on her mobile phone – and at several points we are presented with revelations that make us reconsider many of the conclusions we have already drawn.

Haneke isn’t to everyone’s taste. His is an uncompromising world-view that takes no prisoners, but he is a unique talent that deserves to be celebrated and, to my mind at least, this is an excellent way to conclude the year’s viewing.

4.6 stars

Philip Caveney

Star Wars: The Last Jedi

15/12/17

Well, Episode VIII is suddenly upon us and everybody’s going crazy to see it, so I thought, what the heck, how bad can it be? I know I’ve gone on record as saying that Star Wars is one of the most overrated movie franchises in history, (and I genuinely believe that) but J.J. Abrams’ The Force Awakens was pretty decent stuff, largely because it had the good sense to deliver a sort of ‘greatest hits’ package, featuring all the best bits from A New Hope. This time out, we have writer/director Rian Johnson at the controls and I have to say, rather than the exhilarating flight we had last time, this is more reminiscent of an interminable train journey, packed with passengers you neither know nor care about. Will we ever reach our destination?

Proceedings kick off (of course they do) with a great big space battle, as the tattered remnants of the resistance flee from the overwhelming might of the Empire. (Sound familiar? Get used to it.) You quickly get the sense of worse things to come when the usually reliable Domhnall Gleeson as General Hux is reduced to stamping around and leering at his underlings like a pantomime villain. Yes, there are state-of-the-arts special effects, but I feel completely unmoved by the spectacle. Shortly thereafter, we cut to a remote island where Rey (Daisy Ridley) is still trying to convince Luke Skywalker (Mark Hamil) that he should stop being such a moody monkey and come back to join the rebels. (You may remember this was where we left the previous film.) Luke manages to spend pretty much the entire two hours and thirty two minutes running time trying to make his mind up, though of course, we all know he’ll get there in the end…

This procrastination seems to be key to Johnson’s vision. Kylo Renn (Adam Driver) faffs around trying to decide whether he’s good or bad (when of course we all know which one it is), Rey seems, for quite a while, to be suffering from exactly the same malady and Finn (John Boyega) spends much of his time scampering around a variety of exotic locations with his new sidekick, Rose (Kelly Marie Tran). The main problem is, everything feels turgid here and whenever we sense we’re approaching some kind of resolution, we discover that there’s another ending tacked on – and then another, and just for good measure, one more. The film is dedicated to ‘our Princess, Carrie Fisher,’ and perhaps the saddest thing is to see her hanging around in scene-after-scene, with very little to do but look mournful and mutter lines about ‘the Force’. (At one point, the script even has her put into suspended animation, which, I can’t help thinking, doesn’t feel entirely respectful to her memory.)

I’ve already seen a few decent reviews for The Last Jedi and no doubt, the hardcore fans will come out saying they adored it. (They generally do.) But for me, this one ranks very low down the pecking order, better than those terrible prequels, of course (though to be honest being beaten repeatedly over the head with a fresh haddock would be a step up), but limping along behind Rogue One, which at least a few fresh ideas to offer.

I can’t help feeling that the well is running pretty dry and unless somebody comes up with something very inventive soon, it may just be time to press the ‘self-destruct’ button on Star Wars.

Yeah. Like that would ever happen…

2.5 stars

Philip Caveney

 

Passorn

13/12/17

Brougham Street, Edinburgh

It’s always exciting when you discover a great place to eat – and an extra bonus when it turns out to be within walking distance of where you live. Brougham Street, the unassuming thoroughfare that leads up from Tollcross to Edinburgh’s Meadows, has already yielded us two superb eateries. First of all, we sampled the quirky delights of Ong Gie, a fabulous Korean restaurant that specialises in barbecuing food at your table. https://bouquetsbrickbatsreviews.com/2016/12/18/ong-gie/

Next up, we decided to try Taxidi Greek Bistro, a brand new diner that now occupies the premises where My Big Fat Greek Restaurant used to reside. That too, proved to be an absolute corker. https://bouquetsbrickbatsreviews.com/2017/11/13/taxidi/

It has long been on our minds to try the restaurant right next door to Ong Gie so finally, on this chilly winter night, fuelled by a couple of drinks at the Cameo Cinema Bar, we decide that we really shouldn’t leave it any longer.

Passorn boasts that it offers ‘angelic Thai dining’ and it must be said there’s a lovely relaxed feel about this scrupulously clean restaurant. We haven’t booked, but it’s early in the week and they soon find a place for us. When we arrive, the restaurant is nearly empty but it quickly begins to fill up, so clearly it already has an established fan base. We order drinks and settle ourselves down to peruse the menu. What’s interesting here is that – with the curry dishes – the customer can choose the level of heat they prefer – I know of many people who have been permanently scared off Thai food simply because they’ve been on the receiving end of something way too fiery for them.

For my starter I select Bangkok Cakes: two perfectly formed Thai-style cakes, one of prawn and one of cod, served with kaffir lime leaves and red chilli paste. They are both exquisite, expertly spiced and yummy to the last mouthful. Susan opts for Nam Tok Moo, a dish from the North East of Thailand, featuring char-grilled pork with coriander, fresh mint, lemongrass, red onion, roasted rice and Passorn’s own chilli dressing, the whole thing attractively served in  a hollowed-out red cabbage. Again, it’s a knockout, absolutely scrumptious.

For the main course, I choose Pia Samun Prie, crispy monkfish pieces in a turmeric and coconut sauce, topped with crispy onion. The chunks of fish almost melt in the mouth and the dish makes a perfect contrast with Susan’s choice of main course, Angel Curry. This comprises a marinated 8oz sirloin steak in a spicy red curry sauce, served on a bed of crispy potatoes. (My mouth is watering just describing it!) The meat is so tender it can be cut with a standard knife and the tangy, palette-tingling sauce is just perfection on a plate. Furthermore, the combination of the two dishes is inspired, though I’ll admit that’s more down to luck than expertise on our part.

We also order side dishes of Pad Mee (stir fried noodles with beansprouts) and Sticky Rice. Regarding the latter, I’ve had various permutations of this dish all over the UK, but this can only be described as super-sticky, a satisfying gelatinous lump that actually has to be divided up with a knife – and possibly the main reason I end up too full to consider investigating the puddings. That’s not a criticism, by the way. But if you like to finish your meals with something sweet then maybe pace yourselves a bit more than we do.

No doubt about it, this is superb quality Thai food, as good as anything you’ll find in the New Town and, it has to be said, excellent value for money. Which prompts me to ask the question – is Brougham Street the city’s new ‘must-visit’ culinary location?

On the basis of the three restaurants we’ve sampled thus far, that would have to be a resounding ‘yes!’

5 stars

Philip Caveney

 

Brigsby Bear

12/12/17

Once in a while, a movie comes along that is fresh and original enough to make it stand out from the herd. Brigsby Bear is one such movie – a charming allegory about the importance of childhood and the awful wrench we inevitably feel when we must finally leave it behind. It’s also funny and quirky and its delicious sense of invention keeps me hooked to the final frame.

James (Kyle Mooney, who also co-wrote the screenplay) is a twenty six year old, living in an underground bunker with his parents, Ted (Mark Hamil) and April (Jane Adams). Outside, he’s been told, there’s a nuclear wasteland where he dare not venture without wearing a respirator, so he passes his time watching episodes of a shonky children’s serial, recorded on VHS tapes, featuring a character called Brigsby Bear. The episodes arrive at regular intervals and the walls of James’ room are lined with hundreds of copies. But one day, police cars arrive at the bunker, sirens wailing. James is taken away and Ted and April are arrested. It’s down to Detective Vogel (Greg Kinnear) to break the alarming truth to James. Ted and April are not his real parents. He was abducted many years ago and the whole bunker/nuclear holocaust thing is an elaborate construct to keep him safely out of the public eye. Whats more, his real parents, Greg (Matt Walsh) and Louise (Michaela Watkins) are just dying to be reunited with him. Oh, yes, and one other thing – he also has a younger sister, Aubrey (Ryan Simpkins).

James does his level best to integrate with his new family, but something very important is missing from his life. Of course, he’s keen to see the latest episode of Brigsby, but it turns out, this too is just another part of Ted and April’s scheme to keep their abducted ‘son’ occupied. Ted has been filming the series himself, episode-by-episode, inventing a whole universe of characters to keep it going. The problem is, James cannot abandon something that means to much to him, even though psychologist, Emily (Claire Danes) urges him to move on with his life and put away childish things. But James is determined that the series must be completed at all costs and in the absence of anyone else to undertake the job, he decides he will do it himself…

It may sound a little outlandish when set out so matter-of-factly, but it’s done with absolute conviction. James’ awkward interactions with Aubrey’s friends are astutely realised, funny but also endearing – ‘Would you like a beer?’ ‘Yes, I’ll have one of that.’ Also, the way James charms other characters through his naive interplay with them is another lovely element. (The bit where Detective Vogel admits he used to do a bit of acting is a particular delight.) I enjoy the hokey (not so) special effects and the fact that James’ abductors are not portrayed as weird and evil characters, but as people who are mostly motivated by love. Uniquely, here is a film that has no real villain – unless you count Sun Snatcher, the chief baddie from the Brigsby Bear adventures.

This film may not be to everyone’s taste, but in my honest opinion, it’s one of the most original slices of cinema I’ve seen in quite a while and well worth seeking out.

4.6 stars

Philip Caveney

Stronger
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11/12/17

This film makes an interesting companion piece to Patriots Day, in that both movies cover the same event – the bombing of the 2013 Boston Marathon. But where Peter Berg’s offering concentrates on the hunt for the perpetrators of the crime, Stonger opts to focus on one of the bombing’s victims: twenty six year old Jeff Bauman, who had the misfortune to be standing too close to the rucksack that held one of the homemade explosive devices.

When we first encounter him, just days before the bombing, Jeff (Jake Gyllenhaal) has recently split from his girlfriend, Erin (Tatiana Maslany) and is doing everything he can to encourage her to come back to him. When he hears that she is planning to run the Boston Marathon, he dutifully turns up on the day carrying a homemade placard to show his support… and moments later, loses both his legs in the bomb blast. When Erin spots his blood-spattered face on a TV report, she hurries to the hospital, where Jeff’s dysfunctional family, headed by his mother, Patty (an almost unrecognisable Miranda Richardson) are already gathered, waiting for him to come back to consciousness. Erin finds herself inexorably drawn into being his carer/companion, even moving into the little apartment that he shares with his mother – but as his long, slow recovery begins, it’s apparent that Jeff still has a lot of issues to come to terms with; and it doesn’t help that the people of Boston constantly  want to celebrate him as a homegrown hero…

David Gordon Green’s film expertly walks a perilous tightrope. This powerfully affecting story could so easily have descended into pure corn, but the fact that it doesn’t is only one of its many strengths. The script (by John Pollono, based on Jeff Bauman’s book), refuses to turn its lead character into the hero figure that the people of Boston so evidently want him to be. There’s no rose-tinted glasses here. Jeff is presented as a feckless, often selfish individual, with a self-destructive personality – and a similar ‘warts-and-all’ approach is taken with the various family members who weigh in to lend  their support with all the finesse of a herd of stampeding elephants.

Gyllenhall’s performance is superbly affecting (here’s yet another movie which I viewed mostly through a fog of cascading tears), while anyone who has watched her assay multiple roles in Orphan Black will know what to expect from the very talented Maslany. Miranda Richardson’s turn as the boozy, hapless Patty is also beautifully judged. Suffice to say that the various mutterings about the film’s Oscar potential may not be entirely misplaced. But who knows? Oscar can be a notoriously fickle beast.

Stronger is ultimately a film about the process of healing. I loved its honesty and passion and though it keeps its most shocking images for later on in the proceedings, when they do arrive, in a series of brilliantly edited flashbacks, it doesn’t hold back.

4.6 stars

Philip Caveney

 

The Tin Soldier

 

The Studio, Festival Theatre, Edinburgh

09/12/17

Bird of Paradise Theatre’s production of The Tin Soldier is an object lesson in the art of storytelling. It’s thoughtful and vibrant and beautifully done.

Jack (Robert Softley Gale) and his friends live in The Place. Based on the Internats, where non-ambulant disabled children were ‘dumped’ in Soviet Russia, The Place is cold, inhospitable and under-staffed. Left to their own devices, the children forge strong ties, creating their own family units. And, central to this bonding process, is the sharing and telling of stories.

The appeal of The Tin Soldier is obvious: the loyal, steadfast toy is one of very few positive depictions of a disabled character in children’s fiction. He might not have a happy ending, but he’s undoubtedly the hero of the tale: dogged, determined, loving and loveable.

But the real beauty of this piece is all in the telling. The multi-media, multi-format approach is beguiling: the story is told simultaneously through spoken word, sign language, subtitles, music and animation. If that sounds chaotic, it’s not. It’s all perfectly choreographed, each form complementing the next, adding subtle layers of meaning and complexity. Caroline Parker, as the aptly-named Dancer, is especially mesmerising, signing the songs centre-stage; it’s visually stunning, even though I don’t know sign language.

Bird of Paradise’s artistic vision is of “a culture where disabled artists are recognised for the excellence of their work” – and Softley Gale, Parker and Joseph Brown (Kipper) certainly merit accolades for these performances.

The music is provided by Novasound, aka Audrey Tait and Lauren Gilmour. It’s lovely: Gilmour’s voice has a plaintive quality that really suits the tale.

The Tin Soldier is playing until the 23rd December, so if you’re looking for a festive family show that goes beyond the obvious, then why not take a look at this? You won’t be disappointed.

4.4 stars

Susan Singfield