Fantastic Beasts and Where to Find Them

19/11/16

Question: how do you turn a rather slim World Book Day volume into not one, not three, but five big movies? Answer. Ring up JK Rowling. She has elaborated extensively on said slim volume to create a wizarding tale set, not in the familiar confines of Hogwarts, but in New York city in the year 1926. The more cynical amongst us will be tempted to dub this with an alternative title – Newt Scamander and the Cow of Cash – but to give the film its due, it is undoubtedly a serious attempt to step away from the path already trodden and for that, at least, it should be applauded; and the attention to detail that’s been applied to the creation of the wizard world is truly impressive. But the ranks of parents accompanied by bewildered looking youngsters as the credits rolled on the afternoon show we attended, spoke volumes. Despite that 12A certificate, this is not a film for the very young, simply because there’s no child protagonist here to fully engage their attention.

Instead we have English wizard Newt Scamander (Eddie Redmayne) arriving in New York city carrying a magical case of strange creatures with him and it’s no great surprise when some of those creatures escape and start running amok in the (beautifully recreated) city. These range from tiny, cute and obsessed with stealing shiny things, to large, rhinoceros-like and ready to mate with something (seriously – you need to prepare yourself for Scamander’s mating dance). Newt soon falls under the watchful gaze of ministry of magic jobs worth, Tina (Katherine Waterston) and things take a more complicated turn when ‘No-Maj’  (the American term for a Muggle) Kowalski (Dan Fogle) inadvertently ends up with the wrong suitcase. Much hilarity ensues, and many landmark buildings are spectacularly destroyed…

Which is all well and good, but it has to be said that something in this mix doesn’t quite work. The resulting film is neither fish nor fowl. Surely, the parade of beautifully rendered CGI creatures are aimed at children, while the human characters behave in a manner that’s more appropriate for their parents – but because neither aspect fully coheres with the other, both sides of the audience are somehow left wanting. Don’t get me wrong. There’s plenty here to enjoy, not least the delightful Queenie (Alison Sudal, channeling her inner Marilyn Monroe) and Fogle’s winning turn as the poor schlep who finds himself suddenly immersed in a world of wizarding is good too. Redmayne rather overdoes it as Scamander – sure, he’s meant to be shy and introverted but he gurns his way through this first film and I can only hope that he’ll dial it down a bit for episodes 2,3,4 and 5. Whether I’ll be watching any of them is another matter.The major villain here is Graves (Colin Farrell), a powerful wizard with a hidden agenda, but he really doesn’t have all that much to do and seems a poor exchange for the villainous Voldemort.

A lot of money and huge amounts of technical skill has clearly been lavished on this project – and it’s by no means the worst thing you’ll see this year – but for me at least, it fails to live up to its famous progenitor. And I can’t help thinking – how are they going to string this out for another four movies?

3.8 stars

Philip Caveney

Sully: Miracle on the Hudson

16/11/16

For his previous cinematic outing (the indifferently reviewed Inferno) Tom Hanks broke out the Grecian 2000 and presented audiences with an airbrushed version of his real self, trying to pass for someone considerably younger. Here, he’s playing someone closer to his own age, veteran airline pilot Captain Chesley Sullenberger,  who in 2009 managed to do the seemingly impossible, by crash-landing a stricken airliner in the Hudson River without incurring a single fatality. (Well, that’s 155 tickets sold, right there.)

Clint Eastwood’s retelling of the story is never less than compelling. Since we already know the outcome of the story, he can’t really hope to generate any real suspense; so he opts instead for a strange, circular narrative, opening with the moment that Sully and his co-pilot Jeff Skiles (Aaron Eckhart) realise that they are deep in the doo-doo after a catastrophic bird strike. From here, the story loops around like a plane looking for somewhere suitable to land, touching briefly on Sully’s early days in aviation, before finally revealing the workings of the crash landing itself.

The main tension in the story is generated when a team of crash investigators (including Breaking Bad’s Anna Gunn), assigned to examine the circumstances of the accident begin to look as though they might disagree with Sully’s account of the story, something which threatens to turn him from overnight hero to an absolute zero. A series of computer simulations have raised the distinct possibility that the plane might have been able to return safely to Laguardia airport, from where it had recently taken off. Hanks does his usual ‘Everyman’ persona with the understated dignity we’ve come to expect from him and he’s ably supported by Laura Linney as Sully’s unfortunate wife, stuck on the end of a telephone line, while her husband faces the hearing that could destroy his career.

It’s only in the film’s post credit sequences where Eastwood cannot quite resist tipping the project into cheesiness – we see the real Sully and the real survivors, making speeches at one of those celebrations the Americans love so much – and there’s an onscreen credit that pays tribute to the emergency services in New York who worked together to save so many lives. But ultimately you can’t help concluding that Sullenberger took a chance in a desperate situation and (luckily for him) it paid off.

Still, this is nonetheless an entertaining film, particularly when projected onto an IMAX screen, which makes the crash landing a startlingly immersive experience. Nervous fliers might want to give this one a miss.

4 stars

Philip Caveney

A Street Cat Named Bob

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12/11/16

Okay, so A Street Cat Named Bob isn’t anyone’s idea of game-changing cinema. It’s undemanding, sentimental, family-friendly fare – but that doesn’t mean that it’s not worth seeing. It’s undeniably uplifting, and – in this dark winter of political ferment – there’s something to be said for that.

Based on the best-selling book of the same title, A Street Cat Named Bob tells the true-life tale of James Bowen, a recovering addict, and the cat that helped him find his way. When the film opens, Bowen (Luke Treadaway) is living on the streets, enrolled on a methadone programme, but struggling to stay away from the heroin he’s addicted to. He’s busking to make ends meet but, although he’s clearly a decent singer-songwriter, there’s just too much chaos in his life. His key worker, Val (Joanne Froggatt), pulls some strings to get him set up in a flat, and stray cat Bob – making good use of an open window – decides he wants to move in too. Bob gives James a focus, a purpose; he depends on James and so James has to shape up. But it’s not a one-way street: the public are charmed by the sight of Bob perched on James’s shoulders while he busks, and his earnings increase dramatically. He and his cat become well-known, a social media sensation, and James seizes the chance to turn his life around. And, of course, there’s a love interest too, in the shape of Betty (Ruta Gedmintas), a quirky neighbour with a kind, kind heart.It’s impossible not to feel just the tiniest bit moved, and to delight in the change in Bowen’s fortune. It’s a Cinderella tale for the modern age.

The whole thing is well acted: Treadaway, in particular, is a joy to watch, and Anthony Head’s turn as Bowen’s hapless father is also a standout. However, despite dealing with the really serious issues of homelessness and addiction, the whole thing is bathed in a  golden glow, and that’s the real problem here. We do see some of the desperation felt by those living on the street, and the pain felt by addicts just trying to get by. But stark reality is not allowed to interfere much with the feel good nature of this piece, and the solutions are all in the hands of the individual; there’s no suggestion of collective responsibility.

Entertaining, then, and uplifting as I said. But this is not a film that will change anything for anyone except its hero. He’s exceptional, not representative. The problems are all still there, behind this rose-tinted lens.

3.4 stars

Susan Singfield

Arrival

11/11/16

We’re all familiar with the scenario, right? Gigantic spaceships hover over the major cities of the world, and eventually disgorge battalions of vicious alien creatures, that are hell bent on world domination. Luckily, a group of plucky resistance fighters come together to kick alien butt and free the planet from tyranny…

Thankfully, Arrival really isn’t one of those films. Director Denis Villeneuve (Sicario, Prisoners)  chooses instead to depict an alien visitation as a positive, perhaps even fruitful occurrence. This is a sedate, almost hallucinatory film, that dares to try something different with a much mistreated genre.

Linguist, Dr Louise Banks (Amy Adams) finds her everyday life rudely interrupted by the unannounced arrival of twelve huge black ellipses hovering inexplicably in the air above different locations around the world. The ellipses (surely inspired by the paintings of Magritte) are silent and make no apparent attempts tocommunicate with the human race. Louise soon finds herself enlisted by Colonel Weber (Forest Whitaker) who is leading a team of North American scientists, whose job it is to try and make contact with the aliens and work out what (if anything) they are trying to tell us. Louise finds some common ground with scientist, Ian Donnelly (Jeremy Renner) and the two of them set about the complex task of communicating with the inhabitants of one of the giant elipses. They are quickly dubbed heptopods and are giant octopus-like creatures, which (perhaps wisely) are only glimpsed through the haze that constantly surrounds them. As she starts to make progress, Louise is increasingly affected by images of her young daughter who comes to a tragic end…

I thought Arrival was a remarkable film, quietly persuasive in its approach and totally absorbing. The googly ball that it throws at its audience in its final stretch, hit me for six – I really didn’t see it coming – and it was only as the shock of the impact spread through me, that I began to appreciate just how skilfully the storyline’s tangled web has been put together. If the film’s ultimate message could be accused of being a little bit cheesy, it’s nonetheless a welcome relief from the usual crass Hollywood approach to alien visitations.

Worth further investigation.

4.2 stars

Philip Caveney

 

A Tale of Two Cities

08/11/16

King’s Theatre, Edinburgh

There’s something reassuringly old-fashioned about this stylish adaptation of Charles Dickens’ classic story of friendship and sacrifice. There are no gimmicks, no updates, no references to current political circumstances. Instead, Mike Poulton’s skilful adaptation plays things absolutely straight. That’s not to say that it’s dull. The story is brilliantly and effectively staged, the narrative slipping effortlessly back and forth between London and Paris, without ever prompting us to ask, ‘where are we now?’

In the story’s opening scene, Charles Darney (Jacob Ifan) finds himself in court, accused of treason against the British Crown. Barrister Sidney Carton (Joseph Timms) brilliantly defends Darnay, using the fact that quite by chance, the two men resemble each other. Though Darnay doesn’t much like the dissolute Carton, he acknowledges that he owes the man a great debt and agrees to a kind of friendship, one that is complicated by the fact that Carton has fallen in love with Lucie Manette (Shanaya Rafaat), Darnay’s fiancé.

Meanwhile, over in Paris, the French Revolution is gathering momentum – and the fact that Darnay is a French émigré and the rightful heir to the estate of the hated Maquis St Evérmonde (a wonderfully spiteful Christopher Hunter) means that Darnay soon finds himself back in court  – and this time, he’s a potential candidate for an encounter with the guillotine.

This story has endured for a very good reason – it’s a powerful tale of mankind’s ability to do wonderful things in terrible circumstances – and this is a fine example of how a great novel can also make a great stage play. Director James Dacre handles it all with aplomb and special mention should be made to the Royal and Derngate workshops, who created the scenery, set, props, costumes, wigs and makeup for the show. At times it feels uncannily like we are looking at a series of classic paintings from the period.

Fans of Dickens – and there are many of them – should get themselves along to the King’s Theatre, where A Tale of Two Cities is showing until Saturday 12th November.

4.2 stars

Philip Caveney

Lyceum Variety Night

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06/11/16

Lyceum Theatre, Edinburgh

David Greig is not all talk. This is a man who walks the walk: he says he believes in the democratisation of theatre, then translates this belief into a diverse programme that truly opens those ‘elitist’ doors. First we had The Suppliant Women, with its chorus of fifty community volunteers. And now we have the Lyceum’s first ever variety night, bringing in a range of performers who wouldn’t normally appear in a venue such as this.

Organised and compèred by Jenny Lindsay of Flint & Pitch (ably assisted by Siân Bevan), this is an eclectic mix – but it’s all high quality, and well-worth the effort of venturing out on this cold Sunday evening.

First up is A New International, a seven-piece band with a lively folkish feel. The violin is glorious, and the singer has a real presence. They’re truly energising, and set the evening’s tone.

Christopher Brookmyre is up next, and he’s really very good indeed, reading a short story set in a Glasgow park about an open air production of A Midsummer Night’s Dream. It’s spellbinding and hilarious; I’d have come here just for this.

He’s followed by Emma Pollock, with three beautifully plaintive tunes. She clearly has a real fan base in the audience, and this is an assured set.

Jenna Watt performs an excerpt from her award-winning spoken word show, Faslane, about her complex relationship with nuclear weapons. Her delivery is soft and understated, but she’s telling us hard truths. It’s a fascinating piece and makes me want to see the full version.

Andrew Greig and Leo Glaister are a stepfather and son, and their act is hard to define, producing something that’s somewhere between music and spoken word. But it’s never less than engaging, and it’s witty, nuanced stuff.

Luke Wright is probably my favourite act of the night; he’s a charismatic performance poet, and his poems are both funny and challenging. The one about Iain Duncan Smith (using no vowels apart from ‘i’) is very clever indeed, and earns rapturous applause for its audacity.

Rachel Amey is another poet, and also a highlight of the evening. She exudes a quiet dignity, a serious sense of purpose that makes her verse compelling. There’s an honesty and integrity to her work, that leaves us pondering her ideas long after she has left the stage.

Proceedings are wound up with  A New International, performing three more songs, confirming our initial impression that they’re a band to watch out for.

Bravo, Lyceum! Bravo, Flint & Pitch and David Greig! This evening was a real triumph, and we’ll definitely be back for the next one.

4.6 stars

Susan Singfield

Indigo Yard

06/11/16

Charlotte Street, Edinburgh

Indigo Yard is a a lovely pub/restaurant, owned by the Montpelier group, and just as delightful as the rest of their venues. Tucked away in a little lane at the end of Princes Street, it’s all wooden panels and candlelight. On this particular Sunday afternoon, it’s relatively quiet, but there are still enough punters to generate a buzz.

We’re here for a pre-theatre dinner, so we don’t experience the evening vibe. I imagine this place has a very different rhythm as the night draws in, and we’ll certainly be back some time soon to check this out.

Make no mistake: this is a long way from fine dining. This is ‘gromphy’ comfort food, and it’s very keenly priced. As well as the à la carte, there’s a set menu, where two courses cost just £10, and we decide to sample this.

To start, Philip opts for the smoked haddock fishcakes with hollandaise sauce, which are tasty and satisfying and nicely cooked. I go for the grilled halloumi and roasted red pepper salad with basil oil, which arrives on a bed of rocket with a sticky balsamic dressing. Yum! It’s simple, but it works, and the roasted peppers are deliciously sweet.

For the main, I choose an Indigo Orkney steak burger with fries. It’s not exciting – it’s a burger – but it’s exactly what I fancy and a decent plate of food. The burger is sturdy and well-flavoured, and the tomato relish adds a welcome piquancy; the fries are frozen, but they’re serviceable. There are sides of Mac N Cheese  on the menu, and the bacon with smoked Applewood cheddar version sounds so good, we decide to share a portion, just because we can. And we’re glad we do, because it’s pretty damned amazing. A bowl of this alone would constitute a perfect lunch, especially for diners nursing last night’s hangovers.

Philip’s main is more interesting than mine: it’s chicken and noodles with ginger and cashew nuts, and it’s lovely – all warmth and crunch and succulence.

We’re feeling greedy so, although we’re full, we decide to have dessert. We share a trio of sweet treats, which comprises small portions of banoffee pie, salted caramel & dark chocolate cheesecake and a lemon tart. The standout is the lemon tart, which is sharp and sweet as anything.

Even with a pint of beer and a bottle of Chilean sauvignon blanc, the bill comes in at just £63 – which is quite impressive for what we’ve had. Even more impressive is the fact that Indigo Yard is working with Scottish homeless charity, Social Bite, so we’re offered the chance to ‘pay it forward’ and buy a Christmas dinner for a homeless person. Who could refuse? £5 is a small addition to our bill, but it’s one that makes a difference.

All in all, our experience at Indigo Yard was an extremely positive one – and we’re happy to recommend it to anyone who wants to eat and enjoy themselves in Edinburgh.

4.2 stars

Susan Singfield

Nocturnal Animals

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05/11/16

Nocturnal Animals is a spiteful little film, full of bile and petty score-settling. Beautifully styled and well-acted throughout – with a stellar cast of cameos supporting the leads – this film feels like a tragic waste of talent, a plethora of artistic skill funnelled into a project with a vacuum for a heart. The worldview here is warped. The whole thing – not just the inner story of Sheffield’s novel – feels like a sterile revenge plot, the work of an embittered soul with sadistic tendencies.

Amy Adams plays Susan Morrow, a successful but miserable art dealer, trapped in an unhappy marriage where her riches mean nothing; her life is a hollow shell. When she was young, in grad school, she was briefly married to a different man, Edward Sheffield (Jake Gyllenhaal), and he was the true love of her life. But Susan was too greedy, too bourgeois, too much like her mother, to appreciate the creative sensitivity of a man like Edward: she wanted the trappings of a middle-class life, and didn’t support him in his artistic endeavours.

Nineteen years later, a manuscript arrives on her desk. It’s a proof copy of Edward’s novel, soon to be published. It’s dedicated to her, and it tells the tale of a couple just like them, brought to life for us on screen as Susan reads compulsively. The protagonist, Laura (Isla Fisher, styled to look exactly like Adams), is raped and murdered, along with her daughter. Clearly, Edward is still a long way from getting over Susan’s rejection of him.

It’s an ugly, mean-spirited story from start to finish, with a deep misogyny at its core. From the freak-show fat women of the opening credits to the gratuitous nastiness of Laura’s death, it’s lacking any sense of proportion – or of charm. Nor does it work as a study of the dark side of humanity; it’s all too petty and too personal for that. And it’s boring a lot of the time too, all ponderous shots of people in baths, and endless scenes where Adams gasps, startled by what she’s read, adjusts her glasses, then picks up the book again. The novel’s plot is pretty turgid too: after the initial excitement of the murders, it’s a rather dull procedural, where we know exactly whodunnit, and so do the police.

Seriously, this is a disappointing film. It looks fantastic and the cast is a dream-team by anyone’s standards (Adams and Gyllenhaal are joined by Michael Shannon, Laura Linney, Michael Sheen and Andrea Riseborough, among others) but, ultimately, this just leaves a bad taste in the mouth.

2.5 stars

Susan Singfield

Grain in the Blood

03/11/16

Traverse Theatre, Edinburgh

Grain in the Blood is the second play by Rob Drummond we’ve seen this week, but it’s so different from the rambunctious, slapstick humour of The Broons that it’s hard to believe it’s from the same pen. This is a clearly a playwright who doesn’t want to be pigeonholed, who likes to experiment with a wide range of forms and genres. And this is all to the good, because Grain in the Blood feels like a real one-off, a spare, stark, unnerving chiller that is at once contemporary and classical. Its remote farmland setting is precise and detailed – and yet it could be anywhere. The dialogue is taut and ultra-modern in style, all fragments and silences and unfinished thoughts – but it could be any time. This is a complex, angular, unwieldy play – and it’s fascinating to see the plot unfurl.

Sophia (Blythe Duff) is a retired vet. Her son, Isaac (Andrew Rothney), has been in prison for years, ever since he murdered his wife, Summer. Sophia lives on the family farm, with her sickly granddaughter, Autumn (Sarah Miele), and Summer’s sister, Violet (Frances Thorburn). Autumn is dying; she needs a kidney transplant to survive. Under the careful watch of his minder, Bert (a wonderfully monosyllabic John Michie), Isaac is released from gaol for a long weekend, to meet his daughter and make a decision: will he donate a kidney to help her live?

There’s a sinister atmosphere on stage throughout, an uneasy sense of what might come to pass, accentuated by the presence of the shotgun we know is in the chest, by the slaughtered lambs and the kitchen knives. And the verses, recited by Autumn, conjure up an ancient world of witchcraft and folklore and bloody rituals.

The tension is palpable. There’s a school group sitting in front of us in the auditorium, and they’re so invested in the action that they gasp out loud as one, breathe out a collective “no” as the final plot point is revealed.

Orla O’Loughlin’s direction is subtle: these are actors who have been told to play the silence, explore the stillness, consider proxemics and use the edges of the stage – and this all helps authenticate that all-pervading sense of dread. Autumn’s bedroom, revealed by sliding walls at the back of the living room where everything else takes place, looks like the final picture on an advent calendar: the double doors opening to show an ethereal figure poised between life and death, bathed in yellow light and speaking truths. This potty-mouthed youngster is the moral heart of the play.

Grain in the Blood does what the best theatre should: it entertains, of course, but it also makes you think. It raises questions, demands answers. This is one I highly recommend.

4.7 stars

Susan Singfield

Jack Reacher: Never Go Back

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02/11/16

Fans of the Jack Reacher novels are an unforgiving bunch. Tom Cruise is NOT Jack Reacher, they insist. The ex-army hard man hero as described by author Lee Childs is a big shambling bear, while Cruise is… a bit more compact. No matter that Child has repeatedly endorsed Cruise’s version of Reacher. No matter that he even makes a cameo in the latest film. Crime fans are not to be trifled with.

Whatever, Never Go Back is an assured chase movie that never puts a foot wrong. At the film’s opening, Reacher has just solved another case and having had a brief telephone chat with Major Turner (the exotically named Cobie Smulders) he resolves to call around and take her out to dinner at his earliest opportunity. But by the time he gets there, things have changed somewhat. Turner is in prison, accused of espionage, and Reacher discovers that he is being sued by a woman he’s never heard of who claims that he’s the father of her teenage daughter. Reacher is promptly arrested by the military police but it’s hardly a plot spoiler to say that he isn’t incarcerated for long and before you can say ‘with one bound,’ he and Turner are on the run and have hooked up with Reacher’s ‘maybe’ daughter, Samantha (Darika Yarosh). Meanwhile, a trained killer is on their trail…

Okay, this isn’t going to win any prizes for originality, but it’s nonetheless a gripping action yarn, ably directed by Edward Zwick, that races breathlessly from one set piece to the next, before culminating in a bruising punch-up on the roof tops of New Orleans at the height of Mardi Gras. Cruise does his action shizzle with his usual aplomb, Smuthers gets to kick a lot of ass too and Yarosh is suitably appealing as the precocious Samantha, who might just turn out to be a chip off the old block. As somebody who has never read one of the source novels, I found this thoroughly entertaining and the height of the titular character really didn’t matter one jot. And when it comes to onscreen running, few people do it as well as Tom Cruise…

If you like an undemanding chase thriller, this should be right up your street. On the other hand, if you’re a devotee of the novels, you might not be so enamoured.

4.2 stars

Philip Caveney