BBC

Wallace and Gromit: Vengeance Most Fowl

26/12/24

BBC iPlayer

Christmas without Wallace and Gromit? Unthinkable.

And this year, there’s a brand new feature-length offering for our delectation, which brings back the duo’s most formidable foe, Feathers McGraw, who – ever since the events of 1993’s, The Wrong Trousers – has been languishing in a high security prison or, as some prefer to call it, ‘the zoo’. Meanwhile, at 62, West Wallaby Close, Wallace (who, after the sad demise of Peter Sallis, is now voiced by Ben Whitehead) is still inventing at full throttle, which means that poor Gromit is finding precious little to do. Wallace has even invented a machine that can give his faithful pooch a pat on the head and… well, it’s not the same as getting a pat from your best pal. Right?

But Wallace’s latest brainchild, a smart-gnome called Norbot (Reece Shearsmith), may be an invention too far – particularly when Feathers, from his place of incarceration, devises an incredibly complex method of overriding Norbot’s system an and then further contrives a way of copying him, over and over, to generate a whole army of gnomes committed to freeing Feathers from captivity. 

Feathers still has his sights squarely set on getting his flippers on the fabled blue diamond, which is stored at the local cop shop under the watchful gaze of Chief Inspector Mackintosh (Peter Kay) and his ambitious assistant, PC Mukherjee (Lauren Patel). As Feathers’ evil plan unfolds a proper caper ensues…

As ever, this is a delightfully inventive escapade, consistently funny throughout. Wallace’s Heath Robinson-style inventions are still a reliable source of merriment, while many viewers will enjoy the references to classic movies dotted throughout the narrative. Whitehead recreates Sallis’s distinctive tones with eerie skill and, once again, Feathers McGraw somehow manages to exude an air of total menace without the advantages of anything resembling actual features. Meanwhile, the multiple gnomes are deliciously creepy as they march along in unison, declaiming in Shearsmith’s jovial tones how very helpful they are whilst trying to send Gromit hurtling to his doom.

If the final protracted barge-chase doesn’t quite measure up to the frantic train-set sequence of The Wrong Trousers, this is nonetheless another assured addition to the W & G collection, with the original handmade ingenuity of the earlier films augmented by some impressive CGI touches. Written by Mark Burton and Nick Park and directed by Merlin Crossingham (and Park), it would be a grumpy soul indeed who doesn’t find themselves chortling from start to finish. If the titular twosome have become something of an institution, it’s worth repeating that they have more than earned their place in viewers’ hearts.

Cracking stuff, Gromit! Now pass the Wensleydale and bring on 2025.

4.3 stars

Philip Caveney

Adam

15/03/21

BBC iPlayer

Trans men must be one of the most under-represented groups in the UK. I read a lot of news; I watch a lot of films and, when there are no pandemic restrictions, I am an avid theatre goer. But, despite the (anecdotal) fact that I know more trans men than I do women, I very rarely see them referred to; their stories largely seem to go untold.

Adam, then, is important not just because of what it says, but because it exists at all – and on a mainstream platform too. The BBC is under fire at the moment, but we shouldn’t forget what it offers us. If commercial viability is the only factor by which content is judged, marginalised people remain invisible to the masses, their experiences rendered forever ‘fringe.’

Indeed, Adam premiered at the Edinburgh Fringe in 2017, a National Theatre of Scotland production at the Traverse Theatre, where it was highly acclaimed. This new version, written by Frances Poet and directed by Cora Bissett and Louise Lockwood, again stars Adam Kashmiry as himself, and chronicles his experiences as an Egyptian trans man, alone and frightened in a Glasgow flat, awaiting the results of his asylum application. Adam can’t return to Egypt: revealing his true identity there could result in his death. But he can’t use his gender identity to claim asylum in the UK until he transitions, and he can’t transition until he is granted asylum. Trapped in this double bind, no wonder Adam struggles to cope…

This hour-long film is beautifully constructed. It does always feel more like a play than a movie, but that’s not to its detriment. Yasmin Al-Khudhairi appears as Adam’s female-looking outer self, and offers us an occasional and understated glimpse into how others perceive him. The rest of the supporting cast is strong too, especially Neshla Caplan as a sour-faced immigration officer. But this is Adam Kashmiry’s story, and it is his film too: his performance is compelling, haunting – and heartwarming. Because, although this story is one of unimaginable hardship and pain, it’s also one of triumph over adversity. Here he is: a free man, telling his own tale.

4.4 stars

Susan Singfield

Scenes for Survival

27/08/20

BBC iPlayer/YouTube

Scenes for Survival is a series of short digital artworks created by leading Scottish theatre and screen talent, co-produced by the BBC and the National Theatre of Scotland.

It’s a mixed bag, that’s for sure, a veritable cornucopia of ideas, all inspired by or relating to lockdown. Their variety is their strength; there is a sense of universality, of common suffering. Some of them are frustratingly short: the briefest of glimpses into a situation or psyche, and – inevitably – some are better than others, although they’re all high quality, as they should be, with actors, writers and directors of such calibre.

The obvious standout so far (they’re still being made) is Fatbaws, written by Douglas Maxwell and performed by Peter Mullan. It’s a simple, cheeky little idea – a man being bullied by the birds in his garden – but the writing is exquisite and Mullan’s performance is jaw-droppingly good, a masterclass in character acting. No mean feat when two of the characters are a crow and a pigeon.

I also like Larchview by Rob Drummond, where Mark “Ubiquitous” Bonnar plays a disgraced minister making a public apology for breaking lockdown rules. His progression from phoney contrition to peevish defensiveness is deftly conceived, and there’s redemption too, as he begins to hear the emptiness of his excuses, and a real sense of remorse emerges. It’s cleverly humanising – and Lord knows our politicians need a bit of that.

Alan Cummings stars in Johnny McKnight’s twisty three-parter, Out of the Woods. It’s a shaky hand-cam thriller, depicted as a series of FaceTime calls between a man and his mother and his child. He’s creeping through the woods to his estranged partner’s house; he’s picking up their daughter, but her other dad is not to know…

But honestly, even if these don’t appeal, there are so many to choose from, there’s something here for everyone. Retired Inspector Rebus (Brian Cox – not that one) puts in an appearance, courtesy of Ian Rankin, and there are contributions from many of Scotland’s best-loved creatives, including Val McDermid, Elaine C Smith and Janey Godley.

So, take a peek. See what tickles your fancy. Because strong original content has been a rarity for the past few months, and these are a real treat, as well as a vital documentation of our times.

4.6 stars

Susan Singfield