Imogen Poots

Vivarium

02/04/20

Curzon Home Cinema

Curzon Home Cinema has become our go-to for movies in these stay-at-home times, and Lorcan Finnegan’s waking nightmare, Vivarium, is the latest on their list to catch our eye.

Imogen Poots and Jesse Eisenberg star as Gemma and Tom, a teacher and a tree surgeon. They’re ready, they think, to buy a home together, and visit an estate agent to see what’s available. When creepy Martin (Jonathan Aris) recommends Yonder, a vast suburban estate of identikit new builds, Gemma and Tom are dubious. But Martin is very persuasive, and they agree to go along, just to have a look.

To their horror, they find themselves trapped: it is impossible to escape Yonder’s endless green streets; despite their ever-more frantic efforts, they always end up back at the same house, with food and other staples delivered silently and anonymously, all shrink-wrapped and pre-packaged like the life they’re being forced into. One day, a baby (Côme Thiry) is deposited on their step; within days he has grown into a freaky young boy (Senan Jennings). Tom insists they should refuse to care for the child – it’s not human, he says, and certainly not theirs – but Gemma can’t face leaving the boy to his fate, and does her best to look after him. Tom, meanwhile, is becoming increasingly obsessed with digging a hole in the garden…

The metaphors here are all thinly-veiled. The opening sequence of a cuckoo forcing its way into a nest, brazenly devouring everything it can, is a beautifully brutal portent of what’s to come, but it’s not a subtle allegory. The cartoon-like Yonder, with its perfectly manicured lawns and lifeless, listless architecture, represents the living hell of conformity, the loss of self that many couples feel as they settle down, do what’s expected of them, become subsumed by their children’s needs.

So no, not subtle, but clever nonetheless. The child’s age, for example, is a neat concept: the sight of a six-year-old screaming relentlessly while his ‘parents’ desperately try to placate him with food seems monstrous; the way he copies what they say and parrots it back at them is equally grotesque. But this is just what babies do, amplified here to awful effect.

There is, it must be said, only a single idea here, so it is all bit one-note. Nevertheless, Vivarium is a taut and genuinely frightening film, and its pervasive imagery might well haunt your dreams, especially if you watch it now, while we’re all ensnared in a similar scenario, unable to venture far from home, and barred from participating in the lives we used to lead.

4 stars

Susan Singfield

 

 

Who’s Afraid of Virginia Woolf?

18/05/17

Edward Albee’s 1962 play was famously adapted as a movie in 1966, starring Richard Burton and Elizabeth Taylor. The role of Martha is widely considered Taylor’s best onscreen performance, so it’s a tough act to follow – and perhaps, on paper, Imelda Staunton is an unlikely candidate for the role. But never underestimate her. She is an absolute revelation in this National Theatre production, beamed out live to cinemas across the UK. These screenings are a wonderful (and more affordable) way for people outside London to gain access to the very best of theatre.

George (Conleth Hill, best known for Game of Thrones) is an associate Professor of History at an American University, a man who feels that he hasn’t really achieved his life’s ambitions. This belief is constantly reinforced by his hard-drinking wife, Martha (Staunton), who seems to delight in reminding him of his failures at every given opportunity. The events of this three hour play unfold over one night, after a party at the faculty. George and Martha are already well-oiled when they arrive home and George is dismayed to discover that Martha has invited a young couple back ‘for drinks.’ They are a young biology professor, Nick (a barely recognisable Luke Treadaway) and his ditzy wife, Honey (Imogen Poots). Given the gladiatorial nature of the host couple’s conversation before the guests arrive, it’s clear that we are in for a bumpy ride… and as the drinks flow and inhibitions are increasingly broken down, the deepest secrets of everyone present are pulled out and ripped to shreds.

This is an incendiary, vitriolic drama, often wickedly funny but ultimately heart-breaking. Staunton’s extraordinary performance is perfectly matched by Hill’s dry, acerbic turn as George; indeed many of the play’s funniest moments are his, most tellingly the scene where he immerses himself in a favourite history book, while Martha and Nick cavort unabashedly just behind him. The other two actors may have somewhat less to do, but they make the most of what they’ve been given.

It’s a while since I’ve seen this performed and I was astonished at the similarities between this and Mike Leigh’s Abigail’s Party, which came along more than a decade later. In both plays, an ambitious male character is pushed to the very age by an unforgiving wife. In both plays, we laugh at the resulting humiliation, only to have that laughter snatched away by the misery of the conclusion.

This was a one night only screening, so if you really want to see this show, you’ll need to head down to ‘that London’ where it’s currently showing  at the Harold Pinter theatre.

4.5 stars

Philip Caveney

Green Room

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13/05/16

Jeremy Saulnier’s previous film, the low budget revenge drama Blue Ruin, ticked enough boxes to make him a director to watch. Green Room is a rock-horror vehicle that cranks everything up to eleven, and features the kind of visceral carnage that’s not for the faint-hearted or the weak-stomached.

Third division rock band the This Ain’t Rights are gigging their way around the Pacific North West of America, getting from place to place by siphoning petrol from other vehicles and playing the kind of dives that bring them around six dollars a piece. After a particularly bad night, an embarrassed promoter fixes them up with a gig at his cousin’s place and warns them that the audience will be ‘an unusual crowd’ – by which he means that they are a bunch of shave-headed, Neo Nazi supremacists led by Darcy (Patrick Stewart in an uncharacteristically nasty role, featuring an occasionally wonky American accent).

After an unpromising start, (the band kick off the gig with the Dead Kennedy’s classic – the one that dismisses Nazis in an fairly uncompromising manner) but after that, the band go down quite well and they are just congratulating themselves on being paid a decent fee for a change when they discover the body of a young woman with a knife. Unfortunately for her, it’s stuck in the side of her head. What’s more, the management seem very reluctant to let the band leave and before they know it, they find themselves holed up in the titular green room, wondering if they are going to escape with their lives.

In tone, the film is closer to some of the body shock films of the 70s – as individuals are hacked, bludgeoned and shotgunned to death, the tension begins to wrack up to almost unbearable levels. Anton Yelchin as bassist Pat is the nearest we get to a lead role here and Imogen Poots puts in a decent turn as Amber, a girl who is unlucky enough to have both the haircut from hell, and the misfortune to be in the wrong place at the wrong time. Saulnier’s muse, Macon Blair, has a small but interesting role as Darcy’s right hand man.

Everything builds to a ferocious crescendo, and it’s clear fairly early into the proceedings that  this isn’t going to be everyone’s cup of haemoglobin. As a former band member myself, it recalled some of the worst gigs I ever played at, but thankfully, things never got quite as bad as they do here.

Watch this only if you can tolerate scenes of excessive violence. Things get very bloody.

4 stars

Philip Caveney