Orange Is The New Black Season Two Review
As Neflix releases the Third series of hit prison drama Orange Is The New Black, we recap the highs and lows of the second season. Check out our other posts for the season one review and our verdict on the latest episodes.
The Plot
After the events of season one, Piper is sent to SHU until she’s transferred to Chicago as a witness for a trial to put away the dealer she used to work for. But when she lies under oath and ruins her chances of getting out early, Alex makes a deal to be free. Meanwhile, Litchfield welcomes a new inmate/villain in the form of Vee (Lorraine Toussaint) a former inmate who, upon her return, changes the entire system between the inmates as she starts bringing in drugs.
The Good
So it turns out that Piper was lucky at the end of season one. Last seen in the midst of a rage induced attack on Pennsatucky, we finally learn that she has Crazy Eyes to thank for making it look like a fair fight. In season two, Piper is betrayed by Alex when Alex tells her to lie in the courtroom only for her to get released and leave Piper all alone.
For season two, Piper’s story becomes very much in the background as Vee and Red’s fight overtakes it. And rightly so. With a story that begins in flashbacks to their younger days and ends all these years later where their fight is still going strong. While Red is trying to regain the power she once had by replacing her kitchen for a greenhouse and her posse for a group of OAP’s, Vee is trying to become Litchfield’s new kingpin again as she manipulates everyone and anyone she can. Including Crazy Eyes.
Suzanne’s (Crazy Eyes) flashback episode is one of the biggest highlights for season two as we are finally shown her in her youth with her adoptive parents struggling to raise such an outgoing young girl. But her contribution to the series does not end there. Her loyalty towards Vee is unquestionable and very nearly lands her in maximum security as Vee tries to convince her that she beat Red half to death with a lock in a sock.
As well as this we also have Rosa (Barbara Rosenblat), a character who appears in the very first episode but who we only start to learn about in this season as she gets her very own flashback to her bank robbing glory days while at present she’s fighting a losing battle with cancer. With just weeks left to live, Rosa is given a chance to escape thanks to Morello (Yael Stone) and takes it, while also taking the perfect shot at a just escaped Vee which leads into this seasons cut to black (or orange) as we wait for season three.
The Bad
Unfortunately Larry’s storyline doesn’t get any better this season as he and Piper’s best friend decide to hook up and fall in love. Not only killing any interest we had in Piper and Larry’s relationship, but also putting the final nail in the coffin to his story it seems, as much to fans rejoice, Larry Bloom will not be returning for season three!
The Ugly Truth
Orange Is The New Black season two provides much more for the supporting characters than the apparent leading lady. So much so that they can hardly be considered supporting any more, if they were even considered that in the first place. Netflix’s hit ensemble piece continues to grow in story and character. Bring on season three!
Speaking of which check out our interview with star Yael Stone about season 3 below:
Orange Is The New Black Season One Review
As Neflix releases the Third series of hit prison drama Orange Is The New Black, we recap the highs and lows of the first season. Check out our other posts for the season two review and our verdict on the latest episodes.
The Plot
Happily engaged Piper Chapman (Taylor Schilling) is sent to Litchfield prison when her drug trafficking days with ex Alex Vause (Laura Prepon) resurface. And if that wasn’t enough to hinder her future with husband-to-be Larry (Jason Biggs), she just so happens to be sharing her new home with not only Alex, but a whole host of inmates…
The Good
With almost thirteen hours of storyline to cover, the chances of mentioning each of Season One’s many many highlights are slim. Starting off with Piper’s instant slip up as she criticises Red’s (Kate Mulgrew) cooking in front of her before finding out she’s just criticised the chef, in front of the chef. Cue a future of tampon mcmuffins for breakfast lunch and dinner util, after 3 burning mouthfuls of chewed up chill later, Piper’s mistake is corrected and Red’s back problem sorted along with it.
Next up comes Crazy Eyes (Uzo Aduba). Piper’s new unwelcome prison wife brings about issues galore when one simple act of sharing headphones on movie night turns into a chocolate and vanilla swir-irl. But just like Romeo and Juliette’s story, Piper and Crazy Eyes’ romance ends badly, although we’re pretty sure Julliette wouldn’t have openly peed in Romeo’s bedroom…
All this and we haven’t even properly met Alex, though she has been a prominent backdrop throughout. It’s not until a heart to heart between the two with Alex stuck in a giant washing machine, that everything becomes water under the bridge and they unite to smite a common enemy.
That common enemy? That’d be Pennsatucky (Taryn Manning) a bible bashing redneck who doesn’t like lesbians one bit. After locking Alex in the aforementioned washing machine, Pennsatucky creates a target on her back. A target that is hit in the form of becoming briefly under the assumption that her hands are healin’ hands that can cure her fellow inmates of anything, from a sore knee to even that dreaded lesbian feeling that is surely a disease of some kind, right? But when some troublemaking youngsters arrive to see what their future could be like, Pennsatucky discovers that those healin’ hands of hers don’t quite the same effect on wheelchair disabilities and so off to psych she goes.
Unfortunately, Piper can’t get to the end of the season without missing her sworn enemy and doing the ‘right thing’ by confessing, allowing Pennsatucky to return with the hopes of baptising Piper. But try as she might, Piper eventually cracks, leading Pennsatucky to come to the logical conclusion that she must kill her. All this comes to an incredibly teasing finale in a snow covered post christmas show fight outside where none but Officer Healy (Michael Harney) can see. Unfortunately for Piper, Healy turns a blind eye, leaving her to let the rage overcome her as we see Pennsatucky get knocked to the ground, and into it. How it ends, we don’t know just yet, thanks to the evil of the cut to black.
It’s the flashback’s in season one that are the big highlights however. As we are introduced to Red before we find out about her Russian mafia past, or Miss Claudette (Michelle Hurst) and her irritating need for cleanliness before learning about the clean up that got her into Litchfield in the first place.
All this and we haven’t even mentioned Pornstache. Or the chicken. But was there even a chicken in the first place? THAT’S the real question…
The Bad
Though Orange Is The New Black is consistently good, there are certain story lines which are perhaps not as high a standard as the main one. Particularly Larry’s predicament throughout the entire season. As he tries to get used to life without Piper we’re apparently supposed to feel sorry for him, but when he comes up with ideas such as broadcasting all of Litchfield’s crazy characters out over the radio for everyone to hear, it starts to become difficult to feel any sympathy at all.
Also, though Daya’s (Dascha Polanco) pregnancy storyline is interesting, it feels like one that is slow moving with the timeline of Season One. Perhaps by the end of season three it might start to gain a bit more momentum…
The Ugly Truth
Orange Is The New Black season one is a strong start, with a main storyline that ends tantalisingly enough to make you want to just refresh Netflix for a year as you wait for season two to arrive. Each character brings their own unique storyline alongside it however, with flashback’s galore that make the experience even more entertaining.
Spy Review
The Plot
When a deadly arms dealer (Rose Byrne) finds out the identities of all the CIA’s top operatives, it’s up to desk-bound analyst Susan Cooper (Melissa McCarthy) to finally show her worth as she goes undercover to infiltrate the sale of nuclear weapons.
The Good
Melissa McCarthy’s latest comedy, her third with writer-director Paul Feig, is undoubtedly her strongest since she first became a household name after 2011’s Bridesmaids. This time she plays a lowly CIA operative Susan Cooper, who longs to go out into the field while pining after Jude Law’s aptly named suave secret agent Bradley Fine. McCarthy gets to showcase a wide variety of comedic skills as well as show off her knack for action in an incredibly funny spy-spoof. The laughs begin as soon as the bond-esque opening credits start rolling out.
The plot is certainly nothing groundbreaking, but for a spy comedy it doesn’t need to be. Thankfully this allows for McCarthy to focus more on her brilliant comedic timing and constant aggressive mannerisms. Her furious foul mouthed tirades may be familiar to audiences by now but those furiously funny charms work so well for this film in particular. Since Bridesmaids it seems that she’s been giving almost the same performance in each film, however with Spy she gets to play both sides of the comedic spectrum. Starting off downtrodden and clueless she’s the hapless victim of most of the jokes, until she finally finds her confidence when confronted with Rose Byrne’s scenery chewing villainess.
Surprisingly enough, McCarthy is not the best thing in Spy, that particular title goes to Jason Statham. Shedding his reputation for generic ‘hard man’ action heroics, Statham puts in a scene stealing turn as a clearly deranged and delusional rouge spy. His constant and increasingly bizarre boasting about his ludicrous past exploits gifts Statham with most of the film’s best comedic lines. It’s enough for Statham to prove beyond a shadow of a doubt that he is much more than just an action star. While his previous films have of course had their fair share of humour, in Spy his supporting character gets the chance to fully relish in it for the first time.
The Bad
Unfortunately Statham’s scene stealing does take the focus away from McCarthy somewhat. While she holds up the film perfectly well on her own, perhaps it’s the 2 hour run time that eventually turns Spy into a bit of a drag at certain points. It also almost feels that we’re just waiting for Statham to reappear, perhaps due to the fact that this is the first time he’s been allowed to truly mock himself.
Peter Serafinowicz also crops up as a sleazy Italian agent who spends his entire time trying to ‘woo’ McCarthy in a series of hit and miss jokes that are more miss than hit.
The Ugly Truth
It’s more Austin Powers than Kingsman on the bond spoof spectrum, but Spy is certainly worth trying out if not to see Melissa McCarthy in her least annoying role since Bridesmaids then at least to see Jason Statham in a brilliantly hilarious turn that could easily (and hopefully) start a new stage of his career.
Review by Johnny Ellis
Red Carpet Interviews below from the film’s European Premiere in London:
Just Jim Dale Review
The Plot
Carry On comedian, musician and Harry Potter narrator Jim Dale sings, jokes and dances audiences through his lengthy and surprisingly varied career in showbiz for two hours of good natured fun.
The Good
Jim Dale is best known to generations of fans as a slapstick Carry On star; an Oscar nominated composer and for providing a voice to the adored Harry Potter audio books. In his energetic one man show the spritely grey haired comic reveals with pride and passion about how he owes all of that success to a childhood obsession with music hall.
Walking audiences playfully back through time, Dale is an irrepressibly likeable figure and a consummate professional entertainer. He’s quick to follow every mention of success or fame with a self-deprecating jibe, always careful to ensure that his anecdote packed musical set never feels like bragging or a display of shameless ego. Most of the big laughs he consistently generates are very much at his own expense. Embarrassing childhood photos, humiliating audition experiences and misguided musical ventures are among the hilarious pieces of personal shame that Dale generously shares with crowds in the quest for well-earned giggles.
Although older audiences will appreciate the references to past generations of stars and a nearly forgotten style of music hall theatre, Dale is enthusiastic and quick witted enough to hold equal appeal to far younger crowds. Cringe worthy songs and physical pratfalls have a universal and timeless appeal.
In particular Dale’s wildly entertaining second act complete with a couple of hysterical Carry On memories and a shameless re-enactment of a disaster in the recording booth for Harry Potter breezes by with laughter ringing wildly throughout the Vaudeville theatre.
The Bad
It’s impossible to find a flaw in Dale’s irrepressible comedy charm. Though of course it’s only fair to say that those old enough to affectionately remember his Carry On star turns and musical heyday will perhaps laugh a little harder and longer at some of his stories and old school song and dance routines. It’s an affectionate throwback to a golden age of all round entertainers, even if some people will be perhaps more enthusiastic about turning back the clock than others.
Though Carry On fans will be especially delighted to see Dale in action, ironically they may wish he dwelt a little longer on his 11 film stint with the British comedy staple. Eager to play to a mixed crowd of fans from his varied career Dale only allows himself a handful of Carry On memories, though we suspect he could easily have packed an entire show full of them.
The Ugly Truth
Just Jim Dale is a true testament to what one man can do armed with quick wits, comedy timing and a clever piano accompaniment. It’s a special treat for those that fondly remember Carry On Classics and a generation of entertainers who truly could sing, dance, act and above all keep audiences laughing in the isles. The show runs till 20th June at the Vaudeville Theatre.
Review by Russell Nelson
The Elephant Man Review
The Plot
Based on the real life of Joseph Merrick, the Elephant Man is the story of a 19th Century man who scrapes a tragic living on the sordid Victorian freak show circuit. When a renowned doctor takes Merrick under his care he is astonished by the man’s brilliant intelligence, unshakable faith and his resounding desire for love and understanding. He introduces Merrick to a beautiful actress and a complex friendship blossoms among the trio, as they struggle to protect Merrick form a world of questionable intentions.
The Good
Hollywood star Bradley Cooper has already won significant acclaim for his Broadway portrayal of Joseph Merrick. Bringing his unique performance to the West End, Cooper continues to enshrine himself as one of the best leading mean of his generation.
Forgoing the obvious options for elaborate make up and prosthetics, Cooper instead uses only a series of self-inflicted physical contortions to transform his handsome appearance into the pained disfigurement of The Elephant Man. It’s a consistently impressive and skilled piece of acting, which only serves to make his emotional and vocal performance more credible and arresting.
Through a mask of facial grimaces and slurred speech, Cooper portrays Merrick as a man who is left both vulnerably naïve and bravely insightful by the terrible physical afflictions he lives with and the reactions of others to them. His soft spoken voice conveys a gentle charisma beneath a supposedly monstrous exterior. Though perhaps the highest compliment possible is that Cooper manages to make audience utterly forget his Hollywood star status as he entirely become Merrick .
Patricia Clarkson is an intelligently cast choice as Mrs Kendall, the famous actress won over by Merrick’s sincere sweet nature. Having a well-recognised face in the role certainly helps to give credence to her as bone fide diva. But Clarkson’s genuine talents for portraying fragility and empathy are even greater assets. It’s the combination of Cooper and Clarkson that gives the play its true heart.
Alessandro Nivola also does a fine job as Dr Treves, the well-meaning surgeon who rescues Merrick, only to increasingly struggle with his ultimate inability to save him. It’s a functional but important role, representing the obvious desire of audiences to save Merrick.
Overall a strong supporting cast is consistently improved by sharing the stage with Cooper’s captivating and accomplished star turn. The play blends moments of humour and optimism into the otherwise tragic tale of Merrick’s troubled existence. It’s poignant and memorable experience for audiences.
The Bad
The life and tragic demise of Joseph Merrick has been very well documented, particularly through the classic 1980s Oscar nominated David Lynch film. Merrick is such an iconic figure and so symbolic of the dark human fascination with disfigurement that some may feel overly familiar with his plight. Those familiar with the high profile film version may also find it hard to avoid comparisons.
In particular while Bradley Cooper uses an impressive array of body contortions to portray Merrick’s physical afflictions, it’s tough not to compare this to the memorably dramatic make up that transformed John Hurt on screen. It’s a brave choice not to use any make up to transform Cooper’s otherwise gorgeous appearance for the role. It does work surprisingly well thanks to his flawless skill and physical commitment, though some people may find their curiosity for physical strangeness less satisfied.
The Ugly Truth
The Elephant Man is by turns, tragic and surprisingly amusing. A sensational star turn from Hollywood superstar Bradley Cooper is worth the admission price alone and makes this production essential viewing during its limited West End run.