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.
San Andreas Review
The Plot
It’s The Rock vs Earthquakes (yes, plural!). When a massive earthquake hits California, Ray, a rescue-chopper pilot (Dwayne Johnson) must make his way through the city to save his estranged wife and daughter.
The Good
The first thing that needs to be said about this latest addition to the disaster movie genre is that it will only truly work if you have a good audience along for the ride. Opening with a rescue scene featuring a car trapped on the side of a mountain, San Andreas doesn’t really slow down from there. Dwayne Johnson barely has to prove he has the right physique for this role. One look at him and you can instantly believe he can pilot a helicopter, drive a boat and generally overshadow every other father before him in an attempt to save his family.
There’s no need to pay extra for a motion seat in the cinema either. Every time a quake hits (and there are a good few) you’ll hear it, see it, and feel it throughout your entire body. In fact the people in the screen next door will probably feel it too. San Andreas is unashamedly big and is certainly not the worst way to spend 2 hours.
The Bad
Considering that one of the problems with Mad Max, the other big action blockbuster still making the rounds at the moment, is the storyline or rather lack thereof, ironically one of the problems with San Andreas is the use of it. Or rather the overuse. While Paul Giamatti runs around providing constant exposition for us, Johnson is stuck struggling with a soap opera in amongst the rubble. His ex wife (Carla Gugino) is dating a not so fantastic architect (Ioan Gruffudd) who promptly ditches his daughter to fend for herself along with a cute british lad and his brother (Hugo Johnstone-Burt and Art Parkinson) in a sub plot that you can see coming a mile away.
Compared to the credible blockbuster action, the human drama is full of laugh out loud moments. Don’t go into it looking for anything else.
The Ugly Truth
Johnson does a good job as action hero, but that’s to be expected. At its heart, San Andreas is really just a big rumbling ball of fun and any attempt to look deeper for something more serious is blocked out by biceps, collapsing buildings and a huge star spangled patriotic American flag.
Review by Johnny Ellis
Point Break Remake Trailer
The first trailer for the upcoming remake of 90s action classic Point Break has been revealed online today after the poster was unveiled yesterday. The film, which stars Luke Bracey (GI Joe: Retaliation) as Johnny Utah and Édgar Ramírez (Wrath of the Titans) as Bodhi, taking over the roles made famous by Patrick Swayze and Keanu Reeves with director Ericson Core directing .