Thor Ragnarok Trailer

Marvel has unleashed the first teaser trailer for Thor Ragnarok. In a somewhat surprising and delightful move the trailer seems to be based upon the universally popular Guardians of the Galaxy tactic of combining genuinely funny one liners & enticing glimpses of promising actions set pieces with a catchy classic rock track.

The result is a first look that manages to cast off instantly any fears that the Avengers universe may have been spiraling towards increasingly glum and serious territory. The frequent melodrama of Age of Ultron and Civil War had caused fans to question whether Marvel was sliding slowly into the same mistakes DC has been making with their famously dreary cinematic universe. Thankfully that’s not the case and it’s very possible director Taika Waititi may well have delivered the most shamelessly fun and action packed entry yet in the Asgardian trilogy.

Fans will also no doubt celebrate seeing a dagger wielding Tom Hiddleston back in his iconic Loki helmet and seeing Hulk make a surprise appearance in gladiatorial attire already familiar to those  who followed the popular Planet Hulk comic book series. The trailer also sees Cate Blanchet make a stunning and suitably fearsome entry as Asgardian death goddess Hela.

Interestingly aside from borrowing stylistically from Guardians of the Galaxy, even down to the fun retro title fonts, the trailer also reveals a Thor adventure that features a much higher presence of alien worlds and alien races. As Marvel continues to world build towards the Avengers Infinity Wars it’s already clear that this Thor sequel will be used as an opportunity to conveniently blend the intergalactic universe of Guardians with the earthbound Avengers adventures.

Rampant speculation aside… for now just enjoy the trailer below:

BAFTA Television Awards 2017 Nominations

Here is a full list of nominees for the 2017 Bafta TV Awards, which will be presented in London on 14 May. The Night Manager is a surprise omission in many categories with Tom Hiddleston, Olivia Coleman and Hugh Laurie all overlooked despite their recent slew of success at the Emmys and Golden Globes. By sharp contrast Neftlix original royal family dram The Crown has taken full advantage of new eligibility criteria to scoop the most nominations across a number of categories.

Leading actress

• Nikki Amuka-Bird – NW
• Jodie Comer – Thirteen
• Claire Foy – The Crown
• Sarah Lancashire – Happy Valley

Leading actor

• Adeel Akhtar – Murdered By My Father
• Babou Ceesay – Damilola, Our Loved Boy
• Robbie Coltrane – National Treasure
• Benedict Cumberbatch – The Hollow Crown: The Wars of the Roses

The Sense Of An Ending Review

The Plot

An old man enjoying the swansong of semi-retirement is distracted from his otherwise mundane and moderately happy daily existence by an unexpected letter bequeathing him a mysterious item in the will of an old acquaintance. The news triggers a profound reflection on long forgotten memories of first love and lost friends.

The Good

Jim Broadbent brings the full force of his gruffly winsome charm to a leading role that carries audiences along a leisurely voyage of unlikely self-discovery.  It’s hard to imagine many other actors capable of portraying a character who is somehow simultaneously a selfish curmudgeon and yet also still a jovial sympathetic figure. Broadbent’s screen presence is the glue that holds together a relatively straightforward and uneventful story with a sense of purposefully profound gravitas.

Around Broadbent’s typically accomplished leading man a supporting cast including Charlotte Rampling and Michelle Dockery competently do their parts. The film also manages to create at the very least a convincing continuity between Broadbent’s increasingly muddled recollections and his present day preoccupations. Rich cinematography and a close eye for details ensures that the film’s driving message about the fluid nature of time and our most precious memories is not lost amongst the persistent flashbacks.

Most importantly the film also avoids slipping into predictable melodrama or other clichés. The film is neither a heavily romanticized nostalgic romp nor a sad lament of the frailties and frustrations of old age. Instead the film maintains a calm and well considered focus on the more abstract and intriguing theme of memory. At its heart the film is as much about our own daily efforts to write the narratives of our lives and the relative ease with which over time we can begin to become deluded or mistake in even the most fundamental details of our personal histories.

The Bad

Inevitably younger audiences may find it harder to identify with the film’s core musings about old age and the imprecise records of our own memories. Of course the same criticism could be made about the countless coming of age dramas, with older audiences equally disconnected form adolescent anxieties. However, while common experience may make stories about youthful emergence into adulthood more universally appealing, it’s fair to say that stories dwelling on more mature self-reflection are often treated as a far more niche genre.

In all honesty if you strip away Broadbent’s capable screen presence what remains is a slow paced and unremarkable story with most of its more dramatic moments played out off screen. Though the film does well to maintain at least a certain degree of audience curiosity about the true nature of the characters’ pasts, sadly when those answers do finally come they’re revealed in an understated way that is only moderately satisfying.

Of course the elusive nature of memory and the inevitable shortcomings of looking to the past for answers is entirely the point of the story. Nevertheless it often feels like some of the most dramatic and sensational parts of the story are simply missing. Broadbent is a likeable narrator but his character is simply not equipped to deliver the satisfying spectacle of storytelling that audiences are accustomed to being more readily spoon-fed. Ultimately leaving audiences to fill in too many narrative gaps might help the film drive home its message about unreliable memories, but it does risk leaving some spectators feeling at least a little unfulfilled.

The Ugly Truth

A solid cast lead by Jim Broadbent manage to deliver a slow moving but largely satisfying story tinged with both occasional flashes of humour and a wistful melancholy.

Review by Russell Nelson

Olivier Awards 2017 Winners List

Harry Potter and the Cursed Child has won a record breaking haul of nine awards at the Olivier Awards 2017. Here is the full list of  nominees  and winners (in bold) announced at the ceremony which took place at the Royal Albert Hall last night.

Best actor in a supporting role in a musical

• Adam J Bernard for Dreamgirls at Savoy Theatre
• Ian Bartholomew for Half a Sixpence at Noël Coward Theatre
• Ben Hunter for The Girls at Phoenix Theatre
• Andrew Langtree for Groundhog Day at The Old Vic

Best actress in a supporting role in a musical

• Rebecca Trehearn for Show Boat at New London Theatre
• Haydn Gwynne for The Threepenny Opera at National Theatre – Olivier
• Victoria Hamilton-Barritt for Murder Ballad at Arts Theatre
• Emma Williams for Half a Sixpence at Noël Coward Theatre

Outstanding achievement in music

• School Of Rock the Musical – Three children’s bands who play instruments live every night at New London Theatre
• Dreamgirls – music by Henry Krieger at Savoy Theatre
• Harry Potter and the Cursed Child – composer and arranger Imogen Heap at Palace Theatre
• Jesus Christ Superstar – The band and company creating the gig-like rock vibe of the original concept album of Jesus Christ Superstar at Regent’s Park Open Air Theatre

Best new dance production

• Betroffenheit by Crystal Pite and Jonathon Young at Sadler’s Wells
• Blak Whyte Gray by Boy Blue Entertainment at Barbican Theatre
• Giselle by Akram Khan and English National Ballet at Sadler’s Wells
• My Mother, My Dog And CLOWNS! by Michael Clark at Barbican Theatre

Outstanding achievement in dance

• English National Ballet for expanding the variety of their repertoire with Giselle and She Said at Sadler’s Wells
• Alvin Ailey American Dance Theater for their London season at Sadler’s Wells
• Luke Ahmet for The Creation by Rambert at Sadler’s Wells

Best entertainment and family

• The Red Shoes at Sadler’s Wells
• Cinderella at London Palladium
• David Baddiel – My Family: Not The Sitcom at Vaudeville Theatre
• Peter Pan at National Theatre – Olivier

Best theatre choreographer

• Matthew Bourne for The Red Shoes at Sadler’s Wells
• Peter Darling and Ellen Kane for Groundhog Day at The Old Vic
• Steven Hoggett for Harry Potter and the Cursed Child at Palace Theatre
• Drew McOnie for Jesus Christ Superstar at Regent’s Park Open Air Theatre

Best musical revival

• Jesus Christ Superstar at Regent’s Park Open Air Theatre
• Funny Girl at Savoy Theatre
• Show Boat at New London Theatre
• Sunset Boulevard at London Coliseum

Best actor in a musical

• Andy Karl for Groundhog Day at The Old Vic
• David Fynn for School Of Rock The Musical at New London Theatre
• Tyrone Huntley for Jesus Christ Superstar at Regent’s Park Open Air Theatre
• Charlie Stemp for Half A Sixpence at Noël Coward Theatre

Best actress in a musical

• Amber Riley for Dreamgirls at Savoy Theatre
• Glenn Close for Sunset Boulevard at London Coliseum
• “The Girls” – Debbie Chazen, Sophie-Louise Dann, Michele Dotrice, Claire Machin, Claire Moore and Joanna Riding – for The Girls at Phoenix Theatre
• Sheridan Smith for Funny Girl at Savoy Theatre

Best revival

• Yerma at Young Vic
• The Glass Menagerie at Duke of York’s Theatre
• This House at Garrick Theatre
• Travesties at Apollo Theatre

Best new comedy

• Our Ladies of Perpetual Succour at National Theatre – Dorfman
• The Comedy about a Bank Robbery at Criterion Theatre
• Nice Fish at Harold Pinter Theatre
• The Truth at Wyndham’s Theatre

Outstanding achievement in an affiliate theatre

• Rotterdam at Trafalgar Studios 2
• Cuttin’ It at The Maria, Young Vic
• The Government Inspector at Theatre Royal Stratford East
• The Invisible Hand at Tricycle Theatre
• It is Easy to be Dead at Trafalgar Studios 2

Best lighting design

• Neil Austin for Harry Potter and the Cursed Child at Palace Theatre
• Lee Curran for Jesus Christ Superstar at Regent’s Park Open Air Theatre
• Natasha Katz for The Glass Menagerie at Duke of York’s Theatre
• Hugh Vanstone for Groundhog Day at The Old Vic

Best sound design

• Gareth Fry for Harry Potter and the Cursed Child at Palace Theatre
• Paul Arditti for Amadeus at National Theatre – Olivier
• Adam Cork for Travesties at Apollo Theatre
• Nick Lidster for Autograph for Jesus Christ Superstar at Regent’s Park Open Air Theatre

Best costume design

• Katrina Lindsay for Harry Potter and the Cursed Child at Palace Theatre
• Gregg Barnes for Dreamgirls at Savoy Theatre
• Hugh Durrant for Cinderella at London Palladium
• Rob Howell for Groundhog Day at The Old Vic

Best set design

• Christine Jones for Harry Potter and the Cursed Child at Palace Theatre
• Bob Crowley for Disney’s Aladdin at Prince Edward Theatre
• Bob Crowley for The Glass Menagerie at Duke of York’s Theatre
• Rob Howell for Groundhog Day at The Old Vic

Best actor in a supporting role

• Anthony Boyle for Harry Potter and the Cursed Child at Palace Theatre
• Freddie Fox for Travesties at Apollo Theatre
• Brian J Smith for The Glass Menagerie at Duke of York’s Theatre
• Rafe Spall for Hedda Gabler at National Theatre – Lyttelton

Best actress in a supporting role

• Noma Dumezweni for Harry Potter and the Cursed Child at Palace Theatre
• Melissa Allan, Caroline Deyga, Kirsty Findlay, Karen Fishwick, Kirsty MacLaren, Frances Mayli McCann, Joanne McGuinness and Dawn Sievewright for Our Ladies of Perpetual Succour at National Theatre – Dorfman
• Clare Foster for Travesties at Apollo Theatre
• Kate O’Flynn for The Glass Menagerie at Duke of York’s Theatre

Best new opera production

• Akhnaten at London Coliseum
• 4.48 Psychosis at Lyric Hammersmith
• Cosi Fan Tutte at Royal Opera House
• Lulu at London Coliseum

Outstanding achievement in opera

• Mark Wigglesworth for his conducting of Don Giovanni and Lulu at London Coliseum
• Renee Fleming for her performance in Der Rosenkavalier at Royal Opera House
• Stuart Skelton for his performance in Tristan and Isolde at London Coliseum

Best actor

• Jamie Parker for Harry Potter and the Cursed Child at Palace Theatre
• Ed Harris for Buried Child at Trafalgar Studios 1
• Tom Hollander for Travesties at Apollo Theatre
• Ian McKellen for No Man’s Land at Wyndham’s Theatre

Best actress

• Billie Piper for Yerma at Young Vic
• Glenda Jackson for King Lear at The Old Vic
• Cherry Jones for The Glass Menagerie at Duke of York’s Theatre
• Ruth Wilson for Hedda Gabler at National Theatre – Lyttelton

Best director

• John Tiffany for Harry Potter and the Cursed Child at Palace Theatre
• Simon Stone for Yerma at Young Vic
• John Tiffany for The Glass Menagerie at Duke of York’s Theatre
• Matthew Warchus for Groundhog Day at The Old Vic

Best new play

• Harry Potter And The Cursed Child at Palace Theatre
• Elegy at Donmar Warehouse
• The Flick at National Theatre – Dorfman
• One Night In Miami… at Donmar Warehouse

Best new musical

• Groundhog Day at The Old Vic
• Dreamgirls at Savoy Theatre
• The Girls at Phoenix Theatre
• School of Rock the Musical at New London Theatre

Special award

• Sir Kenneth Branagh

Frank & Lola Review

The Plot

A driven and successful Las Vegas chef starts a romance with an aspiring young fashion designer. However the couple’s brief happiness soon begins to unravel in a downward spiral of betrayal, inner demons and shocking obsession.

The Good

Frank & Lola opens with an attention grabbing bang, firmly establishing a compellingly dark and aggressively sexual tone for this tense noir thriller.  Debut director Matthew M Ross sets out to be daring and instantly succeeds with the help of a bold script and suitably intense star turns from leads Michael Shannon and Imogen Poots.

Michael Shannon has firmly cemented his leading man credentials with a series of scene stealing and often villainous performances in a diverse range of big screen blockbusters. Whether portraying an intergalactic warlord or a more mundane figure, Shannon’s performances are consistently imbued with fiercely intense and broodingly dangerous qualities. Few actors are able to capture the subtle nuances of projecting tangible menace and fragile vulnerability simultaneously. Luckily Michael Shannon is one actor capable of delivering exactly that kind of performance.

Shannon is able to turn his character Frank into a coiled spring of ominous sexual tension. The more dangerous and unpleasant aspects of the character are masterfully balanced with Shannon’s innate screen gravitas and oddly menacing allure.

Imogen Poots is an actress consistently hailed as being possessed of considerable potential. In truth her eclectic career has sadly seen her often languishing in films that are too resigned to mediocrity to make best use of her undoubted gifts. In Frank & Lola, Poots has finally found at least one film able to harness the very best of her acting strengths. It’s a fine compliment to say that the young British star more than holds her own alongside Shannon’s domineering powerhouse performance.

Following the brief optimism of Frank and Lola’s initial courtship it’s safe to say that the disintegration of that trust and love is uncomfortable but utterly scintillating material. It deserves to be seen and discussed.

The Bad

Frank & Lola toys with the pretense of being a love story but soon largely abandons the satisfying warmth of romantic happiness in favour of increasingly dark and unexpected directions. Though the film manages to maintain a hypnotic fascination for much of that descent it does struggle to deliver on all that fine early tension during a somewhat less compelling climax. Indeed it’s also fair to admit that while Frank & Lola does grip audiences with a noirish web of intrigue and all-star performances, it will no doubt remain a little too disturbingly dark and cynical for some tastes.

The Ugly Truth

Propelled by the electric tension between two gifted and charismatic leads, Frank & Lola is an expectation defying ride that grips audiences in intense and intimate ways.  It marks an auspicious debut for director Matthew M. Ross and serves to only further cement Shannon’s unique talents and Poots’s well-deserved rising star status. Overall the film is deliciously dark, seductive and fascinating.