The End of Longing Review
The Plot
Jack Stephanie, Joseph and Stevie are four lost souls entering their forties and searching for meaning. After sharing one raucous night together in a Downton LA bar their lives become irreversibly entwined in a rollercoaster journey that forces them to confront the darker sides of their relationships.
The Good
Writer and star Matthew Perry has delivered a production that reflects the very finest aspects of his trademark wit and sincerity. The overall tone of the show is both frequently hilarious and genuinely moving. Perry’s writing and his own personal performance is savagely honest and truthfully bittersweet.
Playing Jack, a cynically charming alcoholic, the award winning Friends star goes beyond his popular sitcom persona and bravely tackles some clearly personal subject matter. Perry delivers a truly impressive dramatic performance that is powerfully raw and vulnerable, skilfully combined in a delicate balance with his innate comedic charisma.
During the plays most intense and confessional moments, Perry directly speaks to the audience about the agony and frustration of addiction. Perry’s writing and earnest delivery demonstrates emphatically his informed and compassionate understanding of the subject. The popular stars own self publicised past demons gives the production an added dimension and credible weight.
Perhaps most impressive is Perry’s achievement of ensuring that the play’s darker themes of mid-life inner demons never overpower audiences. The play addresses real issues but with the support of a constant uplifting humour.
Although Matthew Perry is an undeniable ‘box office draw’ the supporting cast of this evenly composed four hander is collectively magnificent. Christina Cole gives an amusingly neurotic performance as pharmaceutical rep Stevie and Lloyd Owen plays her dim witted love interest Joseph with understated brilliance. Completing the talented quartet, Jennifer Mudge is by turns sensuous, hilarious and tragic as a brashly unapologetic escort Stephanie. The comedic chemistry between the cast is utterly real and compelling.
In lesser hands the plays approach of having characters frequently monologue directly to audiences could have been an awkward theatrical device. But with performances this good it works effectively to create an intimate atmosphere that showcases the true depth and talent of Perry’s writing.
The Bad
There is literally nothing bad to be said about this production, aside from simply acknowledging that anyone expecting to merely see Chandler Bing on stage should be aware this isn’t their Friends DVD boxset. The play’s language and themes are more adult that a lightweight TV sitcom, but that’s certainly not a bad thing.
The Ugly Truth
The End of Longing is a sharply written piece of poignant drama and laugh out loud comedy fun. Perry leads a magnificent ensemble cast in a production packed with sincerity and raw emotion. It’s hard to imagine anyone but the most cynical critics failing to appreciate the play’s wit and heart.
The End Of Longing runs till 14th may 2016 and tickets are available now from http://endoflonging.co.uk/
Review by Russell Nelson
How To Be Single Review
The Plot
A young intern Alice moves to New York to find herself and explore what it means to be single while taking a hiatus from her overly comfortable relationship. Taking advice from her workaholic older sister and her hard partying new best friend she soon struggles to work out who or what she really wants.
The Good
Dakota Johnson continues to rapidly establish herself as a charismatic and captivating performer, independent of her instant Fifty Shades Of Grey notoriety. She works very well with more light hearted romantic material and deserves credit for keeping her character likeable in spite of occasionally selfish or indecisive behaviour. Johnson visually embodies the ‘typical girl’ while also having great chemistry with both a neurotic Leslie Mann and the unapologetically free-spirited Rebel Wilson.
Rebel Wilson predictably steals scenes throughout with yet another flamboyant turn as an overly confident and blunt talking loudmouth. Pitch Perfect fans will particularly recognise her performance as ‘Fat Amy’ in all but name. In this film she injects a much needed silliness and serves as a pleasing contrast to the other characters largely self-inflicted dramedy.
Leslie Mann likewise is a perfect fit as a workaholic baby doctor revaluating her life priorities. Jake Lacy from The Office and Girls is another great addition to the cast, offering a genuinely charming young love interest for her. The hunkish funny man at times shows flashes of Chris Pratt like levels of puppy dog likeability.
Overall the film has a reliably fun tone that even smuggle the occasional real insight into modern dating life among a catchy soundtrack and some undeniably laugh out loud moments. The film propels itself quickly though a pleasingly rose tinted celebration of New York dating that should connect with happy couples and perpetual singletons alike.
The Bad
Those that don’t find Rebel Wilson’s signature combination of innuendo packed shouting and physical slapstick amusing will be naturally less enthusiastic about the film’s heavy reliance on her comedic efforts. Without those much needed laughs audiences may find themselves dwelling a little too much on the various romantic subplots, none of which really have enough actual drama individually, although collectively they offer enough superficial dilemmas and feel-good resolutions to satisfy most audiences.
The Ugly Truth
How To Be Single is a fun feel-good comedy that has much more genuine laughs to offer than the average piece of cinema romance thanks to a brilliantly assembled cast, great soundtrack and avoiding ever taking itself too seriously.
Review by Russell Nelson
Spotlight Review
The Plot:
Inspired by actual events, Spotlight dramatically documents the efforts of the investigative reporting team of the Boston Globe to expose epidemic levels of child abuse within the Catholic Church and the subsequent systematic cover up by high ranking church officials.
The Good:
Spotlight is a truly Oscar worthy drama built around a tragic real life story of investigative reporters uncovering a horrible truth. The film laudably handles the more sensitive aspects of its subject matter with care and compassion, avoiding the obvious dangers of delving into the most graphic events for sensational shock value. The focus of the film is neither the acts of abuse nor the vilification of those responsible. Instead the film serves as both a proud tribute to the value of a determined independent press and as a poignant examination of the devastating impact of abuse on the lives of those affected.
Spotlight has an all-star cast lead by Mark Ruffalo, Liev Schreiber, Rachel McAdams, Stanley Tucci and Michael Keaton. The collected acting efforts of this fine ensemble gives the film a subtly but earnest credibility. Guided by the direct involvement of the actual people being depicted the cast breath dramatic life into surprisingly recent events, but without resorting to sensationalism or flamboyance.
Oscar nominated Mark Rufflo and Stanley Tucci in particular deserves praise for their portrayal as the dogged reporter and forlorn lawyer fighting to expose the full scope of the scandal and suffering. The emotional urgency of Ruffalo’s performance contrasted with Tucci’s note perfect display of cynical patience, perfectly illustrates the motivations and deep frustrations of those involved.
The film serves as a timely reminder of the actual value of the media, at a time when people have seemingly lost as much faith in that institution as they have in the church. The film also paints a complex picture of a tragedy which destroyed lives in the most insidious ways and the important journey taken by those who ultimately brought an end to it.
The Bad:
Given the nature of the real life events being depicted the film will perhaps be especially uncomfortable viewing for those who have had their live touched either by the crime of abuse or by the comfort of religious institutions. Indeed at times the film openly acknowledges that the scandal dealt with has a specific emotional and spiritual impact for all members of the Catholic faith. The issue of distinguishing between religious convictions and the very human failings of the institutions which represents them is an unsettling conflict no matter how well the film itself deals with it.
The Ugly Truth:
Spotlight handles heavy hearted subject matter in a sensitive and powerful way, delivering a dramatic and important story which rewards serious viewing. The film is rightly a major awards contender thanks to a sophisticated script and accomplished performances by a host of familiar stars. Audiences shouldn’t be intimidated by the film’s subject matter and will take much from its poignant messages.
Review by Russell Nelson
The Revenant Review
The Plot:
After a brutal bear attack a severely wounded 19th Century frontiersman Hugh Glass is betrayed by his own hunting party and left for dead in the inhospitable wilderness. He battles against seemingly impossible odds to survive and relentlessly track down those responsible across the deadly wilds of North America.
The Good:
Directed with mesmerizing technical and artistic skill by Alejandro G. Inarritu, The Revenant is utterly deserving of it’s critical praise and awards season hype. Inspired by actual events the film tells a uniquely realized tale of determined vengeance in a landscape that is equally beautiful and terrifying. Leonardo Di Caprio impressively leads a magnificent ensemble cast featuring the considerable combined talents of Domhnall Gleeson, Will Poulter and Tom Hardy. Together they breath visceral life into a brutal world of the endless struggle between man and nature, life and death.
Di Caprio in particular looks virtually assured to achieve his long sought Oscar win for a performance of considerable physical sacrifice and actual suffering. The actor bravely endures deadly cold, disgusting raw foods, physical pain and unrelenting torments for his portrayal of Hugh Glass. Among all of his celebrated work The Revenant marks Di Caprio’s most strikingly obvious attempt to cement his place in Academy history, with a deserving performance that showcases considerable human spirit triumphing over excruciating adversities.
Aside from its accomplished production values and gritty performances the film also deserves credit for its handling of the historical backdrop of violent tension between Native American tribes and ever expanding ‘white’ settlements. Avoiding clumsy stereotypes and oversimplifications the film does an excellent job of ensuring both sides of the conflict are depicted as equally capable of vengeful atrocities fueled by surprisingly similar justifications.
The Bad:
Squeamish audiences may find the brutal violence of this era of human history particularly hard to stomach at times. The film’s notoriously excruciating bear attack is just one memorable moment of bloody mayhem among so very many. From the film’s opening scenes the threat of truly grisly violence is never far away. No doubt uncomfortable viewing for many, the film takes dramatic credibility but little pleasure from its painfully realistic depiction of human suffering.
Though the film’s astonishing landscape of desolate snow drenched wilderness is beautifully captured on camera, the dialogue free isolation makes the film’s already lengthy running time feel somewhat more demanding. There is an undeniable bleakness to every aspect of the story which may leave audiences feeling more drained and emotionally exhausted than satisfied or in any way comforted.
The Ugly Truth:
The Revenant is a visually breathtaking tale of survival set against a savage backdrop of the violence of man and the daunting challenges of untamed nature. Leonardo Di Caprio is on astonishing Oscar worthy form yet again in a film deservedly praised for its undeniably determined vision. Equally beautiful and horrific the film grips audiences attention despite a lengthy run time and the long absence of dialogue.
Review by Russell Nelson
Dragon Blade Review
The Plot:
A band of warriors charged with keeping order amongst warring nations on the volatile silk road trading route form an unlikely historic alliance with a legion of Roman soldiers to protect ancient China from a power hungry and ruthless Roman general.
The Good
Jackie Chan is the most iconic and internationally charismatic martial arts star on earth. His presence alone ensures that Dragon Blade at least boasts some credible martial arts sequences. Likewise the presence of Adrien Brody and John Cusack give the film an instant global appeal far beyond the usual reach of typical Chinese financed productions. The novelty of watching genuinely a-list Hollywood stars line up for an unlikely culture-clash gives and extra dimension to a fairly straightforward story of historical power struggles.
As an action film Dragon Blade also offers plenty of clearly expensive sequences, with large armies rushing to battle against a backdrop of vast deserts and a towering fortress. Mixing fast paced martial arts trickery with Roman epic swordplay keeps the film energetically watchable.
The Bad
Ironically for a film which is about the unlikely and successful fusion of different cultures, at times the film struggles to reconcile its Asian setting and martial arts action with also being a Gladiator style sword and sandals epic. As an example the roman soldiers sing in Latin but speak with a muddled collection of Anglo-American accents.
Likewise, though Adrien Brody and John Cusack are both fine actors who do their very best to inject some believable passion into credible dramatic performances, it’s simply difficult to ignore their unlikely casting as fierce roman warriors. Seeing Cusack so dramatically transformed from mild-mannered comedy-drama star to a sword twirling action god capable of matching the legendary martial arts might of Jackie Chan strains credibility. It’s not that Cusack is actually bad, it’s just hard to avoid the suspicion that the film’s Chinese casting agents misunderstood exactly who the 49 year old actor was. Intending to hire Jason Statham but somehow accidentally recruiting the Must Love Dogs star instead.
The film was made with a relatively vast budget of over $65 million, making it the most expensive Chinese financed production ever made. Unfortunately while at times vast sets and literal armies of extras show evidence of that lavish production value, there are also moments when the films unconvincing CGI and production design make it look like a poor imitation to Hollywood’s flawless movie magic. For example, Jackie Chan’s distractingly obvious wig and overly heavy make-up constantly detracts from otherwise impressive scenes.
Chinese audiences that already readily consumed the film at the Box Office were obviously less distracted by the miscasting or familiar western stars and occasionally sub-standard production values. Unfortunately it means for an international audience the film will likely fail to amaze and be at best vaguely satisfying rather than memorably spectacular.
The Ugly Truth
For fans of Jackie Chan and martial arts epics, Dragon Blade will be a pleasing addition to his vast catalogue, made more interesting by the addition of recognisable Hollywood stars. Overall the film remains a mostly underwhelming anomaly for other less enthusiastic audiences. Fusing the unique elements of Asian cinema with a generic Hollywood blockbuster feels more like cheap imitation than genuine innovation.
Review by Russell Nelson