Anyone expecting a knockout punch from Matthew Bourne’s latest creation is in for a let-down. His hotly anticipated take on Powell and Pressburger’s 1948 film, unlike his Swan Lake, is not going to send anyone out into the night weeping into their hankie. Nor is it likely to turn unbelievers into ballet fans, and yet it is probably his best piece of work to date.The culmination of a long-held ambition, it truly is, in the luvvie phrase, a love letter to a life in the theatre, to dance in particular, and obliquely, to cinema too. A story about devotion to an artform, The Red Shoes feels like a Read more ...

John Donnelly’s play The Pass scored a slate of five-star reviews when it ran at the Royal Court early last year – theartsdesk called it “scorching” – and plaudits for Russell Tovey’s central performance were practically stellar (“a star performance from onetime History Boys student that this actor's career to this point has in no way suggested,” we raved). For those who missed that sell-out, small-stage, seven-week run, Ben A Williams’ film adaptation delivers all the impact of that experience, in an independent British production that manages the transfer from stage to screen more than Read more ...

Baz Luhrmann’s Strictly Ballroom started life as a short stage play in 1984, drawing on its creator’s own experiences in the heady world of amateur ballroom dancing. That the iconic 1992 film exists at all is something of a miracle; production funding was scarce and no distributor was willing to screen it until it was accepted for the 1992 Cannes Festival. Strictly Ballroom is still an intoxicating viewing experience: a visually arresting and upbeat modern fairy tale, smartly cast and superbly performed. The credits for this stage musical version are impressive: Luhrmann was one of the Read more ...

Thank God for Akram Khan, English National Ballet, and Tamara Rojo. Their new Giselle, which finally arrived at Sadler's Wells this week after its Salford premiere in September, is a work of intelligence, power, beauty, and - most gratifying of all in this age of lies, damned lies and politics - stunning integrity. This is a ballet about issues that matter, made by people who know what they're doing.Giselle, thematically much the richest of the 19th-century ballets, is a strong choice for a remake, with a tight two-act structure on which to hang the exploration of all sorts of interesting Read more ...

“Why is everyone from your school a criminal crackhead?” “Why is everyone from yours a Tory minister?” These questions lie at the heart of Zadie Smith’s NW. Keisha (the wonderful Nikki Amuka-Bird), aka Natalie, is married to wealthy Frank (Jake Fairbrother), who’s asking the crackhead question. Leah (Phoebe Fox), who answers back, is her best friend – though that’s no longer a given.Keisha and Leah went to school together and grew up on Caldwell, a Willesden estate; they still live nearby. Keisha is a success story, a perfectionist black barrister – “Life was a problem that could be solved by Read more ...

At first, I was a bit confused by the play’s title. After all, David Hare gave his 1998 adaptation of Arthur Schnitzler’s La Ronde the moniker of The Blue Room, which coincidentally is the same title as Mathieu Amalric’s very recent adaptation of a thriller by Georges Simenon. Now Hare has taken another Simenon thriller, La Main, and called it The Red Barn, which immediately suggests the murder of Maria Marten in 1827.But Hare and Simenon’s barn is not in Suffolk; it’s in Connecticut and the year is 1969. Hope that’s clear. Even if not, a brilliant cast headed by Mark Strong and Elizabeth Read more ...

Anthony Harvey’s The Lion in Winter was released in 1968, the screenplay adapted by James Goldman from his long-running play. Loosely based on historical fact, the Lear-like plot charts an ageing King Henry II’s futile attempts to choose a successor after the premature death of his eldest son.The film’s pleasures are many. A hyperactive Peter O’Toole chews up the scenery as the monarch, aided by a superb supporting cast. Crucially the film looks right: filmed on location in France, we really do get a sense of the era’s grubbiness. Badly-dressed peasants and numerous chickens flood the few Read more ...

Much was anticipated from Tate Taylor's film version of Paula Hawkins's bestselling novel, but there really are times when the best plan is to stay home with a good book. Despite a high-octane girl-power cast and the lustrous screenwriting reputation of Erin Cressida Wilson, this thing clanks along like the 3am milk train to Exeter sidings.It probably didn't help that the action has been transported from Hawkins's grimy London commuterland to the plusher environs of upstate New York (though at least it means Emily Blunt's rail-riding character, Rachel, always gets a seat), which seems to Read more ...

“For a husband to stray he is merely responding to his biology. But for a woman to behave in a similar way is ridiculous, unimaginable. Just the idea is funny.” This unwitting strapline issues from the boobyish Sir James Martin towards the end of Love & Friendship, Whit Stillman’s delightful riff on Jane Austen which, in the person of Lady Susan Vernon, proves quite the opposite is true.Lady Susan is played by Kate Beckinsale with grace, wit and much unmelted butter in her mouth. She was Emma Woodhouse once, Austen’s better-known minx, before shoving off to Hollywood barely ever to return Read more ...

"Did she bite you often?" Julien Gahyde (Mathieu Amalric) is being questioned about his affair in minute detail, over and over again, by lawyers and detectives. This is an ingenious flashback device. We don’t know yet what crime has been committed, but his lover Esther (Stéphanie Cléau) draws blood right at the start of this claustrophobic and ambiguous film, set in a provincial French town somewhere near Poitiers.Their passion is the grandest thing for miles around: you can sense the frustration behind the unassuming shop-fronts and flat landscapes. La France profonde-ly dull, where everyone Read more ...

Women in Love was Ken Russell’s first cinema film to directly reflect his work in television. He had directed The Billion Dollar Brain (1967), but that was an adaptation of a Len Deighton book. French Dressing (1964) was a few steps removed from a Carry On film. As an adaptation of the DH Lawrence novel, Women in Love (1969) tapped into the ethos of his work for the BBC and featured Oliver Reed, with whom he had worked in television. While Reed’s naked wrestling scene with Alan Bates was a sure-fire attention grabber the film, nonetheless, didn’t have quite the free-spirited spark of Russell' Read more ...

Red, the colour of blood, passion, love and hate, is Almodóvar’s trademark and in Julieta, his 20th film (and surely one of his most visually lustrous), it’s never far away. It’s there in the opening sequence, a close-up of thick folds of red fabric moving like a curtain. Then we see, as the camera cuts away, that it’s a dress worn by Julieta, a woman in her fifties (Emma Suarez, pictured below).She’s new to Almodóvar, as are most of the actresses in the film apart from his idiosyncratic muse Rossy de Palma and Susi Sanchez (the soundtrack is written by his usual musician, Alberto Iglesias). Read more ...