mental health
Joseph Walsh
Gavin O’Connor has made a career out of sturdy films that make grown men cry. His best was Warrior - a hulking, tear-jerking tale of male fragility and addiction. His latest Finding The Way Back is a potent, raw drama that explores similar terrain and reunites him with Ben Affleck (they last worked together on The Accountant).This film was initially called The Has-Been. Like a stage-actor hearing the word "Macbeth", the average Hollywood actor might recoil at such a title. Which is a shame, as it encapsulates the sense of loss experienced by the central character Read more ...
Anonymous
The eyes have it in Alan Bennett's Talking Heads, which is in no way to discount this venerable writer's gift for words. Time and again in this vaunted series of dramatic solos, ten of which have now been remade alongside two new ones, a character will interrupt a thought only to be seen peering at us or into the middle distance or directly into the dark heart of psychic disturbance. Now 86, Bennett anatomises lovelessness and despair with a mastery second to none, and the timing of these as we emerge from lockdown tallies directly with a collection of people who themselves know a thing or Read more ...
Joseph Walsh
The master of crowd-pleasing comedy, Judd Apatow, returns with another on-brand tale of arrested development with The King of Staten Island. While it's near his signature anarchic charm, this comedy-drama shows that even a veteran director/writer/producer like Apatow has room for growth. Perhaps Apatow's development is down to his collaboration with 26-year-old SNL comedian and Staten Island native Pete Davidson, who combines his writing and acting talents to explore how he came to terms with losing his firefighter father during 9/11. Set in the working-class world of Staten Read more ...
Adam Sweeting
Adapted by writer-director Derek Cianfrance from Wally Lamb’s 1998 novel, this HBO production (on Sky Atlantic) presents a huge canvas for Mark Ruffalo, who plays the twin brothers Dominick and Thomas Birdsey. He had a particular interest in I Know This Much Is True, since his own brother was murdered in Los Angeles in 2008. If nothing else he deserves accolades for sheer fortitude. Thomas is a paranoid schizophrenic who suffers increasingly traumatic episodes, while Dominick’s life is lived in the shadow of his brother’s illness and what it costs him to try to protect him.The depths of Read more ...
Adam Sweeting
Christopher Eccleston isn’t the easiest actor to love, because he gives the impression he’ll reach through the screen and grab you by the throat if you don’t appreciate his ferocious thespian intensity, but with the role of Maurice Scott in The A Word (BBC One), he’s found the perfect vehicle for his particular set of skills. Loud, bossy and as subtle as a category 5 hurricane, Maurice is the show’s big-hearted patriarch.For this opener to series 3 of Peter Bowker’s drama about families dealing with autism (and many other things), Maurice seized centre stage as his Lake District home became Read more ...
Joseph Walsh
Benni, the central character in German writer-director Nora Fingscheidt's haunting new film, has a life of tragedy and violence. She’s the product of a dysfunctional family and an abusive childhood that has left her rage-ridden and incapable of controlling her anger. Playing Benni is talented newcomer Helena Zengel. Over the course of two hours she rages, weeps and wails across the screen in an utterly harrowing performance. Behind her waif-like appearance lies a fury that most people don’t achieve in a lifetime, much of which is conveyed Read more ...
Adam Sweeting
This was the third collaboration between Dave and the mental health charity CALM (Comedy Against Living Miserably), hosted at EartH in Dalston by Joel Dommett. Its non-standard format comprised chunks of performances by the featured standup comics, intercut with the performers discussing what their material says about mental health.It’s a pressing issue and this is a commendable initiative, but the stilted structure meant the acts never really worked up a head of steam. Just as they began to get going onstage, we would cut away to another dollop of discussion and the momentum was lost. It Read more ...
Jill Chuah Masters
“I am not intense.” That declaration arrives early in Feel Good, the new Channel 4 and Netflix romantic comedy fronted by comedian Mae Martin, who plays a fictionalised version of herself. Over Mae’s shoulder, we see a literal trash fire. She’s lit up the evidence of a past drug addiction. It smoulders in the background while she smoulders in the front.This scene is Feel Good in miniature: it encapsulates Martin's brand of vulnerable, quirky comedy, pinned to her appeal as a character and a creator. The series is easy to watch and easy to like. Still, Feel Good has a hindrance. For a Read more ...
Jill Chuah Masters
Netflix’s Sex Education has returned to our screens and streams. The show made waves last year for its refreshing take on the teen comedy-drama. It took on abortion, consent and female pleasure — subjects strikingly absent from our actual high school educations. The result was a show that was always bingeable, sometimes educative, and oozing with sex-positive delights. Not everyone liked it. But those of us who did — teenagers all over again — could not stop talking about it. These are high expectations for a show going into its sophomore season. But thank God and thank Laurie Nunn: this is a Read more ...
Matt Wolf
Cormac McCarthy’s two-hander, premiered at Chicago's mighty Steppenwolf Theatre in 2006, has by this point been everything short of an ice ballet: a self-described “novel in dramatic form”, as one might expect from the American author of such titles as All the Pretty Horses and The Road, followed by a film made for TV directed by, and starring, Tommy Lee Jones, opposite Samuel L Jackson.Its British premiere at the fledgling Boulevard Theatre represents a further audacious programming move by this new arrival to London’s array of venues but looks unlikely to reap the plaudits of its Read more ...
Matt Wolf
Armageddon would appear to be at the gates in Sam Steiner’s intriguing if ramshackle play, a co-production between Paines Plough and Theatre Royal, Plymouth, that has reached London while still seeming a draft or so away from achieving its full potential. Inside a Samaritans-like call centre called Brightline, pregnant work supremo Frances (Jenni Maitland, chipper to a fault) is trying to keep the mood light.But beyond the doors of an office seen to be engaging in its own physical collapse lies a clearly toxic outside world: bridges are collapsing, mould is running rampant, and the Brightline Read more ...
Jill Chuah Masters
In films, as in life, unreliable narrators are not hard to find. But there is something remarkable about the unreliable narrator of Elizabeth is Missing, BBC One’s newest feature-length drama. Its protagonist, Maud (Glenda Jackson), is unreliable in the extreme – confused, forgetful and emotionally wounded. Yet unlike most unreliable narrators, we never fear that Maud is trying to sell us a false story. She is so clearly fighting to understand the truth.Here’s the thing: Maud has advancing dementia. She’s a strong-willed 80-something, trying to remain independent as the disease wreaks havoc Read more ...