America
Adam Sweeting
The issue of immigrants being smuggled across the Mexican border into the USA is currently live and inflammatory, and this second instalment of the feds-versus-drugs cartels saga hurls us right into the centre of it. This explosive thriller is frequently shocking in its explicit violence, and its cynical view of power, crime and politics verges on the nihilistic, but it’s difficult to get its brutal imagery out of your mind.The original Sicario from 2015 had Emily Blunt on board as FBI agent Kate Macer, who provided a kind of startled audience’s-eye-view of the hardcore tactics of drug Read more ...
Marianka Swain
It seems only too fitting that David Lan’s luminous reign at the Young Vic should draw to a close with this bold, creatively thrilling international import. Jeanine Tesori and Lisa Kron’s Tony-winning musical, which premiered Off-Broadway in 2013, is an exquisite adaptation of Alison Bechdel’s graphic-novel memoir – a heartfelt detective story that traipses through memory in order to decode our loved ones, and ourselves.We meet Alison at three different ages: as a child in small-town Pennsylvania, where her father runs the funeral – or “fun” – home; as a college student coming out as a Read more ...
Jasper Rees
The dad who lives off-grid with his offspring is becoming a regular visitor to cinema screens. He was last seen in the guise of Viggo Mortensen in Captain Fantastic, the story of the father whose seven-strong brood must learn to come out of the forest and live in society. The latest telling is Leave No Trace, in which a military veteran Will (Ben Foster, pictured below) and his 13-year-old daughter Tom (Thomasin McKenzie) have been camping, apparently for years, in the woods of a national park near Portland, Oregon.Theirs is a quiescent existence among the ferns. They collect water from the Read more ...
Katherine Waters
In the early 20th century, Soviet filmmaker Lev Kuleshov spliced together images of people looking at things with a bowl of soup, a woman on a divan and an open casket. Each object represented a different emotional state – hunger, desire and grief – but each subject “looking” at the object was the exact same image, repeated. The cast-down eyes implied to be considering nourishment were the exact same eyes that appeared to stare in utter loss at death. And thus the idea of the movie star: a figure onto whom all projections are equally valid.The opening scene of Arthur Miller’s last play, Read more ...
David Nice
First palpable hit of the evening: a full orchestra in the pit under hyper-alert Opera North stalwart James Holmes, saxophones deliciously rampant. Second hit: they've got the miking of the voices right (very rare in West End shows). Third: the first ensemble number, "Another opening, another show", sends spirits soaring. What follows is very good, sometimes excellent, occasionally fresh and startling.Any sense of slight anticlimax may well the fault of a musical which, while stocked higher with hit songs than most (Cole Porter at his wickedly rhyming, melodically snaking best), has always Read more ...
Peter Culshaw
Forgive the sports metaphor, but David Byrne knocked this one out of the park. Coming out of the concert at the Eventim Apollo, you felt that the presentation of popular music had changed - that to go on stage with a conventional band with the usual clichéd movements - everything from the wince of a complicated guitar solo to the vocalist waving to the crowd to join in - all should be banished to history’s dustbin. Likewise the whole set up on stage was new - Byrne’s band were entirely untethered to wires and able to move around the stage in complete choreographed fluidity. It is Read more ...
Marina Vaizey
Here you will find Babe Paley, Slim Keith, CZ Guest, Gloria Guinness, Lee Radziwill, Marella Agnelli, the stylish leaders of society, gorgeous, gilded, well-married ladies: the men they were with – billionaires, corporate and cultural leaders – defined them. As did their shared best friend over several decades, the writer Truman Capote (1924-1984). Capote was their improbable confidant, the vertically challenged, blond, dirt poor gay boy-man up from Alabama to New York, with a captivating self-invented persona, bolstered by the great talent which made him a wildly successful writer.Born to a Read more ...
Rachel Halliburton
Anna Deavere Smith contains multitudes. As the solo performance artist recounts the testimonies she has selected from the more than 250 people she interviewed for this portrait of inequality and the criminal justice system in America, it is as if each person she has talked to possesses her. For each separate account, the rhythms of her body change, her centre of gravity seems to shift, and the cadences of her voice are are distinctly different as if each speech were a piece of music; the play has arrived at the Royal Court as part of this year's LIFT. Yet even as each performance Read more ...
Boyd Tonkin
Stumble across Grange Park Opera’s new brick-clad “Theatre in the Woods”, nestled amid a labyrinth of gardens and orchards next to the rambling Tudor pile of West Horsley Place in Surrey, and on a mild June evening you may feel as if you have fallen into some Home Counties version of a magic-realist novel. The downside of all this bucolic charm is that the drama delivered inside the traditional, four-decker, horseshoe-shaped auditorium – funded and built from scratch by Grange Park’s founder Wasfi Kani after Bamber Gascoigne inherited the West Horsley estate – should always match the Read more ...
Sebastian Scotney
“There’s a rhythm in the air around Memphis, there always has been,” Carl Perkins once said. "I don't know what it is, but it's magic." The city on the Mississippi lives up to its musical heritage with performance venues aplenty, and a host of museums dealing with its illustrious musical past: there's Elvis Presley's Graceland mansion with all its garish gold lamé costumes, cars and even private jets; Sun Studios is now a museum; and there is a Stax Museum, a Blues Museum and the much-praised Memphis Rock 'n' Soul Museum.Memphis-born music journalist, filmmaker and author Robert Gordon has Read more ...
Tom Birchenough
Right from the beginning of Simon Evans’s production of Tracy Letts's 1993 play, it’s clear we’re in for an intense, raw experience. A storm of almost symphonic musical accompaniment roars, lightning flashing over the claustrophobic trailer interior where the tight two hours-plus run of Killer Joe will play out.Star billing here, of course, goes to Orlando Bloom, who's back on the West End stage after a decade away, in the title role as the corrupt cop who doubles as a hitman. But Grace Smart’s set deserves no less of a round of applause (main picture): it takes over the compact space of Read more ...
Tom Birchenough
“He’s not a sideshow attraction,” we hear towards the end of Marc Meyers’s queasily compelling My Friend Dahmer, when one of the “Dahmer Fan Club”, a group of high school sham-friends-cum-taunters who have been treating the film’s teen protagonist as if he was just that, has second thoughts. Encouraging him to throw pretend fits – they call it “spazzing” – first around school, later in public, they have seen it as some sort of “cool” provocation, a hilarious disruption. The bullied outsider Jeff appears content to go along with it, gratified by the semblance of inclusion that it seems to Read more ...