REVIEW: Robin Hood (2018)

I have a couple of friends who are in the acting business. I call it a business, because that is exactly what it is, a business.

You may deride acting as a non-job, but without it, we would pretty much have no entertainment industry, no TV, film, adverts, waiting staff or theatre.

For me, I’d have very little to write about other than sports, and that really would be a drag.

I know people who get upset because it feels like every other movie is a superhero movie, and that every other theatre show is a revival.

Now, Robin Hood.

Another revival/reboot?

Going back to my childhood, you had Michael Praed in the 1984 show.

Hot on its heels came Robin Hood: Men in Tights and of course, who could forget Robin Hood, Prince of Thieves. After that, we’ve had another TV show and Russell Crowe had a go at a Nottingham accent (and failed) in 2010.

Now we’ve had another reboot/revival.

Robin Hood 2018 though is a very well thought out and modern take on the myth of the men of the greensward. The current go to English actor of his generation, Taron Egerton takes the titular role, and also has Jamie Foxx in the role of the Moor known as Yahya / John.

It would be very easy to get upset at the shortcuts this movie takes with historical fact, but come on, IT’S A MOVIE!

If you’re looking for a movie that will take your mind off of Brexit, austerity, and all the other stuff that’s going in un the UK today, here it is.

Just short of two hours of fun.

You get Ben Mendelsohn as a very good Sheriff, Paul Anderson as the most menacing Guy of Gisbourne and Eve Hewson as Marion.

Also, worth a mention is Tim Minchin as Friar Tuck.

Yes, this film plays fast and loose with the myth, but please remember, it is a myth.

Robin Hood is also no superhero.

Suspend your disbelief, sit back, grab some popcorn and crack open a bottle of whatever takes your fancy.

Without spoilers, the ending allows for a sequel, and I for one, hope that Egerton and Co. find time in their schedule to make one because this is a reboot that might just have enough legs for a trilogy.

4*/5

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REVIEW: Strangeways, Here We Come

Here we have a movie that has been roundly panned by the (mainly) London bubble of reviewers. Indeed, the Guardian gave it just one *.

Lets have a proper look…

OK, I’ll freely admit, this movie isn’t going to bother any award ceremonies, but if it had been set in Hoxton, Brixton or any of the London “sink” estates, then the plaudits would be gushing, but outside of the London media darling bubble, the film is being enjoyed by pretty much everyone who goes to see it.

It’s a good laugh. What more do you want from 90 minutes of movie?

Its written to please an audience, not reviewers. I’ve lived in Salford, as well as on council estates across the North, and can testify that there isn’t a single character in this film that couldn’t be found on any estate, anywhere in the North of England.

Writer Chris Green knows his audience, and knows the area that the film is set. So complaining that they are caricatures in “implausible situations”  tells me that the writer has never set foot, never mind lived, on such an estate.

I enjoyed this, and so did the rest of the audience at Salford Arts theatre, where this film ended its run tonight with two showings.

As I say, it wont be winning any Oscars, but it is what it is, a bit of fun, set on an estate where people deal drugs, loan sharks are bas***ds who deserve a good kicking and people take drugs at weekend parties to escape the mundane boring life that Austerity Britain has become.

If you cant go into see this (or any piece of art) with an open mind, don’t bother, but I assure you that if you do, you will have a laugh.

It wont be a belly laugh for the full 90 minutes, but you will smirk, laugh out loud at times and leave with a smile plastered across your face.

If you want gritty, indy art house, look elsewhere. This film is aimed at the working class it portrays, maybe larger than life, but then, how else are they supposed to be played?

Ignore the mainstream media critics. What do they actually know about life on a council estate?

More than likely nothing, or if they did, they’ve long ago moved into middle class mediocrity and are denying their past…

Me?

3*/5

Andrew Riley interviews…Episode one

The first in a series of informal interviews with local artists sees Andrew at Salford Arts Theatre to chat to Scott T. Berry.

 

 

REVIEW: Porno Chic, Footlights theatre, Media City.

The #MeToo bandwagon rolls (rightly) on across the globe, but this revival of Vertigo Theatre’s “Porno Chic” is more than deserving of its place on any stage.

There are some who would deride this play, unseen, set in the 70’s and looking at the “other” star of the famed skin flick “Deep Throat”, Harry Reems, for glamorising the porn industry, and going against everything Me Too has stood for, but they are missing the point of the entire play. Porn is not, never has been, nor can it ever be glamorous.

Yes, it can seem it, looking back at how Reems and his co star Linda Lovelace were feted by both Hollywood and it’s stars AFTER the film began to gross more than many mainstream movies released the same year, but lets be honest, and this play is brutally honest, porn is not where any actor sees his or her career in the long term.

I’d not seen the previous incarnations of this show, so was able to watch it without making comparisons to those actors who had previously played these parts, and I was so glad. A fresh eye on what was, to me at least, a fresh and relevant work of fringe theatre.

Richard Allen as Harry Reems gives a performance that should get other directors sitting up and taking notice of this talent.

He is believable in every way as the man behind the cock, whose life was turned upside down, prosecuted, pilloried  and generally spent the rest of the next decade and a half trying to get his life as a serious actor back after just one day of filming.

This play does not shy away from just how bad his life descended into a drink fuelled orgy, before he found (As Harry puts it, “Yes, it is one of those story’s) god , met his wife and settled down until his death in 2013.

Nobody here is claiming that Harry was an angel, far from it, but what we do see in the skilful direction from Craig Hepworth is a man who is at war with himself.

We also get to see the far seedier side of the early 70’s porn industry.

Hepworth does not hold back where Lovelace (Celine Constantinides) and her abusive relationship with her first husband, Chuck Traynor, (Alex Thompson) is concerned. From forcing his wife to take part in alleged gang rapes and beating her when she refused to whore herself out to fuel his drug addiction, Constantinides is utterly believable as she moves from not so innocent waitress to sex object to anti-porn activist.

Watching the mental and physical abuse Traynor doled out to Lovelace is uncomfortable to say the least.

This is more than just a two handed play though. The entire cast slip into different characters with ease, and the scenes in the courtroom with a female Judge Harry W. Wellford are hilarious!

They do say you can find humour in almost everything, and lets face it, most comedy comes down to sex at the end of the day, so finding humour in the porn industry of the 70’s should not really faze anyone in todays times where you can watch pretty much any sexual act you desire at the click of a mouse, but you have to remember just how many barriers this film broke down at the time.

The staging and lighting were fantastic, as was the soundtrack. Just enough to keep the plot moving, and not enough to detract from what you were seeing unfold on stage.

From beginning to end, this show had an audience held in the palm of its hand. Its subject matter and principals dealt with in a sensitive, yet unvarnished way that allowed the performers to really get under the skin of those they were portraying.

Porno Chic is a parable for the 21st Century. It touches on the political pressures brought to bear by a Republican president, desperate to hold on to power, it shows us the reality of porn before the internet and just how bad it was for both sexes to be involved in the often violent and abusive industry.

If anything, Porno Chic was ahead of the #MeToo curve…

 

REVIEW: MNIB The Glitch

Sometimes, great music appears on your radar from unexpected places.

That’s what happened with “The Glitch” by Manchester act MNIB.

I found myself chatting with a new work colleague when he happened to mention he was an artist, so, naturally, being a journalist, I asked him what he made and lo and behold, MNIB (My Name Is Billal) was on my radar and my playlists.

I have to say, as someone whose musical tastes have a broad range, I didn’t expect to be as blown away as I was.

Northern grime never sounded so good. Dropping onto my Spotify list via MNIB himself, each track is short, sweet and stings like a short jab from Golovkin.

The Glitch may well be explicit and not easy listening in front of your maiden aunt, but its as Mancunian as Oasis, and as hardcore as any other act you’ll hear.

Stand out tracks include “Save some belly”, “Dog Fight” and “The Glitch”, but for me the longer track of “No Stopping You” really hit the spot.

An album that looks both out and is introspective at the same time, MNIB delights in his ability to use expletives not to shock, but to actually put his point across in a manner that makes the album really jump out. Lyrically, it can sound a bit passe at times, but the quality of the production and the maturity of the writing makes it an easy flaw to overlook.

This could have so easily veered into self parody, but it straddles a line, and although not a colossus, it’s certainly an album you’ll enjoy listening to again, unlike some other acts you’ll discover.

 

MNIB Wants YOU

MNIB Wants YOU

I’ll certainly be keeping an ear out for other tracks, and, even if I can’t play it in front of some of the more easily upset members of the household, its worth keeping on Spotify for those hours when I’m alone in the car…