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Adapting Michel Faber’s curious novel Under the Skin was always going to be a Herculean task. An alien comes down to Earth, roams the Scottish highways for bulky men and lures them away to be farmed for the home planet – and that’s only the half of it. Hardly Richard Curtis stocking-filler. Instead of trying … >
A woman buried up to her waist by a cliff-face on a sandy beach. The sand is a mound, spreading like a ginormous skirt, and grains of it trickle threateningly down from the rocks.
A Nottingham nurse becomes an amateur porn star. Hilarity ensues.
An adaptation is always going to differ from its source material. Deal with it. A play can’t be the book, and neither can a movie; what’s necessary is to capture the mood and essence of the story and transplant it to a different medium.
Long before Brangelina, Posh ‘n’ Becks, Beyoncé & Jay-Z, and, er, Peter & Jordan, there was Richard Burton & Elizabeth Taylor. While a simple VMA twerk can send the world into a Twitter frenzy these days, Liz Taylor was breaking so many marriage vows back in her day that even the Pope called her out. #scandal indeed.
“Feminism always gets associated with being a radical movement – good. It should be.” So said Canadian actress Ellen Page in a recent Guardian interview, and now another spiky actress, Sherlock’s Louise Brealey, throws her fist in the air with her first play, Pope Joan.
In a world where Russia has apparently been flicking through the Maggie Thatcher Manual for Disposing of Gays, a West End revival of Alexei Kaye Campbell’s rainbow-flag-waving debut play The Pride seems an appropriate response.
Anyone who’s ever been 14, a loner, or loved that episode of The Simpsons where they stay at a beach house and Homer laughs at Millhouse during a game of Mystery Date will definitely want to check out this unashamedly feel-good movie from the writers of The Descendants.
Launching on BBC One later this month, What Remains is a neat four-part mystery thriller that arrives in the midst of Broadchurch-like successes with a simple goal: to hook its audience. And it hooks from the off.
Where do you even begin picking five great moments in Lars von Trier’s impressive back catalogue?