Cinema is a young person’s game. How many Hollywood-produced films do you see where the main cast are all “of a certain age”? Sure, there are great roles for older actors in most films, but a whole movie of older performers? Very rare.
The first instalment of this two-part finale left us with Princess Ariadne sentenced to a traitor’s death; her fate sealed after the revelation that she aided Jason’s escape from the palace in the aftermath of his failed assassination attempt on Queen Pasiphae.
Hot on the heels of last Christmas’s really rather excellent Treasure Island, Sky1 have set their sights on another literary adaptation: John Meade Falkner’s swashbuckling tale of smugglers on the South Coast, Moonfleet.
Ben Stiller is one of those performers who’s created such a recognisable niche in comedy that he’s almost become a genre in and of himself.
If you go and see a Ben Stiller film, you pretty much know what you’re going to get. That’s not a criticism – Stiller is an able performer, and frequently very funny. With The Secret Life of Walter Mitty, however, Stiller defies expectations and proves that he has far more strings to his bow.
Downton Abbey never fails to over-promise and under-deliver. There is, at least, a kind of consistency in this; but it makes for exasperating viewing. After the calamitous events of last Christmas’s festive episode, this year, writer Julian Fellowes was taking no chances. Like an over-cautious Christmas tree decorator, he sought to take his characters out … >
Matt Smith was magnificent – never more so than as the aged toymaker whittling away at his wood. Raggedy man, we shall miss you. But then, you knew that already.
Negatus’ kinks are further developed in this finale, as his boss Imperatrix is due to arrive to sort things out herself, due to Negatus’ incompetence. In disguise as a tramp (the titular Ernie), Negatus plans to destroy Debbie once and for all. Along the way he learns that being pure motiveless evil isn’t necessarily great for your self-esteem.
One of the less popular of Shakespeare’s tragedies, it’s a rare treat to see a stage production of Coriolanus.
One of the main reasons it’s not in as popular as Macbeth, King Lear and Hamlet is audiences find Coriolanus impenetrable. Reflective moments are few and far between amidst scenes of blood and thunder and political intrigue. There is little in terms of soliloquies, which are hallmarks of his greatest plays.
With the werewolf shenanigans of ‘Hunger Pangs’ past, and not even referenced, the opening part of Atlantis’s Christmas-straddling finale was rooted in earlier events. Returning in a dream that saw Hercules dead, Jason was reminded of the fateful bargain he struck with Pasiphae’s vengeful sister, the witch Circe. It was a creepy and effective start to a storyline full of promise.
Shouldn’t Jim Broadbent have been classed as a National Treasure by now? Kept in The Tower of London with the Crown and whatnot, only to be released so that he can appear in top quality drama? Broadbent is, and always has been, the big birthday cake of drama – seeing him at once both excites and reassures. You know you’re in for something special.