I went into this film with a sense of dread for a few reasons. It was in the smaller screening room at my local cinema (hey, it only has two screens), it was a family cinema trip (which always spells trouble) and it looked sort of like a 'guy' movie, especially considering Guy Ritchie (Every single London gangster movie ever made) was directing it
However, I was totally wrong.
At the beginning of the film Sherlock Holmes (Robert Downey Jr) and Dr Watson (Jude Law) interrupt a strange religious sacrifice ceremony at a crypt, lead by Lord Blackwood (Mark Strong). Case closed, returning to Baker Street, it becomes clear that Holmes and Watson' s relationship is under some strain, due to Watson's wish to marry Mary Morstan (Kelly Reilly). A surprise call from Scotland Yard, under control by Inspector Lestrade (Eddie Marson), brings with it the news that Blackwood has risen from the dead, and that the case is most definitely open. The ensuing events bring Holmes back into contact with an ex-lover and American criminal Irene Adler (Rachel McAdams), and takes him and Watson all across London, with a finale on the incomplete Tower Bridge.
The script combines humour, mystery and 12A rated violence to deliver a truly gripping tale that is reminiscent of a Victorian dective novel-religious intrigue and global domination-especially regaining a 'small colony across the Atlantic'.
The lead cast are all brilliant, Downey Jr and Law are both funny and in some places touching in a brotherly realtionship as the lead pairing, and Downey's English accent is amazing. Strong is wonderfully slimy as Blackwood and McAdams does her best with a somewhat vacous role, although she will probably become more important in the sequel (which there will quite obviously be)
There are also some great cameo performances, Hans Matheson (BBC's Tess of the d'Ubervilles) as Lord Coward, the Home Secetary and a loyal Blackwood follower and William Houston as Constalble Clerk both do very well.
I personally cannot wait until Holmes 2 makes its appearance and I hope Ritchie's work will make him want to take on more period detective-esqe pieces, and make him well-known as a film director in his own right, rather than that pop singers ex-husband.
The internet buzz about Glee has been hugely positive, and so I was eager to catch it when it hit the UK.
And this first episode did not really capture my interest. Actually, I spent most of the episode wondering whether it would have ever been pitched without the success of High School Musical (the only redeeming feature of which is that it has mde musical theatre accessible for younger people)
Glee appears to be HSM and a hell of a lot of American teen dramas, at least where the teenage characters are concerned. There's Rachel Barry (Lea Michele-Spring Awakening and Ragtime) a super-smart/super-self-obsessed leader of the Glee Club. But apparently we need to feel sorry for her because no one likes her-and after this episode it's quite clear why....
Then there's Finn Hudson (Corey Monteith), who plays American Football, but can also sing...but his fellow team members don't approve..remind you of anyone?
The rest of the Glee Club-Kurt Hummul (Chris Colfer), Artie Abrams (Kevin McHale), Mercedes Jones (Amber Riley-who has a stunning voice) & Tina Cohen-Chang (Jenna Ushkowitz-Spring Awakening) and the other characters-Finn's girlfriend (Dianna Agron) and football mate (Mark Salling) appear only briefly, and none seem to be particuarly interesting-no, a wheelchair is not a personality trait....
Then maybe I'm looking at it in the wrong way. Because the adult characters are already very well realised. Mr Schuchster (Matthew Morrison-Hairspray, The Light in the Piazza, South Pacific) the Spanish teacher who takes over Glee Club is married to the overworked Terri (Jessalyn Greig-Heroes). There is also a great cameo from Jane Lynch as the cheerleaders coach and Jayma Mays (Heroes, Ugly Betty) as an OCD career coach who obviously carries a torch for Mr Schuchster.
It has recieved numerous award nominations in the US and has attracted cameos from Kristin Chenoweth, Josh Groban, John Lloyd Young, Victor Garber, Debra Monk, Eve, Jonathan Groff and apparently Idina Menzel-so it must be doing something right. It is also nice to see Broadway people getting television breaks, especially in a show that includes show tunes as well as pop songs-this episode included 'Mr Cellophane', 'On My Own', 'I Kissed A Girl', 'Sit Down, You're Rocking the Boat', 'You're the One That I Want' and 'Don't Stop Believing' to name a few.
Yet I'm not sure I can justify watching it just to catch the cameos and great adult performers...
David Tennant seems to have cast a spell over the producers at the BBC, as he comes to the end of his stint as the title character in Doctor Who (in which he is totally brilliant), he has hosted Never Mind the Buzzcocks, appeared on QI and Desert Island Discs and is hosting a special Radio 2 programme featuring him and Russell T Davies (who is also finishing with Dr Who).
However, for me the best thing about the BBC's current love of all things Tennant is the fact that they broadcast a special television production of the RSC's production of Hamlet which he starred in last year. This production, directed by Gregory Doran, is a modern dress, modern day interpretation, with the idea of spying seen through CCTV cameras.
It is certainly a fresh look at the tale, considering I've spent the months since September reading the text and watching the rather dull Mel Gibson lead 1990 film version for A-Level coursework reasons.
In case you don't the story, Hamlet (David Tennant) is the Prince of Denmark, the son of the recently deceased King and Gertrude (Penny Downie). Gertrude has recently, rather hastily, remarried. Specifically, she has married Hamlet's uncle, Claudius (Patrick Stewart), and this action, mixed with the death of his father sets Hamlet up at the beginning to be a deeply saddened man, even contemplating suicide. He is then bought the news from his good friend Horatio (Peter de Jersey) that the watch have seen his father's ghost (also Patrick Stewart) walking the battlements. Behind all this, the Machavellian Polonius (Oliver Ford Davies) sends his son Laertes (Edward Bennett) off to France to restart his studying, whilst using his daughter Ophelia (Mariah Gale)-who Hamlet is apparently in love with-to strengthen his realtionship with the new King.
Whilst this version can definitly not be said to 'dumb down' the language or structure at all (indeed, I'm sure there is added dialogue) it could have been disconcerting to the TV viewer who may not have encountered Hamlet before (I was giving basic translations to my parents of some sections of dialogue)
The cast are mostly first class. Tennant's roots lie in Shakespeare, and his ease at delivering the soloiques is clear, it is quite the departure from playing The Doctor and he is captivating until the end (and I had tears in my eyes in the final scene). Stewart was good, but did not seem quite menacing enough for Claudius. Ford Davies was a fine Polonius and de Jersey (currently in the Debbie Allen revival of Cat on a Hot Tin Roof ) made Horotio a 3D and very interesting character. Edward Bennett was a fine Laertes, and it would have been interesting to see his Hamlet, especially considering he had the unenviable task of covering for Tennant when he was injured during the Novello run of this production. Mariah Gale did not seem settled into Ophelia, she seemed too modern to be as passive as the text suggests, yet she was good in the 'mad' scene.
Thumbs up must also go to Sam Alexander and Tom Davey as Rosencrantz and Guildenstern, characters that appear somewhat dull in the play are given full personalities here. Ryan Gage also gives an entertaining appearance as Osric and David Ajala has great comic timing as Reynaldo.
Apparently, a Patrick Stewart led production of Macbeth is also on its way to the BBC and it would be interesting to see whether this influx of Shakespeare will lead to more plays making their way onto the main channels, rather than being relegated to BBC4 and Sky Arts.
