The original Captain Marvel when he first appeared in Whiz Comics 1940, adopting the Shazam name when relaunched by DC in 1972, by which time Marvel had their own Captain. The name comes from the magic word orphaned misfit Billy Batson speaks to transform into his adult super-hero alter ego, taking on the powers transferred to him by the ancient wizard Shazam.
Here, Billy (Asher Angel) isn’t an orphan but, having lost his mother at a fairground when he was much younger, he is a troubled 14-year-old who’s been through an array of foster homes, ending up becoming part of Victor (Cooper Andrews) and Maria (Marta Milans) Vasquez’s extended multi-ethnic Philadelphia foster family which includes gaming nerd Eugene (Ian Chen), college student den mother Mary (Grace Fulton), shy Pedro (Jovan Armand), young but extrovert Darla (a winning Faithe Herman) and disabled sarcastic super-hero nut Freddy (scene-stealing Jack Dylan Granger).
Shortly after Billy intervenes as Freddy’s being set on by the school bullies, he takes the subway train only to suddenly find himself stepping out into a mysterious underground cavern occupied by the aforementioned ancient wizard (Djimon Hounsou) who’s been waiting years to find someone pure of heart to whom he can cede his powers. Indeed, the film opens with him testing another youngster, Thaddeus Sivana, only for the kid to be tempted by the power offered by the stone figures embodying the seven deadly sins. Billy, however, for all his attitude, is the real deal and, commanded in a knowing double entendre to place his hands on the old man’s staff, lightning flares and he finds himself transformed into the buffed adult Shazam (Zachary Levi) sporting the famous red costume with its white cape and yellow lightning bolt insignia.
Revealing himself to Freddy, the latter’s first concern is what super powers he possesses, while Billy tests out his new grown-up self by buying beer, the film having great fun with the concept of an innocent young kid revelling at being inside an adult body, in much the same way as did Tom Hanks in Big. Or Tom Holland’s undisguised glee at being Spider-Man.
The fun, however, comes to an abrupt end when, having spent a lifetime researching stories about those who had a similar experience to himself, now a grown and wealthy scientist estranged from his contemptuous father and brother Sivana (Mark Strong making the most of a so so bad guy) sets out to first become host body to the seven deadly sins, which materialise from him to his biddings, and then wrest Shazam’s power from Billy for himself.
Being honest, it’s not much of a plot and what there is touches familiar bases involving friendship, loyalty, the importance of family alongside the staple slugfests between hero and villain. What makes it such a delight, however, is the sheer exuberant fizz a constantly beaming Levi and director David F. Sandberg bring to proceedings and the knowing self-awareness of its cheesy, corny nature, the film both an irreverent Deadpoolish superhero satire and an unabashed affectionate love letter to the genre complete with plentiful mentions of both Batman and Superman, including a hilarious ‘leap tall buildings at a single bound’ gag.
It’s a little less successful when it plays the emotional cards, such as Billy tracking down the mom who abandoned him and the sentimental family bondings, but, unlike recent DC Universe offerings and the current interwoven Marvel saga, this plays light rather than dark, from a montage of Freddy testing out Billy’s new powers to a last act introduction to the whole Shazam! Family (with cameos that include Adam Brody and Meagan Good) that, along with obligatory end credits scene, sets things up for a welcome sequel. The word is good. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Showcase Walsall; Vue Star City)
At Eternity’s Gate (12A)
First portrayed on screen in 1948 in an Oscar-winning French short by Alain Resnais, followed in 1956 by Vincent Minelli’s Lust for Life starring Kirk Douglas, there’s since been a further five films about the life of Vincent Van Gogh (as well as an episode in Akira Kurosawa’s Dreams with Martin Scorsese), the most recent being 2017’s painted animated biography Loving Vincent.
Now Willem Dafoe gets to take on the mantle, earning himself a Best Actor Oscar nomination, for Julian Schnabel’s latest foray into the world of tormented, troubled artists, an inevitably often impressionistic and experimental affair in which he explores Van Gogh’s fascination with and attempt to capture the nature of light and its ecstatic holiness effect on the things it touches.
Although opening in Paris, where, after a failed one-man exhibition in a local café, Vincent meets Paul Gaugin (Oscar Isaac), it’s mostly set in the small Provençal town of Arles where, in his final days, he produced some 75 paintings, before dying in Auvers-sur-Oise of a gunshot wounded, inflicted, as also claimed in Loving Vincent, by a local boy, though Van Gogh refused to identify him. There’s also a couple of scenes in the local asylum to which he was committed for his madness, not least cutting off his ear and having it sent to Gaugin (he’s questioned by a doctor with Dafoe made up with the bandage exactly as in the famous self-portrait), where, in an inspired sequence he’s questioned about his art, beliefs and motivations by a priest (Mads Mikkelsen) who, Pilate to Vincent’s Christ, dismisses his paintings as ugly and worthless while Vincent suggests he was made by God to paint for people who have not yet been born.
The visual style can be irksome, several scenes involving the camera pointed at Vincent’s feet as he scurries through fields, but it also seeks to capture the essence of his paintings and the way in which he saw the world, the most striking moment being as he wanders through a field of dead sunflowers, calling to mind the vibrancy with which he captured them in his famous painting.
The vision of Van Gogh as some sort of proto-flower child hippy, suffused with happiness, high on painting while also a depressive estranged from and trying to make sense of the world around him (as Dafoe puts it, “When facing a landscape I see nothing but eternity. Am I the only one to see it?”), captures the agony and the ecstasy of his life, even if it is a tad romanticised, but there’s no denying the impact of the final scenes of his body laid out in an open coffin surrounded by his paintings, still unenthusiastically dismissed by the few mourners. Not one for those who prefer more traditional biopics, but the textures here still have a mesmerising impact. (Electric)
Written and directed by Simon Amstell, this is a bittersweet Woody Allen-tinged personal comedy that embraces both a hesitant romance and a satire on the self-absorbed, often pretentious world of the media and indie filmmaking. Colin Morgan is Benjamin, a gay fledgling auteur plagued by self-doubt who’s putting the finishing touches to his long overdue second film, No Self, exploring his own inability to love and deliberating with acerbic mother-figure producer Tessa (Anna Chancellor) whether to include scenes of a Buddhist monk imparting life wisdom. En route to the film’s showing at the LFF, Benjamin meets and gets involved with Noah (Phénix Brossard), a visiting French music student and aspiring singer. The problem the relationship has is in Benjamin being able to look beyond himself.
Adding to the merrygoround of crises is Joel Fry as Benjamin’s writing partner and would be stand-up who develops a puppy-dog romantic obsession with publicist Billie (a magnificently scenery-chewing Jessica Raine) after a one-night stand she’d rather forget and certainly doesn’t want to mention in front of her boyfriend, Harry (Jack Rowan), who stars in Benjamin’s film but is already earmarked for better things. There’s also two stand-out cameo turns from Ellie Kendrick as a pretentious performance artist and Nathan Stewart-Jarrett as Benjamin’s acidic bitter ex who puts in an inopportune appearance just as he’s having lunch with Noah’s parents. It doesn’t offer any surprises and comes with the inevitable anticipated epiphany, but, witty and at times touching, it’s an engaging diversion. And the monk? Well, let’s just say Mark Kermode has the last word on that. (Electric)
Missing Link (PG)
The latest stop-motion animation from Laika, the studio behind Coraline and Kubo & The Two Strings, is a much more lighthearted affair, even it does come with some heavy duty messages.
Hugh Jackman voices Sir Lionel Frost, a self-absorbed English Victorian explorer who’s desperate to become part of an exclusive adventurers’ club of ‘great men’ which, headed up by pompous braggart Lord Piggot-Dunceby (Stephen Fry), treats his wild exploits to prove the existence of mythological creatures with disdain.
However, when, following his latest failure, he receives a letter offering to lead him to the fabled Sasquatch, he strikes a deal that, if he can provide proof, and as such validate Darwin’s theory of evolution, Piggot-Dunceby will let him join and duly sets of to the wilds of the Pacific Northwest where he does indeed meet up with the titular missing link (Zach Galifianakis). To his surprise, the hairy creature, is a charmingly affable fellow who speaks excellent English, even if he takes things overly literally, who, rather than wanting Frost to reveal his existence, wants him to help find his Asian cousins, the Yetis, as, one of his kind, he’s rather lonely.
Frost, reckoning he can prove two creatures at one go, agrees and, after some amusing plot padding concerning a map to the hidden city of Shangri-La in the Himalayas, sets off with Mr. Link (who later decides to name himself Susan) and Adelina Fortlight (Zoe Saldana), the widow of his late partner and, apparently, an old flame.
However, Piggot-Dunceby is taking no chances on having to eat humble pie and has despatched moustachioed varmint Willard Stenk (Timothy Olyphant), an infamous hunter of rare animals, to ensure he never returns.
Taking the form of a road movie involving various modes of transport, countries and run-ins with Stenk, it winds up in the Himalayas where the trio finally come face-to-face with the snow white Yetis, led by the long-haired matriachial Elder (Emma Thompson), only to find, in a comment about isolationism, that not all dreams have happy endings before a literal cliffhanger as their enemies close in.
The backdrops adopt a fairly realistic look while the human characters are all highly stylised with big bellies, long spindly legs, angular features and either pointed or blobby pink glowing noses while Susan is covered in rust-coloured fur that looks like he’s been stitched with rubbery filaments, accentuating the sense of cartoonish fun. Written and directed by Chris Butler, who made ParaNorman, it deals with such familiar concerns as family, belonging, rejecting bigotry, and doing the right thing as Frost offers up his own instance of evolution into a better person.
With David Walliams and Matt Lucas also adding their voices, the emphasis very much on colourful fun with physical comedy blending with fish out of water gags and jokes about wordplay and language, it wisely downplays the romantic interest angle the younger audience might find too soppy, but unerringly hits all the emotional notes. It ends back in London with the promise of future adventures from this unlikely duo, a sort of adventurer version of Holmes and Watson. Get Linked in.(Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Showcase Walsall; Vue Star City)
Pet Sematary (15)
Given the success of It, it was inevitable that there would follow further big screen resurrections of Stephen King stories; however, as John Lithgow remarks here, “sometimes they don’t come back the same.” Published in 1983 and first adapted for the screen by King himself in 1989, directed by Mary Lambert, the book is generally regarded as one of King’s scariest, though the same can’t be said for the film. Co-directed by Dennis Widmyer and Kevin Kölsch and paring the book to the bare bones, this is an improvement, but not a whole lot.
Arriving at their new country home in rural Maine (where a doctor’s salary apparently also buys you a sprawling forest backlot), Louis (Jason Clarke), wife Rachel (Amy Seimetz) and their two kids, eight-year-old Ellie (Jeté Laurence) and toddler Gage (Hugo and Lucas Lavoie) are looking for a less stressful life with more family time. Even if that does entail daddy discussing death and its finality with Ellie over bedtime.
Such hopes are soon dispelled. First Ellie and Rachel stumble upon an animal graveyard in the woods where kids in scary masks go to bury their furry friends, Rachel starts again having visions of her dead sister Zelda who suffered from a severe spinal deformity, and, having failed to save a black student from a traffic accident is shocked when the kid apparently comes back to life on the gurney and delivers him a warning that “the ground is sour”. And reappears on several other occasions.
The horror firmly sets in when, after being killed by one of the speeding trucks that regularly flash by the house, kindly widowed neighbour Jud (Lithgow) takes Louis to bury Church, the family cat, in land beyond the pet semetary, giving him one of those wait and see explanations, And sure enough, the next day Church’s back as large as life, just not as friendly (cue some guff about the wendigo and cursed land). Louis resolves to dump the malicious moggy. But again it finds its way back, turning up on Ellie’s birthday and prompting her to rush out into the path of an articulated tanker. Needless to say, while Rachel takes Gage to her mother’s, drugging Jud, the hitherto rational Louis digs up Ellie’s body and takes it to the ancient tribal ground from where she too returns. And, like the cat, has developed a decidedly darker side, as Jud and mom soon discover to their cost. As Jud belatedly offers, “sometimes dead is better.”
While trading on well-worn boo moments not to mention a blood oozing nod to The Shining, the film does inject a novel twist in an ending that’s radical departure from the book, although, unfortunately, it comes across as more silly than scary, a sort of Walking Dead joke in which the family that dies together stays together. It’s atmospheric and it’s often very bloody, it’s just that it’s also a touch dull with an ending that feels indecently rushed, capped off by a terrible cover of the Ramones original title song. Impressive cat though. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Showcase Walsall; Vue Star City)
Working from a script by Roddy Doyle, Irish director Paddy Breathnach channels Belgium’s Dardenne Brothers with this grim social realist story of a family struggling to stay afloat in contemporary Dublin where demand has outstripped supply in the housing market, leaving those of limited means, the so-called working poor, with very few life choices.
Effectively rendered homeless, though she refuses to countenance the word (she prefers ‘lost’), when the landlord decides to sell the property, Rosie (Sarah Greene) and her four kids wind up living in the car while her husband (Moe Dunford) works in a local restaurant kitchen, working her way through a council list of possible temporary accommodation only to get the same reply.
They get to spend one night in a hotel before bundling their belongs into plastic bags and back into the car, she refuses to accept an offer to stay at her mother’s because of past bad blood with her dad, and at one point they end up getting the kids ready for bed at a takeaway.
Set over 36 hours, it adopts a low-key approach that matches the sense of resignation that Rosie’s situation evokes while always clinging to sparks of weary hope and trying to put on a brave face for the kids (who she insists still go to school and scrub up properly), the eldest of whom takes off at one point to move in with a friend without telling anyone, sparking a moment of real panic.
Driven by naturalistic performances and resisting any sentimentality, it laces the sombre mood with moments of disarming, unforced humour (such as a chip-spitting scene in the car) but refuses to leave on a false uplifting note. Powerful stuff. (Until Wed: MAC)
The Sisters Brothers (15)
An art-house Western, the first English language film by French director Jacques Audiard, set in 1850s Oregon it stars John C Reilly and Joaquin Phoenix as the bickering titular brothers, Eli and Charlie Sisters, a pair of bounty hunters come hitmen for hire who work for the mysterious Commodore (Rutger Hauer) whose latest assignment is to track down and kill one Hermann Kermit Warm (Riz Ahmed), a chemist who has somehow crossed their boss’s path.
They’re not the only ones on Warm’s trail, private investigator John Morris (Jake Gyllenhaal) is after him too, his task being to establish his location and let the brothers know. However, he links up with Warm, who has discovered a chemical formula that will make gold prospecting a lot easier, and is always a few days and at least one town ahead of the pair. On top of which, there’s a bunch of other mercenaries on their tail, unaware that Eli and Charlie despatched their brother-running boss a while back.
Although it climaxes in a brutal dramatic sequence before a low-key coda, getting there is slow-paced journey, punctuated with the more sensitive Eli regularly whingeing about how the louder-mouthed Charlie, who’s forever going on a bender, has been designated the lead killer. Along the way, the film also explains how their family background and abusive father led Charlie to being who and what he is.
There’s some excruciating moments, such as spider crawling up to Eli’s mouth as he sleeps, but also gentle humour such as in Eli, the more aspirational of the two, enthusiastically buying into the new invention of a toothbrush, while Audiard pointedly explores the theme of male loneliness, outsiders, the relationship with the environment and, as in There Will Be Blood, the toxic nature of ambition and obsession. (Cineworld 5 Ways; Electric; Empire Great Park; Vue Star City)
Wonder Park (PG)
From an early age, June (Brianna Denski) and her mom (Jennifer Garner) made up stories together about Wonderland (it’s never referred to as Wonder Park), a theme park packed with wild rides and run by talking animals, bear greeter Boomer (Ken Hudson Campbell), hyper beaver twins Gus (Joe Sugg) and Cooper (Caspar Lee), Steve (John Oliver), a neurotic but highly educated (parents should be prepared to explain existentialism to the kids) porcupine who’s lovesick for Greta (Mila Kunis) the warthog who’s de facto in charge and Peanut (Norbert Leo Butz), the chimp who magically creates the rides when June whispers into the ear of his cuddly toy counterpart.
From bedtime tales, Wonderland grows into a model made up of, among other things, cardboard and drinking straws that takes over those house, June even builds a ramshackle thrill ride for real, causing chaos in her neighbourhood.
But then, suddenly, mom gets sick and disappears from the film, leaving an increasingly disconsolate June with her bumbling dad (Matthew Broderick) who, when she packs up her model, puts the toys in a box and burns the lay out plan decides the best thing is to pack her off to a math camp, Camp Awe+Sum (the film’s best gag), for the summer. She never gets there. Instead, abandoning the bus, she heads into the wood planning to return home but a fragment of the burnt map lures her further on where she discovers the park of her imagination, except it’s fallen into disrepair and the animals are being besieged by toy monkeys that have turned into Chimpan-Zombies and are tearing the place apart and feeding it into ‘the darkness’, a huge black cloud hovering over the park, Peanut having hidden himself away since he stopped getting those messages.
Suffice to say, June, realising she’s the source of the darkness in her anger and worry over mom’s illness, decides to fix things and restore Wonderland to its former glory, and, just in case you miss the message, healing herself in the process. But the sentiment is tepid, the laughs few and the emotion never comes near the depth of either A Monster Calls or Inside Out, both of which are obvious touchstones. It’s thrillingly animated and the physical action and animal antics may engage a younger audience, but, despite the worthy idea about dealing with your feelings when someone you care for is ill, the execution is a confused jumble that never coherently hangs together, likely to leave older children and adults wondering what it was all about. Despite the title, this is more a case of bemusement park. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Showcase Walsall; Vue Star City)
Being Frank: The Chris Sievey Story (15)
Hailing from Sale in Chesire, not far from Timperley, as frontman with late 70s pop outfit The Freshies, Chris Sievey had a minor hit with I’m in Love with the Girl on the Manchester Virgin Megastore Checkout Desk (it would have been bigger had BBC crews not gone on strike the week it was due on Top of the Pops) and cult success with I Can’t Get Bouncing Babies by the Teardrop Explodes, but by far his biggest success came when he donned a papier mache head and created the character of Frank Sidebottom, becoming Manchester’s court jester for over 25 years until his death in 2010. The character even inspired Frank, a film starring Michael Fassbender inspired by his alter ego.
He’s also now the subject of this affectionate and illuminating bittersweet documentary by Steve Sullivan that documents his life from childhood, where even at an early age he clearly sought both the limelight and complete control, through his teenage years and Beatles obsession (he and his brother went to Apple looking for a record deal and briefly met Ringo) and his formative bands, such as the deliberately bad but compelling Oh Blimey Big Band, before hitting on the concept of the Frank Sidebottom (originally called John Smith and created for a fancy dress party), a stalker-like Freshies fan, who, despite his odd and frankly somewhat creepy nature (he had his own cardboard puppet, Little Frank), became a hit on children’s TV shows, improvising as he went, and secured his own Frank Sidebottom’s Fantastic Shed Show.
With a day job working as an animator on the likes of Bob The Builder, the success of his character overwhelmed the man behind the mask who became lost, turning to drink and cocaine to numb the alienation he felt from himself. Decline was inevitable, Frank ending up playing Manchester clubs leading karaoke version of Love Will Tear Us Apart and, when he dies, he would have had a pauper’s funeral had not his manager raised £21,000 from fans.
Clearly an eccentric on uncertain mental stability, Sievey was also an innovator, at one point devising a vinyl single that, on the B-side, had digital code to enable you to play a video game on a computer, while, ex-wife Paula reveals that his chat up approach was to push her into the canal.
As well as access to Sievey’s nitebooks, videos and recordings, the documentary also features interviews with friends and family, such as his former keyboard player Jon Ronson (who scripted Frank), comedians Ross Noble and Johnny Vegas, his three children (tragically the youngest, Harry, was killed in a motorbike accident not long after filming his contributions), revealing a brilliant but tormented creative genius who could have built himself a career as a visual artist had he not been so obsessed with finding music business success. In many ways a parallel story to John Otway, who made a success out of being a failure, this doesn’t always dig as deeply as it might, but, for those who never knew about the band inside the head (and Sievey was fanatical about not being photographed without it), it’s a welcome insight into one of the great British eccentrics of our time who, may not have become a pop star but does have a bronze statue of Frank erected in Timperely in tribute. (Mockingbird)
Captain Marvel (12A)
With a new titles sequence that pays homage to Stan Lee, following on from Black Panther, this now flies the feminist flag and introduces the first female superhero to the cinematic Marvel Universe in the form of Vers (Brie Larson), a Kree warrior engaged in her planet’s ongoing war with the shape-changing lizard-like Skrulls and their quest for galactic domination.
When first introduced into the comics, Marvel was a male, Kree soldier Marv-Vell, the character later shifting to become Carol Danvers, a USAF pilot who absorbed his powers. To some extent, this adaptation, co-directed by Anna Boden and Ryan Fleck, both of whom are also involved in the screenplay, hews closely to the comic version, except there’s a significant twist to both the nature of the Skrulls and the Mar-Vell character, along with how Danvers acquired her powers.
All she knows is that she’s Vers (pronounced verse) an elite Kree soldier, mentored by her tetchy superior officer, Yon-Rogg (Jude Law), and that she’s been given photon blast powers which glow red and shoot from her hands. But she’s troubled by memories of her younger self that she can’t place and also a military scientist called Wendy Lawson (Annette Bening) who turns up in dreams of both a plane and a shoot-out and whom, unfathomably, is also the shape taken by her visualisation of the Kree Supreme Intelligence, which manifests as someone important to you. As such, the film pivots around her search to find her true identity, the notion that things and people are not always what or who they appear paramount to the plot mechanics.
The events take place back in 1995, long before the arrival of other super powered beings, as Vers finds herself marooned on Earth after an encounter with the Skrulls and seeking to reconnect with her Starforce squad (which includes Djimon Hounsou’s sword-wielding Korath, previously seen, along with Lee Pace’s Ronan The Accuser, in Guardians of the Galaxy), but not before eliminating the Skrulls who, led by Talos (Ben Mendelsohn), have also infiltrated the planet.
As such there’s several jokes about Earth’s backwards technology (pagers, poor internet, etc) compared with that of the Kree, while Vers’ explosive arrival (through the roof of a Blockbuster video store) attracts the attention of S.H.I.E.L.D in the form of a younger and still two-eyed Nick Fury (Samuel L. Jackson) as well as rookie recruit Phil Coulson (Clark Gregg). Vividly convinced of the existence of aliens, Fury joins forces with Vers who explains she has to locate Lawson’s secret lab and destroy the plans for a lightspeed engine before the Skrulls can get to it. All of which reconnects her with Danvers’ former fellow test pilot and single mom best friend, Maria (Lashana Lynch), and her smart kid daughter Monica (Akira Akbar), both of whom believed her to have died in the crash that killed Lawson. Monica’s also responsible for the transformation of Vers’ Kree uniform into her iconic red and blue get-up. Oh yes. And there’s also a cat called Goose to which Fury takes a liking and which fits right in with the central theme.
While serving to provide a back story to the Tesseract and the Avengers Initiative, the end credits linking it to the upcoming Avengers: Endgame, this is very much focused on Vers’ search to find out who she is and what lies she’s been fed. As such, in true Marvel fashion, the film balances potent character development and emotional core with the dynamic action sequences (one of which is soundtracked by No Doubt’s Just A Girl to reinforce the female empowerment point) and special effects, misdirecting you as to who may or may not be the villains of the piece.
Cool and composed, Larson, all fire (literally at one point), swagger and snappy repartee, is mesmerising in her character’s arc, even eclipsing Gal Gadot’s Wonder Woman for screen charisma, while Bening, Law, Jackson, Lynch and Mendelsohn (who also gets to play Fury’s boss when Talos takes his shape) all provide robust and commanding support. In the midst of taking on innumerable foes, Marvel’s eyes flash and she breaks out into a big grin and shouts ‘Yeah’. Chances are you’ll feel like doing the same thing. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Showcase Walsall; Vue Star City)
Disney’s short but bittersweet fable of the baby elephant whose oversized ears enable him to fly is the latest to get the live action remake treatment, here under the auspices of director Tim Burton. Unfortunately, it’s as drab as it looks onscreen, ponderous and devoid of anything resembling the vibrant colour of the 1941 animation. In the original, it wasn’t until the final moments that Dumbo actually flew, a moment of wonderment, here it happens early on, rendering the subsequent flying scenes increasingly less magical despite the best attempts to build tension.
Set shortly after the end of WWI, Holt Farrier (Colin Farrell) returns from the front minus an arm, his wife having died in his absence, to rejoin his two children, science-obsessed Milly (Nico Parker, looking exactly like a young version of mother Thadie Newton), who has her own mini mouse circus in a nod to Dumbo’s talking rodent best friend), and the younger Joe ( Finley Hobbins), and the circus where he was the star trick horse riding attraction.
However, the circus, run by Max Medici (Danny De Vito) has hit hard times, several acts having succumbed to influenza, and audiences dwindling. Medici has staked his fortunes on buying a pregnant elephant, looking to make her baby a draw. To Max’s consternation, Baby Jumbo turns out to be a freak with large flappy ears and Holt is consigned to caring for the them and working the new arrival up as a clown act. When a cruel circus hand cause Mrs Jumbo to cause mayhem and is killed in the process, she’s sold back to her original owner, sending the baby into depression. In attempting to cheer him up, a stray feather reveals to the kids that the ears enable him to fly, and next thing you know, Dumbo earning his name when a stunt misfires, the crowds are pouring in.
It also attracts the attention of V.A. Vandevere (Michael Keaton), a circus cum theme park entrepreneur with big ambitions who turns up along with his trophy French (though wouldn’t know it) girlfriend aerial act Collette (Eva Green,), makes Max a partner and ships the entire caboodle off to his Dreamland in New York where he envisions making a fortune by teaming pachyderm and girlfriend as a flying double act.
Needless to say, a calculating heartless exploiter, his promises to Max about his own troupe prove worthless and, discovering Mrs Jumbo is part of his wild beast attraction, Holt and the kids plot to free her and reunite mother and son, resulting in a moderately exciting climax as chaos erupts in the park.
Stuffed with familiar Disney tropes about family, faith in yourself and how being different doesn’t made you a freak, it plays the emotional scales by rote without ever striking and resonant notes, although the scene of Dumbo looking scared in his clown makeup on a circus platform might prompt a slight twinge in the heart while, laudably chiming with animal rights, the coda has Medici declaring how the circus should never have animal acts kept in cages, the message reinforced by a final sequence of Dumbo and his mom rejoining the herd in the wilds of Asia. With big sad blue eyes, the digital Dumbo is impressively rendered, the human cast less so. Keaton hams it up like a pantomime villain, DeVito hobbles the gamut from bluster to befuddled, Green lacks any spark (as does the lacklustre blossoming romance) and Farrell simply walks through the role of the dad who doesn’t know how to respond to his kids (they being at least a breath of fresh air to proceedings), while the circus motley crew support cast is populated by amiable but one-dimensional characters like a kindly snake charmer (Roshan Seth) and the fat lady mermaid (Sharon Rooney),who gets to strum her ukulele and sing the original film’s memorable, tender song Baby Mine. Burton also slips in a reference to When I See An Elephant Fly and does a good job of recreating the surreal Pink Elephants on Parade using shape-shifting soap bubbles, but they never feel more than knowing nods.
Although Dreamland’s science exhibit has some amusing visions of the future of technology, not to mention transgendering, while there are some individual moments of spectacle, such as the parade into Dreamland, given Burton’s past work, imagination is generally as thin on the ground here as is unforced emotion. You might believe an elephant can fly, but the film never does. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza Luxe, West Brom; Reel; Showcase Walsall; Vue Star City)
Eaten By Lions (12A)
Half-brothers, when their parents were eaten by lions on a safari holiday, shy charmer Omar (Antonio Askeel) and sly humoured cerebral palsy sufferer Pete (Jack Carroll) were taken in by their gran. However, now that she too has passed, they’re faced with having to live with their racist domineering aunt and submissive uncle (Vicki Pepperdine, Kevin Eldon), Omar being forced to sleep in the closet under the stairs. So, when the couple declare they intend to adopt Pete, but not Omar, because he’s not really proper family, the latter decides to leave Bradford and go in search of his biological father, one Malik Chaudhry (Nitin Ganatra). Not, as Pete hopes, in India, but rather Blackpool.
Arriving at the seaside resort, presumably off-season given how empty it is, losing all their belongings when the tide comes in, they get to stay in a dodgy B&B (with no door to their room) run by the no less dodgy Ray (Johnny Vegas, less annoying than usual), who also kits them out with some naff clothing left behind my previous guests, the cross-dressing gay uncle of Amy (Sarah Hoare), the mouthy pink-haired teen who works at Sea Planet and takes a shine to Omar. Given Malik’s address by a tacky camp fortune teller (a funny Tom Binns), they set off to confront Omar’s dad, one of a wealthy local Pakistani clan who, along with other guests, have all assembled for his eldest daughter’s wedding (“it’s a bit like Gremlins isn’t it, Ramadan, similar rules”, remarks Pete), and who, rather inevitably denies parentage.
Suffice to say, there’s an amusing – and ultimately touching – twist involving his jack-the-lad brother Irfan (Asim Chaudhry), who runs a seedy seafront gift shop (providing a great gag with a pen with a picture of a scantily clad woman which, when turned upside down, reveals her clad in a burka) and gifts the brothers with fake Rolexes.
Written and directed by Jason Wingard, the comedy of misadventures unfolds on a raft of one-liners and emotional swings along with Britcom moments involving a yellow Rolls Royce, the pride and joy of the family patriarch (Darshan Jariwala), that sits languishing in the garage and Malik’s younger daughter Parveen (Natalie Davies), who pretends to be mute and take a sexually predatory interest in Pete.
Never attaining the heights of East is East, the template for such multi-cultural comedies, there’s no riotously funny moments and it’s all a bit predictable, but it rolls along with an undeniable charm and there’s a warm heart to the bond between the brothers, Askeel an affable low-key presence while Carroll gets the bulk of the best lines as the cynical, quizzical and sarcastic Pete who unexpectedly finds himself out of his league when he meets Parveen. A minor treat, but a treat nonetheless. (Vue Star City)
Fighting With My Family (12A)
While Dwayne Johnson may loom large in the posters, don’t go along expecting him to be the star. Cameoing in his former persona as WWE wrestler The Rock as well as producing, he appears in just three scenes. It’s not his film and it’s not his story. Both belong to Florence Pugh, continuing her stellar big screen ascendancy as Saraya-Jade Bevis, the daughter of a working class Norwich wrestling family who, at 13, made her debut in the ring in 2005 as Britani Knight. Her parents, ex-jailbird ‘Rowdy’ Ricky Knight (Nick Frost) and former homeless junkie Julia (Lena Headey), aka Sweet Saraya Knight, ran the World Association of Wrestling, a name rather more impressive than its low rent reality. She also had two brothers, both wrestlers, the eldest Roy (Stephen Burrows) and Zak ‘Zodiak’ (Jack Lowden), the former serving time for drink-driving in the period the film covers and the latter coaching local young aspirant grapplers (including a blind kid who went on to become a professional wrestler).
Based on a 2012 documentary, it’s written by Stephen Merchant who, aside from making his directorial debut, also appears as Zak’s more refined future father-in-law (the meet the in-laws dinner is hilarious), and cheerfully ticks all of the underdog sports movie boxes as ‘Britani’and Zak are invited to try out for the WWE in London, where Johnson makes his first amusing appearance. Raya’s the only one of the hopefuls selected by the tough love coach, Hutch Morgan (Vince Vaughn playing Mickey to her Rocky), to proceed to the next stage in Florida, she following her dreams while Zak is left behind to stew in wounded pride and resentment with his motley students, girlfriend and new baby.
Adopting the ring name Paige after her favourite character in the TV series Charmed, the goth-like Saraya stands out like sore thumb among the curvy ex-model blondes and cheerleaders who are her fellow WWE candidates, and, as such, the narrative arc is very much about her discovering who she is, just as, back in Norwich, Zak has to come to terms with his life post-rejection, the film also placing great emphasis on the supportive bonds of family.
Condensing the story of Paige’s journey to become the WWE’s youngest Divas Champion, Merchant charts a predictable course, but does so with such crowd-pleasing heart and humour that the film is consistently hugely entertaining, perfectly balancing laughs and lump-in-throat poignancy, Johnson cheerfully sending himself up while Pugh (and her sparky back and forth with Vaughn in one of his better turns) lights up the screen with her mix of determination and insecurity. In reality, Johnson has admitted that Paige’s title fight was fixed, but there’s nothing fake about the film’s chokehold emotions. (Cineworld NEC; Empire Great Park; Odeon Birmingham; Showcase Walsall; Vue Star City)
Fisherman’s Friends (12A)
Very, very loosely based on the true story of how a bunch of Cornish fishermen from Port Isaac wound up becoming the first traditional folk group to have a Top 10 UK album with their a capella sea shanties, this is an old-fashioned Brassed Off-styled Ealing throwback British family comedy (it has a single four-letter expletive so as to avoid a PG cert) which may be unashamedly cheesy, unsubtle, predictable and clichéd, but is also hugely enjoyable, good-natured fun.
Arriving in Port Isaac for a stag weekend with three obnoxious music publisher colleagues, high-flyer London music exec Danny (Daniel Mays) is wound up by his boss, Troy (Noel Clarke), who tells him to get the local sea shanty singers to sign a deal, because their material is all out of copyright. They then promptly take off back to London to enjoy the joke. However, hearing them sing and getting to know them, Danny starts to really believe they have something different and special that could actually find a big audience.
The fishermen, headed up by proudly Cornish Jim (James Purefoy) and his crusty old dad Jago (David Hayman), naturally think he’s deluded, just another of the tossers from London who come to Cornwall to buy a second home they never live in, but his passionate belief wins them over, just as it alienates the smug Troy who refuses to sanction the signing. So, Danny takes matters into his own hands, flying solo, recording a demo album and hawking it around the majors, to the inevitable non-plussed response. Until that is the group lands a spot on morning TV with a version of the ‘National Anthem’ that goes viral.
Alongside having to persuade the cynical, brooding Jim that he’s not some chancer who’ll change with the wind, the film weaves in a romantic subplot as lonely Danny falls for his landlady, Jim’s divorced single-mom, aspiring photographer daughter Alwyn (Tuppence Middleton), who, after her initial prickliness, begins to warm to him too. And then there’s another strand involving the local pub and its history, the heart of the village, where Jim’s mom, Maggie (Maggie Steed), works behind the bar, but which its young fisherman owner, Rowan (Sam Swainsbury), with a new baby and bills piling up, can no longer afford to keep on, Danny facilitating a sale to a smooth London property developer, who, despite his promises, the locals feel will inevitably trample all over its tradition.
Peppered with groan inducing puns such as the group being called a ‘buoy band’, a line about sucking on a Fisherman’s Friend, a contrived Reservoir Seadogs gag and broad fish out of water comedy when the lads head down to London and are aghast at the price of a pint (not to mention fish), even so it’s hard to resist its soft centre or even the clunky espousal of tradition and community values lost in today’s fast-paced, self-serving world. With the cast that also features I, Daniel Blake star Dave Johns, a balance of laughter and tears (naturally someone has to die), betrayal and redemption, and some lusty singing that includes the group improbably getting a pubful of London Millennials to join in with What Shall We Do With A Drunken Sailor, this is the catch of the week. (Cineworld NEC, Solihull; Empire Great Park; Showcase Walsall; Vue Star City; until Tue: MAC)
Five Feet Apart (12A)
The latest addition to the fatally ill star-crossed lovers teenage romance subgenre, this stars Haley Lu Richardson from the little seen Columbus and Cole Sprouse as two hospital patients with cystic fibrosis, which, as per the title means they cannot come into close contact lest the one exacerbate the other’s illness. Stella (Richardson) is in hospital awaiting a lung transplant when. She meets the irreverent, cavalier cartoonist new arrival Will (Sprouse), who, enrolled in a clinical trial, carries a bacteria that would be dangerous to her and they’re told by the maternal head nurse (Kimberly Hebert Gregory) to stay six feet apart, the distance a germ can travel through the air. She suggests they make it five.
Initially mismatched, naturally love blooms and along with it all the inevitable obstacles, not to mention an obligatory fellow longtime patient gay best friend (Moises Arias) and survivor guilt about a dead sibling. But, naturally, very little by way of parental presence. Initially promising to offer insights into living with CF, it soon hurtles headlong into romantic melodrama clichés as we wait to see if they will risk death for a moment of life. Richardson reinforces the promise shown in previous films, but, paired with an actor of limited range and a script creaking under the weight of hackneyed dialogue. The Fault In Our Stars and Me and Earl and The Dying Girl showed just how high this sort of material can be elevated. This simply shows how far it can sink. (Showcase Walsall; Vue Star City)
How To Train Your Dragon: The Hidden World (PG)
The third and final entry into the animated Vikings and dragons saga sets out to explain why the latter vanished from the face of the earth, weaving in lightly handled themes of persecution, genocide and refugees in the process.
Some years after events in part two, Hiccup (Jay Baruchel) is now chief of the community on Berk where Vikings and dragons live together in harmony. However, as revealed in the opening sequence, the latter are in increasing danger from dragon hunters and their marauding ships, and, with the subsequent rescues stretching the population on Berk to its limits. As such, Hiccup realises that, if both they and the Vikings are to be safe, they need to move on from their home of many generations. Increasing the urgency, is the arrival on the scene of Grimmel (F. Murray Abraham), a ruthlessly obsessed dragon hunter who is determined to exterminate all dragons (though he uses his own, which he controls, to do so) and made his name by slaying every last Night Fury. So, learning of the existence of Toothless, the dragon alpha male and Hiccup’s devoted obsidian-coloured companion, he is consumed with finishing the job. To which end, he has a very special bait, the white, sparkling skin sole surviving female who, when seen by Hiccup and Astrid (America Ferrera), is dubbed a Light Fury by the latter, plotting to use the fact that the species mate for life to lure Toothless – and, in turn, all the other dragons, into his trap.
To save them, Hiccup resolves to discover the legendary Hidden World of Caldera, the original home of dragons, that his later father (Gerald Butler in flashbacks) spoke about where the two species can live in peace and safety. Things don’t work out quite as he hoped, the film playing on an if you love someone, you have to set them free theme that echoes Born Free, but, despite a sometimes repetitive narrative, getting to the finale is an often exhilarating ride, the central thrust complemented by the tentative relationship between Astrid and Hiccup, who Gobber (Craig Ferguson) reckons should get married.
The gang are all back for the finale, among them the boastful Snotlout (Jonah Hill) who has his eye set on Hiccup’s widowed Dragon Rider mother, Valka (Cate Blanchett), bickering buffoon twins Ruffnut (Kristen Wiig) and Tuffnut (Justin Rupple) and Fishlegs (Christopher Mintz-Plasse), all getting their turn in the spotlight. There’s also some amusing additions to the dragon cast with the small, rotund and fanged Hobgobblers, who seem to be constantly breeding. Sporting dragon scale armour and wielding a flaming sword, there’s more than a touch of Star Wars to Hiccup here, but, thankfully, the self-belief fuelled screenplay resists further allusions and gets on with delivering both thrilling action set-piece and visually entrancing worldess sequences such as the amusing clumsy mating dance between the two Furies that climaxes by literally taking flight, and the glorious vision of the hidden world itself. A some years later coda does open the possibility of returning to the characters, but, given the emotional arc and catharsis here, that would be a mistake. (Odeon Broadway Plaza Luxe; Vue Star City)
Lords Of Chaos (18)
Back in 1984, Mayhem became the controversial pioneers of Norway’s black metal scene, one which, associated with Satanic worship, spawned a string of church burnings and saw one of their singers commit suicide and a former member murder one of the band. Adapting the biography of the same name, Swedish director Jonas Åkerlund, who has a long history of music videos and founded black metal outfit Bathory, takes a gallows humour black absurdist comedy approach that doesn’t shrink from the dark, nihilistic aspects but which does have considerably more laughs (the bands’ actual answerphone message was “We can’t come to the phone right now because we’re too busy sacrificing children”) than you might expect.
It stars and is narrated by Rory Culkin who brilliantly plays Oystein Aarseth, the band’s founder who originally called himself Destructor before settling on Euronymous, recruiting the unhinged Per Yngve Ohlin (Jack Kilmer), who called himself Dead, worse corpse makeup and would frequently cut himself during gigs, as their vocalist, only for him to commit suicide by blowing his brains out in 1991, leaving behind a note saying “Excuse all the blood, cheers.” Aarseth immediately took photos of the body, one of which later ended up on the cover of a bootleg album.
Dead was replaced by Hungarian singer Attila Csihar while Aarseth also recruited bassist Varg Vikernes (a mesmerisingly unsettling Emory Cohen) on bass, a troubled neo-Nazi sympathiser who took the band into even more extreme territory than Aarseth who, the son of a middle-class family, was all theatrical front and pose rebellion rather than the real thing (he shut his shop when his parents complained), could handle. An argument between the two at Euronymous’s Oslo apartment in 1993 ended in Vang murdering him, allegedly stabbing him twenty-three times, and being subsequently imprisoned for murder and church arson.
Regardless of your feelings about the music and the death metal scene, this is considerably more fun than any film featuring severed pig heads, hung cats and hate-fuelled church burnings deserves to be. (Electric; Vue Star City)
Ray & Liz (15)
Birmingham-born Turner Prize nominated photographer Richard Billingham makes his directorial debut with this grim and relentlessly depressing 16mm portrait of dysfunctional family life inspired by his own parents and upbringing, something he’d previously documented in his mid-1990s photos of his shiftless, spineless, alcoholic dad, Ray, obese, heavily tattooed chain-smoking, jigsaw puzzle obsessive mom, Liz, and younger brother, Jason, who was taken into care when he was 11, collected together for the book Ray’s a Laugh and featured in the same Sensation exhibition that included Damien Hirst’s shark in formaldehyde and Marcus Harvey’s portrait of Myra Hindley.
As you might imagine, there’s not a particularly upbeat vibe to the film, although there is rather more dark humour than you might expect, not least in how, left alone to care for two-year-old Jason (Callum Slater) while Ray (Justin Salinger), Liz (Ella Smith) and Richard (Jacob Tuton) go shoe-shopping, feeble- minded Uncle Lol (Tony Way) is persuaded by Will (Sam Gittins), the family’s psychopathic tenant, to drink the hidden stash of booze, Ray and Liz returning home to find him senseless, drooling vomit and Jason playing with a kitchen knife.
Mostly though this is an unrelentingly grim working class portrait of appalling alcoholism, child neglect and poor hygiene, but one that observes rather than seeks to apportion blame and which often betrays a sneaky bittersweet affection for its horrendous subjects, even at their most grotesque.
Structurally it’s comprised of three shorts, one of which was released to attract crowdfunding, and with intense close-ups and sustained shots, the third section showing the now nine-year-old Jason (Joshua Millard-Lloyd) and teenage Richard (Sam Plant) fending for themselves on bread and pickled cabbage in their cramped tower-block with their parents comatose in bed before social services finally intervene.
It also interlaces scenes of the now much older Ray (Patrick Romer) whose daily routine consists of waking up, staring out the window and drinking the homemade beer supplied by neighbour Sid (Richard Ashton), at one point visited by his now estranged wife (here played by Deirdre ‘White Dee’ Kelly). Strikingly shot by cinematographer Daniel Ladin with minute detail provided by production designer Beck Rainford, you’re given the feeling of watching the animal in the cages of a human zoo, horrified but transfixed. (MAC)
Writer-director Jordan Peele follows up his hugely successful Get Out with another horror, this one a spin on the home invasion/doppelganger genres, laced, as with his previous film, with political, social and racial commentary and the zeitgeist anxiety and fear of the ‘other’.
With title credits explaining how there are thousands of tunnels beneath the USA, the film opens with a 1986 Hands Across America commercial, when six million people formed a human chain to raise money for the homeless, and a shot of dozens of rabbits in a room walled with cages. Cut then to an African-American family’s visit to Santa Cruz beach in which, wearing Michael Jackson Thriller t-shirt, their young daughter, Adelaide (a facially expressive Madison Curry), wanders off into a hall of mirrors attraction inviting visitors to Find Yourself. Inside, she comes face to face (or initially face to back of head) with a child who looks exactly like her. She screams and we next see the parents talking to a shrink about how the girl’s not spoken since she was found.
The film then switches to the present day when the now grown Adelaide Wilson (Lupita Nyong’o), over enthusiastic husband Gabe (Winston Duke) and their two kids, disaffected Zora (Shahadi Wright Joseph and horror obsessive Jason (Evan Alex), the latter always sporting a Halloween Wolfman mask, heading to a Northern California beach house and she being reluctantly persuaded by Gabe to visit the Santa Cruz beach and meet up with their wealthy white neighbours Kitty (Elisabeth Moss) and Josh (Tim Heidecker).
All seems well until night falls when they see four figures standing in the driveway. Dressed in red and each looking exactly like them, carrying golden scissors and, either talking in hoarse gravelly tones or simply howling, they proceed to force their way into the house, sending each family member off in different directions, pursued by their lookalike.
Without giving too much away, it would seem clear that the other-Adelaide is the girl from the mirror maze and, after a dose of blood-letting, the action shifts to the neighbours for another bout of carnage as they are attacked by their own doppelgangers, with, at one point, Zora taking bloody control of the fight. Meanwhile there’s television reports of a wave of similar incidents across the country, with images of figures in red linked hand in hand.
Peele plays the provocative card early on when Adelaide asks her double ‘What are you?” and she replies “We’re Americans”, though she also later refers to themselves as The Tethered, while the film, which is littered with assorted horror movie references, makes sparingly effective use of jump scares while the score and light and shadow build the sense of threat. However, despite an oiver-explained last act scene in which Adelaide’s double reveals her past and motives, the film is never as thematically direct as Get Out, leaving audiences to draw their own conclusions to what’s going on and what it’s trying to say about, well, whatever, the title pronoun obviously also carrying US resonances in echoing naval commander Oliver Hazard Perry’s 1813 report that “We have met the enemy, and he is us.”
Is it as simple as a convoluted riff on we’re our own worst enemy, or this there more going on beneath the surface (as there is indeed in the film’s narrative). It’s hard to be certain, and the film never seems quite sure either. But either way, you might not look at yourself in the mirror the same way for quite a while afterwards. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza Luxe; Showcase Walsall; Vue Star City)
What Men Want (15)
A gender spin remake of Mel Gibson’s 2000 comedy in which he suffers an accident and awakes to find he can hear women’s thoughts, this uses the concept to address themes of boardroom chauvinism, glass ceilings and female empowerment with a sparky turn from Taraji P. Henson as Ali Davis, an Atlanta sports agent who, the only woman in an office of testosterone-fuelled ego-centric wannabes, is constantly passed over for promotion.
Passing out and banging her head after being given spiked tea by an eccentric psychic (Erykah Badu, who dominates the end credits outtakes), Ali wakes to find she can hear what men are thinking, a fact confirmed by her geeky sports fanatic and inevitably gay assistant Brandon (Josh Brener), an ability she can use to get one over on her ultra-competitive rivals as she seeks to sign rising basketball star Jamal Barry (Shane Paul McGhie). This, in turns, leads her to pass off her one night stand too nice to be true widowed single father Will (Aldis Hodge) and his young son as her family because she ‘hears’ the thoughts of Jamal’s manager dad (Tracy Morgan in 30 Rock mode) about not trusting a woman without one.
While Gibson’s character learned to appreciate women, there’s no such intent here, Brandon aside pretty much anyone male proving irredeemable sexists who regard women as their intellectual inferiors. This is about Ali discovering herself and not liking the person she’s become. As such, with a support cast that includes Richard Roundtree as her dad and Phoebe Robinson, Wendi McLendon-Covey and Tamala Jones as her neglected female friends, the film doesn’t really have anywhere to go other than for Ali to prove the capabilities she already possesses and realise that she’s becoming just like her self-absorbed, ruthlessly scheming colleagues in a quest to be one of the boys while the romantic comedy subplot fizzles along. There’s some amusing moments, most notably Ali owning a men only poker game, and Henson gets to finally show off her physical comedy chops in a leading role, but as films about workplace sexism go this is not Hidden Figures.(Cineworld 5 Ways, NEC; Empire Great Park; Odeon Birmingham, Broadway Plaza Luxe; Showcase Walsall; Vue Star City)
The White Crow (12A)
The third film to be directed by Ralph Fiennes, this meticulous if somewhat dry affair tells of how the legendary and intensely egotistical ballet dancer Rudolf Nureyev, born on a train in 1938, rose to fame and came to defect from the Soviet Union in 1961. Visiting the West for the first time with the Kirov Ballet, after not being allowed to dance on the opening night as punishment for disobedience, when the company arrived at Le Bourget Airport in Paris, the 23-year-old star refused orders from his Soviet minders to get on the plane home. Former dancer turned first-time actor, Oleg Ivenko wears Nureyev’s skin with ease while Fiennes takes on the role of his mentor, Alexander Pushkin, ballet master of the Vaganova Academy of Russian Ballet, and whose wife took an even greater interest in the young prodigy. Framing Nureyev’s childhood in black and white, the film, written by David Hare, is soaked in the paranoia and conspiracy of the Cold War period even if the narrative is often too extended rather than focusing on the core drama.
The title, as he tells sulky socialite Clara Saint (Adele Exarchopoulos) as they frolic around Paris, refers to his childhood nickname, a term for an outsider, prompting several flashbacks to his formative years in Ufa and Moscow and early signs of defiance of authority which tend to hinder rather than enhance the film’s momentum. (Electric)
Screenings courtesy of Odeon and Cineworld
Cineworld 5 Ways – 181 Broad St, 0871 200 2000
Cineworld NEC – NEC 0871 200 2000
Cineworld – Mill Ln, Solihull 071 200 2000
The Electric Cinema – 47–49 Station Street, 0121 643 7879
Empire – Great Park, Rubery, 0871 471 4714
Empire Coldfield – Maney Corner, Sutton Coldfield
0871 471 4714
The Everyman – The Mailbox 0871 906 9060
MAC – Cannon Hill Park 0121 446 3232
Mockingbird, Custard Factory 0121 224 7456.
Odeon Birmingham -Birmingham, 0871 224 4007
Odeon Broadway Plaza Luxe – Ladywood Middleway, 0333 006 7777
Odeon West Bromwich – Cronehills Linkway, West Bromwich 0333 006 7777
Reel – Hagley Rd, Quinton, Halesowen 0121 421 5316
Showcase Walsall – Bentley Mill Way, Walsall 0871 220 1000
Vue Star City – Watson Road, 08712 240 240