Fine acting and a highly promising opening can't mask a disappointingly cold and uneven work
Exhilarating and disappointing in equal measure, Quentin Tarantino's Django Unchained is a bafflingly random pastiche, a mixture of ingredients that should be wholly satisfying but somehow aren't. One only needs to re-read that sentence to be reminded of why Tarantino is so polarizing; let's face it, his trademarks, whether they're Mexican standoffs, pop and pulp references or blatant obsessions with cinema and feet, can be applied effectively to any genre when used in the proper context. When he's on song, he can be exceptional; when he isn't, he can be irritating and self-indulgent. And I'm sorry to say Django Unchained (though Django Uneven sounds like a more apt title for it) rubs me the wrong way.
To these eyes, the film comes across as an attempt to recreate the epic swoop of Inglourious Basterds in the style of an all out spaghetti western, minus the structure, flow and excitement that raised Inglourious above numerous similar films of its ilk.
Not that you would think so from the exceptional promise of the first thirty minutes, with its stylishly retro credits and interesting set-up. A kinetic and consistently intriguing opening which sees German bounty hunter Dr. King Schultz (Christoph Waltz) free a slave, Django (Jamie Foxx) and take him under his wing slowly degenerates into an overly long and overly talky 48 Hrs. meets O Brother, Where Art Thou?, albeit in a different time period with more annoying music and a more pointlessly sprawling running time. The absence of Tarantino’s longtime editor, the late Sally Menke (watch below), is keenly felt.
Django Uneven – alright, Django Unchained - is the sort of film I feel bad about criticizing, as in a way, it feels like Tarantino's Inception. (It even has Leonardo Di Caprio in a major role.*) That is to say, it comes across as a very important and personal project for the director, but does not suit the epic bloat he thinks it requires, leaving us with a rather cold and detached end result.
What essentially salvages the picture, in addition to its opening, are strong performances from its leads (even if Di Caprio comes dangerously close to rehashing his intense shtick at one point), particularly Christoph Waltz. His slippery presence and irresistibly commanding line delivery is a welcome oasis in a desert of inconsistency. Whatever Django Unchained may lack (or not need, like a cameo from its director), it's got Waltz, and that's more than enough to earn the film a minor pass.
Ultimately, though, the only thing truly Unchained about this Django is its director – even Jamie Foxx comes across as little more than your average Tarantino hero. And Tarantino, when wholly unleashed – undeniably gifted and thought provoking but equally vexacious – can be a dangerously intolerable thing.
Roy McCullough sells Derry-Londonderry to the general public through sights, sounds and interviews
A positively nostalgic and sometimes elegiac tone permeates Roy McCullough's living slideshow of the City Of Culture, a picturesque and musical tribute that fascinates through its interesting anecdotes, personable approach and naturalistic veneer. Like Michel Hazanavicius' The Artist, it both honours and laments a bygone era while simultaneously hinting at the possibilities that still exist within everything it explores, from choirs to landscapes to brass bands. It is, in essence, a very worthy document of the achievements and possibilities present in this now highly publicized corner of the North West of Ireland.
In an interview with McCullough, Londonderry Musical Society (LMS) President Donald Hill dishes out some fascinating trivia – did you know the LMS was originally titled the Londonderry Light Opera Society? – before going on to spill the beans on his favourite role, his favourite show, and the significance of the society in the community. While acknowledging how difficult it is to keep the society going in the current economic climate, he has some great memories; like shaving his head to play the Wazir in Kismet in 1996, recalled in an amiably tongue-in-cheek manner! The bad of the Society – notably, turning up for rehearsals late and being spotted with your "nose in the book" by the musical director! – is contrasted nicely with the good, a rehearsal of "Love Changes Everything" in the City Of Derry Rugby Club which leaves one feeling exceedingly warm. It's a sign that the LMS is truly something to proud of, something that is not due a eulogy, but a rebirth.
It's interesting how one's tastes in music can change over the years. Once a Sinatra buff, Harry Harkin tells McCullough he now prefers chorus material, making him ideal for such a versatile, thematic choir like the Doire Calgach Singers. A cordial choral performance of "Chattanooga Choo Choo" in An Culturlann nicely leads us into imagery from Grainan Fort, where it's clamed you can see five counties on a clear day: Derry, Donegal, Antrim, Tyrone and Sligo.
Cue a shot of Jim Goodman giving the Christ Church organ's keys a thorough work out with the indelible Londonderry Air, before he chats to McCullough about the Britannia Concert Band. And it's a very interesting chat indeed. The band that started playing in 1866 was rather different from the band we know today; it was no more than a flute band back then, before becoming a brass band in the 1880s, and then a brass and reed band even later on. You may also think the name Britannia came from the famous royal yacht that currently lies in a shipyard in Edinburgh, but in truth, no one quite knows where it came from... Goodman believes that the old Derry shipyard inspired it.
Goodman puts the success of the band down to strong family connections (his brother, Ken, is the current band master), team effort, hard work, Tuesday rehearsals and a high standard of musicianship. If he could wish for anything, he says, it would be greater involvement in community events and a consistently high attendance for the Showstoppers concerts, which the band do in conjunction with the LMS. The main challenge, says Goodman, amongst all the music and the fun that the band have had, is maintaining the future of the band by keeping the strong core of musicians that have helped make it what it is today. By the time we hear the band play "Love Changes Everything" alongside a still shot of the band playing at Ebrington Square, we're on his wavelength.
Derry-Londonderry, old and new, then gets showcased on a brief historical tour of St. Columb's Cathedral, the new Riverside walkway, the old railway station and the Millennium Forum. Listening to the LMS and Brittania Band perform "Love Changes Everything" together and later a performance of "Shenandoah" from the Doire Calgach singers creates a pleasantly wistful mood, one that carefully weighs the positives against the negatives while reminding us to never give up. And when we hear how the Showstoppers money has been used to help Long Tower Catholic Church and the First Derry Presbyterian Church, why should we?
Carolyn and Rachel Porter, the charming young teachers of the Porters' School Of Irish Dance, are the subject of McCullough's final interview. We were already treated to some superb dancing from their pupils earlier in the film, but now it’s time to hear more about the school themselves. Being former Irish dancing champions, they appear keen to train the next generation of high quality Irish dancers, and judging by the video footage we've seen, they're doing a great job. To them, the children they teach are like "one big extended family", and their approach and rapport has led to, amongst other things, three of their girls winning Ulster titles. You can only hope they sustain such success.
I'll conclude this piece with a little poetry.
Despite all the music and dance we've seen, most moving of all is the closing scene, where McCullough walks over a bridge full of lights; and I'll leave it to him to sum up the sights.
"Oh I know a wee spot, 'tis a place of great fame,
And it lies to the North, now I'll tell you it's name;
'Tis my own little birthplace, and it's on Irish soil,
Sure they call it lovely Derry... on the banks of the Foyle."
Being confined to one's living room does not dampen the proceedings, as Si's Sights And Sounds find themselves swept up on a tidal wave of optimism near the beginning of our Cultured year, thanks to a superb musical event
"Some call it Derry. Some call it Londonderry. Some call it Stroke City. But whatever you call it, we call it home. And home is where the heart is on this very special night."
-- Amanda Burton
To call Derry-Londonderry's Sons And Daughters extravaganza merely another "concert" would be a little insulting, as it is so much more than that – it is a stylish celebration of musical talent both young and old, an artistic exhibition for both the Maiden City and Ebrington's ViTal Venue on both the national and international stage. That this writer is unable to make the event in person and finds himself watching it on television hardly ruins the symphony, as whether you are inside the tent-like structure or watching it at home, the feeling is the same – you are there. You have to be there. If the names of the indelible One Big Weekend at Prehen Playing Fields in 2004 aren't present, then the mood certainly is – and that counts for a lot.
Why does one always get a little shiver when he or she hears the terribly overplayed, but iconic, "Just Say Yes" accompanied by images of Derry-Londonderry? Is it because the small, in terms of size, but massive, in terms of heart, community and talent, city in the corner of the North West of the island of Ireland is now looking not only especially attractive to visitors, but also easy on the eye? Truthfully, it's more than that – this city may have had its fair share of troubles, economically or otherwise, but it's ours. Our home. Same with the artists – we created them. We've given ourselves a marvellous opportunity to create and expand on a potentially superb artistic and communal legacy. As Phil Coulter would put it, the music in the Derry air is like a language all of us can understand, something crucial to our identity. And from the moment the cameras descend on the ViTal Venue – vital by name, vital by nature – one cannot help but be impressed. I've previously thought of it as Odyssey-lite on the inside, tent-like on the outside, but tonight no one cares how much of a tent it is.
Coulter's suitably wistful and convictive "The Town I Loved So Well" opens proceedings to rapturous applause, before James Nesbitt and Amanda Burton arrive at the forefront to remind us of our cultural significance in their own inimitable manner. It's impossible not to feel a great sense of local pride when hearing that the City Of Culture judges needed just twenty minutes to decide on Derry, even when Nesbitt jokes they should have probably taken ten. His sense of humour, too easy to take for granted, is well in keeping with the spirit of the event.
As are the "voices" of Derry’s own Girl Aloud, Nadine Coyle – I've said it many times before, but the contrast between her singing voice and speaking voice (what is it now? Derry-American?) has to be heard to be believed. Even her own material has never really been my cup of tea, but her energy is kind of endearing. And she looks good.
There's more variation to be found in the instrumentals of renowned Derry saxophonist Gerard McChrystal. With the crucial aid of pianist Ruth McGinley, the 2,000 capacity crowd appear slowly but surely transformed from interested observers to active participants. No better time, then, for the lovely Eva Birthistle to take centre stage and comment on "the incredible talent the city has to offer."
Like Neil Hannon. Being a Divine Comedy fan, it is hard for me to be wholly impartial, but Hannon is, and always has been, the kind of artist that easily transfixes you with the drollness of his shtick and the quality of his songwriting. Merely hearing him perform the beautiful "Sunrise" makes the set worthwhile, though it’s also fun to hear him "tell a funny joke" and hold a high note for a very long time. If he keeps this up into his later career, he'll have definitely earned the privilege of the plaque at his childhood home – 18 Northland Road, if you're curious – that he jokes about.
Amazingly, Hannon is outdone on stage tonight by Soak. The near-mercurial rise of sixteen-year-old Bridie Monds-Watson had really taken me by surprise – until tonight, that is. For someone so young, Soak displays remarkable composure, the gentle rhythm in her material beautifully complimented by both the backing band and the acoustics in the venue. You feel like you're going for a little soak in the sea, pun intended.
Dana and Damian McGinty fail to inspire similar enthusiasm, alas, though I suppose it's just a matter of taste; Dana's aloof approach has never done anything for me, and McGinty, despite his well grounded nature, comes across as a poor Ronan Keating impersonator during his solo number, which is a shame. Things get better for him, fortunately, as he combines with the Codetta Choir, Meabh McGinley, The Wonder Villains and a star in the making (more on her shortly) for a sublime rendition of "Let The River Run".
The banter and stage presence of The Undertones give us the raucous opening to the second half we hoped for, although to me, "My Perfect Cousin" comes off better than "Teenage Kicks" this time. Maybe the sound's not the kindest to them, or maybe you have to be at the Venue to appreciate both songs? Either way, the crowd are happy.
Happiness turns to wistful melancholia as Amanda Burton reminds us of the marvellous shirt factories that no longer are, leading star in the making Mairead Carlin to step forward and perform a genuinely spellbinding rendition of "Scarlet Ribbons". It's a pitch perfect performance, sweet without being syrupy, sad while tinged with a hint of optimism, powerful without being overbearing. And it's followed by waving kisses and a very humble "thank you" instead of a bow. Honestly, what is not to like?
The McConomy School of Irish Dancing & Emmett Conway Pipe Band then put on a stunning display of traditional music and dance, arguably the most outright entertaining and admirable thing we've seen tonight. Coupled with easy-going, powerful acoustics and strings from Paul Brady (who's actually from Strabane!) and the backing band, it all amounts to a promising lead in to The Priests, whose strong, harmonic performances of "You Raise Me Up" and "Amazing Grace" delight the crowd.
The old James Nesbitt humour returns when he jokes that when Snow Patrol were asked to come to Derry, they "just said no"! Except, how could Gary Lightbody and Johnny McDaid really say no, especially considering their connections with the Maiden City? Lightbody's Derry-based parents are out there tonight, and he is clearly keen to put on a heartfelt show for them and everyone else. He and McDaid do not disappoint, delivering a nice stripped-back version of "Run" before singing "Just Say Yes" in a key, rhythm and manner similar to The Calling’s "Wherever You Will Go". Strange though it sounds, it works well.
The true Crowning Moment Of Heartwarming comes, however, when Lightbody dedicates "Chasing Cars" to John Hume. The mere applause at the mention of Hume’s name, let alone the crowd joining in the final chorus of possibly Lightbody's best known (and most overplayed) tune, may yet become indelible.
By the time the Codetta and Phil Coulter leave us (if you'll excuse the puns) ready to breathe the Londonderry Air again and set off for a Bright, Brand New Day, everyone has plenty of memories to take away with them. Despite the difficult times, we can only hope that Coulter is right when he says that Derry-Londonderry is on the brink of "something very special... a better future for its sons and its daughters."
Si's Sights And Sounds has a soft spot for the musical version of Victor Hugo's famous novel - to date, it is the only musical our writer has seen in London's West End. Hence we've decided to do something a little different with our review of the film...
For the very first time at Si's Sights And Sounds, we've invited a special guest reviewer to share his or her opinion on the "work of art" being reviewed. Today, we welcome the thoughts of arguably the biggest Les Misérables fan in Derry-Londonderry, avid musical lover (and aspiring stage star!) Amy Astbury.
Read on as Si and Amy compare and contrast their views. (Spoilers ahead.) Si: As just about every fan of musicals and classic literature knows, Les Misérables (or Les Mis) tells the story in song of Jean Valjean, played on screen by Hugh Jackman. After stealing a loaf of bread condemns Valjean to almost two decades’ worth of imprisonment, he breaks his parole and decides to make a new name for himself, even as Russell Crowe’s persistent Inspector Javert is on his track. Two more decades on and Valjean, under a new name, is prospering as both a mayor and businessman; that is, until he makes the decision to take Cosette, the child of Anne Hathaway’s dying whore Fantine, under his wing and raise her. Further complications abound when Cosette (Isabelle Allen as a child, Amanda Seyfried as an adult) grows up and falls for Eddie Redmayne’s revolutionary Marius, who Eponine (Samantha Barks, reprising her role from the West End) admires from afar; all while a city uprising and Javert's dogged pursuit of Valjean continue.
(Addressing Amy) Adapting a musical to the big screen can be a really tricky business. Do you think Tom Hooper, relatively fresh off his success with The King's Speech, manages to pull it off?
Special Guest Reviewer
Amy Astbury
Amy: I think that he has done a truly stunning job. If you go to watch the film expecting to see the stage version then you're going to be let down. You kind of need to go with a clear head. You learn so much more from the film than you do from the stage musical, and the sets look great too.
Si: I'll add that I've always liked the familial relationships that develop between mentor and pupil in his films, and how the central characters face their antagonists; think Brian Clough and Peter Taylor vs. Don Revie in The Damned United, or Bertie and Lionel vs. Edward in The King's Speech. He's done it again here with Valjean and Marius vs. Javert, except he’s not working from as good a script here, which is to his detriment. I don't doubt he has a vision, he's just not a strong enough auteur, in my eyes, to pull it off. To me, his techniques – repeated close-ups, live singing and almost no spoken dialogue – become a little wearing after a while. I don't think he knows whether to make a Sweeney Todd or a Mamma Mia...
Amy: I actually think that the close-ups are really effective, especially during "I Dreamed A Dream". They give you a better insight into the characters' expressions. I also think that the singing technique – live, with the actors wearing earpieces with a piano track to keep them in time with the music, which the orchestra then record over in post-production – is quite successful. That's a very good thing, as the singing is one of the most important elements of any musical film and can easily fall flat.
Si: I see what you mean, but I believe the close-ups would work better in smaller doses.
Amy: Yeah... I still prefer the stage musical, there's no doubt about that! In my opinion, no musical film can compare to live theatre.
Anne Hathaway dreams a dream...
Si: You mentioned "I Dreamed A Dream"... what do you make of Anne Hathaway? She's become a personal favourite of mine these days; probably the most improved actress of the decade, in my opinion. I think she really relishes every moment she is on screen, and recognises what makes the aforementioned song truly work.
Amy: I think she is flawless! Fantine is one of my favourite roles in this show and Hathaway absolutely steals it. When she sings "I Dreamed A Dream", I would defy anyone to keep a dry eye, for it is so heart-wrenching and you cannot help but feel sorry for her! She definitely makes the most out of her limited screen time; you can tell she's putting her heart and soul into it!
Si: I would add that she shows an aching vulnerability that’s not quite welcome on stage. Theatre audiences want something a bit more "booming", "in your face", whereas on screen things must be more expressive. Hathaway nails that.
Amy: I agree! And I must also say that the moment we see Cosette through Fantine's dying eyes is both beautiful and heartbreaking; it's one of my favourite things about the film.
Si: What about Hugh Jackman and Russell Crowe? I have to admit to being pleasantly surprised by both. The film never feels like Wolverine vs. Maximus...
Amy: Crowe has had probably the most mixed response. He obviously isn’t the greatest singer, but I think the casting definitely works. His presence and expressions are just right and him and Jackman play off one another very well!
Si: Though Jackman does butcher "Bring Him Home". He should have sung it in Key F.
Amy: I agree!
Javert vs. Valjean
Si: Yeah, it made me squirm. But apart from that...
Amy: I think Jackman is a great Valjean. He is tough, yet compassionate and definitely understands how to play it. And his singing is reasonably good too, even though, as you said, "Bring Him Home" is a struggle... his rendition just isn't strong enough.
Si: One rendition that is more than strong enough was Samantha Barks' "On My Own" (listen below). I really like Barks; her Eponine comes across as truly genuine. I do wish she had more screen time, though; her death doesn't carry the impact it should.
Amy: Yeah, she doesn’t get enough time! It is also annoying that the filmmakers cut some of "A Little Fall Of Rain" and make her death look like a sacrifice. Still, her portrayal really moves me. And I think she deserves more recognition than she is actually getting, compared to Amanda Seyfried who I don't really like in this film.
Si: You too? To me, Seyfried has always been a little flat. She isn't right for Cosette. Brings back uncomfortable memories of Mamma Mia! Eponine is far more appealing.
Amy: To be honest, I've always felt Cosette was a rather dull character and I fear she still is in this film, which is less down to Seyfried than to the role itself. She makes a good stab at it, I suppose, but I’m not keen on her voice. I feel it's a bit weak.
Si: As is her chemistry with Eddie Redmayne's Marius.
Amy: Indeed, although I think Redmayne is quite a good Marius. His portrayal of "Empty Chairs And Empty Tables" is very well done.
Si: I've been critical of the director, but I've got to give him this; he made Sacha Baron Cohen actually funny again! "Master Of The House" is kind of like Sweeney Todd in its execution.
Amy: Yeah! The Thernadiers (Cohen, and Helena Bonham Carter), I think you can agree, provide the much needed comic relief in the show! And the whole "Master Of The House" sequence is done brilliantly.
Si: In closing; any other things you really enjoy about the film?
Amy: So many; the new song, "Suddenly", the fact that they didn't cast all well known actors, and that so many well-known West End actors, including the original Jean Valjean, Colm Wilkinson, are included. We can't forget Isabelle Allen either, who's amazing as the young Cosette, or Tom Huddlestone, who plays Gavroche; his acting and singing skills are worthy of someone well beyond his years!
Si's Sights And Sounds watches as three of Derry-Londonderry's best-known musicians kick-off the City Of Culture year in style
The Home Grown Performers
When BBC Radio Foyle's Mark Patterson introduces the Millennium Forum's first live event of 2013 by likening it to a "party" that "feels like a "Clipper reunion", he's not far from the truth. For all three of the artists who will play tonight performed at the Clipper festival last year to deafening and joyous applause. One wonders, however, if they will be able to replicate the feel and atmosphere of said event in the confines of an auditorium. Well, we need not worry.
Paddy Nash and Diane Greer.
Although midway through his set, it seems that Nash and his Happy Enchiladas have their doubts: "We're more used to playing in front of bar crowds, so why don't you all just turn around and chat with your drinks?" It's a joke, of course. But it's also a likely attempt to ease the pressure that comes with playing a homecoming gig in Derry's most prestigious indoor venue. And it works; every member of the audience laughs. In an environment more akin to a very popular public house, there's a capacity crowd, loud applause after every number and good spirits – just what the doctor ordered for the first event on Derry's cultural calendar.
Nash and the Enchiladas are a rare breed indeed – communally warm, gently satirical and unapologetically local. When the idiosyncrasy of their instrumentals, dress sense and topical lyrics isn't rubbing off on everybody, they're amusing in truly unexpected ways. Like when Nash's "partner in crime" Diane Greer belts out the first verse of "Barefoot In Verona" through a megaphone and no one seems to notice; at least until Nash switches it off, that is. If he doesn't quite capture the open air magic of last July’s Legenderry occasion, few concerts could; and on the whole, it's an ideal start to the evening.
Bronagh Gallagher
From pulp about friction to a star of Pulp Fiction, then, as one of The Maiden City's most famous exports, Bronagh Gallagher, takes to the stage. And it's a real treat. Gallagher's deep, throaty vocals mix with a very jazzy backing band to create a uniquely versatile, booming sound, something simultaneously rich and unpretentious. Whether one chooses to be spellbound by backing vocalists Jordan and Shelley Buckspan, impressed by the rhythm of drummer Caolan McLaughlin, or amused by Gallagher's refreshingly close-to-home and amusing stories, the overall effect is the same: sublime. It may sound like excessive praise, but: a cornucopia of tasteful humour, tasteless (but good-natured) humour and a musical tapestry featuring (but surely not limited to) country, western, jazz, blues and soul; seriously, what's not to like? Gallagher's fearless and alluring approach to this concert is inspiring, the perfect tonic for a crowded Forum.
Paul Casey
Paul Casey is equally impressive, but what else would one expect from Derry's Mr. Dependable, especially on this occasion - his occasion, as he also organised it? Knowing that the Forum does not give his audience the freedom to stand up and dance, he sacrifices his more catchy numbers, for the most part, in favour of the more chilled-out, melancholy, drifting moodiness of his latest album, Big World. It works extremely well, exhibiting his well-honed musicianship while giving the punters a well-earned breather.
Still, Casey hasn't forgotten that we're also here to laugh and enjoy ourselves, and "Thanks For Letting Me Crash" and especially "Far" see to this, the latter song causing me to drop my notebook and clap along with everyone else. To me, "Far" sums up the whole evening; boisterous, bright and breezy, the sort of thing you never really want to end. And it hasn't, yet; there's still time for the audience to join Casey, Gallagher and Nash for a rendition of "Stand By Me" before the obligatory quest for albums, signatures and catch-ups, where all three of the stars are extremely receptive.
Other events in 2013, including the forthcoming Sons And Daughters concert, may yet give Derry more international recognition. But the city will never forget the power that lies within its roots – and what we've seen here epitomises this.
Dustin Hoffman goes behind the camera for a cordial musical dramedy that hits the right notes, for the most part
Sort of a Full Monty meets Richard Loncraine's Wimbledon, Dustin Hoffman's Quartet is about as polarizing as its director's characters tend to be. It's amiable, yet safe; it's smooth, yet conventional; it's charming, yet a little calculated. Those who see the Ben Braddock's and Raymond Babbitt's of this filmic world as a superficial and irritating series of tics will find little to be impressed by here; however, those won over by Hoffman's all too easy to take for granted brand of charm will find plenty to like. With the aid of a marvellous cast and an intelligent screenplay, Hoffman transfers the strengths of his screen persona into every one of the on screen characters, investing deceptively one-note individuals with plenty of life and warmth. It is, in terms of its upper class English nature, "a jolly good show", plain and simple.
Reg (Tom Courtenay), Cissy (Pauline Collins) and Wilf (Billy Connolly) are three of many talented, retired musicians residing at Beecham House retirement home. Reg likes teaching music theory to young people (his class on the difference between opera and rap is one of the film's highlights), Cissy, despite her good nature, is losing her marbles, and Wilf still fancies himself as a lothario even at this stage of his life. (Is it a coincidence, I wonder, that his surname is Bond?)
When the arrival of diva Jean Horton (Maggie Smith) arouses both tension and interest, it becomes a case of whether Jean and Reg, once romantically involved, can patch up their differences; and whether the four can reunite to reprise their quartet from Rigoletto at the institution's annual gala.
There are moments of minor darkness amidst the genial pluck and good humour amongst the Beecham House residents, but the pleasures of Quartet are largely of the what you see is what you get variety. As lively as the quartet (there's that word, yet again) of lead actors are, they're not really stretching their range; hence the casting of Billy Connolly is both a Godsend and a slight detriment to the proceedings. Without him, you'd have too solemn a picture; with him, it’s like he's regurgitating his stand-up routines in a professional surrounding. Still, he and the rest of the cast, including a typically curmudgeonly Michael Gambon, remain fun to watch (how could they not?) and there's an especially lovely turn from Sheridan Smith as the doctor in charge of the house. She's come a long way since her Two Pints... days.
It's only unfortunate that the shrewd characterisation and leisurely tone give way to a more uncertain, more conventional final act, but at least Hoffman ends things in an amusingly ambiguous manner. All in all: it's not bad. Not bad at all. And one final note: It's definitely worth your while to stay through the credits, and not just if you love classical music.
Freelance journalist, writer and photographer currently based in Derry-Londonderry. Especially enjoys discussing, and writing about, culture and football.
