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Performers take the required broad approach, while also finding engaging character details and indulging in a lot of amusing slapstick. Ebenezer gives the film a strong dose of heart as the intrepid Jack, the show's heroic straight man surrounded by larger-than-life scene-chompers. His romance with Moss' prickly Jill is diverting. And as Jack's flamboyant mother, Duncan is the show's star, shamelessly stealing focus from everyone else by changing into yet another astonishing costume, then leading the audience in various sing-alongs.

There are several skilfully staged sequences, including eye-catching group numbers and cheeky special effects, plus a riotous flight above London, into the river and beyond. And the story just gets increasingly ridiculous as it goes along, traversing through a number of hysterically nutty set-pieces that are infused with a blizzard of goofy and smart gags. Pantomime is a singular British tradition that might leave others lost. But this show is so blissfully giddy that it could earn an international fanbase. Especially for anyone who knows the power of a well-timed fart.

themes, innuendo

28.Nov.20

The cast is charming, even if everything is painted with broad strokes. Clark's chirpy Jen continually tries to liven things up with humour, which Rob deflects. Both are dealing with their breakups in their own ways, so Jen's optimism understandably both grating and attractive to Boyle's gloomy Rob. But it's Christmas, and there's no sense in wallowing. Several colourful characters fill in around the story's edges, adding nutty textures and little observations along the way, stealing moments but never whole scenes.

Hendrick's directing style is unflashy, keeping things grounded and a bit quirky as the mood veers from wacky to emotional and back. Although his tentative approach to most scenes leaves everything feeling slow and underpowered. Still, there's a strong theme in here about how it feels when living a lie finally comes to its end. This makes the film feel bittersweet, despite some pushy attempts to ramp up the happy sentimentality. So while the final act is stretched out, at least it brings a smile. And a reminder that finding people who actually care can be transformative.

themes, language, violence

23.Nov.20

Clerkin gives a superbly observational quality to Simon. Watching him physically transform is fascinating, as is a shifting sense of identity. His strained scenes with Maberly have a textured honesty to them. Then Fairbrass arrives with a superbly layered blast of growling machismo. Even his quieter moments bristle with intensity, and he beautifully plays the character's mercurial angles in some surprising moments. Supporting performers add some heightened black comedy by overplaying their roles.

The script never quite digs into bodybuilding culture, why men feel the urge to risk their health simply to inflate muscles. Johnson's undercooked script often reverts to violence and criminality, which Terry sees as an indication that Simon is "becoming a man". As one of Terry's parties descends into an extended orgy, this theme becomes oddly blurred, only hinting at something much more textured and intriguing. Otherwise, the salient idea is that is that Terry is brainwashing Simon into believing his version of masculinity. And when Simon realises this, it's eerily moving.

themes, language, violence, sexuality, drugs

2.Dec.20