I am not the target market for this film. I hate the song “Sweet Caroline” ( which is reprised half a dozen times) , am not a fan of Hugh Jackman, and do not own a single Neil Diamond record. And yet… I was largely won over by this formulaic feel good film.
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It is a film about the redemptive power of music and the capacity of the human spirit to recover from adversity. Diamonds music is ubiquitous, you don’t have to like him to acknowledge his song writing skills, and even though “Caroline” is done to death in the film, there is sufficient high quality alternative material to carry the day.
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The true story is not slavishly followed. The two hour condensed version works, but struggles with the massive mid plot gear change. a scene where some Lynyrd Skynyrd/ ZZ Top biker fans take issue with Diamond’s “Suleman” is undermined by the fact that I would have like to have punched Jackman too.
Kate Hudson is charismatic and engaging as Clare opposite Jackman’s Mike performing as a Diamond tribute act. The plot twists are neat, with some humorous lines and the set pieces are well done. But There is always a battle between Karaoke and schmaltz. The first act concentrating on the music works far better than the second as emotional drama.
A pulp fiction blockbuster powerhouse as a novel by Freida McFadden having sold six million copies. It would be an impossibility to convert that into a two hour film, so I approached it as a stand alone entity
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It worked. Spooky ( if knowingly so), gruesome ( gratuitously), pacy, slick and taut it is one of the best modern horror/chillers that I have seen, albeit a predictable formulaic one.
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Tamanda Seyfried, is chillingly unhinged as perfect housewife Nina Winchester, whose perfection does not last long.
Sydney Sweeney stars as Millie Calloway, a young woman with a troubled past who takes a live-in housekeeping job out of necessity with secrets of her own. She plays younger than her age in a provocative Jeffrey Epstein sort of way as prey to , Andrew Winchester (Brandon Sklenar). The finale is frenetic and compelling as Millie takes control with eroticism never far away, deftly handled by Director Paul Feig, The book is different from the film but the latter has been recrafted well
I approached this with some trepiastion. What was “the Final Act”?
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Was it Blackstar? an album much lauded in my view simply because of the extraordinary circumstances in which it was made by an extraordinary musical artist. Beyond the title track, “Heathen “ and the “Next Day” are far stronger collections of songs.
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Is the knowledge that your death is imminent a positive creative spur, or an imperative to do what you can with what you have where you are?
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Then there are the protagonists. Were they chosen because they had valuable insights, or because they themselves were ,marketable, therefore making the film more marketable?
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The significance of Blackstar as a concept is well explored, as is Bowie as a modern standard bearer for the artistic, an spiritual journey of us all.
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The promoter john Giddings view on David’s foray into Tin Machie was risible. Reeves Gabrel’s recollections way off beam, mainly in his anticipation of his own ability. Viv Goldman’s belief that th negative reviews took a pick axe to David’s ego- is absurd.
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Visconti ,and Wakeman ( looking unnervingly like a retired Sergeant Major), make the shrewdest observations. Dana Gillespie is delightfully humble and unassuming. Her estimation of Angie’s contribution to his stylistic metamorphosis generous. Gary Kemp the perfect voice piece for the fans.
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The music journalist’s verdict on Tin Machine- that they hoped it would go away, was amusing- as they did.
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The narrative arc is not chronological, but still contains some gems- not least some wonderful footage of a Young Americans performance with a stellar backing vocal team.
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Goldie adds nothing to the story ,Moby does. David’s prescient interview with Paxman about the Internet continues to astonish and amaze- the significance of his Glastonbury show is overstated. The magnificence of his performance is not. He sachays on with a supreme fey nonchalance imploring us to “Love me love me say you do”. Of course we do David!
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Slicky excels- David is not the only one who smiles when Earl launches into “Stay”. He, Garson and Visconti emerge as David’s soul mates. Visconti’s mealy mouthed refusal to mention Co Co Schwab by name is curious, the vignette of the meeting in which Bowie reveals his illness, heart warming and poignant.
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I do not think this film will win David any new fans, but to aficionados and the cognoscenti, it is indispensable.
Enjoyable Hokum starring Liam Neeson set in Manitoba Canada
There are plenty of ice road jeopardy moments- will they go through the ice or won’t they?
Of course there are truck and snow mobile chases.
This is ice road truckers with a bigger budget based around a diamond mine collapse. The baddies are ridiculously portrayed but it is not a documentary or a reality show, and the story cracks along at pace as the “good guys” defeat incredible odds. An unholy amalgam of Speed and Cliffhanger.
Nonsense- but loads of fun – More in the 2025 sequel set in Nepal also starring Neeson
The final instalment of the film trilogy. Languid, and with a fin de siècle air. Writer Julian Fellowes is now almost 76 years old himself. There is an inescapable sense that he is writing not simply about Downton Abbey but himself as the generational change in stewardship of the Abbey coincides with the tumultuous events of the 1930’s and another world war.
Nothing much happens. Lady Mary takes over. An American shyster is thwarted and that is about it. Apart from the fact that it is now all over. Or is it? Is a new series with Lady Mary around the corner?
The costumes, particularly the sister’s dresses are to die for, all bias cuts an cowl necks courtesy of Anne Robbins. The cinematography is lush and numerous loose ends over the entire series are tied up Noel Coward comes to dinner. Despite all this the editing of he scenes is frenetic. It is almost as if we are being told- “if you are finding this bits slow, here’s something else!”
Panto returns to Sutton Arts after a three year break with a record breaking sold out run. Harriet Gordon stars as Aladdin giving the role, style, pizzazz , and a fine singing voice.
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This is on of my favourite pantomimes. A bumbling comic Wishy washy is essential and James Hutt as her brother delivers the goods in endearing spades. The other essential is a good Dame. Here we haves Aladdin’s mother, Widow Twankey, played by Paul Atkins with a pleasingly idiosyncratic characterisation. He plays it pretty straight as a man in a dress with innuendo at a minimum eschewing drag queen excess.
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Sutton Arts theatre is physically quite small, with stage facilities strictly limited. The band play from the bar! But stage designer mark Nattrass pulls off a convincing colourful set as well as playing emperor and air traffic controller, marshalling a commercial Jet 2 flight through the auditorium.
The Princess’s servant LaLa steals the show in the comic stakes with her romancing Wishy Washy. Princess Jasmine, Evie O’Malley is suitably resolute in the face of Abanazar’s evil. The ubiquitous whole new world of a magic carpet ride, probably obtained on the Soho Rd Handsworth is a showstopper.
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I have played the role of Abanazar myself, and it is a wonderful part which Dave Thane does full justice to opposite his nemesis Jerome Pinnock-Glasgow as the Genie with the ensemble behind. Husband and wife team Dexter and Emily Armstrong direct a large 25 strong cast who are disciplined, talented and entertain. The three children in my party aged ten, nine and eight loved it.
The safe option. A traditional panto, at a traditional panto theatre, performed by an experienced traditional theatre company albeit with untraditionally climbing ticket prices.
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Firstly, a disclaimer, I have known the star, Dame Sam Rabone for fifteen years and have performed alongside him. He is a friend, however secondly I paid for my own ticket and those of eleven of my family who accompanied me ( over £350) – so I can say what I want!
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Production values are high, the stage looks good, and the costumes are bright and shiny courtesy of Amy Chamberlain. The ubiquitous carriage for Cinders drawn by a flying horse is a visual showstopper.
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Sam plays a villainous ugly sister alongside Matt Daines, as Aldianna and ugly sister Liddleena. Cheap, brash and vulgar- it is a bit like walking down Rugley High street…
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There is always a story behind the story of a good panto . In this case it is writer and media polymath Paul Hendy, Emily Wood and Evolution productions who have multiple pantomimes running UK wide simultaneously .Whilst Evolution guarantee a standard, there is plenty of room for local jokes ( the folk of Rugeley do not escape) and topical political gags. It is Directed by the Garrick’s artistic director and chief executive, Daniel Buckroyd, who ensures that the corporate safety net of Evolution has enough space in it for a local dimension.
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My party included six children aged three to twelve. They loved it. The first half of the two and a half hour show ( including interval) was weighted towards jokes for the adults to enjoy- the second half majored on silliness and was all the better for it. Ben Thornton’s Buttons links proceedings and searches for a girlfriend.
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Cinders is Shannon Bourne , innocent and with a fine singing voice Adam Craig,is her dashing Prince ( Rita Coolidge nothing to be scared of).Clarice Julianda as the trainee Fairy Godmother steals the show.
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The daft ghost sequence is still daft. The children laughed their heads off. This is as reliable Christmas fare as Turkey and trimmings and runs until January.
We are so fortunate in the Midlands to have such a diverse range of theatres. I have been equally fortunate to see so many good productions over the year
Unfortunately Zendaya was unavailable this year
As is traditional ,as the year draws to a close, I present my own awards for the most noteworthy shows of 2025 which I have had the pleasure of seeing:
Best Professional drama
1.Boys from the Blackstuff- Derby theatre. A searing revival of Alan Bleasdale’s best work
2. Dear England- Nottingham Royal theatre. A fantastic biographical play of the fortunes of England manager Gareth Southgate. For theatre lovers who don’t like football and football lovers who don’t like theatre! At Birmingham Hippodrome in 2026- don’t miss it
3. Murder at Midnight- Wolverhampton Grand .Another black comedy from the hottest contemporary dramatist around, Torben Betts
Amateur Drama
Haunting Julia- Sutton Arts an inspired quirky off beat revival of Aykbourn’s rarely performed chiller.
Pro Musical
1,Moulin Rouge- Birmingham Hippodrome. A lavish, spectacular extravaganza with eye watering ticket prices- worth every penny.
2, Top Hat- Nottingham Royal theatre- renowned for its song and dance, but this production also delivers a wonderful comic sub plot. At Birmingham Hippodrome in 2026- don’t miss it
3. Sunny Afternoon- Alexandra theatre Birmingham– fabulous Kinks jukebox musical which soars because of what is on the jukebox.
Amateur Musical
Sound Of Music- Sutton Arts . If you are going to revive this am dram period piece you had better do it well- and Sutton Arts delivered that in spades
This is not the musical, instead an adaptation by Deborah McAndrew, directed by Sarah Brigham, of Dickens’ classic tale incorporating traditional tunes and original songs, played and performed onstage by the cast, Eliza Waters realises it all as Music Director
McAndrew first came to my attention, and I suspect, of many others, via her sparkling characterisation of Angie Freeman in Coronation Street in the 1990s. Subsequently her greater talents have been manifested by a series of successful original and adapted stage productions; Hard Times, A Christmas Carol and the Great Gatsby amongst them.
Deborah McAndrew in her iconic Coronation St role as Angie Freeman
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Oliver, born and orphaned on Christmas Eve, sets out to find his family in time for Christmas in Victorian London set mainly in the backstreets of the East End , not Belgravia. Neil Irish’s set is warm, impressive and flexible, Tim Heywood’s costuming a visual delight.
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The opening “In The Bleak Midwinter” sets a sombre tone. Polly Lister, reinvents the role of Fagin, a tragic figure doomed and damned . Clever- but not clever enough to dodge her fate.
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Iris Laverne also reinvents the Artful Dodger as does Michael Mahony as Mr Bumble. But traditionalists should not be worried. Analiese Emerson Guettinger is a classically comely Nancy who loves bad boy Bill Sykes. Dan McGarry relishes his brutish role as villain in chief Sykes.
This production runs for the entire festive period necessitating a large child ensemble cast who performed energetically and with vim and brio on the night. Claudia Burton, Eliza Jean Poxon and William Poyser Alton take the roles of Oliver over the run. Eliza played Oliver on the night, slight, shy, and convincing.
Deb Pugh as movement director has the unenviable job of harnessing all that youthful energy which she succeeds in . Ian Stapleton delivers distanced non contact violence which is strangley harrowing as a result as Fight Director. Most impressively Anita Gilbert ensures authentic London accents and dialects as voice and accent coach. Arnim Friess shrewdly alternates the lighting from dingy backstreets to bright lights
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Although the happy ending for Oliver saves the day the grime, poverty , crime and violence of the time is never far away and looms omnipresent. Age guidance is for the over eights. McAndrew’s script is a story of a child’s resilience and the triumph of the human spirit as Oliver navigates his place and role in a harsh, often hostile, world , it also begs the question of how far removed today’s child poverty is from that of the 19th century. Wily McAndrew and Brigham contrive a suitably festive finale for a show which was warmly applauded on a cold Friday night by a full house.
This was a double first for me. My first visit to Rock city , and my first Gary Numan gig.
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Bowie’s contemporaneous put down – Same old thing in brand-new drag comes sweeping into view is now almost half a century old, time in which Numan has established himself, endured and prospered. I wanted to find out why.
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First on was Numan’s daughter, Raven. A gothic symbiosis of Annie Lennox, Florence Welch , the Jesus and Mary Chain and Joy Division ( minus the joy as a goth obviously). She was rather good and just needs a hit/ catchy song to break through.
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The tour was to celebrate the 45th anniversary of Telekon. Because I did not know the album this did not help much but did allow me to appraise it at face value. It was rather good. Gary posed and pranced, the keyboards jangled and the bass guitar was awesome.
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Sadly Gary’s brother had died only a few days previously a the Birmingham date. Gary decided to continue, as his brother untimely demise, followed by that of Mani of the Stone Roses., life does not go on forever, and making the most of what you have is key. Gary made the right decision.
Garyswordz 