Review: Uncut Gems

It feels a somewhat unlikely fit for Adam Sandler, star of varying quality comedies, to take the lead in the new Safdie Brothers film as a fast-mouthed gem dealer Howard Ratner but it is a perfect piece of casting with Sandler emerging as the infuriatingly reckless chance taker. The film is a nail-biting whirlwind of undermined opportunity, ridiculous risk and missed chances. Head in hands, groans of frustration and elated whoops came from all around the cinema as Howard’s attempt to get the life-changing score he seeks gets increasingly desperate. The stress level of the audience mimics the onscreen action as you simultaneously root for Howard to dig himself out of the mess he has created and grabbing his gaudy lapels shouting ‘for crying out loud cut the crap, stop endangering your family and reconcile with your soon to be ex-wife’ pitch-perfectly played by Idina Menzel.

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Review: Nora, A Doll’s House

A woman walks into a theatre, discovers she has an aisle seat, almost spills wine and sits down to watch Nora, a new version of Ibsen’s A Doll’s House The original (which this woman has never seen performed) caused outrage when it was first staged in the late 1800s for questioning the institution of marriage and specifically the role of women. As written by Stef Smith, Nora takes this and runs, it runs far and wide drilling into how the rights and roles of women have changed, or not, over the course of the century.

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Review: Interference

Interference is a three-part ponder on the role and reliability of AI. The existence of Black Mirror and the pretenders to its perfectly crafted throne may make this seem obsolete, but there is something refreshing about seeing the beeps and blips of cleverly created technological interaction IRL. Three different writers have provided the three different scripts in response to the same brief. All the pieces are directed by Cora Bisset, providing a sense of continuity as the cast slip seamlessly between different roles. The show takes place at Park City, well away from the proscenium or studio theatre in a grey and generic office building where a disembodied voice invites us to move towards a small stage. It’s setting apt for the colour palette and content of the pieces as well as opening theatre up to new spaces.

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Review: Vox Lux, Glasgow Film Fest 2019

All that glitters is not indicative of something that will encourage happiness or integrity as brilliantly shimmery catsuits demonstrate in Brady Corbet’s Vox Lux. Protagonist Celeste is a survivor of a terrorist mass shooting at her school, the song she writes to express her grief becomes the platform that launches a supernova career.

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