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TIME, BBC ONE REVIEW Jimmy McGovern’s new three-part drama about prison life is about as far as you could travel from Ronnie Barker’s Seventies sitcom Porridge, even if they are both on the same TV channel.Having said that, McGovern’s fictional HM Prison Craigmore doesn’t look as if it’s had a facelift in 50 years, and its cramped cells and brutishly ugly corridors are enough to trigger panic attacks in ANNE BOLEYN, CHANNEL 5 REVIEW "Get out!" The order, spoken some way into the third and final episode of Channel 5's entry into the Tudor drama sweepstakes, Anne Boleyn, certainly seizes one's attention.Not only is our doomed heroine snapping under pressure on the way to one of history's most-chronicled deaths, but her command to Thomas Cromwell marks one of the very few times across nearly three largely prosaic hours thatALBUM: ZIÚR
It’s funny how the most high tech music can sound very traditional. In the case of producer / instrumentalist / occasional singer Ziúr, it’s the tradition of her hometown of Berlin that is expressed in her whirrs, clangs and mutated voices. Here – as on her previous records with British labels Planet Mu and Objects Limited and Canada’s Infinite machine, and like most of the roster of IL TURCO IN ITALIA, GLYNDEBOURNE REVIEW The new Glyndebourne production of Rossini's Il turco in Italia has a truly winning smile on its face and a spring and a dance in its musical step. It is brimful of fun and good ideas, conveying the sense that a lot of joy has been had in its making. As one cast member tweeted during rehearsals a couple of weeks ago: "I have not stopped laughing and living my best life all day." POINTS OF DEPARTURE, BRIGHTON FESTIVAL 2021 REVIEW They stand in a row, nine of them, in a long, strange corridor between rows of stacked, palleted, planked wood and the red brick wall of an endless warehouse. Nine tripods, each two humans high, with a spinning helicopter head, double-ended by conical horns that emanate a gentle angelic howling or lower end drone-hums. Eyes closed – and being music-geeky about it – this carefully SECRET STATE, SERIES FINALE, C4 Maybe they really are that clever at Channel 4. Where Leveson has investigated the invisible nexus connecting the press, the police and Westminster, Secret State has delivered its verdict on a comparable ratking of vested interests linking government, banks, oil, the military, defence contractors, MI6, old uncle Tom Cobbleigh et al. ALI SMITH: SUMMER REVIEW It is no surprise, given her Cambridge Intellectual literary style, that Ali Smith’s Summer is multi-layered, referential, and filled with cameos from giants in the fields of art and science. It is arguably the best of the four novels in her Seasonal Quartet, pulling through the threads from the previous three, without opting for easy conclusions or tying all the ends together neatly. Summer KEEPING FAITH, SERIES 3, BBC ONE REVIEW Hannah Daniel as Cerys Jones, Eve Myles as Faith Howells. After arriving with a bang in 2018, Keeping Faith ( BBC One) disappointed many (though not all) of its fans with 2019’s second series. It’s had a bit of a breather before this third – and final – series, first seen in its Welsh version Un Bore Mercher on S4C last November. THE ARTS DESKTODAYNEW MUSICOPERAFILMCLASSICALTHEATRE The Arts Desk’s team of professional critics offer unrivalled review coverage, in-depth interviews and features on popular music, classical, art, theatre, comedy, opera, comedy and dance. Dedicated art form pages, readers’ comments, What’s On and our user-friendly theatre and film recommendations BRONFMAN, PHILHARMONIA, SALONEN, RFH REVIEW Bronfman ( pictured below with Salonen) is a master who can roar like a lion – in the case of the Liszt Concerto, a rather comical one prefiguring the proud beast of Saint-Saëns ’ Carnival of the Animals – and coo like any sucking dove in transcendental reverie. It doesn’t matter that swathes of this work make us laugh now withtheir
TIME, BBC ONE REVIEW Jimmy McGovern’s new three-part drama about prison life is about as far as you could travel from Ronnie Barker’s Seventies sitcom Porridge, even if they are both on the same TV channel.Having said that, McGovern’s fictional HM Prison Craigmore doesn’t look as if it’s had a facelift in 50 years, and its cramped cells and brutishly ugly corridors are enough to trigger panic attacks in ANNE BOLEYN, CHANNEL 5 REVIEW "Get out!" The order, spoken some way into the third and final episode of Channel 5's entry into the Tudor drama sweepstakes, Anne Boleyn, certainly seizes one's attention.Not only is our doomed heroine snapping under pressure on the way to one of history's most-chronicled deaths, but her command to Thomas Cromwell marks one of the very few times across nearly three largely prosaic hours thatALBUM: ZIÚR
It’s funny how the most high tech music can sound very traditional. In the case of producer / instrumentalist / occasional singer Ziúr, it’s the tradition of her hometown of Berlin that is expressed in her whirrs, clangs and mutated voices. Here – as on her previous records with British labels Planet Mu and Objects Limited and Canada’s Infinite machine, and like most of the roster of IL TURCO IN ITALIA, GLYNDEBOURNE REVIEW The new Glyndebourne production of Rossini's Il turco in Italia has a truly winning smile on its face and a spring and a dance in its musical step. It is brimful of fun and good ideas, conveying the sense that a lot of joy has been had in its making. As one cast member tweeted during rehearsals a couple of weeks ago: "I have not stopped laughing and living my best life all day." POINTS OF DEPARTURE, BRIGHTON FESTIVAL 2021 REVIEW They stand in a row, nine of them, in a long, strange corridor between rows of stacked, palleted, planked wood and the red brick wall of an endless warehouse. Nine tripods, each two humans high, with a spinning helicopter head, double-ended by conical horns that emanate a gentle angelic howling or lower end drone-hums. Eyes closed – and being music-geeky about it – this carefully SECRET STATE, SERIES FINALE, C4 Maybe they really are that clever at Channel 4. Where Leveson has investigated the invisible nexus connecting the press, the police and Westminster, Secret State has delivered its verdict on a comparable ratking of vested interests linking government, banks, oil, the military, defence contractors, MI6, old uncle Tom Cobbleigh et al. ALI SMITH: SUMMER REVIEW It is no surprise, given her Cambridge Intellectual literary style, that Ali Smith’s Summer is multi-layered, referential, and filled with cameos from giants in the fields of art and science. It is arguably the best of the four novels in her Seasonal Quartet, pulling through the threads from the previous three, without opting for easy conclusions or tying all the ends together neatly. Summer KEEPING FAITH, SERIES 3, BBC ONE REVIEW Hannah Daniel as Cerys Jones, Eve Myles as Faith Howells. After arriving with a bang in 2018, Keeping Faith ( BBC One) disappointed many (though not all) of its fans with 2019’s second series. It’s had a bit of a breather before this third – and final – series, first seen in its Welsh version Un Bore Mercher on S4C last November.ALBUM: GARBAGE
9 hours ago · At no point in their near-30 year career have “shy” or “retiring” been adjectives you could apply to Garbage - and yet, on this their seventh record, the Scottish-American rockers go to places that they never have before. With songs taking on capitalism, climate change, misogyny, racism and police brutality, No Gods No Masters is a no holds barred, politically charged firecrackerof a
ALBUM: JAMES
James, and Tim Booth in particular, have always been too genuinely, gauchely odd to be hip – outsiders at the Madchester rave yet responsible for one of its biggest anthems, “Sit Down”, then shedding their skin for suppler, sexual territory with Laid, an Eno collaboration which opened their sound and self-image into something both gauzier and raw, but trailed behind his stadium-ambient CLASSICAL CDS: THREE GREAT CONDUCTORS REMEMBERED, MAHLER Big box sets, a symphonic swansong in miniature and contemporary music for piano trio. Classical CDs reviews by Graham Rickson THE BEAST MUST DIE, BRITBOX REVIEW 2 hours ago · However, Britbox has produced, or co-produced, series including The Pembrokeshire Murders and the forthcoming A Spy Among Friends, and The Beast Must Die is the first drama to be shot for Britbox UK. It’s been adapted from the 1938 novel by Nicholas Blake (the pseudonym of Cecil Day-Lewis), and factoid-fans may be fascinated to learn that it was previously filmed by Claude Chabrol in MARK THOMAS, SOHO THEATRE 8 hours ago · Mark Thomas comes on stage unannounced. It's not a show of humility – rather, he told us, amused at his own mistake, that his hearing isn't what it used to be and he had misheard his music cue. It was a modest start to his new show 50 Things About Us, which he is giving a runout at Soho Theatre before touring with itlater in the year.
BANK JOB – AN INSPIRATIONAL LOOK AT FINANCE 1 day ago · A fun film about finance – really? From the very first frame I was hooked on this can-do documentary; it’s that good. A young family – parents, Dan Edelstyn and Hilary Powell, two kids and two dogs – gather at the front door of their Victorian terraced house in Walthamstow and grin sheepishly to camera. “This is what acting is”, Dan tells his daughter Esme, “it’s cold, it’s REISSUE CDS WEEKLY: DONOVAN Early last month, Donovan issued his extraordinary new single “I am the Shaman”. Recorded at David Lynch’s Los Angeles studio, it was produced by the polymath director and fellow transcendental meditation devotee. The accompanying video was also directed by Lynch. The powerful “I am the Shaman” haunts. It also confirms that Donovan remains an active force. BALANCHINE AND ROBBINS, THE ROYAL BALLET REVIEW People often ask why it is that in ballet there are different casts on different nights, a practice alien to opera, musicals and theatre. The most obvious reason is practical. Ballet companies keep a number of principal dancers on salary who need regularly to strut their stuff. Another reason is that dancers develop distinct individual qualities – technical, musical and dramatic – which DARK DAYS, LUMINOUS NIGHTS, MANCHESTER COLLECTIVE, THE Did you wonder what all those creative musicians and artists did when they couldn’t perform in public last winter? Some of them started making films. Putting film of yourself online was, after all, a way of communicating with an audience, and had the bonus of being a potential promotional shop window for your work once people were allowed back in venues again. Manchester Collective, true to GROSVENOR, RSNO, CHAN, GLASGOW ROYAL CONCERT HALL ONLINE By chance, I started watching this streamed concert shortly after hearing a live BBC broadcast of the Philharmonia playing in front of an audience for the first time in over a year. Much though I love the Royal Scottish National Orchestra, steadfast companion over many Edinburgh winters, from student standby to bus pass, there is no doubt where I would have rather been. Skip to main contentSEARCH FORM
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Home > film > Dark Waters review - an ominous drama with plenty of backbone, but not enough flesh DARK WATERS REVIEW - AN OMINOUS DRAMA WITH PLENTY OF BACKBONE, BUT NOT ENOUGH FLESH | REVIEWS, NEWS & INTERVIEWS DARK WATERS REVIEW - AN OMINOUS DRAMA WITH PLENTY OF BACKBONE, BUTNOT ENOUGH FLESH
DARK WATERS REVIEW - AN OMINOUS DRAMA WITH PLENTY OF BACKBONE, BUT NOTENOUGH FLESH
MARK RUFFALO STARS AS A REMARKABLE AMERICAN HERO IN THE LATESTWHISTLEBLOWER FLICK
by Jill Chuah Masters Friday, 28 February2020
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Facebook Twitter Email Mary Cybulski (Focus Features) Watching _Dark Waters_, the latest film from director Todd Haynes (_Carol, Far from Heaven_), I kept thinking — what’s the opposite of a love letter? The film is based on the work of Rob Bilott, a real-life lawyer who uncovered a corruption scandal so toxic that it was literally poisoning us. _Dark Waters_ stars Mark Ruffalo as Bilott, and it functions as a dignified takedown of DuPont: the chemical giant responsible for thepoison.
This is a legal
procedural that reads like a horror story. It’s Frankenstein-ish in its terrors. It opens with Bilott — partner at a corporate law firm — lured to his hometown by claims about poisoned livestock. Sinister revelations follow. He discovers a man-made chemical that is toxic to its own inventors. The film traces Bilott’s efforts to expose DuPont, and in doing so, tells a grander story about the scale of corporate negligence in America .This film is an exposition, and it lays out the facts: the crime, the courts, the labour that connected every dot. As Bilott, Ruffalo is rumpled, rattled and diligent — it’s a convincing performance as an unlikely leading man. There are also strong turns from Tim Robbins as Bilott’s boss and Bill Camp as DuPont’s first whistleblower (_PICTURED ABOVE LEFT,_ with Mark Ruffalo as Bilott). Yet the film’s most remarkable quality is Edward Lachman’s lush cinematography. Toxicity is in the air. The film feels oil-slicked, stickily green, with a score that sounds like pure foreboding. With Haynes, Lachman layers the David and Goliath plot with elements of a psychological thriller. Ultimately, it’s easy to empathise with this film’s core message. But it’s also easy to disengage when it veers away. Unless discussing the case, _Dark Waters_’ Bilott is flat and emotionless. His family’s dull defining characteristic is that they are neglected by him and the only storyline we get about Bilott’s wife (Anne Hathaway) relates to her frustration at being edged out of the legal profession when she became a mother. The irony of her character is that, edged out of the action, it’s all she gets to be here too. _Dark Waters_ is the opposite of a love letter: a chilling takedown. It’s critical but clinical, and it tells an important story. It just doesn’t always feel like great storytelling. * _READ MORE FILM REVIEWS ONTHEARTSDESK _
Dark Waters is the opposite of a love letter: a chilling takedownRATING
Editor Rating:
3
Average: 3 (1 vote)
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