Striking use of colour occupies endless layers of significance within William Oldroyd’s Lady Macbeth, a film based on Nicolai Leskov’s socially conscious, nineteenth century novel ‘Lady Macbeth and the Mtsensk District’. From the soul-draining dull brown tones of the house’s interior to the brilliant blue worn throughout by Florence Pugh’s Katherine Leicester, much can be teased, in terms of character and emotional dynamics, through the chromatics of their scenes. Note too, an ensemble cast that is diverse in ethnicity, achieving the balance in a way that feels intelligent, relevant and perfectly appropriate. If anything heralds the success of Lady Macbeth, it is absolutely the uncompromising confidence of its conviction and artfulness of its cleverly cineliterate styling. It is a harmony that, in creating intense disharmony, makes for one highly satisfying experience.
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Enter Mindhorn blind and you might be surprised at just how starry the, Sean Foley directed, production’s cast list is. Without giving away the full roster (including one particularly rib-tickling cameo), Andrea Riseborough – so powerful in Channel 4’s National Treasure – holds a prime billing here, as does Steve Coogan – whose production company, Baby Cow, has associate credits too. From The Mighty Boosh, meanwhile, Julian Barratt takes the lead role of Richard Thorncroft, the washed-up former star of hit eighties, Isle of Man cop-drama: ‘Mindhorn’. Thorncroft’s career, once so promising as to boast merchandise, has hit the rocks since then and his agent (Harriet Walter) has all but given up of him. This is, of course, predominantly due to Thorncroft’s penchant for offending both his co-stars and the entire population of the Isle of Man alike. An infamous interview having proved particularly damning: ‘We’ve never forgotten what you said about us on Wogan’. The epitome of his fall from grace is that he now even suffers from the indignity of having been replaced by John Nettles in adverts for thrombosis socks. To add insult to injury, Thorncroft’s lost weight in his hair and found it in his waist.
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Entering T2:Trainspotting, the twenty-years later sequel to Danny Boyle’s Trainspotting, a quote from the latter comes to mind. Not the ‘choose life’ one – which, anyone who’s seen the trailer will already know, gets an updated reprise in T2 (‘choose Facebook’). No, it was Diane’s ‘You’re not getting any younger’ speech: ‘The world’s changing; music’s changing; even drugs are changing…you’ve got to find something new’. Back in 1996 Trainspotting was newness epitomised. Is it unfair to want the same of the follow up? How can a sequel ever be as original as, well…the original?
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