We’re three weeks into the TV adaptation of Margaret Atwood’s dystopian novel in the UK, The Handmaid’s Tale. Kate le Vann ponders if it is really a warning of things to come, or a reflection of the present.
In this instalment of our occasional series on cinematic gems hiding out on the Internet, theTramp begs you to consider 2013’s Austenland.
Sarah Slade watches Elvis’s granddaughter go through The Girlfriend Experience
Sarah Slade muses on community and communality in cinemagoing in the era of digital exhibition.
MrMoth sits in a darkened space and listens to an old story told through fresh language.
Indy Datta got stuck late in the office last night, on a tube strike day yet. Go past the jump to find out just how little he thought he could get away with for today’s post.
Stephen Ward, Andrew Lloyd Webber’s latest musical, opened with the usual fanfare just before Christmas, only to close four months later, dogged by lukewarm reviews and empty seats. Viv Wilby caught the show before it suffered the same fate as The Beautiful Game and Love Never Dies.
They’d already buried Stephen Ward before I got the chance to praise it. News broke last month that Andrew Lloyd Webber’s latest musical would close at the end of March after less than four months. I saw it in a half-empty theatre and the curtain has already come down for the last time. Continue reading So. Farewell then, Stephen Ward.
Ever seen a film and fallen volently in love with it, only to fall violently out of love next time you see it, or even before you see it again, to the extent that the mere mention of its name makes you seethe? Ever shrugged the first time, only to find a film won’t let you go. MostlyFilm certainly has, and some of our finest minds, after the jump, will tell their stories of the times THEY WERE WRONG.
Part of an occasional series in which Spank The Monkey travels to foreign countries, watches films in unfamiliar languages, and then complains about not understanding them. This episode: Norway, November 2013.
Every two years, Venice becomes the centre of the contemporary art world. MostlyFilm’s intrepid art correspondent Ann Jones reports back from not one, but two, visits to this year’s exhibition.