The funny thing is that this all happened because of a joke. As Mark Gatiss recalls, at a Sherlock premiere, he commented to the commissioner of BBC drama that Benedict Cumberbatch’s attire made him look a little like Dracula and was asked if it was something he and writing partner Steven Moffat wanted to do. The answer, eventually, inevitably, was yes.
In a sense, Dracula feels like the project this duo have spent their entire partnership building towards. A partnership born during Moffat’s tenure running Doctor Who, in which, as he had done for previous showrunner Russell T. Davies, Gatiss would contribute scripts to each season; a partnership which then gained huge success adapting another iconic character in Victorian literature, Sherlock Holmes, for the BBC. Even before this, both were headed in the same direction. Moffat penned Jekyll back in 2007, updating the Robert Louis Stevenson 19th century classic for the modern day, while Gatiss developed The League of Gentlemen which drew on a significant knowledge of Hammer horror and occult, British portmanteau cinema.
As a result, this version of Dracula—based on the 1897 novel by Bram Stoker which has been adapted countless times in cinema and on TV over the last century—would not be a clear, simplistic adaptation. That’s just not how Moffat & Gatiss operate. They are both too cine-literature, too aware of narrative tropes, too ensconced in the lore of classic horror fiction. To take on Dracula, a text that almost everyone even with a passing knowledge of drama roughly knows the story of, would be to invert, subvert and reclassify. As they did with Holmes & Watson in Sherlock, so they would do with the Transylvanian Count played by Nordic actor Claes Bang here. That approach was inevitable, as anyone with a passing awareness of their work would be anticipating.
Their Dracula, as a result, is both exactly what you expect from them, and at times not at all what you expect from this story. It is a Dracula born of the 21st century. The take of an immortal symbol of toxic masculinity seeking to control and dominate not just female, but human sexuality, human life and human death.
Continue reading “DRACULA: a sinewy, self-aware deconstruction of power, control and consent”
“Part of the journey is the end” says Robert Downey Jr’s Tony Stark at a key point in Avengers: Endgame, a phrase which could neatly punctuate Marvel Studios’ remarkable conclusion to the first era of their Cinematic Universe.
Endgame is a staggering achievement. It is, without question, *the* biggest superhero movie ever made. It makes last years Infinity War look, at times, like an indie movie. Okay, that’s a bit of an over-exaggeration, but there is one sequence in particular toward the climax of Endgame which is just, quite frankly, jaw-dropping in its ambition and scale. It was one of several moments over the next few minutes which had the audience in my screening cheering, whooping and gasping in joy, surprise and the impact of what Endgame provides, and provides in absolute spades: payoff. Payoff to ten years of narrative and character investment from an audience which has grown, some who have grown *up*, with the Avengers.
It therefore comes as a surprise to report that Endgame, on first blush, is not as solid or accomplished a piece of cinema as Infinity War, or Avengers Assemble, or Black Panther, Thor: Ragnarok and certainly the first Guardians of the Galaxy movie. It easily dwarfs every single MCU movie to date in scope, without a shadow of a doubt, but by its very nature there are structural issues, and problems with certain beats of characterisation, which are going to become more of a sticking point for critical fans once the euphoria and magic of Marvel’s fan service begins to wear off. This is a euphoria I share, by the way, right now, to the point I am itching to see Endgame again very soon.
Endgame is a film which, certain problems aside, will absolutely make you feel a whole range of emotions by the end. If you’re invested, this is a powerful experience.
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Brexit: The Uncivil War is current, fascinating, terrifying and quite frankly absurd in equal measure.
It came as no surprise to find out a major consultant on this joint Channel Four and HBO drama was Tim Shipman, the author of All Out War, a comprehensive, forensic exposure of the battle central to Toby Haynes’ film: the Leave and Remain campaign’s divisive, controversial conflict to decide the outcome of the EU Referendum in June 2016, which very quickly became known as ‘Brexit’. For anyone in the UK, there is no word you are more likely to see, read or hear about politically right now than Brexit, save perhaps the surname Trump. It is all pervasive, all-consuming, and Shipman’s book places into clear context just how we ended up where we currently are.
The Uncivil War is, essentially, an adaptation of his non-fiction tale of events from both sides of the camp, though it is framed around, frankly, the far more interesting side of the divide: the Leave campaign. The campaign who won. The campaign with characters far less milquetoast than anyone who fought to Remain. The campaign who fought a dirty war of new frontiers and who the Remain organisation were, almost always, two steps behind. I say this as a firm Remainer—lets get that pretty clear right off the bat—who thinks Brexit is the single greatest British catastrophe since appeasement.
Nevertheless, The Uncivil War attempts to show us the *real* story. The story behind all of the news reports, and the political briefings. The story you have heard on fringe websites or even via conspiracy theorists, or slanted from newspapers right and left. The story of how Brexit changed democracy and changed politics, in a way nobody in Britain, the EU or beyond, ever expected. ‘All Out War’ is teeming with inside jobs, murky suggestions of dark political wizardry, and schemes upon schemes in a battle often outside the minds eye of the public.
What we actually end up with is Brexit: The Panto, with Benedict Cumberbatch as the veritable Peter Pan.
Continue reading “Brexit: The Uncivil War (2019)”