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...film’s story, but the way it actually plays out is unimaginative and amateurish. Midway through the film, it is revealed that Clyde used to work for the government, devising killing methods that worked automatically, with no need for human interaction. This explains how he knows what particular species of pufferfish carries the poison he needs or the intricacies of rigging a cellphone to explode as soon as it is answered. What a remarkably convenient explanation for his inexplicable homicidal ability! The later revelation of who is actually helping Clyde commit his crimes is so inanely simple that...
...someone who has made his name in political films—in particular playing Tony Blair, a man to whom he bears a distinct physical resemblance—Sheen is a somewhat unlikely choice to play Clough, a working-class Geordie (from Middlesbrough in the North of England) who played as a center-forward before injuries led him to management. Rather than attempt to mimic the mannerisms of the real Brian Clough, Sheen instead engenders his own impressionist rendering of the manager’s persona. In some respects, however, Morgan and Sheen stick closely to the original?...
...filled with cues from high and low culture—colorful and referential insults, classical literature, and cosmopolitan knowhow. One pretend madman, exercising freedom of speech as his alter ego declares, “Et tu, Brute, sold out the Bolsheviks!” The novel also takes particular interest in allusions to “The Brothers Karamazov,” and at one point Ostap conflates the story of Jason’s Golden Fleece with the titular (and Biblical) Golden Calf...
There are a few overlong scenes of island chaos, which don’t advance the plot, but these only add to the sense of harmless anarchy that Sendak evokes, and thus remain true to the book. These more trivial scenes are ultimately eclipsed by exceptionally poignant exchanges, in particular Max’s one-on-one conversations with Carol and KW. The audience realizes through these more personal scenes that very little separates these giant monsters from their young ruler...
...We’re really interested in getting young people into the theatre,” Evett says. “We think that our particular approach to these plays does make them accessible in a way that doesn’t condescend… or reduce the integrity of the play but actually informs...