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Manchester reviewed
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Manchester film reviews

Rooney Mara and Daniel Craig

The Girl With The Dragon Tattoo

Screened at Cornerhouse, Manchester

Reviewed by Anne Ryan December 2011


Rooney Mara attempts to fill Noomi Rapace’s big black motorcycle boots
On approaching the screen adaptation of a favourite book, one is invariably filled with some trepidation. The power of the image is so great that it can overwhelm the pictures we have in our minds. For my generation Mr Darcy will always be Colin Firth, for our mothers and grandmothers he is Laurence Olivier – and for a pre-cinema generation, well they had to make their own pictures.

 

I loved the character of Lizbeth Salander in Stieg Larsson’s crime trilogy and felt that Noomi Rapace perfectly embodied this memorable heroine. Talk of a Hollywood remake filled me with foreboding, but as 55 milion copies of the original trilogy have sold the US version, it seemed inevitable - as we know American audiences do not like reading subtitles.

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Manchester lifestyle reviews

Ladies and Gents Golf in Derbyshire more on a Par

Ladies & Gents Golf on a Par in Derbyshire?

Review by Marie-Anne McGibbon December 2011

 

I've been playing golf for the last 10 years at a variety of courses across Derbyshire and Cheshire, perhaps more social than competitive for most of it, but great fun none the less. For the last 8 years I've been playing Ladies golf in Derbyshire as a member of New Mills Golf Club just south of Stockport - a very down to earth club owned and managed by its members.

 

Thankfully, golf in Derbyshire more generally tends to keep the funny handshakes and stuffiness often associated with golf to a minimum, so a merger of the Ladies and Gents Golf Unions in Derbyshire comes as no surprise, albeit somewhat overdue.

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Manchester film reviews

Zawe Ashton as the tragic Joyce Carol Vincent

Dreams of a Life

Screened at Cornerhouse, Manchester

Reviewed by Anne Ryan December 2011

 

In a week in which Hollywood spent millions publicising the multi-stellar film ‘New Year’s Eve’ this British production succeeds in showing the real message of the festive season – the importance of our common humanity.

 

Carol Morley’s drama documentary attempts to solve a mystery – how can a young, vibrant woman die alone, surrounded by Christmas presents and lie undiscovered for three years. At a time when people have hundreds of ‘friends’, it makes you wonder how connected we really are.

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Manchester theatre reviews

Sarah Ridgeway as Alice and Christopher Benjamin as Martin Vanderhof. Photo by Jonathan Keenan

You Can't Take It With You

by George S Kaufman and Moss Hart, performed at Royal Exchange Theatre, with Told by an Idiot, directed by Paul Hunter, and designed by Laura Hopkins

Reviewed by Helen Nugent December 2011


You know you’re in for something a little bit different when the only character on stage at the beginning of a play is a tortoise. In a spotlight. A tortoise in a spotlight. Yes this, as Mancunians would have it, was going to be proper different.


The omens were good from the start. The largest theatre in the round in Britain housed in what was once the largest room for commerce in the world; the Royal Exchange’s Christmas show, rarely, if ever, a let-down; and a collaboration with Told by an Idiot, a company renowned for fusing comedy with tragedy, theatricality with nuance.

 

And the choice of show? A production written by the celebrated comedy writing double act, George S. Kaufman and Moss Hart who, when they created YOU CAN’T TAKE IT WITH YOU, engendered a Broadway hit, a Pulitzer Prize-winning play and an Oscar-laden film. And, more than 70 years after its first season, it was still drawing the crowds on a windswept winter evening in Manchester.

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Manchester lifestyle reviews

Gina Czarnecki at the Bluecoat

Gina Czarnecki

at the Bluecoat, Liverpool until 19 February 2012

Reviewed by Denis Joe December 2011

Curator: Sara-Jayne Parsons; Free Entry

 

Britain’s most famous art collector, Charles Saatchi, recently rounded on the contemporary art clique, condemning buyers as ‘vulgar’ and criticised curators as showing "videos, and those incomprehensible post-conceptual installations and photo-text panels, for the approval of their equally insecure and myopic peers". And he may have a point, it does seem that many feted artists today produce art whose only value seems to lie in the shock effect.

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