Film Review: Frank (15) (U.K./Ireland 2014) (Director: Lenny Abrahamson),  The Filmhouse Cinema Screen One, Edinburgh, Monday 16.06.2014, 20:25

This is the film that uses the idea of British '90's Cult Icon Frank Sidebottom as jumping-off point for a story loosely related to incidents in Frank's life, though it is not about him. As was the case in the '90's Frank has a papier mache head, which you only see him not wear after an accident towards the end of the film. The story develops from a point of a keyboard player being required for Frank's band, and it is all presented from the perspective of the newcomer. 

I did find the film enjoyable and amusing, though here are my misgivings: 

The section at the end when you see him without the overlarge head, Frank's 'performance' is so clearly based upon how Daniel Johnston behaves in the brilliant documentary 'The Devil and Daniel Johnston' (2005), that it goes beyond Parody. Anyone who has not seen the documentary may have more time for Frank post-crash, I tended to see it as lazy & lame. 

The other misgiving I have is that within any scene where Frank has his overlarge head on, if you were to take away the overlarge head, I question whether the scenes would be seen as interesting, amusing, well acted etc. Since this applies to the vast majority of the film it feels almost like emperor's new-clothes, an elaborate con, which causes you to see what you are viewing as far greater than it actually is. If the only thing that causes it to be interesting is an overlarge head, is it really interesting at all? I did for a period think that to even cause these questions was a sign of it being great, though I was also aware at the same time that this was all part of the con.

The following rating is based upon the fact that I did enjoy and was amused, though I am not prepared to ignore the issues noted.

Rating: 04/10.       

Live Performance Review: Avenue Q,  The King's Theatre, Edinburgh, Wednesday 11.06.2014, 19:30

I feel as though I have to begin this review with a couple of caveats. I tend to say I don't like musicals and I also thought I did not like the King's Theatre as a venue. I know someone who was keen to see Avenue Q. I saw adverts for the show and sent them a text to let them know. They responded to ask when I would want to go, which I had not considered, though I thought why not, as had enjoyed what I had been shown of it online. 

It transpires that I don't actually have issue with the King's Theatre as a venue, it must have been something about the performances I saw there previously that I was not comfortable with. It also came to me during the show that I don't actually have an issue with musicals as a whole; I considered what musicals were and essentially I think they can be summed up essentially as working class opera - and why would I have any issue with that. I still think that there is a large number of musicals which would not be my cup-of-tea and I feel as though I will always tread carefully in this area; though I no longer feel as though my anal-sphincter tightens at the mention of musicals.

For those unfamiliar with Avenue Q, the cast is a mixture of people and puppets. The puppets look like muppets, though there is no connection to Jim Henson's companies. Not all of the people on stage also manipulate puppets. It is quite normal in the show for a puppet to be making expressions with the person manipulating that puppet making the same expressions in unison. There was no attempt to present as ventriloquism. This approach had a disconcerting affect, it felt as though the puppets softened what was being explored, and at the same time the people present enabled an element of seriousness to the show. 

There felt to be a good balance of song and talked story. I felt there was amusing word play and I appreciated questions the show highlighted in a fun and engaging manner; there was no brow-beating. I feel the show raised specific questions, though on a meta-level I felt as though it was reminding that we all have faults and insecurities, yet we also all like to have a sense of people wanting to take an interest in our lives, to share and care, and to be able to have people you can relay upon in tough times. It also, in slightly more chessey manner, reminded how it feels good to help. It was essentially promoting tolerance, perseverance and community. 

I felt the performances (and the singing) were very good, always just managing to steer clear of being too sugary. The puppets were also able to be engaged without any of them appearing overly annoying. From my perspective this is quite an achievement. 

This is also the first show I have ever seen that had signs up before entering warning of 'Partial puppet nudity'. I never thought I would be treated to the sight of a puppets areola. I feel enriched!

Rating: 09/10.    

Film Review: Locke (15) (U.K./U.S.A. 2013) (Director: Steven Knight),  The Filmhouse Cinema Screen One, Edinburgh, Saturday 07.06.2014, 20:45

This is the film where you only see Tom Hardy's character Ivan Locke, as he travel during the night along motorway to arrive as quickly as he can for the birth of his new child. He has had to make a lot of adjustments in plans to do this, and the journey is punctuated with his phone calls with various people. 

Considering the simple set-up, the film works very well and I found myself engrossed in the story as it unfolded. Hardy's performance was un-showy, nuanced and believable (and included a pitch-perfect Welsh accent).

I do wonder though whether I was engrossed in part at least due to the film being that rare novel thing, a single-hander. I feel it is fair to say I found it fascinating, though I know this is not in regard to what was happening in terms of plot or development of character. Thinking about it now, several days later, it is hard to know if I would recommend this to others as although it had nothing wrong with it. Beyond the novel elements of how the story is conveyed it is hard to think as to why it feels impressive. 

Rating: 08/10.