The Friday Arts Diary

Our cultural picks for the week ahead.

Art

Gagosian Britannia St, London WC1, Damien Hirst: The Complete Spot Paintings 1986-2011 13 January - 18 February
In anticipation of Hirst's major show at Tate Modern in April, 11 galleries around the world are displaying Hirst's famous spot paintings. This London exhibition boasts more than 100 pieces, ranging from a tiny semi circle to a 40ft-wide epic with 1,600 coloured discs.

Comedy

Soho Theatre, London W1, Jimmy Carr - Gagging Order: Work in Progress 13 January - 14 January
The witty 8 Out Of 10 Cats host is practising material for his upcoming tour. In his own words, it might be good, might be shit.

Dance

Peacock Theatre, London WC2, Nierka 14 January - 16 January
This multidisciplinary performance brings together music, video, puppetry, lighting and dance to highlight the journey from lost youth to enlightenment. The show's creator is British/Mexican artist Tupac Martir, who is best known for working on fashion and music campaigns for the likes of Vivienne Westwood and MTV.

Theatre

The Pit Barbican Centre, London EC2 17, Translunar Paradise January - 21 January
Presented in association with London International Mime Festival, Translunar Paradise is a story about life, death and enduring love as an elderly man struggles to come to terms with the death of his wife. This superb piece of mask and movement theatre was a hit at last year's Edinburgh Festival Fringe.

Music

Royal Opera House, London WC2, La Traviata 17 January
Richard Eyre's production of Verdi's tragic love story returns to the Royal Opera House with Renée Fleming as Violetta and Joseph Calleja as Alfredo. The opera recounts the tensions the doomed lovers encounter as they break social conventions. Antonio Pappano, Music Director at the ROH, conducts.

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Will playing a farting corpse allow Daniel Radcliffe to finally shake off his Hogwarts associations?

Radcliffe is dead good in Swiss Army Man – meaning he is both good, and dead. Plus: Deepwater Horizon.

Actors who try to shake off a clean-cut ­image risk looking gimmicky or insincere – think of Julie Andrews going topless in SOB, or Christopher Reeve kissing Michael Caine in Deathtrap. Daniel Radcliffe has tried to put serious distance between himself and Hogwarts in his choice of adult roles, which have included Allen Ginsberg (in Kill Your Darlings) and an FBI agent going undercover as a white supremacist (Imperium), but it is with the macabre new comedy Swiss Army Man that he stands the best chance of success. He’s good in the film. Dead good. He has to be: he’s playing a flatulent corpse in a moderate state of putrefaction. If ever there was a film that you were glad wasn’t made in Odorama, this is it.

The body washes up on an island at the very moment a shipwrecked young man, Hank (Paul Dano), is attempting to hang himself. He scampers over to the corpse, which he nicknames Manny, and realises he could use its abundant gases to propel himself across the ocean. Once they reach another shore and hide out in the woods, Hank discovers all sorts of uses for his new friend. Cranked open, the mouth dispenses endless quantities of water. The teeth are sharp enough to shave with. A spear, pushed deep into Manny’s gullet, can be fired by pressing down on his back, thereby turning him into an effective hunting weapon.

On paper, this litany of weirdness reads like a transparent attempt to manufacture a cult film, if that term still has any currency now that every movie can claim to have a devoted online following. The surprising thing about Swiss Army Man is that it contains a robust emotional centre beneath the morbid tomfoolery. It’s really a buddy movie in which one of the buddies happens to have expired. That doesn’t stop Manny being a surprisingly lively companion. He talks back at his new friend (“Shall I just go back to being dead?” he huffs during an argument), though any bodily movements are controlled by Hank, using a pulley system that transforms Manny into a marionette.

The gist of the film is not hard to grasp. Only by teaching Manny all the things he has forgotten about life and love can the depressed Hank reconnect with his own hope and humanity. This tutelage is glorious: improbably ambitious DIY models, costumes and sets (including a bus constructed from branches and bracken) are put to use in play-acting scenes that recall Michel Gondry at his most inspired. If only the screenplay – by the directors, Daniel Kwan and Daniel Scheinert – didn’t hammer home its meanings laboriously. Manny’s unembarrassed farting becomes a metaphor for all the flaws and failings we need to accept about one another: “Maybe we’re all just ugly and it takes just one person to be OK with that.” And maybe screenwriters could stop spelling out what audiences can understand perfectly well on their own.

What keeps the film focused is the tenderness of the acting. Dano is a daredevil prone to vanishing inside his own eccentricity, while Radcliffe has so few distinguishing features as an actor that he sometimes seems not to be there at all. In Swiss Army Man they meet halfway. Dano is gentler than ever, Radcliffe agreeably deranged. Like all good relationships, it’s a compromise. They make a lovely couple.

What to say about Deepwater Horizon? It’s no disaster as a disaster movie. Focusing on the hows and whys of the most catastrophic accident in US oil drilling history, when an explosion consumed an oil rig in the Gulf of Mexico in 2010, it doesn’t stint on blaming BP. Yet it sticks so faithfully to the conventions of the genre – earthy blue-collar hero (Mark Wahlberg), worried wife fretting at home (Kate Hudson), negligent company man (John Malkovich) – that familiarity overrides suspense and outrage.

The effects are boringly spectacular, which is perhaps why the most chilling moment is a tiny detail: a crazed seagull, wings drenched in oil, flapping madly on the deck long before the fires start. As a harbinger of doom, it’s only mildly more disturbing than Malkovich’s strangulated accent. 

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 29 September 2016 issue of the New Statesman, May’s new Tories