Friday Arts Diary

Our cultural picks for the week ahead.

Exhibition

Ellen Gallagher@AxME, Tate Modern, opens 1 May

Ellen Gallagher is one of America’s most renowned contemporary artists. Tate Modern presents the first major solo exhibition of her work in the UK. This overview provides a unique opportunity to explore her career, as well as her employment of a wide variety of media- including painting, drawing, relief, collage, print, sculpture, film and animation.

Concert

Vampire Weekend, Troxy, 2 May

Williamsburg four piece Vampire Weekend return to play a short run of UK dates, including a stop at grandiose art-deco Troxy in east London. Their infectious blend of bouncy Afrobeat and indie-pop has only grown in popularity since their formation in 2006. The band will also be headlining gigs in Portsmouth and Bournemouth in June, in advanced of their support slot for Mumford and Sons at the Olympic Park.

Theatre

A Dolls House, Royal Exchange Theatre, Manchester, 1 May- 1 June 

A new adaptation of Henrik Ibsen’s ground-breaking classic of female liberation and empowerment comes to the Royal Exchange this week. Star Cush Jumbo is reunited with director Greg Hersov following a hugely successful production of As You Like It in 2011.

TV

Vicious, ITV, premieres 29 April

This new sitcom, originally titled Vicious Old Queens, premieres on ITV on Monday. Theatrical heavyweights Ian McKellen and Derek Jacobi star as an ageing couple sharing a Covent Garden flat whose world is turned upside down by the arrival of their dashing new neighbour Ash, played by Misfits star Iwan Rheon.

Film

Stanley Kubrick’s "A Killer’s Kiss", Prince Charles Cinema, 1 May

As part of their Kubrick retrospective the Prince Charles Cinema is screening A Killer’s Kiss, Kubrick’s second feature film. Made on a budget of £40,000 which Kubrick borrowed from his uncle, the film is regarded as a telling indicator of the era-defining invention and creativity that was to come. This New York noir tells the story of a young boxer and nightclub dancer who fall in love but become caught in a web of murder and revenge.

Festival

Stratford-upon-Avon Literary festival, Straford-Upon-Avon, continues until 5 May

A mix of debate, ideas, author events and workshops, The Stratford upon Avon Literary Festival has become of the most significant literary festivals in the UK. Highlights from the programme this week include an evening with Michael Palin on 2 May and "Michael Morpurgo day" on 5 May.

Ellen Gallagher's first major solo exhibition at the Tate Modern (Photo: Getty Images)
Marvel Studios
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In Guardians of the Galaxy Vol 2, every other line reeks of a self-help manual

This lame sequel suggests the makers have largely forgotten why the original was so refreshing.

The 2014 romp Guardians of the Galaxy boasted the budget of a blockbuster and the soul of a B-movie. What that meant in practice was that audiences had to endure the same biff-pow battle scenes and retina-blistering effects as any space adventure, but they were rewarded with eccentric characters and tomfoolery for its own sake.

Despite the Marvel Studios imprimatur, the film showed the forces of intergalactic evil being fought not by superheroes, but by a ragtag band of bickering goofballs: Peter Quill (Chris Pratt), aka Star-Lord, a self-regarding rogue in the Han Solo mould; the green-faced alien Gamora (Zoe Saldana); Drax (Dave Bautista), a literal-minded hulk; Rocket, a racoon-like warrior (voiced by Bradley Cooper); and Groot, a piece of bark that says “I am Groot” over and over in the dulcet tones of Vin Diesel. Movies this odd don’t usually become $770m smash hits but this one did – deservedly.

Those characters return in Guardians of the Galaxy Vol 2 (the “Vol 2” reflects Peter’s love of mix-tapes) but the new film suggests the makers have largely forgotten why the original was so refreshing. Gags are rehashed; several sequences (including an interminable slow-motion section involving a laser-powered arrow) are dragged way beyond their desirable lifespan. Late in the day, Rocket tells his shipmates that they have too many issues, which rather pinpoints the problem with the screenplay by the director, James Gunn. Gunn has saddled his characters with unreasonable baggage, all of it relating to family and belonging. No matter how far into space they travel, all roads lead back to the therapist’s couch.

Peter, raised by his late mother, is delighted when Ego (Kurt Russell) materialises claiming to be the father he never knew. The old man makes grand pronouncements, only to undercut them within seconds (“’Scuse me, gotta take a whizz”) but, on the plus side, he has his own planet and pulls the whole “One day, son, all this will be yours” shtick. Gamora also has family business to contend with. Her blue-skinned sister, Nebula (Karen Gillan), wants to kill her: Nebula has never quite got over Gamora being Daddy’s favourite. To be fair, though, he did force them to fight one another, replacing parts of Nebula’s body with metal whenever she lost, so it’s not like we’re talking about only one sister being allowed to watch Top of the Pops.

The more Peter gets to know Ego, the less admirable he seems as a father, and soon we are in the familiar territory of having parenting lessons administered by a Hollywood blockbuster. The reason for this became obvious decades ago: the film industry is populated by overworked executives who never get to see their children, or don’t want to, and so compensate by greenlighting movies about what it means to be a good parent. Every other line here reeks of the self-help manual. “Please give me the chance to be the father your mother wanted me to be,” Ego pleads. Even a minor character gets to pause the action to say: “I ain’t done nothing right my whole life.” It’s dispiriting to settle down for a Guardians of the Galaxy picture only to find you’re watching Field of Dreams with added asteroids.

Vol 2 gets by for an hour or so on some batty gags (Gamora misremembering the plot and star of Knight Rider is an especially juicy one) and on the energising power of Scott Chambliss’s glorious production design. The combination of the hi-tech and the trashy gives the film the appearance of a multimillion-dollar carnival taking place in a junkyard. Spectacular battles are shot through scuffed and scratched windscreens, and there are spacesuits cobbled together from tin pots and bubble-wrap. This is consistent with the kitschfests that inspired the Guardians aesthetic: 1980s science-fiction delights such as Flash Gordon, Spacehunter: Adventures in the Forbidden Zone and The Adventures of Buckaroo Banzai Across the 8th Dimension.

If only Vol 2 had mimicked their levity and brevity. Gunn ends his overlong movie with a bomb being attached to a giant brain, but this is wishful thinking on his part. He hasn’t blown our minds at all. It’s just a mild case of concussion. 

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 27 April 2017 issue of the New Statesman, Cool Britannia 20 Years On

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