Latest news with #ExMachina
Toronto Star
a day ago
- Entertainment
- Toronto Star
Stratford Festival's much-awaited ‘Macbeth' — with motorcycles and violent gangs — is a feeble letdown
Macbeth 2 stars (out of 4) By William Shakespeare, directed by Robert Lepage. Until Nov. 2 at the Avon Theatre, 99 Downie St., Stratford Ont. or 1800-567-1600 STRATFORD — I shudder when I think about how much money was poured into the Stratford Festival's latest 'Macbeth,' which opened Wednesday at the Avon Theatre. Inside The program of director Robert Lepage's production, created in collaboration with his company Ex Machina, is a four-page insert listing the hundreds of donors who have bankrolled this revival, which will tour to Montreal, Quebec City and Ottawa next year. Indeed, it's an expensive, extravagant and altogether epic endeavour. And yet, this highly anticipated staging amounts to nothing more than a feeble letdown, despite some glimpses of brilliance and its starry cast of Stratford favourites. ARTICLE CONTINUES BELOW Lepage sets his version of the Scottish Play in the context of the Quebec Biker War, a drug-related turf war between two motorcycle gangs that terrorized the city of Montreal for nearly a decade, leaving more than 160 people dead between 1994 and 2002. Ariane Sauvé's set drops the audience into the heart of the action. Its centrepiece is an imposing two-storey motel, frequented by Macbeth (Tom McCamus) and his fellow outlaws, dressed in leather (the costumes are designed by Michael Gianfrancesco) and riding on spiffed-up motorcycles that zoom around the stage. Impressive as this mise-en-scène is, however, Lepage's high-concept and heavily edited treatment feels like it's constantly trying to square a circle. Any attempt to draw parallels between these 'Macbeth' characters and the historical figures involved in the Quebec Biker War only proves futile. Tom McCamus as Macbeth in 'Macbeth.' David Hou/Stratford Festival Is King Duncan (David Collins) supposed to represent former Hells Angels leader Maurice Boucher? Is the story meant to depict the warring factions and hierarchy within a single group — or between two opposing gangs? None of this is entirely clear. Lepage says in his program note that any director leading a production of 'Macbeth' should 'choose a context in which contemporary audiences can better grasp the twists and turns of the intrigue and the psychological complexities of the characters.' But instead of offering clarity, his own concept — as typical of most Shakespeare productions placed in a setting that's based on a real historical event — merely adds more confusion. The most laughably ridiculous moment: when Macduff (Tom Rooney) and his gang of burly biker men start chopping down Birnam Wood to use as 'camouflage' as they stage their final attack on Macbeth. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW If you're able to look past these incongruities, there are bright spots to this production — at times imaginative and cheeky, throwing reverence to the wind. In particular, some of the design elements conceived by Lepage are stunning. Perhaps his greatest coup de theatre comes right at the top of the show: In his prologue, two assassins steer a small boat into the middle of the lake. In it is the traitorous Thane of Cawdor, his head tied up in a gunny sack. The men strap him to a pair of concrete blocks, then push him overboard, setting forth a chain of events that will see Macbeth driven to madness by his own ambition and thirst for power. Later on, Lepage pulls off yet another. I'm loathe to spoil what it is, but it involves a scorching scene transition between Banquo's murder and Macbeth's banquet (depicted here, of course, as a backyard barbecue cookout). There's a cinematic feel to much of this production. (After the prologue, in fact, Lepage projects a series of opening credits onto a screen at the front of the stage.) But in the end, these visual set pieces feel more like self-serving gimmicks, some of which hinder instead of help to serve the story itself. Members of the company in 'Macbeth.' David Hou/Stratford Festival Sauvé's set is so large and unwieldy that the scene transitions, particularly in the first half, take far too long, killing any sense of momentum. Those motorcycles are also so overused that by the fifth or sixth time they're rolled out, I wondered if Lepage was just trying to justify the expense of making them. A poorly conceived production of 'Macbeth' can be redeemed by a strong set of performances. But that's not the case here. Throughout, I rarely got the sense from this ensemble that they're living in a world of hypermasculinity and violence. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW With his deep, sonorous voice, McCamus' rather traditional take on Macbeth is cold and calculating. But though great in the first half of the play, McCamus overdoes his subsequent scenes of madness. Writhing on the floor, like a helpless creature, it feels as though he's playing a caricature of Macbeth rather than the character himself. As Lady Macbeth, Lucy Peacock delivers a performance that's similarly one of diminishing returns. She's terrifyingly domineering and manipulative early on, goading her husband into murdering Duncan and seizing the crown. Peacock's voice, almost maniacal, flirts between complete seriousness and carefree glibness. But Peacock's interpretation of Lady Macbeth's famous sleepwalking scene feels surprisingly dull, with her speech lacking both energy and a coherent through-line on opening night. From front-left: Tom Rooney as Macduff, André Sills as Ross and Austin Eckert as Malcolm with members of the company in 'Macbeth.' David Hou/Stratford Festival Graham Abbey fares far better as Banquo, Macbeth's friend-turned nemesis. But both Collins and Rooney are uncharacteristically stiff and, at times, unintelligible. (The poor sound amplification, and the fact they're all miked, is part of the problem.) Among the bikers, however, it's André Sills and Emilio Vieira who are most convincing, as Ross and Lennox, respectively. Kudos to Maria Vacratsis, as well, who plays the Porter (the motel manager in this version) and milks the laughs with her sexually charged speech in the second act. The witches (played by Aidan deSalaiz, Paul Dunn and Anthony Palermo) are portrayed as a trio of transgender prostitutes and drug addicts, scorned by Macbeth, yet whose prophesies lead to his downfall. This is a fascinating take, but one that I felt could be presented more sensitively. You really could say that about this production as a whole. Brash and bold yet lacking in its finer details, it's proof that no amount of money nor special effects can correct for a misguided vision.
Globe and Mail
2 days ago
- Entertainment
- Globe and Mail
Robert Lepage's ambitious Macbeth feels like a movie at the Stratford Festival's Avon Theatre
Title: Macbeth Written by: William Shakespeare Performed by: Tom McCamus, Lucy Peacock, Graham Abbey, Tom Rooney, André Sills, Aidan deSalaiz, Paul Dunn, Anthony Palermo Directed and designed by: Robert Lepage Company: Stratford Festival in collaboration with Ex Machina Venue: Avon Theatre City: Stratford, Ont. Year: Until Nov. 2, 2025 A scruffy gangster slouches in a scuzzy office. On the desk ahead of him rest a few lines of cocaine — perhaps that explains the would-be kingpin's bloodshot eyes, his agitated demeanour. (Though those could also be chalked up to the murders — the bodies and ghosts gumming up his empire.) Set in the late 1990s in a Quebec motel war-torn by biker gangs, Robert Lepage's Macbeth is impressive, to be sure. A two-way mirror centre stage allows for witches (Aidan deSalaiz, Paul Dunn and Anthony Palermo) and spectres to flicker in and out of existence; souped-up e-bikes loudly vroom each time they roll across the stage, their handles gleaming in the dim light of the motel's parking lot; bodies rise and fall through mid-air, seemingly weightless as they float. Prologued by a gripping first scene and cinematic slate of opening credits, it's classic Lepage, and throughout Macbeth you'll likely find yourself asking, 'How the hell did they do that?' (That's a question perhaps best answered by the long opening night program insert thanking the production's donors: Money. Lots of it.) Shakespeare purists shan't be pleased. But Lepage's conceptual reimagining of the tragedy largely works: The play's themes of greed and ruthless ambition translate easily to Canada's gangs, and the introduction of illicit drugs into the Macbeths' marriage adds a chewy layer of conflict to the couple (played by Stratford legends Tom McCamus and Lucy Peacock). But Lepage's filmic Macbeth, despite its ambitious scope, flexes the best of Lepage's design sensibilities at the expense of a more crucial component of the play: the actors. That's not to say Lepage's cast isn't great – unsurprisingly, they are. McCamus – the second protagonist of the season to fixate on 'tomorrow' – peppers Macbeth's descent into madness with acerbic wit and cruelty, leaning into Macbeth's biker environs without feeling like a caricature. Peacock's Lady M, too, is convincing — her 'out, damned spot!' monologue is understated and truthful, more a mutter than a scream. But Macbeth's star-studded ensemble rarely feels like, well, an ensemble. There's a surprising lack of chemistry between the actors – many of whom appeared together in Lepage's 2018 Coriolanus at the Stratford Festival – and even greats such as Graham Abbey (Banquo), Tom Rooney (Macduff) and André Sills (Ross) occasionally feel like set pieces in Lepage's larger vision, talking at rather than to each other amid the visual noise around them. That noise is quite striking, to be fair — a pyrotechnic effect near the top of the production's second half earned a (deserved) mid-show ovation. And Ariane Sauvé's set, composed of huge structures that coalesce into the two-floor motel, would be right at home in a larger theatre. But Macbeth's tech and design take precious time for the stagehands — who got by far the biggest applause on opening night — to manoeuvre. That massive, spinning set groans as it moves, rolled along by backstage workers in conspicuous headsets and theatre blacks. At the moment, the actors seem to be having some trouble navigating the set as it moves, gripping the onstage handholds for dear life. The motorbikes seem to be a bit of a nuisance as well — often, the actors 'riding' them simply waddle across the stage, the bikes awkward and heavy between their legs, their temporary gang tattoos glinting under Kimberly Purtell's spooky lighting design. As well, while Lepage mostly avoids using projections to suggest setting and special effects, the few instances in which he does abandon more analogue design flourishes seem a touch underbaked. A climactic gunfight that sees Macbeth dodge 'bullets' is less effective when projected bullet-holes land squarely on his chest with no impact. It's a minor complaint, but one that somewhat epitomizes the most glaring problem with this Macbeth: Actors, in this production, occasionally seem to be an afterthought. But so what? Thus far, at least, this year's Stratford Festival has offered its sharpest season since the pandemic — over the course of three openings, the fest has managed to redefine a Shakespearean genre, reimagine a classic musical into a raucous three-hour dance fest, and recreate the expansive magic of film on the moderately-sized Avon Theatre stage. This Macbeth, set to be translated into French and toured around Quebec and Ontario next year, wasn't to my taste. But its inventive design and hearty concept might encourage a new sect of theatre fans to check out the Bard — and that's hardly an act in need of bloody revenge.
Business Mayor
23-05-2025
- Entertainment
- Business Mayor
Elden Ring's live-action adaptation secures Alex Garland as director
Remember when there was a time we all seriously thought Elden Ring would never come out? Now not only has it launched, but it's a bonafide cultural legend. Now it's facing its next evolution: A live-action film adaptation. Bandai Namco and film company A24 announced today that they have selected Alex Garland to lead the adaptation, serving as both director and writer. Garland is a director with a pedigree in games as well as film, being one of the writers behind Enslaved: Odyssey to the West. In film, he's the writer behind the 28 X Later series and sci-fi thriller Sunshine; and the director behind Ex Machina and Civil War. Elden Ring would be slightly outside his normal milieu, but he's clearly got the background to bring such a big story to the screen. Beyond Garland's involvement, we know little about the adaptation of Elden Ring, such as story direction. Bandai Namco confirmed that the film will be produced by Peter Rice alongside Andrew Macdonald and Allon Reich from DNA, and George R. R. Martin and Vince Gerardis. George R. R. Martin was also behind some of Elden Ring's original story concepts. Elden Ring is one of multiple game with confirmed live-action film adaptations in the works, as Hollywood continues to deepen its relationship with the video game industry. The latest games with film counterparts in the works include Split Fiction, OutRun, Gears of War and BioShock (the latter two being Netflix adaptations that have been in the works for some time.
Daily Mirror
23-05-2025
- Entertainment
- Daily Mirror
‘Unfilmable' video game adaptation officially announced as fans left divided
One of the best-selling games in history is finally getting the live-action film adaptation fans have been yearning for Gamers are torn after the announcement of a live-action movie based on one of the best-selling video games to date. The iconic title, which has shifted over 30 million copies as of April 2025, is none other than the open-world fantasy epic Elden Ring. Bandai Namco set social media abuzz today (Friday, 23rd May) by revealing plans for a live-action film adaptation of Elden Ring, with critically acclaimed director Alex Garland of Ex Machina and Warfare fame at the helm. In a statement on X (formerly Twitter), they proudly proclaimed: "We're thrilled to announce that Bandai Namco Entertainment Inc. and A24 are teaming up with writer and director Alex Garland to bring FromSoftware Inc.'s world-renowned video game ELDEN RING to life as a live-action film. "We're truly excited to bring the world of ELDEN RING to fans in a new form, outside the game", reports the Mirror US. "Stay tuned. The path ahead is only beginning." Developed by FromSoftware, the open world game puts players in charge of a 'Tarnished' protagonist on a quest through the perilous Lands Between, with aims to conquer powerful enemies and claim the title of Elden Lord. Despite millions relishing the immersive universe – co-envisioned by Game of Thrones author George RR Martin – with its absorbing exploration and combat, there's doubt among some about how well it will make the leap from console to cinema screen. Casting more shadow, a doubtful user on X responded to the news posted by Bandai Namco querying: "Isn't this the game which notably has no plot, just hints of one?" One sceptic voiced concerns, saying: "This won't work out well, especially for a movie instead of a TV series. Elden Ring is full of Show, Don't Tell style writing. "Hollywood doesn't know how to properly do that and resorts to Tell, Don't Show writing where everything has to be explained on screen by someone." Mirroring this thought was another commenter who questioned: "Uhhh... Why a film? "Given the sheer length of the Game's plot and amount of Lore, would a series not be more logical?" A further doubter on Reddit expressed: "I would love for this to be good but I don't see how this can be adapted and be accessible to most audiences." Yet, some gaming enthusiasts remain hopeful, buoyed by Garland's involvement. He most recently led the helm of Warfare, which received applause as one of the finest war films in recent memory, boasting a stellar 93 percent approval on Rotten Tomatoes. An aficionado praised, "Garland makes amazing stuff," going on to remark, "And I was gonna say this is an out there director choice but he did make Ex Machina which is all sorts of f***ed up. Could be epic." As the industry buzzes, many wonder if we are on the brink of witnessing the next cinematic fantasy phenomenon akin to Lord of the Rings with anticipation hanging thick in the air. Elden Ring is available on PlayStation 4, PlayStation 5, Windows, Xbox One and Xbox Series X/S. Warfare is available to rent or buy on Prime Video and Apple TV.
Geek Tyrant
23-05-2025
- Entertainment
- Geek Tyrant
Alex Garland Set to Direct Live-Action ELDEN RING Movie for A24 and Bandai Namco — GeekTyrant
Alex Garland is stepping into The Lands Between. A24 and Bandai Namco have confirmed that Garland, known for Ex Machina , Annihilation , and most recently Warfare , will direct and write the upcoming live-action adaptation of Elden Ring . Elden Ring is the awesome beutifully-made genre-defining 2022 action-RPG that combined the creativity of Hidetaka Miyazaki with the fantasy myth-weaving talents of George R.R. Martin. The result was a dark fantasy world crawling with grotesque monsters, twisted lore, and enough player deaths to form a religion. Garland had been rumored for the project for some time, but now it's officially locked in. The film will be produced by Peter Rice, alongside DNA's Andrew Macdonald and Allon Reich, Martin himself, and Vince Gerardis. This movie is going to need a serously talented and creative team because this is going to be an massive and ambitious fantasy epic. The game was developed by FromSoftware and published by Bandai Namco, was a massive success from day one, shipping over 30 million units globally. It dominated the 2022 Game Awards, taking home Game of the Year, Best Game Direction, and Best Role-Playing Game. The Elden Ring universe is expanding in every direction. On May 30, Elden Ring: Nightreign drops, which is an intense, cooperative experience built around navigating punishing scenarios. Then, later this year, the Elden Ring: Tarnished Edition arrives for the Nintendo Switch 2. This all-in-one version bundles the acclaimed Shadow of the Erdtree DLC with new armor sets and appearance customization. No release date yet for the film has been announced yet, but one thing's clear: with Garland steering the ship, we're not getting a typical fantasy blockbuster. I'm expecting him to deliver something epic, bold, cerebral, and haunting. Source: Variety
