To the arts section, panoptic means breadth; an all-encompassing approach to the arts and culture in which we all engage.
Not quite softcore exploitation horror but not quite a rallying feminist cry either, Sam Levinson’s femme-fatale-led piece fails to pull out all the stops as promised – mostly because it doesn’t seem to know where the stops are in the first place.
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Nine of the weirdest, most exciting shows opening in London this October, as chosen by our Theatre Editor.
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True to its tagline, John Ajvide Lindqvist’s new screenplay is indeed “a love story unlike any other” in certain senses – but on the other side of the coin, it is a wholly predictable and often misguided whodunit thriller just like every other.
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Too many cooks spoil the broth, and so do too many clichés – May The Devil Take You is brilliant on occasion, but mostly plays out as an inane, muddled collection of multicultural jumpscare ideas connected by a thinly-drawn plot.
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Loaded with enough intrigue to make you think yourself into a corner, School’s Out ramps up the dread at every turn, up to its (literally) explosive climax.
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Carey Mulligan and Ed Oxenbould gamely shoulder the hefty emotional weight of Paul Dano’s directorial debut, supported by an underused but nonetheless brilliant Jake Gyllenhaal.
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Blackkklansman is so much more than a movie or cultural capsule, it is a lesson and rallying call.
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Protest Song leaves you uncomfortable but wanting to know more. And it leaves you feeling like you should do better.
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Spiders isn’t perfect. Spiders isn’t completed – I hope. Instead, it’s peak fringe theatre: rough, vital, compelling, effective.
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Foxing – Nearer My God As befits the title of their latest studio outing, Foxing are certainly reaching for new heights – once considered the band that would be post-rock’s saving grace, the Missouri quartet have proven themselves so much more than the faces of a single genre. Nearer My God is a Herculean studio…
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