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Persona

An atmospheric production, but Persona lacks the intimacy and intensity of Ingmar Bergman's original. Laurence Green reviews.

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Teenage Dick

A flawed but interesting modern meditation on the lust for power that manages to blend Shakespearean rhetoric with everyday speech. Laurence Green reviews Teenage Dick.

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So Long My Son

Laurence Green reviews Wang Xiaoshuai's ambitious family chronicle of changing lives, set against the most turbulent events in recent Chinese history.

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0 Micro Laurence Green
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Beanpole

An absorbing, thought-provoking movie, set in post-war Leningrad, that seems like a strong contender for Best Foreign Film at the forthcoming Oscars. Laurence Green reviews.

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Master Harold ... and the boys

Master Harold ... and the boys is a salutary reminder of the evils of recent, officially sanctioned racism and retains an emotional power which is undimmed by age

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0 Micro Laurence Green
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The Night of the Iguana

Clive Owen, returns to the London stage after an 18-year absence in James Macdonald's sluggish new production of the Tennessee Williams' The Night of the Iguana. Laurence Green reviews.

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Peter Gynt

James McArdle impresses in a work that exposes the madness of a modern world where truth is subjective and everything can be viewed through the narrow prism of self. Laurence Green reviews.

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The End of History

David Morrissey stands out as the brooding, down-to-earth idealist patriarch in this compassionate and intimate drama of a divided, dysfunctional family. Laurence Green reviews.

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Europe

David Greig's 1994 drama remains a timely warning about the dangers of a divided Europe, writes Laurence Green.

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White Pearl

In spite of some sharp and telling observations, Anchuli Felicia King's exploration of the power of social media, White Pearl, remains a missed opportunity.

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0 Micro Laurence Green
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At Eternity's Gate

Willem Dafoe stars as Vincent van Gogh in Julian Schnable's biopic but a sluggish, labouring script that labours not so much on the life of the painter or even his work but on the never ending question of “why”.

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Come From Away

Come From Away was a sleeper hit across North America, Broadway included, but this adaptation in spite of its charm and energy has perhaps too little to say.

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0 Micro Laurence Green
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Jesus Hopped the A Train

A pumping, pounding play that alternately blazes and freezes its way through the stories of two men incarcerated in the infamous Rikers Island prison. Laurence Green reviews.

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The American Clock

Laurence Green reviews a new three-hour production of Arthur Miller's The American Clock (directed by Rachel Chavkin), at the Old Vic Theatre.

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Tintin: as the eternal youth turns 90, he's still teaching children about the world

Paul Aleixo looks at the enduring appeal of Hergé's comic book hero Tintin: one of Belgium’s great gifts to the children of the world.

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The Cane

This moral examination of corporal punishment should have been insightful and thought-provoking but lacks the necessary depth and passion to make us really care. Writes Laurence Green.

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Disobedience

Sebastian Lelio's Disobedience starring Rachel Weisz and Rachel McAdams asks searching questions about religious transgression and individuality but ultimately disapppoints, writes Laurence Green.

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The Inheritance

A production of the acclaimed The Inheritance (directed by Stephen Daldry) turns out to be a major disappointment despite the best efforts of its ensemble cast, writes Laurence Green.

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I'm Not Running

The rise of single-issue politics and the difficulty of staying true to your beliefs form the basis of David Hare's I'm Not Running. Laurence Green reviews.

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BFI London Film Festival 2018

Laurence Green picks out his top choices ahead of the BFI London Film Festival 2018 including Jon Baird's Stan & Ollie.

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Poet in da Corner

Debris Stevenson's energetic coming of age tale Poet in da Corner is a heady mix of grime music, physicality, dance and biographical, if fractured storytelling. Laurence Green reviews.

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Underground Railroad Game

A flawed drama about slavery that lacks the necessary engagement and emotional depth to convince, writes Laurence Green.

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Aristocrats

Despite the best efforts of its cast to inject some much-needed conviction into the show, this abstract production of Brian Freil's 1989 play Aristocrats lacks any sense of consequence or emotional clout and ultimately falls flat writes Laurence Green.

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Little Shop of Horrors

This camp, funny and sometimes sinister show is without a doubt the best production of the summer season writes Laurence Green.

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Exit the King

A fine central performance from Rhys Ifans, as the manic, self-obsessed monarch in Ionescu's Exit the King, cannot prevent the show from disappointing, writes Laurence Green.

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Othello

A stylish but rather safe production of Othello is saved by Mark Rylance's portrait of the impotence, provincialism and bitterness of the scheming Iago. Laurence Green reviews.

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The Jungle

Laurence Green reviews Joe Murphy and Joe Robertson's "patchwork of the dispossessed", The Jungle

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Two For The Seesaw

Laurence Green is pleasantly surprised by Gary Condes' rendition of William Gibson's 60-year-old romantic drama, Two For the Seesaw.

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Allelujah!

84-year-old Alan Bennett has done it again! "Allelujah!" is a play driven by affection, compassion and rage, finishing on a heartfelt plea: “Open your arms before it's too late!” Laurence Green reviews the playright's state of the nation opus.

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Ex-Libris: New York Public Library

"The film emerges as a thought-provoking, beautifully shot love letter to the model of inclusion and knowledge sharing and a topical reminder of the preciousness of libraries everywhere" writes Laurence Green.

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