‘Bored? You’re never good enough to get bored!’ Oscar-winner Helen Hunt on great roles, unruly audiences and her RSC debut

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The formidable actor talks about the challenge of finding meaty characters, tough times in the US – and co-starring with her dad’s hero Kenneth Branagh in The Cherry Orchard It’s lunchtime in Stratford-upon-Avon and Helen Hunt has 30 minutes to spare. She’s preparing for her Royal Shakespeare Company debut and is taking time out to speak to me via Zoom, just her head and shoulders, with what looks like a sleek-surfaced kitchen in the backdrop. Hunt is all sleek surfaces herself: polite smiles, even tones and an inscrutability so strained it makes me wonder what might be bubbling underneath. Hunt is starring alongside Kenneth Branagh and Bill Pullman in a new version of The Cherry Orchard. She plays Madame Ranevskaya, the Russian aristocrat and matriarch who returns home to find her family estate in jeopardy. The play, like so many of Chekhov’s, is about the apathy of the elite class in the dying days of the Russian empire. So why this play, for her, and why now? Continue reading... ...
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The Black Demon review daft but fun giant-shark mayhem on Mexican oil rig

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Sincere performances and lively banter turn hokey into entertaining as Josh Lucas’s engineer and his family do battle with a megalodon

It would seem that megalodons are the menace of the moment. These ginormous sharks, thought to be extinct for millions of years, have been retro-spawned for entertainment purposes by the audiovisual-industrial complex – specifically in the Meg franchise but also on the Discovery Channel – because great white sharks, veterans of the Jaws movies, just don’t cut it any more. Still, in thematic terms there’s a throughline that connects most shark movies: one way or another, they’re all about the return of the repressed, with the sharks manifesting the oceanic subconsciousness’ raging, violent id that has been enraged by the human superego effort at mastery over nature. In the original Jaws, it’s not so much Bruce the shark that’s the big bad as it is the township’s greedy mayor, determined to declare the beach safe in the interests of capitalism.

Directed by American Adrian Grunberg, its screenplay written by Boise Esquerra working from a screenplay by Carlos Cisco, The Black Demon effectively sticks to this well-greased formula. Yes, there’s a ginormous shark pootling around the waters along the coast of Mexico, locally known as “el demonio negro”. But the real, nefarious behemoth of the deep is a leaky oil-drilling platform offshore that was installed by a fictional conglomerate known as Nixon Oil, the name itself redolent of right-wing gringo corruption. (Which is ironic because Richard Nixon, for all his sins, was the president who started the Environmental Protection Agency.) Paul (Josh Lucas) is an engineer who works for Nixon, and as the film starts he arrives in the town nearest to the rig he supervised building years ago, with his wife, Ines, (Fernanda Urrejola) and two kids, Audrey (Venus Ariel) and Tommy (Carlos Solórzano) in tow for a family vacation while he inspects the rig.

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