Vue lecture

The World of Tomorrow review – Tom Hanks returns to the stage for time travel charmer

19 novembre 2025 à 04:30

The Shed, New York

The actor indulges his love of the past in a breezily enjoyable play about a man falling for a woman from the 1930s, played by a standout Kelli O’Hara

Tom Hanks is a star who’s always had one foot squarely in the past. As an actor he’s forever been likened to James Stewart, a reincarnation of the charming, essentially good American everyman, a from-another-era lead who’s increasingly been more comfortable in period fare (in the last decade, he’s appeared in just four present-day films). As a producer, he’s gravitated toward historical shows such as Band of Brothers, John Adams and The Pacific; his directorial debut was 60s-set music comedy That Thing You Do! and his undying obsession, outside of acting, is the typewriter, collecting and writing about its throwback appeal.

In his new play, The World of Tomorrow, his fondness for the “good old days” has led to the inevitable, a story about a man with a fondness for the “good old days” who actually gets to experience one of them for himself. It’s a loosely familiar tale of time travel, based on a short story written by Hanks that tries, and half-succeeds, to bring something new to a table we’ve sat at many times before.

The Carpenter’s Son review – Nicolas Cage is predictably miscast in dull biblical horror

The Guardian

Par :Benjamin Lee

14 novembre 2025 à 08:03

A grim, grave-faced look at Jesus realising he is in fact the son of God is a bafflingly acted and messily made bore

It’s hard to know how seriously one should take a film that casts Nicolas Cage as Joseph, the carpenter who acted as the adoptive father of Jesus. One might expect, with the actor still relying on his trademark California intonation and histrionic outbursts, that this would be another one of his late-stage career larks, like playing Dracula or himself. But in The Carpenter’s Son, a bafflingly serious stew of horror, drama and fantasy, it slowly starts to dawn on us that this is in fact, not a joke. What it is I couldn’t tell you but entertaining it most definitely isn’t.

The film, from Egypt-born, London-raised writer and director Lotfy Nathan, is inspired by the Infancy Gospel of Thomas, a text seen as heretical by some, which offers highly debated “insight” into the early years of Jesus. Nathan begins by clueing us into the fact that this isn’t your vicar’s Sunday school biblical drama, as a screaming cave-based birth sequence is followed by a bonfire of babies, King Herod’s men throwing on more and more as mothers wail at the side. Cage’s unnamed carpenter and the new mother at his side (FKA twigs) escape and we leap forward to see them moving into a remote village with their teenage offspring, known as the boy (Noah Jupe).