To dismiss it merely as a one-note ‘homage’ to Hollywood’s silent era would be doing it a disservice, for in looking backwards to pay gloriously realised tribute Hazanavicius’ film is also a bone fide modern classic in its own right.

Opening in 1927, the film focuses on silent movie mega-star George Valentin (Jean Dujardin) as he slowly finds his fame threatened by the advent of the talkies.

At first dismissive of the technology, he slowly comes to realise that he is fast becoming part of a bygone era… yet remains too pig-headed and proud to conform or embrace the technological changes.

At the same time, beautiful newcomer Peppy Miller (Berenice Bejo) is making her own mark on the industry, becoming a major star in her own right after accidentally being ‘discovered’ by Valentin.

As the two artists’ careers experience wildly differing fortunes, Valentin slowly comes to realise he may also have discovered an unsuspecting ally in Miller.

It’s difficult to know exactly where to begin lavishing praise upon Hazanavicius’ movie. Shot in black and white and told in silent fashion to evoke the look and feel of that era perfectly, it’s like re-discovering a lost classic from that time, such is its keen eye for period detail and heartfelt nostalgia.

Yet viewed from the benefit of hindsight, it also assumes a very poignant feel… and one that can be adapted to any passing of eras. It’s an all-too familiar story, yet relayed in fiercely traditional fashion.

That’s not to say this is a straight-faced tribute… far from it! Early on, especially, there’s an invention and a wicked sense of humour that evokes the spirit of Chaplin at times with flourishes that are both funny and deeply romantic.

Witness an early bask in the glory of his fame by Valentin, or a delicious moment involving Miller as she imagines a romantic liaison with George using only his coat – two classic moments that are as heart-warming as they are smile inducing.

Even late on, as things take a darker turn, there’s still room for humour… most of which is supplied by Valentin’s scene-stealing dog (a constant source of amusement).

And throughout, Hazanavicius flexes his own creative muscles with several bravado moments, the pinnacle of which is arguably a dream sequence in which he cleverly incorporates sound.

But such technical and visual brilliance never come at the expense of the performances, which really are to be savoured.

Dujardin, in particular, is a mesmerising presence, by turns effortlessly charismatic (in a silent Errol Flynn meets Cary Grant kind of way), heart-breaking and fool-hardy, while Bejo is every bit his match and luminous in her vivacious turn as Miller.

Support from the likes of John Goodman, James Cromwell and Penelope Anne Miller is just as nicely observed, leaving you with the warm sense that the talents of no one have been wasted.

But above all, this is a feel-good throwback to a bygone era that also remains essential for modern audiences. It really is a film to be savoured time and again and one that thoroughly deserves every accolade coming to it.

Certificate: PG
Running time: 100mins
UK Blu-ray & DVD Release: May 28, 2012

Two big things go against Brad Peyton’s belated follow-up to 2008’s Journey To The Centre of the Earth: firstly, the total disregard for anything remotely plausible or realistic throughout most of this sequel; and secondly, the fact that it opts to base itself around a classic piece of source material without employing the same kind of principles that enabled Jules Verne’s work to stand the test of time.

Rather, it seeks to make the most out of current filmmaking technology (ie, 3D and the fun that can be had with it) while sticking rigidly to formulaic blockbuster values. None of the characters feel real or even remotely complex, while many of the supposedly spectacular locations, too, look computer generated.

The plot finds teen Jules Verne expect Sean (Josh Hutcherson, reprising his role from the original) picking up a distress call from a supposedly ‘lost island’ and determining that it’s coming from his adventurous grandfather (Michael Caine).

With his disapproving new step-father (Dwayne Johnson) in tow, Sean sets about locating the island with additional help from a comedy pilot (Luis Guzman) and his conveniently attractive daughter (Vanessa Hudgens).

And so the scene is set for countless coming-of-age scenarios that teach Sean how to be less selfish and allow Johnson’s new father-figure into his life.

Admittedly, not everything about Journey 2 is a disaster. The 3D is actually good and Peyton delights in throwing all manner of things out of the screen (lava, bugs, water, etc) so as to keep the younger target viewers entertained.

While the interplay between Caine and Johnson is nice… both clearly have the measure of the material and strive to make it appear better than it really is. Johnson, especially, has a nice line in self-deprecating humour, even going so far as to bounce cherries off his man-boobs at one point, while Caine throws himself gamely into the more physical elements and gets to ride a giant bee at one point.

But even their best efforts can’t disguise the mundane and predictable nature of the script, which feels particularly half-hearted, or the overly stereotypical nature of the characters. Even some of the CG creations look fake, which diminishes the sense of peril somewhat.

Hence, while Journey 2 does realise its own limitations and stupidity, and will keep the kids amused for most of its duration, such factors still don’t make it a good movie. Given that it’s inspired by the timeless work of Verne, it’s borderline scandalous that it’s so instantly forgettable.

Certificate: PG
Running time: 94mins
UK Blu-ray & DVD Release: May 28, 2012

The film stars Anton Yelchin and Felicity Jones as two students – American Jacob and English Anna – who fall in love while studying in Los Angeles. Their love becomes so strong that when the time comes for Anna to return home to England at the end of her studies, she decides to over-stay her visa and spend the summer with Jacob.

It’s a magical time for them both, but also a bad mistake as while Anna’s allowed to leave the country when she tries to return to America she’s refused entry and sent back to England. Suddenly from being together every day the pair is stuck in a long-distance relationship.

Having spent just enough time establishing the bond between the two, the film then spends the rest of the time throwing hurdles in the way of them being reunited.

They do get to spend time together as Jacob finds the time and the money to come to London but life moves on and soon it’s harder to connect across a time-zone as the need to work and live in their respective cities takes hold.

Director (and co-screen-writer) Drake Doremus drops into the lives of the two characters seemingly at random with time moving rapidly. It forces the audience to pay attention and often fools us into jumping to the wrong conclusion. Being thrust into Jacob’s life in America immediately after seeing him together with Anna in London is at first shocking as it appears he’s cheating on her and living with another woman. It’s only as the scene plays out that we realise time has past and the pair have separated.

It’s an intriguing and at first challenging approach. Nothing is easy or straight-forward for us or the characters but it’s what makes the film – and you could say life – interesting.

The two central performances from Anton Yelchin and Felicity Jones are excellent and so effortlessly natural that at times you feel as if you’re spying on real events. They manage to balance the love and the anger they feel towards each other at various times in the film perfectly. And they are ably supported by a strong cast including Alex Kingston, Oliver Muirhead and the excellent Jennifer Lawrence.

The film succeeds as it makes you care about the characters and also not know whether they will end up together or even if they should. For a romantic drama in this day and age that’s rare and exciting.

Certificate: 12A
Running time: 89mins
UK Blu-ray & DVD Release: May 28, 2012

From a filmmaking point of view, it marks writer-director Durkin out as an interesting new talent to watch, while also showcasing the acting talents of an exciting newcomer in Elizabeth Olsen and a skilled ‘veteran’ in John Hawkes.

But there are problems with it too. There’s a palpable sense of unease that prohibits any relaxed moments from the audience as well as an ambiguity that sometimes feels unfair, and while never wanting to be spoon-fed by any film, Martha Marcy May Marlene actually leaves audiences dangling at the point where things start to become really interesting.

The film focuses on Martha (Olsen) as she flees an extended family, or cult, in the Catskills and seeks refuge with the sister, Lucy (Sarah Paulson) she hasn’t seen in two years and her new husband Ted (Hugh Dancy).

As she struggles to re-integrate with society, flashbacks show how she became brain-washed by the cult and, in particular, its charismatic but dangerous leader (Hawkes), as well as some of the abuses she was forced to endure along the way.

Given the nature of its storyline, Durkin’s film should never really make easy viewing and, as such, it treats its difficult material with the sensitivity and respect it warrants, showing how – from Martha’s – point of view it became easy to fall under the spell of the cult and, therefore, difficult to escape.

The complexity of the emotions at play is never overlooked but Durkin also builds a keen sense of tension that suggests Martha is never out of danger or beyond the cult’s reach.

But it’s a sense of unease that’s also perpetuated by the way in which the director uses the flashback technique, tossing them in randomly to disorientate the viewer and create that uncertainty in their minds.

That said, he draws fierce, raw and strikingly authentic performances from everyone concerned, especially Olsen whose jittery, unstable disposition makes her an edgy, often unsympathetic presence who you’re never quite sure about from one minute to the next.

Hawkes, too, brings a quiet menace to his cult leader, while Paulson and Dancy expertly tap into the dual emotions of wanting to care and understand yet being angry at putting their lives on hold for someone whose answers are far from forthcoming, and whose actions are anything but normal.

The slow-build nature, too, adds to the overall feeling of unease, even though the pacing sometimes feels as though it could use an injection. Indeed, this is a point made all the more apparent by the film’s conclusion, which deprives the audience of any sense of closure and not in a good way.

Having treated them with a lot of intellectual respect for the duration of the film, Durkin then issues something of a slap in the face that undermines some of the good work that has come before. And while, again, I’m not one for pat resolutions that explain everything, this one could have provided a little more.

That said, it’s a consistently intriguing and unsettling film that justifies the strong word of mouth that has so far been attached to it.

Certificate: 15
Running time: 101mins
UK Blu-ray & DVD Release: May 28, 2012

The play is episodic and is set by director Philip Franks and designer Simon Higlett on a bare stage with a table and chairs, which serves for the various office and other places of rendezvous for the characters; additional pieces of furniture and other props being brought on by turntable, thereby keeping the action flowing and concentrating on the interplay between the characters in a fluid and coherent manner.

The main characters are Eden, his wife Clarissa, Ian Fleming, his wife Anne and various political Brahmins of the period such as Hugh Gaitskill (having an affair with Anne Fleming), Selwyn Lloyd (the unheard voice of reason) and various other minor characters giving credence to the story.

The acting is first rate and, in the case of Anthony Andrews as Eden, superb. I have never rated Andrews as a great actor before; he was always competent and reliable in all the parts I have seen him heretofor but in this role he is unsurpassable.

His portrayal of Eden is sympathetic but realistic. He goes from secure Statesman to disillusioned old man flawlessly; his scene with a steward (by name of Prescott – strange coincidence) on a cruise liner during his convalescence after a physical breakdown is almost unbearably poignant, as is his relinquishing of power and, as he sees it, his honour.

This is a performance which has secured itself a niche in my pantheon of great moments of theatre.

Imogen Stubbs, as Anne Fleming, makes her a warm and wryly amusing woman with flaws but ultimate integrity; she too brings realism and sincerity to her emotional scenes with Nicholas Le Prevost as her lover, Hugh Gaitskill, and Simon Dutton, as her long-suffering husband Ian Fleming.

It was perhaps a kinder portrayal than I suspect the real life Anne Fleming deserved but a pleasant and enjoyable theatrical one, so Miss Stubbs scores yet another alpha plus for her performance.

Hugh Gaitskill represents the opposing voices to the Suez invasion and Mr Le Prevost has a moving and well delivered speech on the subject; apart from this, his affair with Mrs Fleming makes an entertaining interlude to the contemporaneous international catastrophe. It’s another performance worth remembering.

Every now and again Mr Franks stops the dramatic flow of events with interludes when the characters indulge in a a little ballroom dancing. This, I assume, is intended to indicate that life goes on regardless of all the political and other intrigues happening on stage.

Whatever the reason, they are theatrically effective breaking the sombre mood and giving a light-hearted background to what could have been a dreary catalogue of historical facts.

This is a play I would have liked to have seen again to truly grasp and enjoy the nuances of the staging and the performances. Nonetheless, on my first viewing I appreciated enough to realise that this is a production which merits a West End setting and if last year’s lacklustre South Downs gets to Shaftesbury Avenue unscathed, then A Marvellous Year For Plums more than deserves to do likewise.

However, that should not stop you from taking the train to Chichester to see it first – you will not find it to have been a wasted journey.

A Marvellous Year for Plums by Hugh Whitemore
Director – Philip Franks
Designer – Simon Higlett
Choreographer – Mark Smith
Lighting – James Whiteside
Sound – Matt McKenzie

In repertory from May 11 to June 2, 2012
Evenings 7.30pm/Matinees Wed, Thurs. & Sat. 2.15pm
Box Office: – 01234 781312

He also talks about dancing with Cameron Diaz and working with Cheryl Cole as well as his hopes for a career beyond Glee. He was speaking at a UK press conference for the film…

Q. This must be the first time that a best-selling self-help manual has been made into a feature film. What was it that attracted you to the script and in what ways did it deliver?
Matthew Morrison: I actually didn’t like the script [laughs]. I got to dance with Cameron Diaz in the movie, so that was kind of the attraction for me. I had a good time doing the movie though. There’s this self-help book, which took a very scientific approach to things, and the film took it and made it into a real-life experience… a human experience. So, I thought that was really special and it was really great how they did it.

Q. How did all the babies behave in those last few scenes during childbirth? There must have been dozens? Were there some you wanted to pass on or fall in love with?
Matthew Morrison: I think for us, having the actual 14-day-old babies in the birthing scene… there’s very strict rules to that. I think maybe 15 minutes at a time… actually much less than that… possibly half. But this baby is going to be a star, though… I’m telling you. This baby came out and was so quiet during the whole birthing scene and then when he was supposed to be presented, he started crying on cue. I was like: “Yes!”

Q. How did you get along with Cheryl Cole?
Matthew Morrison: It was great. I come to London a lot and you can’t leave here without seeing her face on a magazine somewhere. So, it was really great to meet her and experience her as a human being. She was so sweet and lovely and very professional.

Q. Obviously, you’re known best for your role in Glee. Do you hope that this will help people to see you in different roles?
Matthew Morrison: I know they won’t [laughs]. Yeah, I hope so. I’m not going to pretend that this character was a crazy stretch or anything. I would love to do more stuff that will push me as an actor. But I love doing films. I love the fact that there’s a beginning, a middle and an end… you have one script and you see where your character starts and where he ends up. On television, it’s kind of open-ended. You don’t know where your character is going to end up. So, I really love the process of doing a film and I hope to do a lot more.

Q. How was the dance scene to shoot at the beginning?
Matthew Morrison: For me, it was interesting because I learned the dance in Los Angeles and Cameron learned the dance in Atlanta and we had about four hours to actually come together and learn it together. So, that was a little challenging. The funniest part for me was… there was this move where she wrapped her legs around me and I had to kind of spin her around. So, I said: “Cameron, hold on tight because I don’t want to lose you or anything…” But I couldn’t breathe! Her legs were so strong. I was like: “Oh my God!”

Read our review of What To Expect When You’re Expecting

Read our interview with Cameron Diaz

Anna also talks about some of the challenges she enjoyed in the script, while Chace reveals some of his cooking secrets – or rather what he’s good at preparing and what you shouldn’t expect from him. They were speaking at a UK press conference for the film…

Q. This must be the first time that a best-selling self-help manual has been made into a feature film. What was it that attracted you to the script and in what ways did it deliver?
Chace Crawford: I read it and I thought my storyline was with Matt [Morrison]. But it turned out my storyline wasn’t with Matt, so I was very disappointed.

Anna Kendrick: Weren’t we all! That you weren’t working with Matt [laughs]!

Chace Crawford: Exactly, I had to work with this one over here! No, I’m kidding! I kind of read the script and we [Anna and I] had a more heartfelt storyline. She was cast and I went and did a chemistry read and that was it… I needed a job! It was great. It really was great. We also shot for two or three weeks and that was it.

Q. And Anna?
Anna Kendrick: I guess I was a little bit surprised. I thought I knew what the script was going to be when I started reading it and I was pleasantly surprised that they went some of the places that they did, particularly with our storyline. I thought it was very candid and very brave to discuss some of the things that come up in such an unexpected situation and feelings of guilt… I just thought it was surprising that what is essentially a light film would go those places. I thought it was very interesting.

Q. You have amazing chemistry. Did you get to hang out beforehand? And did you spend time with any of the rest of the cast?
Anna Kendrick: We didn’t hang out…

Chace Crawford: We hated each other! I can’t even stand her. It’s like, get me out of here now! She’s terrible [laughs]!

Anna Kendrick: Yeah, we hung out. We hung out with the dude group. We didn’t really film scenes with them until the very end but they were there. It was really just a matter of who was in town.

Chace Crawford: I hung out with Rodrigo [Santoro] too before we started. We went to dinner…

Anna Kendrick: They had a little bro-mance going on!

Chace Crawford: That’s right! It was nice. Everyone knew who he was in the Italian place. He speaks three languages.

Q. The material is obviously universal but what do you think that director Kirk Jones brought to it as a Brit?
Chace Crawford: I love Kirk. He was very easy to work with and on day one he let us do our thing. We had a nice little rehearsal process. I’ve told this story before, actually, but rehearsal was fine and then he said [puts on a British accent] would we like to get the logistics of the car scene…

Anna Kendrick: Don’t do the accent!

Chace Crawford: I’m pretty good at it! So, he said: “OK, you’re doing this and then put her on the bonnet.”

Anna Kendrick: No, no, no, he said: “Pop her on the bonnet!” And that was a good two minutes of staring at each other and asking: “What does he mean? Is it a sexual thing?”

Chace Crawford: Do you want me to put her inside the bonnet [laughs]? But once we figured it out, it was great [laughs]!

Q. As the two chefs in the ensemble, do you have signature dishes that you like to cook at home?
Chace Craawford: I’m good at oatmeal! Right? That’s complicated. I can scramble some eggs.

Anna Kendrick: I can’t cook to save my life but I can bake a flour-less chocolate-hazelnut tort with a spicy caramel sauce! Oh yeah! But I can’t cook!

Q. So, it’s just a few eggs for you then Chace?
Chace Crawford: Yeah, I can cook a little breakfast, a little pancakes here and there! Impressive! Some flipping! The complicated ones… with just the box and powder and water and you mix it real quick but it’s really good.

Read our review of What To Expect When You’re Expecting

Relaxed performances are designed for adults and children who might find it difficult to sit quietly and still for an entire performance, or who are uncomfortable with sudden lighting changes or loud noises.

During relaxed performances, people who feel the need can move around or go in and out of the auditorium.

A colourful and enchanting show, this classic Little Angel Theatre production is an audience favourite, and remains close to the spirit of Hans Anderson’s perceptive story.

Accompanied by live music and voices, beautifully made puppets tell the story of the little Duckling who grows up feeling “different”. Meet Mother Duck and her charming family swimming in the moat, the wise Blackbird, the friendly Bug-Eyed Toad and the pompous Great Gobble-Gobble Turkey.

The Duckling has many adventures. Audiences will wish him well as he leaves the farmyard for the big wide world, hold their breath as the hunters approach, and feel sad for him as winter closes in. However, they will be full of cheers at the happy ending to this classic tale!

The Ugly Duckling continues at the Little Angel Theatre until Sunday, July 8, 2012.

Tickets: £10 adult, £8 child/concession. Discounts are given to people with disabilities (one carer goes free), also students, senior citizens, and those on income support. Tickets are available from the box office on 020 7226 1787 or online at www.littleangeltheatre.com.

It is the morning before dashing young Earl, Bobby Harpenden’s marriage to the beautiful, but dangerously impressionable heiress Lady Elisabeth Randall. From the moment Bobby encounters a drunk and charmingly mischievous American soldier, things begin to go horribly wrong and a dizzying whirl of mistakes and mishaps ensue…

While the Sun Shines is directed by Marieke Audsley, who recently completed a residency as an assistant director at the Crucible theatre where she worked with Daniel Evans, Lyndsey Turner and Richard Wilson.

The cast includes Iestyn Arwel (The Winslow Boy, Bolton Octagon) as Mulvaney, Greer Dale Foulkes (Lidless for High Tide) as Elisabeth, Freddie
Hutchins (Coram Boy, Bristol Old Vic) as Bobby, Sophia Sibthorpe as Mabel and Bret Jones as Horton.

Premiering in 1943, While the Sun Shines ran for over 1000 performances before a subsequent transfer to Broadway. It is widely considered to be a smash hit of its time and James Agate, one of the leading critics of the age, hailed it as “delightful, a little masterpiece”.

The new production is designed by Hannah Hardinge, with lighting by Damian Robertson.

Tickets: £15 and £12 – available from the box office on 08444 77 1000 or from Ticketweb.

Times: Tuesday to Saturday at 7.30pm, Sunday matinee at 3.30pm.

In 1960, while starring in Duel Of Angels on Broadway, Vivien Leigh received a letter from Laurence Olivier asking for a divorce. Her response created a worldwide sensation.

Scarlett, Cleopatra, and Blanche were her fire, but Larry was the light. Known for her magic, and thrown by mental illness, Vivien now fights for his love – and her life.

Letter to Larry stars Susie Lindeman whose West End credits include Sons Of Cain (Wyndham’s Theatre), The Admirable Crichton (Haymarket), Prin (Lyric Theatre) and The Deep Blue Sea (Apollo Theatre). Elsewhere, her credits include A Dolls House, Sweet Phoebe, 4.48 Psychosis, Madame Melville, Kafka In Love, Hammerklavier and The Paris Letter.

Her screen work includes Merchant Ivory’s Howards End, Maigret, Let Them Eat Cake, Razzle Dazzle, Palace of Dreams, Robbery Under Arms, Melba and her break-through title role in the award-winning Thames TV film Catherine.

Donald Macdonald is an actor/writer/director, who made his West End début onstage at The Wyndhams in 1986. In 2011, he performed a one-man play of St John in Edinburgh, London and New York. He is also an award-winning screenwriter, whose other stage plays include Caravan, Boulevard Play, Hot Taps and Seasons.

In Letter to Larry, Vivien Leigh recalls their “offering to Queen Elizabeth II in her Coronation year”. In anticipation of next year’s 100th anniversary of Leigh’s birth, this new play aptly previews in this Jubilee year.

Tickets: £15, £13 concessions – available from the box office on 020 7287 2875 or online at www.jermynstreettheatre.co.uk.

Times: Monday to Saturday at 7.30pm, Saturday matinees at 3.30pm.

Letter to Larry will be followed at Jermyn Street Theatre by The Sunny Side of the Street.

She will star alongside internationally renowned singer/songwriter Will Young who, as previously announced, will play the enigmatic Emcee.

Michelle Ryan will probably always be remembered for her portrayal of Zoe Slater in the popular soap EastEnders, a role she played for five years. Since then, she has played the title role in the re-imagining of cult US TV show The Bionic Woman as well as appearing in a number of popular TV shows such as Mansfield Park, Jekyll, Miss Marple, Merlin and Doctor Who.

Her film credits include Cleanskin, alongside Sean Bean and Abhin Galeya, Huge directed by comedian Ben Miller, Cashback, I Want Candy, 4,3,2,1 and the forthcoming The Man Inside, written and directed by Dan Turner.

Cabaret features show-stopping choreography, dazzling costumes and some of the most iconic songs in musical theatre including Money Makes The World Go Round, Two Ladies, Maybe This Time and of course Cabaret.

The production turns Weimar Berlin of 1931 into a sassy, sizzling haven of decadence. And at its dark heart are the notorious Emcee and sassy Sally Bowles, who perform nightly at the infamous Kit Kat Klub.

Rufus Norris is a multi award-winning theatre, opera and film director whose most recent production at the National Theatre, where he is associate director, was the acclaimed Critics’ Circle Award-winning musical London Road. His other theatre includes Vernon God Little and Afore Night Came (Young Vic), the latter winning an Evening Standard Award, Les Liaisons Dangerouses (Broadway), Festen (West End and Broadway) and The Country Girl (Apollo Theatre).

Featuring Tim Roth, Cillian Murphy, Rory Kinnear, and original music by Damon Albarn, his debut feature film Broken opened the prestigious Critics’ Week at the Cannes film festival.

Cabaret will be choreographed by the Olivier award-winning Javier De Frutos who, in 1990, formed The Javier De Frutos Dance Company. His work includes The Hypochondriac Bird and Affliction of Loneliness. Recently he joined forces with Sadler’s Wells and The Pet Shop Boys to create a brand new dance work based on Hans Christian Andersen’s story, The Most Incredible Thing.

Read more about Cabaret

While some have bemoaned the cute and cuddly element of the final acts of Hugh Laurie’s Dr Gregory House I believe that it brought the series to a typically bittersweet conclusion.

True, House finally performed one selfless act by faking his own death and riding off into the sunset with his best friend, Dr Wilson (the ever excellent Robert Sean Leonard) but at what price happiness?

Wilson only has five months to live, having been unable to defeat cancer, while House can never practice medicine again. And contrary to some write-off reviews which suggest the finale lacked staying power, it did give rise to some ponderings.

For a person as calculated as House has been throughout the series, how much had he really thought through the implications of his last-act decision. True, House without Wilson would be like a doctor operating without a conscience – a point made by one of several returning characters of old. So, what would be the point if there was no one to challenge him?

But what of life’s eternal puzzle and the need for House to solve them? Can he really be happy once his best friend has gone?

Or, was the final shot of Omar Epps’ Dr. Eric Foreman finding House’s hospital badge underneath his wonky coffee table a nod to an ex-colleague that he’s still on the other end of the phone (albeit secretly and involving a lie) should the new head of diagnostics, Robert Chase (Jesse Spencer), need any assistance, or a get out of jail card (so to speak) somewhere down the road.

If anything, House stayed true to form to the end, albeit with a mellowing of sorts by virtue of his last act of selflessness (to spend time on the road with his dying friend). The episode was entitled Everybody Dies – a neat book-end to the first ever episode, Everybody Lies – and it lived up to that billing in more ways than one.

House ‘died’, Wilson is bound for imminent death and the last patient that House ever treated also was found dead. The ghosts of House’s past also came back to revisit him while he pondered suicidal tendencies from within a burning building.

Throughout, House’s long-held belief that happiness is only fleeting and that life is mostly pain served up potent reminders. Even the final shot, of House and Wilson riding off together on an idyllic American highway, had a strange sorrow attached to it… almost as though they were on their own ‘highway to heaven’.

To this end, the series concluder was a thought-provoker and every bit as clever as some of the long-running show’s final episodes. What’s more, it does leave the door open for a return should there ever be an about turn in people’s thinking (and given Hollywood’s appetite for reviving past shows as movies, who wouldn’t bet against former TV favourites returning somewhere down the road?).

It was also nice to see so many returning cast members paying their final respects to both House as a character and the show, whether it was Sela Ward, as House’s ex-girlfriend, Kal Penn’s late former colleague, Anne Dudek’s Amber “Cut-throat Bitch” Volakis or Jennifer Morrison’s Allison Cameron. And, of course, Olivia Wilde’s Thirteen (a firm show favourite).

The only one notable by their absence was Lisa Edelstein’s Dr Cuddy, whose decision to leave the show at the end of the prior season over a pay dispute, was underlined as being final.

Kudos must go, too, to show creator (and final episode director) David Shore for ensuring so many character’s enjoyed a strong resolution, if only by offering glimpses of their lives as they currently stand.

And for nodding to one of its biggest inspirations, Sherlock Holmes, by having House (a medical Sherlock if ever there was one) fake his own death too.

For a show that has so often proved elementary throughout its eight years, this seemed like an even more apt way to go.

The project marks the first he has found for his Warner Bros.-based production company, 22nd & Indiana, and is an adaptation of the autobiography of Navy SEAL Chris Kyle.

The actor will also produce the film along with Andrew Lazar and Peter Morgan.

The book, which goes by the full name of American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History, examines how Kyle, a native of Texas, came to record the highest number of sniper kills for an American.

It was praised by many for the way it candidly relayed Kyle’s killing technique from a first person perspective, while also including passages from his wife on how he slowly turned his affections away from her towards the Navy SEALs.

Cooper is keeping himself busy at the moment, having completed four movies that are now set for release in the next year.

These include The Silver Linings Playbook, director David O. Russell’s follow-up to The Fighter as well as Serena with Jennifer Lawrence and, of course, The Hangover: Part 3.

Next story: Anthony Hopkins in talks for Red 2

If concluded successfully, he’ll line up alongside Bruce Willis, Dame Helen Mirren and John Malkovich as over-the-hill special ops agents who are forced out of retirement for yet another mission.

According to The Hollywood Reporter, Hopkins is being lined up to play a genius scientist who was locked up in an insane asylum.

He would join Catherine Zeta-Jones and Byun-Hun Lee as new cast members.

Red 2 is the follow-up to the 2010 original that proved a world-wide money-spinner for Entertainment One. Dean Parisot is directing the sequel from a script by Jon and Erich Hober, who worked on the first movie.

If Hopkins jumps on board, it’ll be the latest time that he’s worked with Mirren. In fact, the two are currently shooting Hitchcock in Los Angeles.

Next story: Gary Oldman joins Robocop remake

Russell has sold in excess of seven million albums worldwide. He has performed for some of the most powerful people in the world including the Pope, the President of the United States, King of Malaysia, the Emperor of Japan and HRH the Queen.

His debut album, The Voice, held the No.1 slot for a record 52 weeks, only relinquishing the top spot with his follow up album Encore, which spent a further 36 weeks in the coveted No.1 spot.

Subsequent releases continued in the same vein, racking up sales of over 7 million.

Russell has recently returned from a hugely successful tour of Australia (including a sold out Sydney Opera House) with his ears still ringing from the torrent of rave reviews.

In May, Russell is off to USA to perform on Capital Hill in Washington, then returning to the UK to start his own tour which will continue through June.

With capacity already reached for one Royal Albert Hall date, another date has now been added to meet demand. The latter half of 2012 will see Russell visiting Asia for a series of live dates.

In the Queen’s diamond jubilee year and with the Olympics on the horizon Russell wanted to celebrate all things British with his new album Anthems – Music To Inspire A Nation.

The album is a collection of considered, rousing, beautiful songs from around the country, sung deep from the heart, as only Russell can.

Russell’s unique, interpretations of sporting anthems Proud and Race to the End (theme from Chariots of Fire) alongside his epic take on the patriotic anthems of Scotland, England and Wales are all sung with enough verve to inspire a nation.

Russell’s duet performed with Dame Vera Lynn using vocals from the original wartime recording when she was the forces sweetheart and barely 20 will touch the hardest of hearts.

A guest appearance by the Fron Male Voice Choir on Calon Lan, and a tear jerking version of The Londonderry Air (Danny Boy), as well as a duet with Moya Brennan of Clannad all segue together to make up this extraordinary album.

Anthems – Music To Inspire A Nation will be released on May 28 through Sony Classical. Full information can be found at Russell Watson’s website

Win Russell Watson’s Anthems – Music To Inspire A Nation

To celebrate the release of Russell Watson’s Anthems – Music To Inspire A Nation, IndieLondon is offering readers the chance to win 1 of 3 copies. Simply answer the following question…

Q. What was the name of Russell Watson’s debut album?

Simply send the answer to Russell Waton’s Anthems competition and include your name, address, telephone number and email