THEGAYUK

Category: Review

  • FILM REVIEW | Benjamin

    FILM REVIEW | Benjamin

    ★★★★ | Benjamin

    Comedian Simon Amstell has directed and written his first film – it’s called Benjamin.

    He actually also could’ve called it Simon. Benjamin follows the life of filmmaker Benjamin (played by the charming Colin Morgan). He is a frustrated, self-doubting filmmaker, and is not very optimistic about his latest film – ‘no self.’ He is also not very optimistic about his love life – an ex is very angry at him for writing negatively about him in a film. Benjamin’s best friend is comedian Stephen (Joel Fry), who after ten years on the stand-up scene is almost ready to throw in the towel.

    But one day Benjamin’s publicist/friend Billie (Jessica Raine) takes him to a chair opening party (yes, that is what it is called) where Benjamin meets the adorable French Noah (Phénix Brossard). Noah is younger than Benjamin but over time their relationship blossoms. But as Benjamin’s insecurities about relationships, and life, get worse, will he be able to confidently promote his new film while at the same time keep up his crumbling relationship with Noah?

    Anstell wrotes scenes for this film from almost every relationship he has ever been in. And lead actor Morgan can actually pass for his younger brother, while Stephen, a comedian, was perhaps modelled on Anstel’s early career.

    Benjamin is a great date movie – for both gay and straight couples. It’s charming and original.’ And while it won’t change your world, it’s a great first effort from Anstell – hopefully, he can continue to make more charming movies such as this.

    In Cinemas and on Digital 15th March

  • Theatre Review | Northern Ballet’s Victoria – Leeds Grand Theatre and National Tour

    ✭✭✭ | Northern Ballet’s Victoria

    Photo Emma Kauldhar

    Following on from the award-winning historical piece, Casanova, Northern Ballet return to the history books for a brand new ballet. Victoria tells the story of the monarch and matriarch through the eyes of her daughter, Beatrice, as she edits her mother’s diaries shortly after Victoria’s death. The ballet looks at the relationship between Victoria and a number of the key figures in her life, including her husband, Albert, her daughter, Beatrice and her companion, John Brown.

    Cathy Marston’s choreography sparkles, switching between flowing movements and sprawling floor work to angular, precise and mechanical movements; and brims with symmetry and metaphor. In particular, the pas de deux between Victoria and John Brown in the first act was beautifully put together, aided by a stunning performance by Pippa Moore as Victoria and Mlindi Kulashe as John Brown, which conveyed a real moment of intimacy, vulnerability and emotion.  As always, the whole company’s performances were outstanding, the set was simple but effective and the costumes were impressive.

    Despite the strength of the performances, the movement and the technical aspects of the ballet, where the piece stumbles slightly is in the narrative, which at times lacks clarity; as it tries to cram in so much of Victoria’s life that it sometimes overreaches, glossing over key points which could have been really interesting. The thrust of the first act features heavily on the backstory of Beatrice and her relationship with her mother, whilst the slightly overlong second act focuses primarily on Victoria’s family life and her relationship with Albert. The complexity of the narrative, the flitting between past and present and the brevity of some aspects of the story mean that it is well worth purchasing a programme to enable you to keep an eye on the synopsis.

    Victoria is a visually sumptuous ballet, which can be enjoyed on two levels, either as a beautifully crafted piece of dance, or, with a careful focus and concentration, an interesting glimpse into the life of a historically influential figure.

    Victoria is at Leeds Grand Theatre until 16.03.19 before undertaking a national tour. It is also being filmed for a forthcoming cinema release.

  • THEATRE REVIEW | The Twilight Zone, Ambassadors Theatre, London

    THEATRE REVIEW | The Twilight Zone, Ambassadors Theatre, London

    ★★★☆☆ | The Twilight Zone, London

    You will travel through another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land whose boundaries are that of imagination. That’s the signpost up ahead – your next stop, the Twilight Zone!

    Yes, the Twilight Zone is where you landed, also known as the Ambassadors Theatre in Central London, where you will be taken into the unknown, places and situations that could or could not be real, people who may or may not seem who they are, it’s a show with lots of questions and very little answers.

    Were there 6 passengers on the bus? Then why are there 7 stranded in the diner? Were there three astronauts in the ship, or just one? Why does the jukebox keep turning on and off? Where do those cigarettes mysteriously come from? Who is that little girl who supposedly lives in the building, and why is she so quiet? Is that actually a black hole to another dimension in the daughter’s bedroom, and is this where she has disappeared into? All these questions and more make up for a night of very little suspense, drama and not a whole lot of terror.

    The series of eight episodes, selected by the writer Anne Washburn from 156 episodes from the 1960’s television show does not transfer well to the West End stage. Turning eight 30-minute television programs into a two-hour show, all interweaved with each other, makes for a bit of confusement.

    The first half of the Twilight Zone, the television show which was created and hosted by Rod Serling, is a bit messy and lacks suspense because of the multiple storylines, but it’s the second half where the tension keeps you on the edge of your seat. Nuclear missiles are heading towards America, and neighbours are pitted against each other in order to survive, and where one already had a nuclear shelter.

    Everyone wants to survive so they try to break their way into the shelter, to no avail, but their true colours are revealed in their quest for survival. Intense Stuff! We are also treated to the ventriloquism of Adriana Bertola and her whisky drinking dummy, she is a genius as her dummy comes to life on stage. How does this all relate to the Twilight Zone? You will just have to buy a ticket and see for yourself.

    The Twilight Zones plays at the Ambassadors Theatre until June 2019. Book tickets here.

  • FILM REVIEW | Girl

    FILM REVIEW | Girl

    ★★★★ | Girl

    Girl is the story of a 15-year old trans child who feels like she was born in the wrong body.
    In an amazing turn by newcomer Victor Polster who plays the lead Lara, Girl takes us on a journey of a young child, assigned male at birth desperately wanting to rush hormone treatment to become a girl. But Lara also has a yearning to be a ballerina, and the pressures of being born in the wrong body to be able to fulfil her dream is the challenge that Lara may or not make it through.
    She lives in a apartment with her taxi-driving father and much younger brother and suffers with the usuals pressures of school, including not being able to disrobe in the locker room. But first-time director Lukas Dhont draws us into Lara’s life by focusing the entire movie on her – we see and feel her emotions, the anxiety, fear, and at times happiness about the huge change that is going to take place in her life. And Polster is just simply amazing as Lara.
    Girl has won lots of awards, including the Un Certain Regard prize at Cannes last year, along with an award for Best Performance for Polster. Girl also won Best Feature Film at the London Film Festival.
    Girl is not a perfect movie. There are lots of scenes of Lara while she is in ballet practice, and we are shown Lara’s bloodied toes from the rigorous training way too many times, and the ending comes as a bit of a shock and is quite controversial. But see Girl for the story (written by Dhont and Angelo Tijssens) and the amazing performance by Polster.
    UK release date – 15th March
  • FILM REVIEW | Captain Marvel

    FILM REVIEW | Captain Marvel

    CAPTAIN MARVEL – Marvel studio’s biggest female hero makes her debut having to battle some shape-shifting aliens setting up the truly massive Avengers Endgame next month.

    Nutshell – Carol Danvers (Brie Larson) arrives on earth and needs to start piecing together her past to work out what aliens are running amok for and why she has become one of the most powerful superheroes in the universe. Set in the mid-nineties with a young looking Nick Fury & Agent Coulson this has a lot of fun playing prequel elements to the other 20 blockbuster superhero films in the Marvel cannon of the last decade.

    Running Time – 124 Minutes – Cert PG-12A.

    Tagline – ‘Higher, Further, Faster’ Or ‘Everything Starts With a Her(o)’

    THEGAYUK Factor – Possibly the least sexy superhero film ever with hardly any fit men anywhere not even amongst the usual bad guy’s Henchmen as they are all covered in monster latex make-up. Jude Law playing the Captain’s senior officer at the outset is your one hope but he is hardly a gay icon and far too clean cut…..the sort of prissy looking guy that would put on a condom before you gave him a blow job

    Cast – Brie Larson takes the lead here and she is great in the role. She is supported by Samuel L Jackson, Jude Law, Ben Mendelsohn, a welcome return for Annette Benning and this is the very last cameo appearance shot by the recently deceased Marvel God Stan Lee (Not the last to be released as we have two more of them shot for Avengers & Superman films made earlier).

    Key Player – There is a wonderful cat which Fury adopts called Goose which steals every scene and most of the movie. It has one or two surprises too, most of all with Marvel there is always scenes in the end credits and sit right to the end for Goose to have the all-important last word.

    Budget – $82 Million but it made back £153 Million in its first weekend which just shows the continued domination of superheroes at our multiplexes and the wisdom of Disney buying up Marvel a few years back – purely and simply these are pure 100% guaranteed cash cows.

    Best Bit – 0.28 mins; A great fight on and around an urban train with an accompanying car chase in a nineties action movie style is very thrilling. The fact that the enemy in a sneaky way keeps changing shape into different people makes it a very clever little scene.

    Worst Bit – 0.05 mins; The opening 10 minutes on two random planets is very confusing and simply rushed and is about as interesting as a bad episode of Star Trek or trying to get a hard-on with a fit guy after drinking a bottle of vodka. It gets into its groove when the characters eventually get to earth.

    Little Secret – Brie Larson is allergic to cats which she did not mention to the producers at the outset. Captain Marvel’s sidekick turns out to be a cat called Goose which then had to be played in Brie’s scenes by a puppet. Four real cats do all the other scenes in the movie. The first Marvel female superhero film was released on International Women’s Day and the soundtrack is almost entirely female orientated with the likes of Desree, TLC, No Doubt, Garbage and Salt N Pepa.

    Further Viewing – All previous twenty entries in the Marvel universe catalogue, Wonder Woman, The Justice League, All Batmans & Spidermans etc. Basically any movie where the hero is in tight latex or otherwise any of the hundreds of great gay superhero porno’s try Man.com pastiches or Eye Of The Cyclone.

    Any Good – A great lead performance backed by Mr reliable Samuel L. carries this nicely. Your life will not be diminished greatly if you don’t see it but if you do it is perfectly adequate entertainment (after the crap first 10 minutes). It is no Captain America or Deadpool unfortunately but also it is much better than say recent Superman films or… shudder…all Fantastic Four movies. Basically, in a word it is fine no more no less could benefit from some sexy studs though.

    Rating: 59/100

     

  • Top 3 Grooming Brands for Spring 19

    Top 3 Grooming Brands for Spring 19

    Here at THEGAYUK we like to highlight to you new products each month to keep you looking and feeling your best. Beauty expert Thomas Swallow takes us through the best products.

    With spring just around the corner though, we thought we’d take this one step further. It’s time to clear out the old, bring in the new and explore some new grooming brands, that are guaranteed to get you strolling into spring as fresh as a daisy.

    1. ALTR for Men:

    ALTR for Men is not a stranger to THEGAYUK. Having featured in our New Year’s grooming feature with their iconic Face Fix, this brand has been going from strength to strength since then. With new products launching on a regular basis, this brand is surely one to look out for as we head into Spring 19. Driven by the notion of simple, no-fuss grooming, that yields exceptional results. This brand is ideal for the city boy who needs to looks his best but not spend hours in the bathroom every morning.

    Check out the brand on altrformen.com

    Our Top Picks:

    ALTR for Men: Face Fix: Half & Half (£13.99)

    ALTR for Men: Blemish Balm (£11.99)

    ALTR for Men: Whiskey Infused Moisturiser (£9.99)

     

    2. WAR PAINT. for Men

    Created as a means of combatting the founder’s body dysmorphia, WAR PAINT. for Men has become more than just a grooming brand. It has become a hub of information for men who are curious about makeup but who don’t feel comfortable going to their local Boots. The brand is all about empowering men to look their best and to do so with products specifically tailored to their skin. With all products being vegan, cruelty-free and made in the UK, we think it’s definitely worth giving their products a try.

    Check out the brand on warpaintmensmakeup.com

    Our Top Picks:

    Foundation (£24.00)

    Bronzer (£19.00)

    Powder Brush (£7.99)

    3. skyn ICELAND

    Having lived in a Nordic country myself, I really feel akin to the ethos behind this brand. Founded by Sarah after her time spent in Iceland, following a battle with critical-illness induced by high-stress levels. She noticed the longevity of the Icelandic people and their vibrant healthy skin, realising the pristine and unpolluted nature of the land was a primary factor in this.

    Having lived in Sweden myself, I can completely relate to this. Last summer my skin went crazy in the London summer heat. I had a multitude of factors adding stress to my life and my skin was having none of it. During the gap between my tenancies in London, I went back to the south of Sweden with my family and my skin cleared up within a few days. By the end of my week there, it was glowing and I do genuinely think, that this is due to the lack of pollution in these countries.

    The brand itself centres around skin care, that is designed to treat the daily damages caused by stress and uses the remarkable natural resources of Iceland to do so. It is definitely worth grabbing a few products and checking them out on their website skyniceland.com.

    Our Top Picks:

    skyn ICELAND: Pure Cloud Cream ($55.00)

    skyn ICELAND: Hydro Cool Firming Eye Gels ($30.00 for 8 pairs)

    skyn ICELAND: Hydro Cool Firming Face Gels ($35.00 for 8 patches)

  • TV REVIEW | RuCap on Drag Race Season 11 Ep 2

    TV REVIEW | RuCap on Drag Race Season 11 Ep 2

    This is how you do Drag Race!

    So we’ve landed in week two of RuPaul’s Drag Race season 11 and what a week it was.

    Starting off with only the second, but already much loved, photo-bomb. Sadly in this incarnation, Silky was one of the first to go in and as her picture was such a blinder, most of the Queens after her tried to hard at copying her. Sadly this made the game a bit messy and tacky instead of funny.

    The next round was the acting challenge and thankfully everything picked up (a lot!) from there … including, unfortunately, fights!!

    Of course, there were the usual squabbles about who was picked last. (Girls: in the end, there will always be a the last one for everything!!)
    But something bigger went down as well.

    Am I right in thinking this is the first time in herstory where RuPaul her damn self was the one starting the shenanigans? During her team talks, she decided to tell one team what the others had told her about them. And she was clearly enjoying it too.

    So thanks to Ru’s gossiping what started out as an off the cuff remark from Brooke Lynn’s team about Silky’s larger than life personality ended up in a fight that overtook half the episode and most of Untucked later on.

    It’s safe to say Silky couldn’t have been completely surprised people complained about being annoyed with her as most of the Queens said they’d kill her during an “innocent” round of Mary, Fuck, Kill earlier in the episode.

    Oddly on elimination day the fight kind of turned away from Silky to become a bitching fest between Yvie and Ra’Jah for some reason.
    In the end, it took Plastique Tiara’s pleading “hug it out” during Untucked to put a stop to it all (for now.)

    There was also a sad moment where we learned more about Mercedes, the first Muslim contestant. It turned out that this Kenyan born Queen suffered because of her immigration background, which brought a lot of stress in her life. Things got worse when her name ended up on the “No Flight” list, making it hard for her to get to pageants. In the end, she tried driving everywhere. All this caused her so much stress and exhaustion she suffered a stroke one day, mid-pageant, in her late 20s. She ended up in a wheelchair for a while.

    This left her with very low confidence and insecurity about her looks. Hearing this story the Queens, as always, leave behind their fights and arguments to make her feel loved and secure. This is the beauty of Drag Race: no matter the fights or petty remarks, when one of their own is suffering the drag family is there for her.

    The acting challenge as well as a deeper meaning this time around. Both teams star in stories that Celebrating black cinema: remakes of Black Panther and Get Out. Both story-lines deal with identity, appropriation (from both black and drag culture,) and violence.

    Directed by Michelle Visage (the strictest but also best acting coach of the team) and Ross Matthews (who is also growing in this role) both sketches turn out to be among the best of Drag Race acting herstory. This season turns out to be packed with acting and comedy talent, and it is clear from Michelle and Ross’ responses that they were pleasantly surprised. Seeing their joy in how well the Queens take direction or how funny they are is almost better than watching the scenes themselves. It is clear how much they love their drag children doing well.

    There are things that could have gone wrong with the Black Panther pastiche: the cast being mostly white and Plastique Tiara being asked to go stereotypical Vietnamese. Thankfully thanks to some quick thinking (the whitest black panther) and Plastique being the one getting her nails DONE instead of doing them it kind of worked.

    Then on to the catwalk, this week with an Astrology theme. The Queens had to stride the stage dressed as their own star sign and some wonderful looks were created.

    My only gripe with this one: a lot of Queens were born with the same sign. Wouldn’t it have been better to allocate them with a sign once the show reached 12 girls meaning each girl could show a unique look? Oh well, just a minor squabble with so much fabulousness onstage, including Ru herself in full Wakanda realness!

    So onto the winners (yes Ru can’t seem to stop splitting top spots this year) Scarlett and Yvie. Well, it’s only fair, their parts were basically a two-hander and they shared great chemistry during their scenes.

    Sadly in the bottom Mercedes and Kahanna. Sharing her story with the girls and the judges seems to have lifted a weight of Mercedes and sees the queen who was once in a wheelchair lipsync, dance and do splits in a fierce performance that even outshines Kahanna who at once stage backflips and does a perfect landing IN HEELS!!

    This girls, is how you do Drag Race!!

  • THEATRE REVIEW | Waitress, Adelphi Theatre, London

    THEATRE REVIEW | Waitress, Adelphi Theatre, London

    ★★★★☆ | Waitress, Adelphi Theatre

    (C) Alistair Muir

    An American musical about a waitress who bakes amazing pies to cope with life sounds too whimsical for words. You’d expect to come out of the theatre feeling more nauseated than if you’d eaten an oven full of apple pies with whipped cream. This belter of a show is a surprising gem, though. Yes, it’s feel-good and frothy with sections that play out like a sex comedy but it’s also poignant and achingly sad, at times.

    Based on the 2007 indie flick, it’s the story of Jenna (Katherine McPhee), a small town diner waitress who’s unintentionally become pregnant by her abusive loser husband who she dreams of leaving. To complicate things further, she’s smitten with her obstetrician (David Hunter). It’s also a story of the power of female friendship, with her colleagues, ditzy virgin Dawn (Laura Baldwin) and fierce Becky (Marisha Wallace) supporting her in her dilemma.

    Katherine McPhee is staggering with a voice that could shatter the hardest of heart as she belts out the repertoire of rock/folk songs by singer/songwriter Sara Bareilles. She’s amply paired with David Hunter as the likeable and unlikely heartthrob doctor. It’s a sweet rom-com with cracking music and a versatile set that sweeps you off to small-town America.

    There’s nothing not to like here. The songs are great, if occasionally forgettable, the cast nail it and the story is watchable. It’s fun and occasionally thought-provoking. Well worth seeing.

     

    Waitress plays at the Adelphi Theatre, until October 2019, Book Tickets Here

  • Theatre Review | Club Tropicana – National Tour

    Theatre Review | Club Tropicana – National Tour

    ★★☆☆☆ | Club Tropicana – National Tour

    After being jilted at the altar, lovelorn Ollie embarks on the planned honeymoon with his friends, arriving at Hotel Club Tropicana. However, unbeknown to him, his bride-to-be also had the same idea and arrives with her bridal party.  Meanwhile, overly camp entertainments manager, Gary, (X-Factor’s Joe McElderry) and hotel managers Robert and Serena have entered the hotel into a competition, and are in the midst of trying to butter up the hotel inspector, Christine, by any means necessary.

    Like many jukebox musicals, the wafer-thin story is used solely to wrap around the string of the Eighties hits, which are perhaps the show’s strengths, comprising primarily of upbeat classic pop which you can’t help but clap along to; whilst a bit of forced audience participation and a manic energy throughout the show resonated with the audience and created a party atmosphere in the theatre.

    The show sits somewhere between dated sit-com and pantomime, but with an added abundance of crass innuendo, stereotyped characters which belong firmly in the Eighties and plenty of jokes about bodily functions. Written with every cliché in the book, from the characters to the story and from the jokes to the borderline offensive stereotypes, there is nothing here by way of originality.

    But the show is silly enough to just about get away with it, and there are a handful of genuinely funny moments and some decent one-liners. Kate Robbins steals the laughs as Spanish maid, Consuela (yes, it really is that clichéd), McElderry camps it up whilst the ensemble cast dance their neon Day-Glo socks off. With plenty of nods to the decade that fashion forgot, and songs which you know all the words to, Club Tropicana is crowd-pleasing nonsense, provided you take it on face value and enjoy it for what it is.

    Club Tropicana is at Sheffield Theatres until 9th March 2019 before continuing its national tour.

  • THEATRE REVIEW | Follies, National Theatre, London

    THEATRE REVIEW | Follies, National Theatre, London

    ★★★★ | Follies

    follies national theatre review

    If you are a huge theatre fan, love musicals, and worship the ground Stephen Sondheim walks on, then you’ll love Follies.

    Playing in its second run in two years at the National Theatre, Follies is true and pure Sondheim. At the ripe age of 88, Sondheim currently has another hit show in the West End – the critically acclaimed and very popular Company. But Follies is a certain kind of musical – a musical that will perhaps only appeal to the die-hard Sondheim musical theatre fan.

    Follies lusciously and lavishly tells the story of former Follies girls, in 1971, coming back to their soon to be demolished theatre for a reunion. It is a brilliant idea for a show and is executed to flawless perfection. The women range in different ages and are at various stages in their live, but they will always be Follies girl, past performers of the “Weismann’s Follies” musical revue, that played in that theatre between the World Wars. While the next day the building is going to be demolished to make way for a parking lot, the women have one last night to reminisce about their time as Follies Girls and their younger and more glamorous selves.

    The book of the musical, by James Goldman, takes a look at these women through rose-tinted glasses in a story that is all illusion, smoke and mirrors.

    And while there is no proper character development, some of the women do get to shine in a cast that appears to be dozens (40 actually). Tracie Bennett smashes the Sondheim classic ‘I’m Still Here’ while Dawn Hope passionately sings ‘Who’s That Woman.’ Janie Dee excels in ‘Could I Leave You’ and Joanna Riding drips with emotion while singing ‘Losing My Mind.’

    Yes, Follies is a show that showcases the ladies. And while some of the men (Peter Forbes and his younger self Harry Hepple), and Alexander Hanson, get their moments, Sondheim shows his enthusiasm, appreciation and love for the ladies. For it’s their show, it has and always will be.

    Winner of Best Musical Revival at last year’s Olivier Awards, Follies is playing until Saturday, May 11, 2019.

  • CAR REVIEW | Range Rover Velar R Dynamic HSE D300

    CAR REVIEW | Range Rover Velar R Dynamic HSE D300

    ★★★★☆ | Range Rover Velar R Dynamic HSE D300

    What Have We Got?

    We have a puzzler this week. This is Range Rover’s mid-sized concept-cum-cross over that fits between the Evoque and Range Rover Sport. The puzzler is that the Velar is quite large in the visuals and dimensions. 

     

    Driving

    It’s a silky blend of driving styles. The 3-litre V6 diesel pushes out 300hp at 4000rpm. 700nm of torque is from 1500rpm. From a standing start, it will thunder the slippery shaped Velar to 60 in 6.1 seconds. To be honest, it feels quicker and there is grunt available from whatever speed. 

    Sport mode, comfort or economy, throttle response is quick. There is no hunting for a gear or waiting for the ECU to decide what to do with the EGR valve etc. Quick rapid progress is one of the key features of the Velar. 

    The Velar shares a platform with the Jaguar F-Pace and yet feels better planted, better poised on the road and all the more fun. The AWD system puts the power down more evenly around the vehicle. 

     

    Inside

    The layout is all familiar with the Range Rover Sport we reviewed in 2017. Touch screens for the controls split on to 2 screens. There are 2 buttons. The stop-start, hidden by the facia panel and another on the centre console that hides a cup holder. This button does not work with the fluidity of the rest of the Velar’s interior.

    Other than that, it is well thought out. The seats have so many bits that move, that it is impossible to get uncomfortable and there is space for everyone, even the tallest of both drivers or passengers or both.  

    Living With It

    Sheer size doesn’t translate to bulk on the move. The Velar is reasonably agile on its air ride and easy to navigate around country lanes. Thankfully this model came with the 360-degree angle camera pack and I can’t recommend it enough, especially when parking in tight spots like supermarkets or your own driveway where someone has decided to park their car like it’s the largest car in the world.

    The Verdict

    I was unsure of the Velar at first. I couldn’t make up my mind if I liked them or not. Its sleek looks lack the blunt Range Rover bulk but this doesn’t distract from it. You could call it a ‘designed’ Range Rover Sport. It certainly doesn’t feel any cheaper than the top model. But that isn’t necessarily a good thing. 

    Its road manners are rather exemplary and it lacks the wobble of the Range Rover Sport. This alone makes the Velar more big estate car than SUV or cross over but this is what it is, a cross over and it does it all very well. Dare I say it, I liked the Sport and all that it stood for, I like the Velar more. It’s just, the Velar, this Velar, is expensive. Range Rover Sport price expensive.  

    Love

    Smoothness of engine

    Fit and finish

    Ride

    Loathe

    Price

    Cup holder cover

    Plastics around dashboard 

    The Lowdown

    Car –  Range Rover Velar R Dynamic HSE D300

    Price – £73,330 (as tested)

    MPG – 44.1mpg (combined)

    Power – 300hp

    0-62mph –  6.1 seconds

    Top Speed –  150 mph

    Co2 – 167 (g/km)