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SCREENWASH – BBC DRAMA REVIEWS

SCREENWASH – BBC DRAMA REVIEWS

Over the past few months I’ve focussed my extra-curricular viewing on BBC produced dramas via the BBC channels and catch-up on Netflix. The British Broadcasting Corporation, being the public-service-tax-payer-funded-beast that it is has a commitment to produce quality programming for national viewing and also overseas sales too. I then got to thinking; why not check out where some of my £12.12 per month money goes. So, here are some bitesize reviews of recent BBC dramas with marks out of the usual eleven.

**CONTAINS MILD SPOILERS**

THE CHILD IN TIME (2017)

Based on Ian McEwan’s prize-winning novel this was an interesting drama which worked in many respects but did not quite connect in others. Benedict Cumberbatch and Kelly McDonald are parents whose child goes missing while out shopping. The drama and grief of this was very well evoked but the supporting story of a publisher’s regression and mental collapse did not quite thematically meld for me. No doubt McEwan’s original source is a master work and I enjoyed many of the emotional moments provided by the excellent acting. (Mark: 8 out of 11)

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DOCTOR FOSTER – SEASON 1 (2015) + SEASON 2 (2017)

Suranne Jones is absolutely stunning in this domestic drama written by Mike Bartlett. She acts her heart and soul out as the eponymous GP, who in the face of her husband’s suspected infidelity, attempts to find both the truth and maintain her family unit and sanity. It’s a brilliantly written TV series which creates great drama from the “whodunnit” aspect of the potential spousal treachery. Plus, in addition to the Hitchcockian elements Dr Foster herself is very unpredictable in her actions; making for some nail-biting scenes. Bertie Carvel also excels as the charismatic husband and the second season, while not reaching the emotional heights of the first, and feeling more contrived, had some decent dramatic twists too.

(Season 1 – Mark: 9.5 out of 11)
(Season 2 – Mark: 8 out of 11)

LONDON SPY (2015)

The always-impactful actor Ben Whishaw is superbly supported by thespian giants Jim Broadbent and Charlotte Rampling in this obtuse spy thriller. Playing a troubled warehouse worker called Danny, Whishaw falls for the enigmatic genius, Alex (Edward Holcroft); and is thrown into a murky and murderous world of spymasters and upper-class family feuds. Beautifully acted and designed the story moved too slowly for me. Over five episodes the slow-bleed plot of character despair, double-crosses and cover-ups did not sustain the suspense and tension throughout.  (Mark: 7.5 out of 11)

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THE SECRET OF CRICKLEY HALL (2012)

Suranne Jones (again!) leads the acting line in an earlier post-Coronation Street role. She portrays a mother who, along with her family, seeks the solace of the countryside after their young child has gone missing. However, the house they reside in is haunted by ghosts from the past and as the family attempt to overcome their grief, evil spirits threaten their present. The contemporary narrative works well with the wartime scenes in a decent haunted house scenario that was adapted from the book by horror legend James Herbert; also featuring an early role for Maisie Williams. (Mark: 7.5 out of 11)

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SMALL ISLAND (2009)

Notable for its excellent ensemble cast and featuring before-they-were-famous roles for: Ruth Wilson, David Oyelowo, Naomi Harris, Benedict Cumberbatch and Ashley Walters, this excellent drama focussed on the war and post-war lives of several disparate characters whose lives become intertwined by fate. Based on Andrea Levy’s novel it is especially rich in regard to the diasporic characterizations and experiences of Jamaican immigrants in war-torn England. The writing is solid and there’s some fine acting and emotional moments to keep one enthralled and I enjoyed how the stories dovetailed dramatically at the end. (Mark: 8 out of 11)

TOP OF THE LAKE (2013)

Hey, what if Jane Campion wrote and directed a cop drama? Well, the answer is Top of the Lake!  This is a slow-burn, who-why-how-dunnit with a superb cast, beautiful New Zealand vistas and eccentric, dark characters. Some may find it too slow and artsy, while certain decisions by the characters and plot turns were intriguingly weird. However, Elizabeth Moss excels as the burnt-out cop (is there any other kind?) searching for a missing pregnant teenager, while Peter Mullan is suitably vicious as the rural patriarch; and Holly Hunter is fantastic too as the leader of a women’s commune. Overall, Campion’s barbed world-view satirizes humanity and cop show clichés in a compelling crime drama. (Mark: 8.5 out of 11)

TOP OF THE LAKE 2: CHINA GIRL (2017)

Screened earlier this year on the BBC, the follow-up finds Elizabeth Moss, now back in Sydney, tracking down the killer of an Asian prostitute while battling illegal adoption rings and all manner of sexist-pig-men. Like the original it pulls you in with its richly drawn characters and brilliant cast all committing to the lurid and quirky plotlines. Moss is always reliable and does the brooding, melancholic and troubled cop perfectly, while Nicole Kidman is brilliant as the middle-class academic out of her depth with the emotions of her adopted daughter. The sinister beta-male-nemesis Puss portrayed by David Dencik was a great rendition of spurious masculinity while it was great to see Gwendoline Christie out of her Game of Thrones armour, as a naïve rookie cop assisting Moss’ detective. (Mark: 8.5 out of 11)

TRUST ME (2017)

Jodie “New Doctor Who” Whittaker leads the cast as a downtrodden nurse and single-mum struggling with an NHS cover-up over poor service delivery. Faced with the sack she decides to engage in a cover-up herself by taking on the identity of a Doctor; and then the real drama kicks in. Whittaker is very empathetic and natural, while the suspense was very thrilling at times as her character gets deeper and deeper into the mire. Overall, it was a very tense and fun medical drama which made some very good social points in regards to a Doctors’ life and the NHS in general. Ultimately, it made me appreciate what the NHS does for us but also want to avoid getting ill in the future too!

(Mark: 8.5 out of 11)

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WAR AND PEACE (2016)

Well, the BBC certainly pushed the budget boat out on this one with a who’s who of new and experienced acting talent including: Jim Broadbent, Paul Dano, Lily James, Tuppence Middleton, Aneurin Barnard, Adrian Edmondson, Jessie Buckley, Tom Burke, Rebecca Front, Greta Scacchi, Brian Cox, Stephen Rea, Gillian Anderson and many more. Adapting Tolstoy’s gigantic and classic doorstop novel must have been some feat and it is indeed and sumptuous and incredible production. As a drama it drew me in with its’ stories of over-privileged Russian lives set during the Napoleonic wars as they live, love, cheat, duel, war and die. Yet, while I did not feel too much empathy for the characters, the acting, design and directing is a joy to behold and I garnered a certain hypnotic pleasure bathing in the high quality of the whole shebang. (Mark: 8 out of 11)

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R.I.P GEORGE A. ROMERO (1940 – 2017)

R.I.P GEORGE A. ROMERO (1940 – 2017)

One of the legends of cinema passed away a couple of days ago in George A. Romero. Here was a filmmaker who will always remain an inspiration to me as a movie fan and independent filmmaker.

He is most famous for single-handedly inventing the modern day zombie film, however, that, in my opinion is to simplify his legacy. What he achieved on low budgets with films such as: Night of Living Dead (1968), The Crazies (1973), Dawn of the Dead (1978), Martin (1978), Day of the Dead (1985) and more, was nothing short of incredible.

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His films indelibly etched images, sounds, music, sequences and of course bloody gore into my mind; some of which I will never forget to this day. Most importantly, though his horror films were of the fantastic variety, they were filled with incredible insight into the socio-political machinations of the day.

Because, George A. Romero knew that the horror on the screen could never match the horrors of war, oppression and death that humanity bestowed upon itself down the years and in the now. For being an independent, intelligent and political filmmaker is how Romero should be remembered.

DOCUMENTARY FILM REVIEWS including: 13TH, RATS, THE WHITE HELMETS, BLACKFISH and more. . .

SCREENWASH – DOCUMENTARY REVIEW SPECIAL

I thought I would make an effort to watch more documentaries over the last few months. Personally, I love nothing more than to immerse myself in fictional worlds created by writers, show-runners and filmmakers etc. but sometimes it’s important to face the “truth”.

Having said that are documentaries actually reflecting reality or the truth?  Because the documentary genre over the years has become ultra-sophisticated and many “true” stories are not just simply filmed documents or events or interviews. Now, documentaries are often carefully constructed narratives with as much if not more drama and turns in their tales than fictional works.

I wasn’t the only one who was gripped by Netflix’s Making a Murderer (2015) or HBO’s exceptional The Jinx: The Life and Deaths of Robert Durst. Moreover, I’ve always been an avid viewer of the work of dogged filmmaker Nick Broomfield, the disarming talent of Louie Theroux, and at his best the polemical Michael Moore. However, you always have to be aware that what one is watching has been manipulated and finessed to tell a story or a certain agenda; thus truth is not always absolute and should always be questioned.

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Nonetheless, the documentary film or programme remains an important tool to confront existential, sociological, historical and political events and issues. It also tends to be a lower budgeted medium – compared to fictional works – with which to illuminate and entertain an audience. So, here are some documentaries I have been watching of late.

CRIME

Crime documentaries are big business and along with historical Nazi dramas fill up the TV screens and online. Netflix has some well-presented and often controversial documentaries, one such is AMANDA KNOX (2016), which interviewed many of those involved in the despicable murder case of Meredith Kercher a few years back. This intriguing documentary lifts the lid on a case where the media and Italian legal system are on trial as much as Knox herself.

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WAR

With the Nazis in mind, the BBC documentary AUSCHWITZ: THE NAZIS AND THE FINAL SOLUTION (2005) is a horrific examination of wartime atrocities which probes the means with which the Nazis tried to wipe out all the Jews. This is a challenging yet incredible mix of interviews, dramatic re-enactment and detailed research on the evil death camp Auschwitz. While not an easy watch it is a brilliantly devised series which illustrates the blackest stain of one of humanity’s darkest periods in history.

From World War II to a very contemporary conflict Netflix presents THE WHITE HELMETS (2016), which over a hard-hitting forty minutes profiles the heroism of the eponymous rescue workers striving to save civilians from conflicted Aleppo and Syria on the whole. The short film won an Oscar but having done some research online the other side of the argument suggests this is a propaganda piece and does not represent the real work of this group. All I can say is someone somewhere is blowing the hell out of Syria and it is a bloody tragedy because people are dying! Indeed, whichever side the White Helmets are on the filmmakers show the insane destruction of war and suffering occurring for reasons that are beyond my understanding.

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NATURE

For something far more heart-warming I recommend the majestic film THE EAGLE HUNTRESS (2016). It documents the story of Aisholpan, a 13-year-old girl from Mongolia, as she attempts to become the first female eagle hunter in her country. Beautiful vistas and soaring eagles amidst the snow are to the fore in a very sweet tale of a young lady facing up against years of cultural chauvinism and prejudice, for something she loves doing.

More harrowing though is the well-constructed Killer Whale documentary BLACKFISH (2013) which highlights the cruelty to these beautiful creatures in captivity and the alleged corporate greed of SeaWorld following the deaths of trainers at the park. It also illustrates, in my opinion, the idiotic folly of human beings who think it is wise to get in the water with gigantic aquatic hunters. We are imprisoning animals for our own apparent entertainment and killing ourselves because of it. Idiots!

More human lunacy can be found in the harrowing film VIRUNGA (2014) set in the Congo where director Orlando von Einsiedel stabs at the heart of darkness and finds Soco International and civil war damaging the natural beauty of Virunga National Park. It’s another sad indictment on humanity as the people who live there and the animals, notably the Gorillas, find their habitat is surely being destroyed in the name of greed and insane mercenary bloodlust.

Taking the nature documentary in the direction of horror is Morgan Spurlock’s brutal film RATS (2016). This sickeningly impressive doc takes us on a whistle-stop tour of the globe with gruesome scenes of rat-catching, scientific experimentation, baiting and butchering of rats. Most disgustingly the eating of rodents in Vietnam is considered a delicacy. Gross!

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SOCIO-POLITICAL

Arguably the most powerful of the documentaries I watched was Ava DuVernay’s polemical and politically charged 13th (2016), a film which slams years of Government policies in regard to incarceration. Indeed, the evidence presented shows systematic lobbying from big business to turn the prison system into a means of enslaving the less socially advantaged. The mass rise of inmates in jail from the 1970s to now bares out this fact and the harsh stories within the documentary too are shocking. 13th is a savage indictment against the United States Government treatment, over the years, of black and Hispanic communities, and while it’s very one-sided, the points it is well researched and makes are incredibly powerful.

An altogether less incendiary and academic approach comes via Noam Chomsky’s interviews represented in REQUIEM FOR THE AMERICAN DREAM (2015) where the ultra-intellectual argues lucidly that a half-century of policies have been designed to favour the most wealthy at the expense of the majority. It’s thought-provoking and makes you wonder if this real life “They Live” style of social domination by the rich is truly real or just a dreamt up socio-liberal political conspiracy. To me, and I am not particularly bright when it comes to such matters, believe it is capitalist Darwinism at its worst and the wealthy and powerful are simply protecting what they have to the detriment or the less socially advantageous. Bastards!

I have to say that I admire the bravery of many documentary filmmakers, especially the ones who get right into the nitty gritty of the action. One such filmmaker Matthew Heinemann and his film CARTEL LAND (2015) has a lot of bottle going to Mexico and the US border to film events relating to the drug trade, criminality and nefarious Cartel factions and Government groups. Heinemann and his crew deserve praise for bringing these incredible events concerning an ongoing bloody civil war which seems to have no end in sight.

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LIFE

America is a continual goldmine for fascinating documentaries and Louis Theroux has proved time and time again he is a dab hand at gently poking a stick into some of the darker areas of humanity. Two such BBC documentaries he made are LA STORIES (2014) and THE CITY ADDICTED TO CRYSTAL METH (2009) where Theroux’s unassuming style examines the lives of people and animals affected by drugs, paedophilia, death and social decay. I like Louis Theroux as he isn’t afraid to ask important questions and his work gets into your psyche, without ever smashing you over the head with a definite agenda or tunnel-vision polemics.

The comedian Russell Brand presented a more vigorous approach when challenging the UK government’s ‘war on drugs’ policy by finding out how other countries are tackling their problems of drug abuse. RUSSELL BRAND – END THE DRUGS WAR (2014) was an passionate crusade by Brand to treat drug addiction as a disease and not a crime and he made some excellent points in carrying his case to legal and Government figures.

CINEMA

For some lighter viewing I also watched an informative documentary about filmmaker, actor and theatre genius called: MAGICIAN: THE ASTONISHING WORK OF ORSON WELLES (2014), which entertainingly ran through the career highs and lows of Orson Welles. Meanwhile, I AM YOUR FATHER (2015) was a likeable tribute to the man who WAS Darth Vader in the original Star Wars franchise – David Prowse. However, the film was ruined by the Spanish director crow-barring himself into the film and also trying to create some drama out of Prowse being gazumped by George Lucas for the shooting of Vader’s death scene. Prowse had a great career and I found the attempts at controversy were unnecessary and the film should’ve concentrated on the man in the suit himself.

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Last but not least if you love filmmaking docs you must watch LOST SOUL: RICHARD STANLEY’S ISLAND OF DR MOREAU (2014). This documentary charts the journey of director Richard Stanley and his attempts to bring classic novel The Island of Dr Moreau to the silver screen. With a massive budget and filming taking place in Australia it all starts to go wrong for Stanley as tropical storms hit the set and the money men at the studio lose confidence. Add the crazy Marlon Brando, difficult Val Kilmer and hedonistic extras to the mix and you get a box office turkey burning in front of your eyes. Both funny and tragic it reveals the folly of filmmaking yet sadly also seemed to finish Stanley’s promising directorial career.

 

 

 

SCREENWASH ROUND-UP! REVIEWS OF: FENCES, MOONLIGHT & SPLIT

SCREENWASH CINEMA ROUND-UP! REVIEWS OF: FENCES, MOONLIGHT & SPLIT

**CONTAINS SPOILERS**

FENCES (2016)

Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character Troy Maxson and his long-suffering wife, Rose; portrayed with significant humility and pathos by Viola Davis. Great support comes also from Mykelti Williamson as Troy’s mentally impaired brother, Gabriel.

Troy’s character is very charismatic and he delivers some hearty yarns from his past, but he’s also bitter and a drinker and, while he has had a hard life, he bullies everyone around him. His sons and more importantly his wife Rose put up with it but eventually he grinds everyone down, pushing them away with his boorish “I-know-best” arrogance and aggression. With her quiet power Viola Davis more than matches Denzel Washington’s grandstanding and Rose’s heartfelt speech toward the end of the film is a stunning retort to her husband’s continual tirades and emotional neglect.

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I’ve seen some criticisms of the film stating it is too “stagey”. Well, as it is based on a play that is understandable, yet, August Wilson’s words are a thing of beauty and therefore deserve focus. I think, while directing, Denzel Washington could quite easily have opened up the settings and had conversations on the street, but the decision was made to “fence” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall the performances alone make the film feel cinematic. (Mark: 9 out of 11)

 

MOONLIGHT (2016)

Barry Jenkins low-budget contemporary drama is another brilliantly acted character memoir; although when compared to Fences it benefits from a more complex structure and cinematic style.  Split into a trio of linear timelines from the same characters’ lives we get three different actors representing the life and changes which occur in Chiron’s existence; with chapters named, Little, Chiron and Black.

Each section draws us into the characters’ world as Chiron searches for meaning, identity and direction as to who he really is as a person. With his father absent Little Chiron (Alex Hibbert) cannot find satisfaction via his mother, an angry and lost woman portrayed brilliantly by Naomi Harris. Small for his age he is also at the mercy of school bullies and while a random meeting with a local drug dealer, Juan (Mahershala Ali) provides Little with a mentor to connect with it doesn’t sustain. Ali as Juan, like most of the performances, delivers a subtle realisation of a character trapped by his life choices and perhaps sees some redemption in ‘Little’. Alas, due to his lifestyle and ‘job’ he is clearly not the role model ‘Little’ needs.

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In the second and third sections Chiron’s relationship with his best friend Kevin comes to the fore both in terms of some powerful drama and intimate sexual connections. Barry Jenkins framing, colour design, use of music and editing choices all commit to create a poetic and fragmented style, further drawing me into Chiron/Black’s story. Chiron’s continual search for identity and meaning in the world reflects the most essential of human needs: the search for identity and love. Overall, this is a film of harsh and beautiful moments and each segment was layered with so many emotions and so skilfully told that I wanted to see more of the characters. (Mark: 9 out of 11)

SPLIT (2016)

Split (2016) is an altogether different film about the search for identity. In fact the lead character portrayed devilishly well by James McAvoy has TWENTY-THREE different people battling around his mind and something is about to give. Let me say that a film like Split won’t be challenging the Oscars because in essence it is a terrifying B-movie thriller, however, McAvoy gives a performance of such quality it reminded me of Anthony Hopkins as Hannibal Lecter in his cannibal pomp. McAvoy’s twisted ability to switch between the many personalities was a real guilty pleasure as he earned his acting fee over and over and over again.

The story concerns three girls, Casey, Marcia and Claire (including an excellent Anya Taylor-Joy) who are kidnapped and imprisoned by the various personalities in Kevin Crumb’s head. Some – including OCD driven Dennis – are more dominant than others and attempt to wrestle total control, which is where McAvoy’s sly switches are a real joy to watch. As a cat-and-mouse plot bleeds out we also get some intriguing back-story flashbacks into Casey traumatic past. These events really add colour to the main narrative and ramp up the tension and suspense. The scenes between Kevin, his personalities and sympathetic Doctor Fletcher (Betty Buckley) also add some dark humour to the story. By the end though all humour is gone and we get a stunning and believable supernatural turn as Kevin’s mind unleashes an altogether different personality.

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Writer/Director M. Night Shyamalan’s dalliance with big-budget-franchise-Hollywood-pictures – including: After Earth (2013) and The Last Airbender (2010) – did not do his career any favours. But with Split he is back on terrific form as he takes a simple abduction plot and renders it full of horror, twists and fantastical ideas. While I did not enjoy his previous film The Visit (2015) – mainly due to the stupid kid rapping throughout a decent horror story – this one is highly recommended for psycho horror fans and for McAvoy’s performance alone. (Mark: 8.5 out of 11)

WHAT IS LOVE? VALENTINES’ MOVIE REVIEW SPECIAL

WHAT IS LOVE?

–        Is it the joining together of two people forever committed to a relationship built on respect and trust? 

–        Is it the emotion you feel for a family member or person you have bonded with over time? 

–        Is it nature’s way of tricking us into the act of pro-creation? 

–        Is it an abstract and emotional concept created by a higher power to ensure we act positively?

–        Is it a form of madness which ensures we make crazy and stupid life decisions?

–        Is it a dark force which enlivens obsession and stalking and violence?

–        Or is it a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors?

Put simply it is: ALL OF THE ABOVE at some point in all our lives; although perhaps not the stalking!?!?

What I definitely know is that love is a big part of everybody’s lives whether it’s the positive or negative type? Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV show and adverts!  So for my latest article I will review some of the films and programmes I have watched recently which had love or some version of it echoing through its’ narrative heart.

**MAY CONTAIN SPOILERS**

45 YEARS (2015) – NETFLIX

Charlotte Rampling just owns this wonderful bitter sweet drama as a woman “celebrating” forty-five years of marriage to curmudgeon Tom Courtenay. The story moves slowly but confidently as Rampling’s Kate Mercer is shook up by revelations from her husband’s past. Andrew Haigh directs with a haunting charm as love is rendered in wintry hues, while marriage is illustrated as a culmination of what-ifs-buts-and-what-could-have-beens.  (Mark: 9 out of 11)  

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BLACK MIRROR (S3) – SAN JUNIPERO – NETFLIX

Charlie Brooker’s savage satire series cuts off your eyelids and forces one’s eyes to the see the nefarious side of technology. However, the episode San Junipero is an altogether more touching and heart-rending beast. Starring Gugu Mbatha-Raw and Mackenzie Davis as a couple of young girls who fall in love in the 80s drenched coastal town of San Junipero it builds slowly to a majestic reveal in the final act and the themes of love, euthanasia and life after death inform the romance with tearful power. (Mark: 9 out of 11) 

BLUE JAY (2016) – NETFLIX

Mark Duplass is an interesting actor-writer-director-improviser who produces small, naturalistic and improvisatory films that are often quietly impressive. Blue Jay is a sporadically brilliant two-hander starring Duplass and the effervescent Sarah Paulson as a former couple who reconnect after years apart and spend a day together revelling in the past, present and future love. Paulson is stunning and Duplass is just Duplass as we spend time with very human characters just trying to get by in love and life. (Mark: 8 out of 11) 

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BLUE IS THE WARMEST COLOUR (2013) – FILM FOUR

You know the story: girl-meets-girl-falls-in-love-has-lengthy-lesbian-sex-sessions-moves-in-with-girl-then-cheats-on-girl-but-not-before-there-are-more-lengthy-scissor-sister-sessions. Well, something like that.  Jokes aside, this is a very honest and believable slice-of-life drama with incredible performances from Léa Seydoux and Adèle Exarchopoulos as the two lovers. The film was laden with awards at time of release and benefits from Abdellatif Kechiche’s frank and intriguing direction. Personally speaking I felt the soul-searching drama and love story were very powerful but the sex scenes were over-long and pornographic and lent nothing to the story overall. (Mark: 8 out of 11) 

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BROOKLYN (2015) NETFLIX

This soapy-honey-sweet 1950s set love story contains a tremendous central performance from Saoirse Ronan, as an innocent Irish girl who goes to New York in search of a job and finds love with an Italian plumber. The film delivers a pot pourri of bright colours, national and migrant archetypes and resolves much of the drama very easily; in fact, the film was so nice I expected the cast to break out into song by the end. John Crowley directs the undemanding story deftly and while, I imagine, the plight of an immigrant in those days was much harder than demonstrated this is fine Sunday matinee fare and difficult to dislike. (Mark: 7.5 out of 11) 

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JACKIE (2016) – CINEMA

Does this fit into the love story genre?  I think as a story about a woman who lost the husband she loved, his head blown completely off by a sniper’s bullet, it qualifies as a film about the departure of love.  It’s a powerful portrait of Jackie Kennedy with Natalie Portman impressing as the wife of the President left devastated by his sudden murder. Portman as Jackie carries the weight of loss and sorrow on her petite shoulders, drawing on all her strength to carry on living for the sake of a nation and more importantly her children. Her life has been condemned as a void and Portman’s haunting visage betrays an unforgettable lament throughout. Pablo Larrain directs using documentary and dramatic stylings to powerful effect and the score by Mica Levi is to die for. (Mark: 8 out of 11) 

LA LA LAND (2016) – CINEMA

As it sweeps the boards at the awards ceremonies La La Land can certainly be praised as a funny, energetic, imaginative spectacle with fantastic direction by Damian Chazelle. Ryan Gosling and Emma Stone are also on great form, delivering  some wonderful songs throughout. As a love story it works but only on the surface as the boy-meets-girl-struggling-artists’ narrative lacks depth overall. Still, it’s a great musical in the classical Hollywood model – just not a Best Film Oscar winner. (Mark: 9 out of 11)   

My original review can be found here:

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THE LOBSTER (2015) – NETFLIX

In an oppressive near-futuristic society individuals must yield to socio-political mores and be married with children or you get turned into an animal of your choice!  Well, this certainly isn’t the pitch of a love story that Hollywood would make in a hurry. However, the misadventures of Colin Farrell’s hopeless love-life are explored to dark and comical effect in Yorgos Lanthimos’ startling comedy-drama. This is one of the best films I have seen a long time which is equally bizarre yet believable in its absurd honesty. We run around attempting to find love or force romance when we should just let nature take its course. Farrell has never been better and his weird romance with Rachel Weisz is so damned original in thought and delivery it left my heart stained with pathos and delirium. (Mark: 10 out of 11) 

 

LOVE ACTUALLY (2003) DVD

My wife “made” me watch this one at Christmas and as soon as it finished I was diagnosed with diabetes!  It is such a sickly, sweet and sappy rom-dram-com that, while I think Richard Curtis deserves praise for some excellent writing, it is just too clichéd for me. I love ensemble portmanteau films and many of the overlapping stories here would make excellent short films; moreover, the cast including: Emma Thompson, Alan Rickman, Andrew Lincoln, Laura Linney, Liam Neeson, Colin Firth and many more are very watchable. But the whole love pudding is over-sweetened, over-egged and over-cooked for my taste. (Mark: 6 out of 11) 

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PASSENGERS (2016) – CINEMA

You and your other passengers are in stasis on a many centuries long journey to another galaxy and you’re woken up early.  You are alone. In space. Until you die. If you could wake up the other passengers, but would you?  Given the fellow passenger is Jennifer Lawrence you have a bloody tough choice. And what if she finds out too: you’re a murderer in effect. That’s the moral dilemma which faces Chris Pratts’ character in this frothy space-rom-drama. I enjoyed the stylish science-fiction genre flick as it looks fantastic in design and cast. It doesn’t have much depth but I found it to be lots of fun especially as Pratt is charming and funny as ever and Lawrence is easy on the eye too. (Mark: 7 out of 11) 

MY CINEMATIC ROMANCE #11 – TOM HARDY

MY CINEMATIC ROMANCE #11 – TOM HARDY

In my latest episode of actor, cinema artist or filmmaker profiles I have picked some favourite roles of Tom Hardy.  This very talented British actor has made a name for himself with a series of intense, moody, muscular and at times psychotic performances. But he has depth too, and demonstrated on occasions, humour, vulnerability and sensitivity beneath the fierce masculine force he brings to the screen. Currently he can be seen lurking in the shadows of the BBC1 drama Taboo (2017), but here are eight other roles which showcase this actor’s depth of talent.

**CONTAINS SPOILERS**

BRONSON (2008)

Arguably, this is Hardy’s proper breakthrough role as he covered himself in shit and acting glory in Nicolas Winding Refn’s unflinching representation of Britain’s most notorious prisoner. Hardy’s in pretty much every scene pulsing with rage and violence; fighting dogs, gypsies and the system like a bald, working class Bane.

THE DARK KNIGHT RISES (2012)

Talk of the devil and he shall appear! Hardy brought his bulking mass and searing eyes to Gotham to wreak havoc on its citizens as arch villain Bane.  The film has some narratives issues but I thought Nolan and cast presented some great set-pieces and action in a pulsating end to the trilogy. With the mask and chilling voice plus hulking physical presence Hardy made a memorable foe for Batman and co.

THE DROP (2014)

Hardy offers another brilliant piece of character work as Bob Saginowski, a Boston barman, who works in a mob-owned pub. He finds himself threatened by local scumbag Matthias Schoenaerts over the disputed ownership of a dog. It’s a subtle performance in which he swallows and bottles his rage with a quiet, yet menacing confidence.

INCEPTION (2010)

Christopher Nolan’s exquisite, mind-bending heist thriller has an fantastic ensemble cast with Hardy popping up as the forger Eames. Unburdened by masks or grunts or over-aggression, Eames is an urbane and sophisticated character who remains calm under fire; while in perfect ‘Received Pronunciation’ delivers some witty one-liners. Here Hardy demonstrates what an ideal James Bond he would make.

LOCKE (2014)

So, the story is about a bloke on his phone driving up the motorway?  Not a pitch that would grab Hollywood in-a-hurry, but a film that is delivered with such hypnotic power it feels epic. Hardy’s Locke is portrayed as a determined man whose life decisions, family and work-life have triangulated simultaneously to crisis point. It is a performance of restraint and brooding anxiety making the one location-movie compelling throughout.

MAD MAX: FURY ROAD (2015)

George Miller’s bruising, muscular and jaw-dropping spectacular is an orgy of car-bombing action and deathly stunts with little dialogue. So, who better to take on a virtually mute yet physical role than Tom Hardy in this smash-and-burn epic.  Max Rockantansky remains one of the iconic existential anti-heroes, with Hardy taking over the baton from Mel Gibson superbly.

THE REVENANT (2015)

Hardy was rightly Oscar nominated for his portrayal of greasy mercenary John Fitzgerald.  While Hardy’s mumbling Fitzgerald certainly has my empathy early doors his decision to leave Glass for dead after killing his son is the act of a scumbag. Once again, Hardy commits to the role of the murderous trapper with dirty aplomb as he more than matches DiCaprio’s compelling performance.

STUART: A LIFE BACKWARDS (2007)

This is an excellent BBC film starring Tom Hardy as Stuart Shorter, a homeless alcoholic and petty criminal who was also a social justice activist. Shorter meets Benedict Cumberbatch’s writer and the two form an unlikely friendship. Hardy’s performance is full of heart-breaking pathos and physical distress because Stuart suffered from muscular dystrophy. Abused as a child and lost as an adult, Stuart’s is a tragic life and one where Hardy further demonstrates his excellent acting range.

APOCALYPSE TO ZOMBIES: THE GIRL WITH ALL THE GIFTS (2016) REVIEW

APOCALYPSE TO ZOMBIES: THE GIRL WITH ALL THE GIFTS (2016) REVIEW

**CONTAINS SPOILERS**

Being an avid cinema-goer I love the experience and have few complaints as a pastime generally. Of course there are great, good, mediocre and bad movies but that’s the nature of any business. However, one of the things that often gets on my nerves is the lack of promotion for really good low-budget films produced in the U.K. Quite often such films on a lower budget fall foul of the power of the Multiplex domination by Hollywood where Disney, Marvel and Star Wars franchise films saturate the cinema screens. Don’t get me wrong I enjoy such cinematic entertainment, but every now and then, a real gem of a film falls between the cracks and does not get the attention it should. One such film is the British zombie-horror drama The Girl With All The Gifts (2016).

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Somewhere amidst the Hollywood marketing behemoth this film was released last year to very little fanfare and it deserved much more in my opinion. It has an excellent cast with Gemma Arterton, Paddy Considine and Glenn Close playing key characters. It also features an intriguing script – based on his novel – by M.R. Carey, succinct direction by Colm McCarthy; plus a standout performance from young actress Sennia Nanua. I must say that the score by Cristobal Tapia de Veer added to the overall dread, scares and brooding peril and I expect this composer to go to the top of his profession.

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Thematically, the film is very strong dealing initially with a skewed educational situation as Ms Justineau (Arterton) teaches her pupils; who are mysteriously chained to their desks. The reason for this is revealed slowly allowing the tension to rise gradually as Justineau’s special relationship with “gifted one” Melanie develops. Their bond builds throughout and one may argue Justineau’s feelings and decisions are misplaced as the adults versus children dynamic heightens. Indeed, the landscape is filled with monstrous orphans and suspense is generated because Melanie’s allegiance could switch any time between the adults and the other zombie children.

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Thus, compared to the very average rom-zom-com-mash-up Pride and Prejudice and Zombies (2016), which benefited from a £28 million budget, The Girl With All The Gifts (made for £4 million) contains a whole lot more suspense, imagination and atmosphere.  The story itself treads the familiar mud and blood road of a post-apocalyptic world where children are the only hope to combat a deadly virus that has wiped out humanity. It’s a standard scientists-and-soldiers-on-the-road-type-plot which wears a jacket of influences including: Lord of the Flies, 28 Days Later, and various George Romero films very well. Overall, this psychological horror contains a number of tense, heart-racing and gory scenes making it an under-rated classic which deserved more success at the cinema in my humble opinion.