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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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SCREENWASH CINEMA REVIEWS – AUGUST 2017 – Including: DETROIT, THE BIG SICK and AMERICAN MADE!

SCREENWASH CINEMA ROUND-UP – AUGUST 2017 – REVIEWS

A Ghost Story (2017) – review here – was the most impactful and original film I saw in August from a cinematic perspective, however, the other films I saw were very well rendered too. All three were “based on a true story” and had many elements that made them highly watchable. So, here’s my cinema round-up of reviews for August.

**CONTAINS MILD SPOILERS**

 

AMERICAN MADE (2017) – DIRECTOR: DOUG LIMAN

Tom Cruise leaves the formulaic action blockbusters aside for a while to portray a well-defined anti-hero called Barry Seal.  Seal, according to this insane narrative, was a former TWA pilot who, bored with his steady job, grabs the opportunity to fly reconnaissance operations over South America for the C.I.A. That’s when the irreverent fun really gets into gear and before you can say “triple-agent-drug-running-for-the-Colombian-Cartel” you have a very watchable fast-paced, political and at times, farcical thriller.

Doug Liman is an excellent genre director and here pitches the film somewhere between a Martin Scorsese gangster biopic and screwball comedy. I would have preferred a bit more dramatic meat to be honest as seen in the Bryan Cranston Cartel-cop-thriller The Infiltrator (2016), or the subtle terror of Sicario (2015). However, Tom Cruise once again proves he can act and this entertaining movie does make some relevant political barbs against the allegedly corrupt Reagan and Bush administrations during their futile wars against drugs and communism.

(Mark: 8 out of 11)

THE BIG SICK (2017) – DIRECTOR: MICHAEL SHOWALTER

Uber-driving-stand-up-comedian Kumail Nanjiani portrays himself in movie form for the duration of this likable character and culture driven romantic comedy. Eager to forge his own path where love is concern Kumail battles the constant “threat” of his overbearing mother’s attempts to pair him up with an acceptable Pakistani bride. Having met Zoe Kazan’s sparkling Emily he falls for her despite their initial reticence in committing fully to each other.

Of course the path of love is never straight, in fact it’s downright wonky as Emily succumbs to a rare illness and is hospitalized. Kumail, estranged from his own and rejected by Emily’s family, finds his world falling apart as his work and comedy suffers. Overall, this is a very enjoyable and gentle comedy and Kumail and Emily are characters you really root for. The supporting cast including the brilliant Ray Romano, Adeel Akhtar, Bo Burnham and Holly Hunter are very funny indeed. I enjoyed the sub-plots involving the Chicago comedy scene and my only criticism would be that like other Judd Apatow-produced films it was probably ten minutes too long. Having said that it’s a finely observed, well-acted and richly funny character film.

(Mark: 8 out of 11)

DETROIT (2017) – DIRECTOR: KATHRYN BIGELOW

This is a very complex film and probably requires a second view to really get to the heart of the whole situation. Set in 1967, amidst the desperate and violent racial tensions of the age (has there actually been anything else in the United States?) Detroit focuses on a single night and horrific incident involving monstrous cops and their behaviour toward the guests in the Algiers Hotel. Kathryn Bigelow again proves herself an expert director of spine-tingling tension and heart-racing drama as a violent assault is carried out on mostly innocent characters.

Detroit is microcosmic of the issues of race throughout American history and is an impossible pill to swallow as represented by these events. It’s not meant to be easy but a layered, narrative which reflects the different perspectives of those involved without actually getting to the actual truth. John Boyega, Will Poulter and Algee Smith’s performances are the stand-out as a nightmarish event in American history unfolds in almost real time. The only light comes by way of the Motown and Gospel music featured which shines brief hope and light on otherwise grim proceedings. The final act and court case compound the injustice of the crimes committed and only in song and prayer can Smith’s character escape the horrific tragedy of these grim events.

(Mark: 9 out of 11)

 

 

 

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)

TOP TWELVE BESTEST FILMS AND TV SHOWS OF 2016

TOP TWELVE BESTEST FILMS AND TV SHOWS OF 2016 – SCREENWASH SPECIAL BY PAUL LAIGHT

Well, here’s wishing you a prosperous New Year going forward!  I’ve read somewhere that apparently 2016 wasn’t a vintage year for movies but I went to the cinema a lot and saw a whole host of cracking entertainment.  Likewise, television budgets and production values continue to soar and there were some incredible shows produced too.

So, here are my TOP TWELVE films I saw at the cinema AND TOP TWELVE television shows watched/streamed.  Some of the films and TV programmes may have bled from 2015 into 2016 release-wise; moreover, I have also included a couple of yet-to-be-released films I saw at the London Film Festival.

Remember dudes these are not necessarily the best films or shows but the ones I enjoyed the most. So, overall, it’s just my opinion, man.

TOP TWELVE FILMS SEEN AT THE CINEMA IN 2016 (in alphabetical order)

ARRIVAL (2016)

“. . .an intelligent and emotional science-fiction drama with a beautifully constructed narrative.”

BONE TOMAHAWK (2015)

“A tremendous genre-blend of horror and Western, this debut feature from S. Craig Zahler is destined to be a cult classic.”

CAPTAIN AMERICA 3: CIVIL WAR (2016)

“. . . again the Russo Brothers direct with whip-cracking pace and humour, making this easily one of the blockbusters of the year.”

DOCTOR STRANGE (2016)

“. . .wonderful fun with hallucinogenic visuals, eye-popping fight scenes plus mystical marvels!”

THE HATEFUL EIGHT (2015)

“. . . QT remakes Reservoir Dogs (1992) via Agatha Christie, setting it in the snowy West of America circa 1870s.”

MANCHESTER-BY-THE-SEA (2016)

“. . . heart-racking drama which stretches the emotions while also providing flickers of light amidst the pain.”

MEN AND CHICKEN (2015)

“. . . lurches from hilarious physical violence to examinations of religion and science in a film I can only describe as being like the Three Stooges meet The Island of Dr Moreau.”

THE NICE GUYS (2016)

“. . . pings a shaggy-dog narrative along at a cracking pace with a script filled with so many hilarious punchlines and sight gags.”

RAW (2016)

“. . . great horror film which has one of the most disgusting scenes I have had the pleasure to see for some time.”

THE REVENANT (2015)

“. . . just superb, grueling, bloody, epic and beautiful filmmaking!”

ROGUE ONE: A STAR WARS STORY (2016)

“. . . a rip roaring mission-in-space-war movie set just before the original Star Wars movie!”

ROOM (2015)

“. . . a film not just about isolation, abandonment and the horror of humanity; but also the unbridled love a mother has for their child.”

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TOP TWELVE TV SHOWS SEEN IN 2016 (in alphabetical order)

BETTER CALL SAUL (2016) – SEASON 2

“Are there any better character drama shows around than this show? The writing and acting in Season 2 was just brilliant.”

BILLIONS (2016) – SEASON 1

“. . . great acting, script and cat-and-mouse twists galore in a meaty twelve episodes.”

DAREDEVIL (2016) – SEASON 2

“This has it all including: amazing fight scenes, bloody violence, rip-roaring action and hellish derring-do!”

FARGO (2015) – SEASON 2

“. . . drama, humour and suspense are incredible as is the cast.”

GAME OF THRONES (2016) – SEASON 6

“. . . these ten episodes were just a pacey, brutal, vicious, conniving, fiery, animalistic, blinding, cutting, resurrecting delight.”

GOMORRAH (2016) – SEASON 2

“. . . further brutality and skulduggery follows in a show which has a heart of pitch black darkness acted out like a contemporary reflection of the Roman Empire.”

IT’S ALWAYS SUNNY IN PHILADELPHIA (2016) – SEASON 11

“. . . gags explode like fireworks throughout the series as things go south and very dark; more often than not ending in chaotic hilarity.”

MAKING A MURDERER (2015) – SEASON 1

“. . . It is as thrilling and suspenseful as anything Hitchcock created as the trials of these men and their families are thrust before us.”

PENNY DREADFUL (2016) – SEASON 3

“. . .a blindingly beautiful and bloody wondrous season as various narrative threads unfolded but then suddenly it was gone.”

SOUTH PARK (2016) – SEASON 20

“. . . yet another fantastically gross, satirical and ballsy animated series from Parker and Stone.”

STEWART LEE’S COMEDY VEHICLE (2016) – SEASON 4

“. . . Lee is a human anti-depressant lifting my spirits while at the same time making me think about the very nature of the subjects he tackles.”

WESTWORLD (2016) – SEASON 1

“Brilliant and exquisite Sci-fi-western-mash-up from Michael Crichton, Jonathan Nolan and Lisa Joy.”

 

SCREENWASH – DECEMBER 2016 – REVIEW ROUND-UP by PAUL LAIGHT

SCREENWASH – DECEMBER 2016 – FILM & TV REVIEW ROUND-UP by PAUL LAIGHT

Merry Christmas to anyone reading this and a Happy New Year!  So, as we wind down our employment and head home for the holiday season I offer my final cinema and TV screen round-up of the year.

From next year the Screenwash monthly round-up will mainly consist of the best stuff I saw each month rather than EVERYTHING!  My blog will also feature the usual classic film features and reviews as usual.  I’m off to the pub soon so a very quick run-through with marks, as usual, out of eleven!

**MAY CONTAIN SPOILERS**

 

A PERFECT DAY (2015) – NETFLIX

Well-meaning and intriguing comedy-drama set circa ‘90s Balkan conflict stars Benicio Del Toro as an Aid worker facing anything but a perfect day.  (Mark: 7.5 out of 11)

 

BILLIONS (2016) – SKY ATLANTIC

Tremendous drama starring Damian Lewis and Paul Giamatti, as a billionaire stockbroker and New York Attorney General respectively, who lock horns over insider trading. This has the lot: great acting, script and cat-and-mouse twists galore in a meaty twelve episodes. (Mark: 8.5 out of 11)

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BLUE VELVET (1986) – BFI CINEMA

“Why are there people like Frank?” asks Kyle Maclachlan’s Jeffery Beaumont in David Lynch’s dark journey into the underbelly of small town America. Hopper’s tour-de-force performance is chilling and funny in this eccentric, violent and memorable thriller. (Mark: 9 out of 11)

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CASE 39 (2009) – NETFLIX

An alright chiller starring Renee Zellweger as a social worker investigating the abuse of a young girl. Of course, not all is what it seems. (Mark: 6.5 out of 11)

 

FUNDAMENTALS OF CARING (2016) – NETFLIX

Paul Rudd is excellent as a depressed man seeking escape from life by helping muscular-dystrophy effected youth, Craig Roberts, in a touching and funny road movie. (Mark: 7.5 out of 11)

 

FUNNY GIRL (1968) – NETFLIX

The classic Broadway musical which I saw recently in London with Sheridan Smith (I wasn’t with her – she was in it) is a breezy blast through the songs and career of Fanny Brice. The kind-of-rags-to-riches-narrative is simple but the delivery is brilliant, with Barbara Streisand bursting with life, humour and song in an energetic Oscar-winning performance. (Mark: 8 out of 11)

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JOY (2016) – SKY CINEMA

Hit-and-miss drama stars the amazing Jennifer Lawrence as Joy Mangano; who battles family strife and corporate sexism to rise to the dizzy heights of TV shopping celebrity. (Mark: 7 out of 11)

 

IP MAN 3 (2015) – NETFLIX

Donnie Yen, again, excels in the further adventures of martial arts legend Ip Man. This time its 1959 and he’s up against Mike Tyson as a gangland boss and other rivals to his Wing Chun crown. Worth watching for the majestic fight scenes and the always awesome Donnie Yen (Mark: 7.5 out of 11)

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LES DOULOS (1963) – BFI CINEMA

Classic French Noir from Jean-Pierre Melville stars Jean Belmondo is a shadowy joy which thrills with its twisting plot following a robbery-gone-wrong. (Mark: 7.5 out of 11)

 

MASCOTS (2015) – NETFLIX

Christopher Guest’s comedy mockumentary about sports mascots has some big and silly belly laughs and even sillier costumes too. It’s very daft with some fun routines throughout. (Mark: 7.5 out of 11)

 

MATCHSTICK MEN (2003) – SKY CINEMA

Nicolas Cage and Sam Rockwell are brilliant in Ridley Scott’s smaller-in-scale-than-usual-con-artist film which contains a series of thrilling twists and Cage’s excellent OCD-afflicted performance. (Mark: 7.5 out of 11)

 

PUSH (2009) – NETFLIX

Captain America/Chris Evans stars in this not-bad action-thriller about telekinetics being hunted down by a nefarious agency somewhere in Hong Kong. (Mark: 7 out of 11)

 

REMAINS OF THE DAY (1993) – MOVIE MIX

Sensational period drama set just before WW2 features incredible acting from Anthony Hopkins and Emma Thompson. They star as the Butler and Housekeeper who develop feelings for each other but professional commitments keep them at arms-length in a wonderfully touching human story.  (Mark: 9.5 out of 11)

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ROGUE ONE: A STAR WARS STORY (2016) – CINEMA

Disney’s Star Wars roadshow-behemoth moves onto the first of it’s’ anthology series with a rip roaring war movie set just before A New Hope (1977) – (Mark: 9 out of 11). My full review is here.

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SATURDAY NIGHT & SUNDAY MORNING (1960) – DVD

Albert Finney is excellent in this ground-breaking-for-its-day-working-class-social-realist drama. He’s a hard-working-boozing-chauvinist who rebels against the bosses and law in a gritty, and at times humorous, slice of British life. (Mark: 7.5 out of 11).

 

SECRET IN THEIR EYES (2015) – SKY CINEMA

Pointless and so-so remake of the classic Argentinian Oscar-winner which takes a great story and good cast and reduces it to a functional detective story. (Mark: 6 out of 11).

 

SELF/LESS (2015) – SKY CINEMA

Badly-reviewed-but-not-too-bad takes a great premise of Ben Kingsley having his consciousness transferred into Ryan Reynolds’ soldier and turns it into a decent action-chase thriller. (Mark: 7 out of 11).

 

THE SIEGE OF JADOTVILLE (2016) – NETFLIX

Decent based-on-a-true-story set in the Congo during a battle in the Katanga district circa 1961. Charismatic Jamie Dornan leads UN troops battling French mercenaries in some brutal and explosive battle scenes which echo the backs-to-the-wall heroics of Rourke’s Drift. (Mark: 7.5 out of 11).

 

SUGARLAND EXPRESS (1974) – FILM FOUR

Steven Spielberg’s debut cinema release is a lively road-pursuit-comedy-drama with a sparky lead performance from a very young Goldie Hawn. The characters strife didn’t grab me but the action barrels along sweetly with some funny scenes and beautiful cinematography. (Mark: 7.5 out of 11).

 

SULLY (2016) – CINEMA

Tom Hanks excels as the experienced and noble pilot Chesley Sullenburger who somehow landed a plane on the Hudson after birds had ripped out its engines. Clint Eastwood directs with his usual steady hand as the film shows life experience is often more valuable than a computer simulation. (Mark: 7.5 out of 11).

 

THE THIN BLUE LINE (1988) – NETFLIX

Errol Morris’ seminal documentary about a miscarriage of justice pretty much re-invented the crime documentary with its’ chilling re-enactments and interviews with the personae involved. The film would eventually prove the innocence of wrongly-accused drifter Randall Adams in the crime of a murdered police officer in 1976. Formidable, gripping and humane drama. (Mark: 9 out of 11).

 

THE THREE AMIGOS (1986) – SKY CINEMA

Chevy Chase, Martin Short and comedy genius Steve Martin star in this silly spoof of Westerns and silent-comedies as they are mistaken for hardened protectors of the weak. (Mark: 7 out of 11).

 

WESTWORLD (2016) – HBO – SKY ATLANTIC

Brilliant and exquisite Sci-fi-western-mash-up from Jonathan Nolan and Lisa Joy with an all-star cast is reviewed – (Mark: 9 out of 11) – in full here:

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WHITE FANG (1991) – SKY CINEMA

Ethan Hawke is a young explorer looking to make a go of his dead father’s gold mine in the end of the 19th century Yukon. Lots of snow and action aplenty as Hawke’s boy becomes a man and befriends a young wolf in the process in fine family entertainment. (Mark: 7.5 out of 11).

 

WOLF HALL (2015) – NETFLIX

Mark Rylance owns this dark drama as Thomas Cromwell; a key figure in the court of Henry the VIII – here portrayed by the brilliant Damian Lewis. Based on Hilary Mantel’s astonishing novels it charts the political and religious back-stabbing of the day in a naturally shot and wonderfully acted period drama. Rylance’s performance is subtle and steely as the man from lower stock who rose to pull the strings in the King’s court.  (Mark: 8.5 out of 11).

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SCREENWASH – NOVEMBER 2016 – DVD & ON DEMAND REVIEW ROUND-UP

SCREENWASH – NOVEMBER 2016 – DVD & ON DEMAND REVIEW ROUND-UP

In addition to my cinema reviews I also watched an eclectic mix of TV shows, big movies and art and indie flicks this month. As usual I have packaged them into bitesize chunks for your perusal. As usual marks are out of eleven.

**CONTAINS SPOILERS**

AMANDA KNOX (2016) – NETFLIX

The despicable murder of Meredith Kercher caused a media and legal storm in Italy over ten years ago now. Amanda Knox and her then-boyfriend, Raffaele Sollecito were charged and convicted before appealing against the crimes. This intriguing documentary lifts the lid on a case where the media and Italian legal system are on trial as much as Knox herself. (Mark: 8 out of 11)

CIRCLE (2015) – NETFLIX

Well-written-one-location-low-budget film finds many strangers in room fighting for their lives.  Social, religious, gender and ethnic demographics become key to the choice of “who dies next”; in a nifty, intelligent thriller which critiques humanity in an entertaining fashion. (Mark: 7.5 out of 11)

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DJANGO UNCHAINED (2012) – NETFLIX

Tarantino’s classic revisionist slave western gets better on every watch; and I would have to say that it is arguably, amidst the stylistic flourishes, his most satisfying narrative as a whole. The bone-crunching violence and bloody shootouts are a joy, yet Tarantino also draws emotional power from the love story between Jamie Foxx and Kerry Washington’s enslaved couple. Meanwhile, Christophe Waltz and Leonard DiCaprio ride off into the sunset with the acting honours. (Mark: 10 out of 11)

ENTER THE DRAGON (1973) – TCM

I loved this Bruce Lee Kung-fu classic when I was growing up. Now, it just seems like a slightly tired James Bond rip-off in terms of plot, however, Bruce Lee was a martial arts master and movie star; so it is his charisma and fighting skills which really shine through now. (Mark: 8 out of 11 – for Lee!)

GOOSEBUMPS (2015) – SKY CINEMA

This is a pretty decent meta-fictional comedy-action film with Jack Black hamming it up as a mysterious writer whose creations wreak havoc on a small town. (Mark: 7.5 out of 11)

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GOTO – ISLAND OF LOVE (1969) – DVD

This is a very surreal drama from critically acclaimed Polish filmmaker Walerian Borowczyk.  In the past I would have loved insane stuff like this but I couldn’t get my head around the weird inhabitants of a prison colony acting out warped love rituals while trapped on an island. (Mark: 5 out of 11)

THE GUEST (2014) – FILM FOUR

The Guest (2014) is a smart, funny and violent B-movie which makes merry hell of its’ “cuckoo in the nest” plot.  Dan Stevens is brilliant and has all the charm and looks of a bona fide movie star in the making and a good shout for the next James Bond. I’ve seen this a few times now and it is a genuine under-rated classic. (Mark: 9 out of 11)

THE LAKE HOUSE (2006) – ITV2

Soppy time-travel love story which kind of does and doesn’t make sense stars Keanu Reeves and Sandra Bullock. It’s a likable film with fun concept and pleasant moments.  (Mark: 7 out of 11)

MATCH POINT (2005) – NETFLIX

Woody Allen’s excellent London-set thriller builds slowly and pays off wonderfully by the end. The characters are well drawn as Jonathan Rhys-Meyers young existential tennis pro darkens his soul through poor life decisions. Emily Mortimer, Scarlett Johannsson, Brian Cox and Matthew Goode complete an attractive cast in the excellent Dostoyevsky-laced crime drama. (Mark: 8.5 out of 11)

PEOPLE JUST DO NOTHING – SEASON 1 (2014) – NETFLIX

This is a funny Gervais-influenced-Office-style-mockumentary-comedy which follows the shenanigans of a West London pirate radio station. Satirizing youth culture and we get a peek into the lives of the likes of MC Grindah and feckless mates.  (Mark: 7.5 out of 11)

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SAW (2004) – SKY CINEMA

While it started a tortuous never-ending-cash-cow-franchise, never forget the original Saw is a genuine horror classic from James Wan and Leigh Whannell. You get two guys, one cell and a hell-of-a-dangerous serial killer on the loose that leads to some great twists and bloody murder. The ending alone is still a gob-smacking treat as you put together Jigsaw’s fiendish plan. (Mark: 9 out of 11)

SIN CITY 2: A DAME TO KILL FOR – SKY CINEMA

Roberto Rodriguez and Frank Miller’s sequel to the mind-blowing violent-noir-comic-book-digital-backlot-splatterfest Sin City (2005) was eagerly anticipated by me. This had the same hard-boiled dialogue, bone-crunching violence and some fantastic imagery, but aside from Eva Green’s terrific femme fatale it lacked the impact of the first film and fell a bit flat. (Mark: 6 out of 11)

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SONS OF ANARCHY – SEASON 3 (2010) – NETFLIX

The third revving-crunching-porno-shooting-explosive season had Jax and the other gang members battling the Mayans, the FBI and going on “holiday” to Ireland to take on the “Real” Irish Republican Army. It’s a real soapy mix of violence, bullets and familial-led drama with enough plot turns and jaw-dropping set-pieces to keep you entertained throughout the fast-paced episodes. (Mark: 8 out of 11)

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THE FINEST HOURS (2016) – SKY CINEMA

This Disney disaster movie set in the 1950s is a very watchable human drama sensitively directed by Craig Gillespie. It flopped at the box office, yet Chris Pine and Casey Affleck are on very good form in the leads and there are some great set-pieces too on the sea. The real star is Carter Burwell’s epic music but in my opinion the film deserved a bigger audience. (Mark: 8 out of 11)

TO THE WONDER (2012) – DVD

This is a beautifully shot yet overlong and pretentious love story with banal Olga Kurylenko and a depressive Ben Affleck sleep-walking through his role. Terence Malick is a fine auteur but despite the wondrous scenery and vaguely interesting structure this bored me overall. (Mark: 6 out of 11)

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SCREENWASH SPECIAL- ARRIVAL, DR STRANGE & NOCTURNAL ANIMALS REVIEWED

SCREENWASH – NOVEMBER CINEMA SPECIAL – by PAUL LAIGHT

I often have all my reviews for the month in one place but occasionally I split them, as is the case here. I haven’t seen that many films at the cinema this month but the three I did see were all excellent in their own way. Here are my reviews with marks out of eleven.

**CONTAINS MILD SPOILERS**

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ARRIVAL (2016)

The wonderfully serene Amy Adams portrays, Louise Banks, an academic linguist whose standing is such that when Earth is visited by twelve spaceships, she is called in by the military to attempt communication. Governments all over the world try various methods in which to discover whether the aliens are intending to attack. What are their primary intentions or targets? Are they friends or foe?

As it is directed by the supremely talented Denis Villeneuve the film moves at a careful but considered pace. When Adam’s accompanies Jeremy Renner’s physicist, Ian Donnelly we at first see the inside of the alien craft and it’s not long before we are faced with the strange-looking cephalopod-type creatures. The narrative meat becomes a series of attempts by Banks and Donnelly to try and crack the visual alien code. Meanwhile, the Chinese and Russians are becoming impatient and, like the Americans, considering attacking the spaceships in a pre-emptive military measure.

I won’t say any more because it would risk ruining the story but what unfolds is a clever and mind-bending turn of events which upsides genre expectations. The intriguing premise, brilliant script, ambient score, stylish effects, subtle cinematography and purposeful direction make this one of the best films I have seen all year. It is an intelligent and emotional science-fiction drama with a beautifully constructed narrative which constantly surprised and moved me.  It also asks big questions on the nature of time, existence and love; informing us that not all extra-terrestrial life in movies has to be monstrous and deadly.  (Mark 10 out of 11)

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DR STRANGE (2016)

Marvel, like they did with Ant-Man (2015) take a lesser known character in Dr Stephen Strange and turn it into one of the most entertaining and spellbinding blockbusters of the year.  To be honest none of this should work, however, it is a testament to the work of a committed director in Scott Derrickson and formidable heavyweight acting cast including: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Mads Mikkelsen and imperious Tilda Swinton, that this mystical soufflé works so well.

Cumberbatch, filtering his Sherlock persona wonderfully, is a gifted, yet arrogant neurosurgeon who following a bone-crunching automobile accident finds his gifted hands are no good to man nor beast. His attempts at physical rehabilitation prove unsuccessful so he goes on a spiritual journey to Nepal in an attempt to fix his damaged body and soul. There he meets Mordo (Ejiofor) and subsequently The Ancient One (Swinton) and that’s where the real fun starts.

I thoroughly enjoyed every minute of this. Its pacey plot zips along rapidly with some fine comedic one-liners. Cumberbatch and Swinton stand out amongst a fine cast with both of them imbuing their characters with a depth beyond your usual super-hero film. While the origins story is standard genre stuff the magical gifts and capes Dr Strange uses are wonderful fun, as are the hallucinogenic visuals, eye-popping Inceptionesque fight scenes plus mystical marvels straight out of the end of 2001: A Space Odyssey. Lastly, Derrickson deserves praise for several cracking set-pieces notably the out-of-body fight in the hospital and complex temporal-twisting combat with inter-dimensional beast Dormammu. Strange days are indeed upon as Marvel spellbinds us with yet another big comic-book hit. (Mark 9 out of 11)

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NOCTURNAL ANIMALS (2016)

Filmmaker Tom Ford’s debut film A Single Man (2009) was an eloquent character study of grief, loneliness and existential romance; beautifully photographed, styled and constructed with Colin Firth’s heartfelt performance providing the thudding beats of pathos and pain. It was a film I only saw recently but knew that the director was definitely one to follow, and thus, his second film Nocturnal Animals promised much.

Nocturnal Animals is an altogether colder beast centring on separation of love rather than the meditation on loss like A Single Man. The once again brilliant Amy Adams is a privileged art gallery owner married to Armie Hammer’s rich, yet absent, businessman. She is a hollow woman musing about her failed previous marriage to writer Jake Gyllenhaal and the apparent emptiness of her life, career and the people around her. It is a testament to Ford and Adams that they extricate empathy for such a seemingly spoilt character, but they ably demonstrate that wealth does not defeat loneliness or the guilt of past actions.

Adams’ Susan Morrow is similar to Firth’s George Falconer in that she is lost and flailing in her first world but very human problems. Thrown into the mix is the about-to-be-published book her former husband has written and sent her. So, we end up with two stories for the price of one as the events in the manuscript come to life in Susan’s mind. As she reads it, Jake Gyllenhaal’s (yes, he plays two characters) family are terrorized on a backwater freeway by Aaron Johnson’s violent gang. Michael Shannon also pops up as a busted lung of a cop sick of the scum and his turn is a delight.The sun-bleached, desert and neo-Western style in these episodes provide a fascinating and stylistic juxtaposition to shadowy, cool darkness that is Susan Morrow’s life in Los Angeles.

The two stories collide, compare and contrast each other to fascinating effect as Ford weaves literary and cinematic tropes, brilliantly adapting the original novel on which is it based – Tony and Susan – written by Austin Wright. This, overall, is about storytelling being used as a means not only to haunt and create guilt, but also wreak revenge. It’s a complex watch but beautiful, cold creature to look at. Yet, despite the privilege of Amy Adam’s character I was thoroughly absorbed by her crumbling psyche, while the book within the film is totally gripping too. (Mark 9.5 out of 11)