Cast: Ivan Massague, Antonia San Juan, Zorian Eguileor, Emiliano Buale Coka, Alexandra Masangkay
Cinematography: Jon D. Dominguez
Original Platform: Netflix
*** MAY CONTAIN SPOILERS ***
Last night, just under a week into the stricter UK social distancing procedures, I finally got pangs of withdrawal symptoms from NOT going to the cinema. Of course, my feelings or emotions at this time pale into insignificance when compared to the thousands of people affected by or those who have lost their lives to the COVID-19 virus. Moreover, while one could describe our planet as currently resembling a massive open prison, it’s nothing compared to the horrific conditions of the vertical prison in Spanish horror thriller, The Platform (2019). Be warned: do not watch this film while eating your dinner, as it could affect your appetite.
While I recently wrote an article about some films that could make you feel better in this global crisis (link here), paradoxically a horror film such as The Platform (2019) can also work to make you feel better too. Because a film where prisoners are trapped in a multi-level jail and whose food intake is based on how high they are within the prison, is an ingenious, yet terrifying concept. Knowing my life can never be as bad as the main protagonist and the prisoners he encounters made me feel somewhat relieved. Furthermore, the gore levels, plot twists and social satire on display took my mind off the reality of my own situation.
Ivan Massague, with his hangdog-Zlatan-Ibrahimovic features is Goreng, our reasonable everyman at the start. For some bizarre reason he has volunteered to be in this Kafkaesque hell for reasons I won’t spoil. His first cellmate is an older man, Trimagasi (Zorian Eguileor). He is in for committing manslaughter. Trimagasi explains how the system works in the jail. Food comes down on a platform and is meant to be shared with everyone from top to bottom. Of course, it doesn’t work like that as greed prevails. The lower down you are the less food you get. What happens when you don’t eat? You look for alternative food sources. Goreng is naive initially, while Trimagasi knows how to play this vicious game, especially because they never know what level they will be on month to month. This is no Shawshank Redemption (1994), where the mentor coaches the younger man positively. In this environment it is a dog eat dog world; and it’s every dog for him or herself.
The Platform (2019) has a brilliant script, thus is a wicked delight from start to finish. Even the ambiguous ending, which while leaving our gallant lead protagonist’s fate open to interpretation, is fitting for a constantly surprising genre film. It is both a joy as horror film and social commentary. Indeed, the film has its pound of flesh and eats it. I just have to say there is some fantastic gore and memorably crunching deaths throughout of man, woman and beast. The film doesn’t have all the answers. In fact, it is actually quite nihilistic about human behaviour and our inability to share the wealth around. But as high concept and low budget horror movies go, it’s one of the most entertaining I have seen in sometime. Anything to take one’s mind off what is really happening in this world can only be positive.
Created and written by: Steve Pemberton & Reece Shearsmith
Directors (Season5): Matt Lipsey, Guillem Morales, Steve Pemberton
Original Network: BBC (available on BBC Iplayer and Netflix)
No. of Episodes: 6
***CONTAINS PROPER SPOILERS***
Inside No. 9is written by and stars Steve Pemberton and Reece Shearsmith. Both are brilliant comedic and dramatic actors, having appeared in many TV shows and films down the years. They are arguably most famous for beginning their careers in amazing comedic troupe The League of Gentlemen; however, their work on Inside No. 9 surpasses the ‘League’ in my view.
If you have never seen Inside No. 9 before, I urge you to do so. It is an exceptional anthology series with six standalone episodes per season. Individual episodes feature a whole host of different characters and actors each time. As per the prior seasons, the latest one is absolutely brilliant. It privileges tightly woven thirty-minute short narratives, which more often than not, feature a twist in the tale. Moroever the events usually unfold in one location with never more than a handful of characters. This makes the narratives feel more focussed, intense and intimate.
Inside No. 9 is also a surprising delight because you never know what kind of genre you will get. One week you could get comedy, horror, drama, crime, romance or musical; and sometimes a combination of all of them. They also take chances with their use of form and structure, with many episodes either paying homage or parodying different genre styles. So, here are some short reviews of each episode from Season 5. Usually, I mark my reviews out of eleven (in homage to This is Spinal Tap (1984)), however, for obvious reasons, I will be marking these reviews out of NINE.
EPISODE 1 – THE REFEREE’S A W**NKER
Cast: David Morrissey, Ralph Little, Steve Pemberton, Reece Shearsmith
The number 9 of this episode occurs in a football referees’ changing room before, during and after a critical final game of the season. Tensions rise between players, mascots and officials in what is the referee’s last game before retirement. David Morrissey is brilliant as the ultra-professional ref attempting to keep control amidst the chaos. Ralf Little also excels as the vain referee’s assistant, with Shearsmith and Pemberton offering fine comedic support. On the main this plays out as a comedy, but there are also serious moments. Indeed, The Referee’s a Wanker explores themes of corruption, gay footballers, and the obsessive win-at-all-costs nature of football fanatics. Fast-paced, funny and containing a great twist, this episode kicked off the season very positively.
Mark: 8 out of 9
EPISODE 2 – DEATH BE NOT PROUD
Cast: Jenna Coleman, Kadiff Kirwan, Steve Pemberton, Reece Shearsmith, Sarah Solemani
This episode was a joy on many levels. Firstly, it was a fantastic mixture of dark comedy and bloody horror. Most significantly, it contained a wonderful series of meta-cultural call backs to Shearsmith’s and Pemberton’s prior work called Psychoville. A grotesque and demented sitcom, Psychoville contained a gallery of crazed characters with many portrayed by Pemberton and Shearsmith. In Death Be Not Proud the opening is quite conventional. Young couple (Jenna Coleman and Kadiff Kirwan) get what they think is a property bargain. However, the flat was host to a grisly murder and something from beyond the grave is tormenting the new tenants. When the previous owner, David Sowerbutts returns things get even weirder. Only then do we learn about the horrific history of this murder home, to sick and hilarious effect.
Mark: 8.5 out of 9
EPISODE 3 – LOVE’S GREAT ADVENTURE
Cast: Steve Pemberton, Debbie Rush, Gaby French, Bobby Schofield, Reece Shearsmith.
Once again displaying fine writing and actorly versatility, Love’s Great Adventure plays out as a straight family drama. It’s of such high quality and hits such emotional and dramatic peaks, TV writers like Paul Abbott, Jimmy McGovern and Jed Mercurio would have been proud to have written it. Cleverly structured around an advent calendar, the Christmas setting adds texture to the financial struggles of one working class family. Trevor (Pemberton) and Julia (Debbie Rush) are devoted to each other, their teenage daughter and grandson who lives with them. They are even prepared to forgive their self-destructive addict son. Set mainly in the kitchen on various days leading up to Christmas day, the events unfold in a subtle, but powerfully realistic manner. These are ordinary, but compelling characters, who prove there is nothing stronger than family love.
Mark: 8.5 out of 9
EPISODE 4 – MISDIRECTION
Cast: Reece Shearsmith, Steve Pemberton, Jill Halfpenny, Fionn Whitehead
One of my favourite ever TV shows is Tales Of The Unexpected and Inside No. 9 certainly owes a debt to that series of twisted genre narratives. Misdirection is a case in point. It is up there with the best Pemberton and Shearsmith plots, as a young student journalist, Fionn Whitehead, interviews Reece Shearsmith’s famous magician. Safe to say that as this is about magic there is much in the way of tricksy turns, bluffs and diversionary tactics. Shearsmith is on brilliant form as the arrogant traditionalist with a dark secret. He criticizes the inelegance of street magicians while a battle of wits ensues with Whitehead’s seemingly naive novice. Echoing the structural and stylish dexterity of Peter Schaffer’s brilliant Sleuth (1972), Misdirection holds all the cards when it comes to being a deviously clever and totally unexpected tale.
Mark: 9 out of 9
EPISODE 5 – THINKING OUT LOUD
Cast: Maxine Peake, Phil Davis, Ionna Kimbrook, Sandra Gayer, Sara Kestelman, Reece Shearsmith, Steve Pemberton
Before reviewing this season, I watched every episode twice. I’m glad I did because Inside No. 9 can be complex and pack a lot in thirty minutes. So, it proves in Thinking Out Loud, as we get seven seemingly disparate characters all unconnected. Or so we are led to believe. The episode uses the video diary format, which was something of a popular phenomenon in the 1990s, plus it echoes the “talking heads” style of Alan Bennett. Thus, we get a character in therapy, her therapist, a criminal on death row, a singer, a man suffering from cancer, a man looking for love and an Instagram influencer. All directly address the camera and as we cut between them, their connection slowly filters through until the incredible reveal. Owing much to films like Identity (2003) and Split (2017), this psychological thriller is very crafty with many chilling moments that bear up to multiple viewings.
Mark: 8 out of 9
EPISODE 6 – THE STAKEOUT
Cast: Steve Pemberton and Reece Shearsmith
This virtual two-hander concentrates all of the action within the confines of a police car. Steve Pemberton portrays the jaded and experienced police officer obsessed with finding out who killed his partner. Joining him in the vehicle is new partner, played by Shearsmith. The latter’s character is a Special Constable who seeks to follow the book causing tension on a stakeout during a literal graveyard shift. The two clash over diet, riddles, word-games and police procedure, but over three nights they eventually find mutual respect. The bulk of the episode’s enjoyment comes from Pemberton and Shearsmith’s sparring and their performances are exemplary. The writing is also impressive as it plays with the tropes of the police procedural genre. Finally, it also sets up a suspenseful opening only to confound us by the bloody fiendish denouement.
As you know The Cinema Fix is a website for all film and TV lovers everywhere. It’s a mix of reviews, articles, essays, news and thoughts on new and classic releases. It is intended to be honest, irreverent, funny and hopefully intelligent.
In this period of social distancing I have now found the time to make some short video film review content. This video article is a fun piece highlighting our favourite films set on a train.
Written by: Paul Laight Narrated by: Melissa Zajk Music: Classic Train – Simple Sound – No Copyright Check out our YouTube site: www.youtube.com/c/FixFilmsLtd
1) The Cassandra Crossing (1976) – AVCO Embassy Pictures
2) The Lady Vanishes (1938) – United Artists
3) Murder on the Orient Express (1974) – EMI Film/Paramount Pictures
4) Snowpiercer (2013) – Radius TWC/CJ Entertainment
5) The Taking of Pelham 123 (1974) – United Artists
6) Train to Busan(2016) – Next Entertainment World
Developed by Richard Price – based on Stephen King’s novel
Writers: Dennis Lehane, Jessie Nickson-Lopez, Richard Price
Directors: Jason Bateman, Andrew Bernstein, Igor Martinovic, Karyn Kusama, Daina Reid, J.D. Dillard, Charlotte Brandstrom
Cast: Ben Mendelsohn, Bill Camp, Cynthia Erivo, Jason Bateman, Jeremy Bobb, Julianne Nicholson, Mare Winningham, Paddy Considine, Marc Menchaca, Max Beesley, Derek Cecil, Yul Vazquez etc.
Original Network: HBO
No. of Episodes: 10
*** MAY CONTAIN SPOILERS ***
When I first saw this advertised, I thought finally, someone has adapted Albert Camus’ classic existential novel, The Outsider. When I saw it was from HBO, I was even more stoked. However, I then realised it was actually a story developed from a recent novel by uber-writer, Stephen King. Nonetheless, my enthusiasm was not curbed or curtailed. Because lord does King certainly know his way around a crime and horror tale. Moreover, with character actors such as Ben Mendelsohn, Bill Camp, Paddy Considine, Mare Winningham and Jason Bateman in the cast, plus star-in-the-making Cynthia Erivo also in the mix, I knew this had to be good. Thus, it proved.
It goes without saying that being a HBO production this is a high quality rendition of Stephen King’s novel. The director of the first two episodes, Jason Bateman, brings the dark finish, tone and experience garnered from his superlative work on Netflix’s brilliant series, Ozark. Bateman is also cast as the main murder suspect, Terry Maitland, and he so metronomically good in the role. In a gripping opening episode Maitland is arrested for the murder of a local boy, Frank Peterson. The investigation is lead by Cherokee City detective, Ralph Anderson; an emotionally hollowed cop superbly portrayed by Ben Mendelsohn. Maitland protests his innocence, and when his ebullient attorney — the ever-impressive Bill Camp — shows he has a cast iron alibi, the narrative takes a decidedly strange turn.
Firstly, as I have alluded to, this must be one of the best casts assembled in a television show since, well, the last HBO series produced. Further, grandmaster screenwriter, Richard Price — who also co-adapted the superb The Night Of (2016) for HBO — has spring boarded King’s original brilliantly. Price and his co-writers fully flesh out a series of fascinating characters and a community ripped apart by a black monster lurking in the shadows. Indeed, grief and heartache stain the eye of this drama as death hangs heavy over the humans of this closeknit town.
The Outsider (2020) is so confident, we are not even introduced to another of the major assets of the series in Cynthia Erivo’s investigator, Holly Gibney, until the third episode. While the ‘Outsider’ of the title could be referring to the killer, Gibney’s character is very much an idiosyncratic loner too. Whether she is on the spectrum, it is not revealed. However, irrespective of her lack of social skills, she has an incredible memory, powerful determination and prodigious logic. Erivo, as Gibney, gives a masterclass of a performance radiating empathy, heart and fierce intelligence throughout.
Finally, some may feel the HBO series moves too slowly in the middle episodes, following the thrilling opening ones. However, I was engrossed in the methodical unravelling of the exposition to the audience. As Gibney discovers the true horror of the mystery then so do we. Stephen King has always been a genius at creating eerie suspense and this story is no different. I was pleased that this vision avoided the more hysterical supernatural elements which have blighted lesser King adaptations. Yet, while it is subtle in delivery, the show isn’t without a number of explosive moments, especially during a bullet-fest of a shootout in the final episode. Overall though it’s the creeping dread I felt while watching The Outsider (2020), that I’ll remember most. It’s the stuff of nightmares you see; and at times I was seeing more than double.
CLASSIC MOVIE SCENES #12 – ONE FLEW OVER THE CUCKOO’S NEST (1975) – “WORLD SERIES”
Directed by Milos Forman
Produced Saul Zaentz, Michael Douglas
Screenplay by: Lawrence Hauben & Bo Goldman – adapted from Ken Kesey’s novel.
Cast: Jack Nicholson, Louise Fletcher, Will Sampson, William Redfield, Brad Dourif, Christopher Lloyd, Danny DeVito, Sydney Lassick etc.
Cinematography: Haskell Wexler
**** CONTAINS SPOILERS ****
Multi-award winning One Flew Over The Cuckoo’s Nest (1975) is easily one of the most complex, intense and darkly funny cinematic explorations of mental health I have ever seen. It is also one of the best films I have ever seen too. Based on Ken Kesey’s novel, it charts the admission of Randall P. McMurphy (Jack Nicholson) to an Oregon mental institution as he attempts to avoid hard labour at a prison farm.
McMurphy is a charismatic, anti-heroic and anti-establishment criminal, but definitely not crazy in the clinical sense. Rather than lie low and serve his time though, he constantly clashes with the staff, notably Nurse Ratched (Louise Fletcher). His unruly behaviour causes him to excite the other patients of the facility, becoming infectious. Thus, Nurse Ratched acts to quell such rebellion causing further conflict with McMurphy. Jack Nicholson is on absolutely incredible form in this film. He’s wild, funny, excitable, manipulative and very entertaining. On the other hand, Louise Fletcher is cool, calm, but equally devious. She loves to be in control and takes quiet joy in denying the inmates their wants.
When McMurphy “loses” a vote to watch the World Series Baseball of 1963 on television, he’s determined to get his own way. So much so, in this classic scene, he enacts what he thinks is happening in a fake commentary. Nicholson is so realistic and excitable you feel like you’re actually at the game. It’s such a classic scene with the gentle music counterpointing Nicholson’s manic delivery. Moreover, the ensemble inmate’s celebrations, Nurse Ratched’s cold-hearted face and a blank television screen create a powerful set of images. Ultimately, McMurphy is a tragic character as he tries to bend the system, only to eventually break himself by the end.
Created by Harlan Coben – based on The Stranger by Harlan Coben
Writers: Harlan Coben, Danny Brocklehurst, Charlotte Coben, Karla Crome, Mick Ford etc.
Directors: Daniel O’Hara, Hannah Quinn
Cast: Richard Armitage, Siobhan Finneran, Jennifer Saunders, Shaun Dooley, Paul Kaye, Dervla Kirwan, Kadiff Kirwan, Jacob Dudman, Ella-Rae Smith, Brandon Fellows, Anthony Head, Stephen Rea, Hannah John-Kamen etc.
No. of Episodes 8
Network release: Netflix
***MAY CONTAIN SPOILERS***
Imagine sitting in a bar or restaurant or at the gym or in a coffee shop minding your own business. A stranger approaches you and tells you something that your spouse or partner or relative was hiding from you. This is a secret which rips apart your life and turns everything upside down in the process. This is the basic premise of Harlan Coben’s adaptation of his own novel, The Stranger. Over eight gripping episodes the drama hooks you in from this point forth. Secrets, lies, violence, corruption, blackmail, betrayal and murder drive the narrative in a compelling and serpentine plot.
In what is the TV equivalent of a right page-turner, the main protagonist, Adam Price (Richard Armitage), is the first person to be approached by the titular Stranger. He is given information regarding his wife (Dervla Kirwan) and this threatens to tear his whole family apart. This is just the tip of the iceberg though in regards to the plotting. Other individuals are being targeted too by the Stranger. At the same time a teenager has been comatosed following a woodland rave. It’s not long before Siobhan Finneran’s DS Johanna Griffin investigates this crime, the bizarre beheading of a llama, plus murder, extortion and abduction.
At first, I thought it may be a metaphysical figure revealing guilty secrets to the cast of characters in a Stephen King supernatural-style narrative. However, Harlan Coben’s contemporary crime thriller is firmly set in reality, as it privileges familial and police procedural drama compellingly. Over the eight episodes I was glued to what happens next, as we get so many cat-and-mouse chases and character surprises throughout. Richard Armitage is excellent as the lead protagonist, desperately trying to keep his family together. The teenage character subplots are not so successful as the some of their acting is pretty dire. However, the likes of Siobhan Finneran, Jennifer Saunders, Paul Kaye and Stephen Rea add real quality to what is a conventional, but always watchable genre production.
“It’s the end of the World as we know it – and I feel fine!” Michael Stipe
With the world gripped by the COVID-19 virus threat one’s mind can run amok and look to possible futures. Thus, I thought it interesting to explore some visions of the Apocalypse as seen on the film. I mean you have to hand it to humanity; it’s able to distract itself from the possible end of the world by creating stories and entertainment ABOUT the end of the world! Here’s TEN of the best I could think of.
***CONTAINS MASSIVE SPOILERS***
NIGHT OF THE LIVING DEAD (1968) – UNKNOWN CAUSE
George Romero’s seminal classic zombie film gave birth (and death) to a whole subgenre of horror films. The low budget is no barrier to an ingenious concept involving the dead rising up and attempting to wipe out the rest of humanity. Both powerful as a horror narrative and social commentary, it remains one of the most influential films of all time.
PLANET OF THE APES (1969) – NUCLEAR WAR
Poor old Charlton Heston never had much luck with the future as his characters often ended up in dystopian visions of hell. Such films included: Soylent Green (1973), Omega Man (1971) and the classic Planet of the Apes, where simian humanoids are running the planet and enslaving the savage natives. One of the great sci-fi epics with probably the greatest film ending of all time, the film remains a timeless vision of the future.
MAD MAX: ROAD WARRIOR (1981) – NUCLEAR WAR
In between the road-raging original and this brilliant sequel there was some kind of global nuclear meltdown hitherto bringing about a dusty wasteland where fuel is God and humans will kill to get their hands on it! Out of the dust rises a reluctant hero, Max Rockatansky (Mel Gibson), who strives to survive while battling hordes of petrolheads, psychos and punks! Definitely one of the best sequels of all time, George Miller spectacularly remade it with the equally pulsatingFury Road (2015).
THE TERMINATOR (1984) – ARTIFICIAL INTELLIGENCE
Bloody Internet, sorry Skynet! We create these wonderful computers to help us with everyday life including our Missile Defence Systems and they turn on us! Only a Mother and her child – who hasn’t been born yet – can save us from a life of death and slavery at the hands of the machines. Cameron’s seminal sci-fi action film delivers an unforgettable feast of story, concepts and emotion, containing in Sarah Connor’s, one of the best character arcs of all time.
THE MATRIX (1999) – ALIEN MACHINES / ARTIFICIAL INTELLIGENCE
Damned alien machines enslaving humanity and feasting on our fluids and organs for energy in some sick, twisted vision of a futuristic Harvest festival. Then again, compared to some of the shitty office jobs I’ve had I think I’d choose the “Matrix” over those; just don’t tell me I’m in the Matrix! Neo (Keanu Reeves) chose the other pill and it’s a good job he, Morpheus and Trinity did, because we get some kick-ass slow-motion action out of it.
WATERWORLD (1995) – GLOBAL WARMING
In this future we will basically live in the water and grow gills. Also, pure dirt and water will be our most priceless commodity. Well, that’s what will occur according to this apocalyptic-polar-ice-caps-melting-earth-swimming-pool-with-pirates movie. At the time it was one of the most expensive film flops in history, but IT actually wasn’t THAT bad. Kevin Costner plays a softer and more soaked version of Mad Max, while Dennis Hopper chews up the scenery as the over-the-top Napoleonic baddie at sea.
TWELVE MONKEYS (1995) – DEADLY VIRUS
Seeing someone close to you die in front of your eyes as a child is not a future you really need is it? But what if THAT person is. . . Following the opening of this brilliant film, the plot centres around future prisoners being sent back in time to find the cause of the deadly viral apocalypse. The awesome mind of Terry Gilliam filtering Chris Marker’s classic short La Jetée (1962), makes this an intelligent and exciting end-of-the-world blockbuster. Bruce Willis and Brad Pitt are on particularly good form too amidst Gilliam’s frightening visuals.
28 DAYS LATER (2002) – RAGE VIRUS
Alex Garland and Danny Boyle’s blistering British horror classic springboards a Day of The Triffids style opening as Cillian Murphy wakes up in a seemingly empty London. Alas, he is not alone as he finds, along with a ragtag bunch of survivors, the world has been populated with raging and rapid zombies hellbent on feeding. Boyle directs with a low budget, yet prodigious inventive flair in a modern-day monstrous classic.
THE WORLD’S END (2013) – ALIEN INVASION
The third in the Edgar Wright, Simon Pegg and Nick Frost ‘Cornetto Trilogy’ is often seen as the weakest of the three. That’s because the first two are so strong, The World’s End suffers slightly in their shadow. However, a stellar British cast all combine brilliantly as a group of friends reuniting to enact the same town pub crawl they had done year’s before. It’s just a shame a bunch of aliens have decided to take over the town at the same bloody time!
THIS IS THE END (2013) – BIBLICAL APOCAPLYPSE
The end of days has never been so hilarious and dumb as in this Seth Rogen and Evan Goldberg directed apocalyptic comedy. The stellar who’s-who cast of rising Hollywood actors including: Jonah Hill, Rogen, James Franco, Craig Robinson, Jay Baruchel, Danny McBride plus many more cameos turns, all find themselves battling monsters, fiery sinkholes and each other, in an irreverent and gleeful disaster movie.