CINEMA REVIEW: EVERYTHING, EVERYWHERE, ALL AT ONCE (2022)
Directed by: Dan Kwan & Daniel Scheinert
Written by: Dan Kwan & Daniel Scheinert
Produced by: Anthony Russo, Joe Russo, Mike Larocca, Dan Kwan, Daniel Scheinert, Jonathan Wang, Michelle Yeoh, etc.
Cast: Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jenny Slate, Harry Shum Jr., James Hong, Jamie Lee Curtis, etc.
Cinematography: Larkin Seiple
Editor: Paul Rogers
*** CONTAINS MILD SPOILERS ***
Wow, where does one start when reviewing Dan Kwan and Daniel Scheinert’s highly entertaining and genre-colliding film, Everything, Everywhere, All at Once (2022)? Well, let’s start inward and work outwards. Thus, overall, it is one of the most exhilarating cinema releases of the year. Michelle Yeoh gives a spectacular series of performances as middle-aged wife, mother, business person, actor, chef, martial artist, sign-flipper, lesbian pianist, planet saviour, and rock named simultaneously Evelyn Wang, Evelyn Wang, Evelyn Wang, Evelyn Wang and yet more Evelyn Wang’s. Yes, if you didn’t know this is another multiverse narrative, but arguably the best and most fun of the lot.
Spinning a plot that could be pitched as Crouching Matrix, Hidden Beauty the relentless Everything, Everywhere, All at Once (2022) has a seriously insane story and series of crazy, funny set-pieces throughout, with the filmmakers throwing drama, science-fiction, kung-fu, horror, comedy, rites-of-passage, romance, surrealism, and kitchen sink genres at the page and screen in a riotous visual and aural feast. I mean what other films deliver a talking raccoon, giant dildo fight and homage to Stanley Kubrick into the creative mixer. And that’s just for starters. I could say more but don’t want to spoil all the spectacular surprises on show. Safe to say, I won’t look at a bagel the same after watching this devastating cinematic smorgasbord. Word of warning the tone of this film smash cuts all over the place, and while I could find fault with this, the sheer pace, imagination and diversity of the concepts did not just win me over, but smashed me into submission.
But what the hell is the story, Paul? Oh yes, there is a narrative core and spine with which to hang the madness on. I said I was going outwards didn’t I? So, Michelle Yeoh, Evelyn, is married to Waymond (Ke Huy Quan) and their relationship is slowly cooling like campfire embers. The family business is in financial strife and as the launderette struggles, Evelyn finds herself being audited by the I.R.S. Adding to these woes are stressful relationships with her daughter, Joy (Stephanie Hsu) and elderly father, Gong Gong (James Hong), thus Evelyn’s mid-life is not so much in crisis as about to explode. She needs a miracle. An escape. A means with which to resolve and work through her issues. But this reality bites. Hard. Thankfully, this isn’t real life. It is cinema. And there are alternatives universes. Many alternative Evelyn’s in fact. But is this Evelyn the chosen one? So a journey of identity and discovery begins. Will Evelyn save herself? Will Evelyn save the world(s)? And does it even matter?
I would probably need to watch Everything, Everywhere, All at Once (2022) again to see if the myriad of plot concepts actually make sense. My instinct was that the writers were in control and deliberately out of control with their material. Throwing punchlines, taking risks, improvising and not so much pushing but burning many, many envelopes. Yet, they have found a rock in Michelle Yeoh to build their multi-stranded narratives and themes around. She superbly anchors the film allowing the filmmakers to simultaneously explore the meaning of life, identity and existence in two-hours-or-so of exhilarating cinemas. Yeoh deserves award nominations galore for the energy, strength and emotion shown within the many lives of Evelyn Wang. It was also terrific too to see Ke Huy Quan return to a prominent movie role. He is so likeable and funny. Please never retire again!
Lastly, kudos to Dan Kwan and Daniel Scheinert for delivering one of the most extraordinary films about ordinary people of the year. They potentially could have shaved some minutes of the runtime for pace. Because, by the time yet another smashing fight scene had finished I was almost too exhausted to feel at one with the final act familial reconciliation. But, Kwan and Scheinert succeed with Everything, Everywhere, All at Once (2022) because as well as a machine-gun splattering of hilarious ideas and gags combined with some pretty lofty themes, this film ultimately has a hell of a heart. More than one; a multiverse of hearts in fact. All beating as one.
Created and written by: Steve Pemberton & Reece Shearsmith
Directors (Season 6): Matt Lipsey, Guillem Morales
Original Network: BBC (available on BBC Iplayer)
No. of Episodes: 6
I have written exhaustively about how brilliant this television programme is, so much so I don’t think I can add any further other than I believe it deserves regaling as TV national treasure. Just when you think Reece Shearsmith and Steve Pemberton could be running out of creative steam they prove you wrong with another superb series of Inside No. 9. If you are interested, here are prior articles I have written about it.
However, to recap, if you have never seen Inside No. 9 I urge you to do so. It is an exceptional anthology series with six stand-alone episodes per series. Individual episodes feature a whole host of different characters and amazing actors each time led by the multi-talented Pemberton and Shearsmith. As per the prior seasons, the latest one is absolutely unforgettable. It again privileges tightly woven thirty-minute short narratives, which more often than not, feature a twist in the tale. Moreover, the events usually unfold in one location with rarely more than a handful of characters. This makes the narratives feel more focussed, intense and intimate. In series 6, there is even more growth within the anthology genre and much risk-taking where style and form are concerned.
So, here are my mini-reviews of each episode from Season 6 with marks out of nine (obviously).
*** BEWARE: POTENTIAL SPOILERS ***
EPISODE 1: WUTHERING HEIST
Main cast: Paterson Joseph, Gemma Whelan, Kevin Bishop, Reece Shearsmith, Steve Pemberton, Rosa Robson, Dino Kelly etc.
Not only are Pemberton and Shearsmith accomplished actors, writers and directors, they are also acutely aware how fans revel in their incredible work, devilishly mocking their own mythology and playing with audience expectations. They do this to dizzying impact in the puntastic opening episode, Wuthering Heist. Marrying elements from farce, crime, Commedia dell’arte and the plot of Reservoir Dogs (1992), the players wear masks, prat about and bleed over each other while attempting to pull off a diamond heist. Set in one location, a disused warehouse, Gemma Whelan is superb as the fourth-wall breaking narrator attempting to hold all the story innards together. Pretty soon though one realises that the flurry of puns, sight gags, plot contrivances and comical misunderstandings are intended as wondrous and silly fun. The lack of emotional depth is the joke here and the writers know this. Because Shearsmith and Pemberton’s script has a gag every four seconds, be it a sight jape or involve some sparky verbal dexterity. Lastly, not only do they know they are jumping the shark, but they revel in doing so during this hilarious meta-work.
Mark: 8 out of 9
EPISODE 2: SIMON SAYS
Cast: Reece Shearsmith, Steve Pemberton, Lindsay Duncan, Nick Mohammed
Among many of the recurring pleasures of watching Inside No. 9 is wondering what the number nine will refer to. It’s been a myriad of things including: a karaoke booth, a hotel room, a train sleeper car, a dressing room, a referee’s changing room, and even a shoe. In Simon Says it’s the name of a television epic called The Ninth Circle. This show is very similar to Game of Thrones in genre and scale, and likewise has a battalion of fans across the country who feel the final series undid the majesty of the prior seasons. The episode opens with immediate mystery as Steve Pemberton’s writer, Spencer, enters his flat with blood staining his clothes and conscience. Suddenly, Simon (Reece Shearsmith), is at the door saying he has evidence Spencer has committed a serious crime. Simon, a Ninth Circle uber-fan then blackmails Spencer into, among others things, rewriting the whole of the last season of The Ninth Circle into something more fan-friendly. Managing to be both funny and suspenseful in equal measures, Pemberton and Shearsmith’s characters play cat-and-mouse expertly, throwing in several big plot twists at the end of this compelling tale.
Mark: 8 out of 9
EPISODE 3: LIP SERVICE
Cast: Sian Clifford, Steve Pemberton, Reece Shearsmith
I watch some television series and films and am often struck at how much time is wasted in setting up the protagonists and story. Similarly, in unnecessarily long TV series you get either eight or ten episodes full of padding in the middle which destabilizes the momentum of the story. Nothing of the sort occurs in Inside No. 9. Stories are set-up with stylish economy and the situations immediately grab you by the throat and rarely let go. In Lip Service, Steve Pemberton’s downtrodden Felix is holed up in a hotel room waiting to liaise with a woman. But it’s not what you think. Sian Clifford’s Iris arrives and it turns out she is there to offer her services as a lip-reader. Felix suspects the woman he loves is having an affair and he requires Iris to read her and a possible lover’s lips at an adjacent hotel suite. I’ve now seen this episode three times and it truly is breathtaking. There’s empathy for Felix’s lost soul, some fine linguistic comedy, a potential romance, Clifford’s performance knocking it out of the park, Reece Shearsmith having great fun as an officious German hotel manager and THAT ending. The denouement, while totally believable, comes out of nowhere and leaves you genuinely speechless.
Mark: 8.5 out 9
EPISODE 4: HURRY UP AND WAIT
Cast: Adrian Dunbar, Steve Pemberton, Reece Shearsmith, Donna Preston, Bhavna Limbachia, and Pauline McGlynn
Quite possibly my favourite episode of the series, Hurry Up and Wait manages to achieve that difficult juxtaposition of being meta-textual and containing some real emotional power. Because it is one thing to be self-referential and satirise the creative process, in this case the making of a television police drama starring famous actor Adrian Dunbar, but it’s quite another to build in a murder mystery and empathetic characters who you root for. While Reece Shearsmith is always excellent playing angry characters, here he portrays James, a mild-mannered actor, who has got a break playing a scene with the precious talent, Dunbar. The TV drama they are in concerns a missing child and the “green room” happens to be a static caravan owned by a working-class family who may have important information about said grisly crime. Steve Pemberton and Pauline McGlynn play the parents of immature, Beverley – the brilliant Donna Preston – adding much comic relief, but all possibly hiding a dark secret. As James learns his lines he also plays detective seemingly discovering the truth until the truly chilling ending is revealed.
Mark: 9 out of 9
EPISODE 5: HOW DO YOU PLEAD?
Cast: Steve Pemberton, Reece Shearsmith, Derek Jacobi
Arguably the darkest tale, both in terms of the noir lighting and foreboding themes, it is difficult to discuss this tale of soul-searching guilt and justice without giving away too much of the story. Thus, I’ll talk about the actors and characters more. Derek Jacobi gives a deeply moving performance of a dying barrister who prides himself of, after an upturn in his early legal career, never losing a case in court until retirement. As he lies dying in bed, lungs heavy around his heart, he feels guilt about one case where he defended the indefensible. As he confesses his regret to Shearsmith’s cheery carer, it is soon revealed both men have sins they buried in the past which will soon come back to bite them. Watching these two fine actors spark off one another is as compelling as television drama can get, but there’s also comedy there too as Shearsmith delivers some spirited one-liners in between Jacobi’s grand screen gravitas. But where’s Pemberton I hear you ask? He’s sitting there waiting patiently in the shadows of this evocatively lit and thrilling tale.
Mark: 8 out of 9
EPISODE 6: LAST NIGHT OF THE PROMS!
Cast: Steve Pemberton, Reece Shearsmith, Julian Glover, Debra Gillett, Bamshad Abedi-Amin, Sarah Parish etc.
Are you aware of the work of Dennis Potter? He was one of the finest writers in British television from the 1960’s way into the early 1990’s. His scripts were always highly erotic, political and incredibly controversial. They skewered very British and human themes and burnt great sacred cows of the church, government, family, sex and marriage on the TV barbecue, leaving charcoal remains in their stead. Potter was a genius and with Last Night of the Proms, Pemberton and Shearsmith match him for bravado in deconstructing human nature and what it means to be British. Set in a well-to-do, middle-class household, a family of three generations sit down to watch the Last of the Proms on the BBC. It’s a big traditional classical music event and cultural celebration of what it means to be British. It makes me sick! Britain isn’t great. The British are racist, imperialistic and hardy murderers, who have a history and present (fucking Brexit!) they should be ashamed of. The thought-provoking screenplay here is heavy on compelling themes, memorable imagery and striking symbolism. This is a jarring and messy episode and what it lacks in precise plotting it more than makes up for in juxtaposing horror, satire, drama, surrealism, Jesus, social commentary and comedy to rather mesmerising effect. Potter’s ghost would have watched with glee and disgust and hate and love and pity and sadness; which is much how I felt witnessing Last Night of the Proms.
Produced by: Iain Canning, Anne Carey, Emile Sherman
Written by: Chris Morris, Jesse Armstrong
Cast: Marchánt Davis, Anna Kendrick, Danielle Brooks, Kayvan Novak, Denis O’Hare, Jim Gaffigan etc.
Chris Morris is a bona fide genius. A natural prankster, a fearless satirist, writer, actor, producer, director and enfant terrible of radio, television and more recently cinema. He has been suspended by Greater London Radio and by the BBC and described by the Daily Mail as “the most loathed man on TV.” Which to me is a highly positive thing. Moreover, Morris is genuinely one of my cultural heroes and certainly one of the funniest artists to have graced the planet.
Morris’ latest cinema release is called The Day Shall Come (2019), and given I am such a fan of his work it did not make any sense why I have only just seen the film. Perhaps I had seen some negative reviews or maybe it was released at the same time as the London Film Festival in 2019? Thus, it meant I could not find time to watch it. Anyway, the story is somewhat of a mixed bag and definitely not as focussed or blisteringly funny as Morris’ prior directorial masterwork, Four Lions (2010). Centring on the idiotic efforts of the F.B.I’s terrorist taskforce to bring down targets that threaten United States security, operative Kendra Glack (Anna Kendrick) and her boss, Andy Mudd (Denis O’Hare) pull focus on Marchánt Davis as Moses Al Shabaz, an impoverished preacher, running the hapless ‘Star of Six’ commune. Moses, who is possibly bi-polar, is a likeable fool with delusions of grandeur, however, the FBI decide he is a threat and try to fit him up in many farcical scenes of entrapment.
There are funny moments and some delightfully bizarre dialogue exchanges. Furthermore, Davis excels in his role as the eccentric Moses and the under-used Danielle Brooks brings much needed humanity to her role as his wife. However, the film is full of mostly unlikeable and unlikely characters, meaning Morris’ satirical bullets rarely hit their target. Kendrick is miscast and while there are a few laugh-out-loud moments throughout, I just felt like the script was continually trying to squeeze square blocks into round holes. I even watched it twice to see if maybe I had missed something first time round. Goes to show even for a creative magician such as Chris Morris, certain tricks don’t always come off.
Mark: 7.5 out of 11
SIX OF THE BEST #29 – CHRIS MORRIS THINGS YOU MUST WATCH!
NEWSREADER: The main stories so far: Jimmy Savile drops dead at the Stoke Mandeville Boxing Day bash—but the patients are far from mourning.
CORRESPONDENT: The majority, if not all of them, are extremely relieved that he’s now dead, although I suspect that some of them will be sorry that he didn’t suffer a great deal more.
— The Chris Morris Music Show, 16 December 1994
While The Day Shall Come (2019) does not reach the dizzy heights of Chris Morris’ best output, it is still a highly thought-provoking critique of American law enforcement practices. Arguably though it misses more marks than it hits. Here are six of the best things that Chris Morris has been involved in and I urge you to try and find them on a streaming platform or on DVD or online somewhere. If you love obsidian black and controversial comedy then Chris Morris is your man!
CHRIS MORRIS RADIO SHOWS!
Morris’ creative career really formed on radio. He worked at Radio Bristol, Greater London Radio and made the The Chris Morris Radio Show on BBC Radio 1. He gained notoriety and was suspended from the BBC for announcing Conservative politician Michael Heseltine was dead. In fact, fake obituaries were one of his early favourite pranks. Later, Morris joined forces with another comedy legend, Armando Iannucci, to help create the seminal spoof news show called, On the Hour. The rest they say is history.
THE DAY TODAY (1994)
The Day Today was a TV comedy show that parodied current affairs programmes. Broadcast in 1994 on BBC2, it was created by Armando Iannucci and Chris Morris and an adaptation of the radio programme On the Hour. The genius and surreal satire The Day Today found Morris winning the 1994 British Comedy Award for Best Newcomer. The rest of the cast includingSteve Coogan, Rebecca Front, Doon Mackichan, Patrick Marber and David Schneider were incredibly good too. I wonder what happened to them?!
BRASS EYE (1997)
Chris Morris took the ferocious journalistic character he created on The Day Today (1994) into Brass Eye (1997), with one of the most scurrilous and controversial works of television ever. Once again, Morris was lampooning current affairs shows and the often hysterical way the media sensationalise issues such as drugs, sex and crime. Morris fooled many celebrities and politicians during the filming of Brass Eye (1997), getting them to commit to absurd, but fake media campaigns. A 2001 special was planned but cancelled due to fear of further controversy and litigation against Channel 4.
Ever pushing the boundaries of radio and television genre form and style, Morris’ cult sketch show Jam (2000), is a truly dark and twisted experience. Unsettling and bleak it presented unconnected and surreal sketches, unfolding over an ambient soundtrack. Buried late at night on the Channel 4 schedule it was incredibly striking in style and content with a superb cast including: Amelia Bullimore, Julia Davis, Mark Heap and Kevin Eldon.
NATHAN BARLEY (2005)
This absurdist comedy found Morris working with another comedy genius in Charlie Brooker. Here they took inspiration from Brooker’s TVGoHome – a 2001 E4 TV show parodying television – as the focus of a fly-on-the-wall documentary called Cunt. With energetic fool and influencer Nathan Barley as the lead idiot, the sitcom delivered six delicious episodes which skewered hipster characters and pretentious Shoreditch-based culture. The cast included: Julian Barratt, Ben Whishaw, Richard Ayoade, Nicholas Burns, Claire Keelan etc. and Nathan Barley is a highly recommended comedy that seems as vital now as it did in 2005.
FOUR LIONS (2010)
Oh my word! How the hell this film did NOT get banned is something that still shocks me. It is one of the the funniest and controversial films ever about the darkest subjects, namely terrorism and radicalised Jihadis. How Morris and his co-writers, Jesse Armstrong and Sam Bain, managed to successfully satirise, demonise and humanise Muslim fundamentalists is beyond belief. The wicked script and unbelievably good performances by Riz Ahmed, Nigel Lindsay and Kayvan Novak help make Four Lions (2010) one of the finest socio-political comedies of all time. It’s hilarious and actually moving at the end as I pitied, recoiled and felt for these poor misguided fools. Deservedly, Chris Morris won the award for Outstanding Debut by a British Writer, Director or Producer at the BAFTAS in 2011.
Main Cast: Larry David, Jeff Garlin, Cheryl Hines, Susie Essman, J. B. Smoove, Ted Danson, Richard Lewis, Vince Vaughan, Kaitlin Olson etc.
Guests: Mila Kunis, Clive Owen, Laverne Cox, Chris Martin, Sean Penn, Jonah Hill, Jon Hamm, Philip Rosenthaland many more.
Distribution Platform: HBO (USA) – SKY (UK)
**CONTAINS MASSIVE SPOILERS**
“AH! INTERESTING. . . “
During a lengthy hiatus from 2011 to 2017, fans of Curb Your Enthusiasm were left bereft of their dose of Larry David’s inimitable and eccentric behaviour. The multi-millionaire writer of Seinfeld had carved out a wonderfully politically incorrect comedy series, full of misunderstanding, farce and hilariously embarrassing situations. Thankfully, he returned with season 9, and it was absolutely brilliant. Larry managed to get himself a death sentence, having written a musical called Fatwa, along with all manner of other comedic shenanigans. Season 10 has now followed and, once again, anti-heroic Larry delivers ten more fantastically offensive and funny episodes. More often than not we find his behaviour abhorrent as he goes about upsetting friends, family members, celebrities, and strangers on a daily basis. However, sometimes we are with Larry and his actions have merit and reason. Furthermore, due to the wonderful writing, improvising, cast and situations the humour is always more than pretty, pretty good!
NARRATIVE ARC (OF THE COVENANT)
Usually, Curb Your Enthusiasm episodes can stand alone due to the richness of the narrative strands Larry David and his writers create. But most seasons will have a very solid narrative arc running through it to provide looping rejoinders, a structural spine and a fitting conclusion. In season 10, there were echoes of storylines from prior seasons. Larry wanted to get back with Cheryl and they even committed divorced adultery, cuckolding Ted Danson in the process. However, the main arc revolved around the return of coffee store owner, Mocha Joe (Saverio Guerra). Larry pisses Mocha Joe off because he complains about “cold” coffee, wobbly tables and weak scones. Following Larry’s customary banishing he swears revenge on Mocha Joe. This takes the form of the wonderfully named ‘spite store’ he sets up next door. Thus, Latte Larry’s is born, and ten episodes of fast-paced, tit-for-tat, vengeful and hilarious scenes ensue.
“THE GOLDEN RULE” – STYLE AND THEMES
Curb Your Enthusiasm is not just funny because of the situations, dialogue, observations, guest stars and acting performances. It is also very sophisticated and stupid, combining a variety of comedy styles to fuel the humour. Earlier seasons could be argued to be more based in reality per se. The interactions between the characters felt more natural, in keeping with the pilot episode which was shot as a mockumentary about Larry returning to stand-up. Later seasons, especially seasons 9 and 10, upped the gag rate and one could even say felt slicker. Don’t get me wrong, the jokes have always come thick and fast in Curb Your Enthusiasm, but in the last two seasons there is not only a reliance on the usual comedy of embarrassment, observations and satire, but farce, slapstick and gross-out humour too have been added to the palette. Lastly, the show has always skated close to the edge in regard to non-PC humour and causing offence. Evidently, Larry David has now fully thrown himself over that edge and is happy to offend everyone in a two-fingered salute to so-called snowflakes or liberals out there.
In regard to thematics, Larry David clearly has his finger on the pulse relating to contemporary society, politics and human behaviour. Much of the humour and funny scenarios derive from what is acceptable behaviour and certain “rules” within everyday living. In season 10, Larry finds himself questioning, among other things: the behaviour of a pregnant woman; the merits of artificial fruit; what is and what isn’t’ sufficient praise; usage of disable parking badges; whether he should be in a restaurant’s ‘ugly section’; whether sex with Cheryl’s sister is post-relationship cheating; and the overall benefits of running a spite store. These elements, the running feuds with Ted Danson, Mocha Joe and Larry’s assistant, Alice, and themes relating to the Harvey Weinstein scandal and #MeToo movement; Larry and Leon’s continued chats about the nature of being black/white; Donald Trump’s presidency; fat shaming; suicide; Susie’s alleged plot to murder Jeff; nationalist ridicule; egotistic actor types; and transgender issues, all connectedly make this season a very rich product, full of ideas and challenging storylines.
“PRETTY GOOD. . . ” – EPISODE RATINGS
Episode 1 – Happy New Year – (8.5 out of 10)
Larry goes to war with Mocha Joe and reignites his romance with Cheryl. His relationship with his assistant also descends into accusations of sexual harassment.
Highlight: Larry wearing his Donald Trump, “Make America Great Again!”and ensuring no one wants to be seen with him.
Episode 2 – Side Sitting – (8.5 out of 10)
Larry’s relationship with his assistant, Alice, is possibly going to court unless he settles and makes amends. His attempts to get back with Cheryl are rebuked, so he dates his lawyer’s assistant.
Highlight: Larry gives Susie a portrait of herself as a birthday present. She loves it – but Jeff doesn’t.
Episode 3 – Artificial Fruit – (9 out of 10)
Larry’s donation to a charity fails to bring forward redemption when he refuses to hug Laverne Cox at an event, because she has a cold. Meanwhile, Richard and Larry argue over who is paying a lunch bill, leading to a very embarrassing escapade at a Spanish funeral.
Highlights: Larry is unsure if the Heimlich manoeuvre is appropriate when his assistant is choking. Plus, Larry’s doodle debate with Christine Lahti blows up into a serious disagreement.
Episode 4 – You’re not going to get me to say anything bad About! – (9 out of 10)
Larry, Donna (his new girlfriend), Cheryl, Jeff, Susie and Leon go to Cabo San Lucas for a friend’s wedding. Larry becomes fixated with Donna’s yo-yo dieting, but he and Leon do find some incredible coffee beans for Latte Larry’s.
Highlight: Larry’s determination to locate a toothbrush descends into a farcical conclusion. Later, at the wedding, Ted discovers Larry and Cheryl’s infidelity in a hilarious fashion.
Episode 5 – Insufficient Praise! – (9 out of 10)
Preparations for Latte Larry’s gather pace as Larry asks for a specific urinal type. Larry also gets a new housekeeper and is given a sex doll by Freddy Funkhouser. Meanwhile, Larry clashes with actor Clive Owen and Richard Lewis’ new girlfriend; a professional “crier”.
Highlights: Larry’s frantic battle with the sex doll resulting in his housekeeper and Cheryl catching him. Also, Clive Owen’s brilliantly pretentious send-up of narcissistic acting types.
Episode 6 – The Surprise Party! – (8.5 out of 10)
Larry meets a German inventor who has an anti-Semitic Alsatian called Adolf, and he gains joy from the use of a disabled parking badge. He also clashes with Susie over the surprise party she intends to throw for Jeff.
Highlight: Despite not having an appointment, Larry uses his cardiologist’s reception area to wait, because it’s a “waiting room”.
Episode 7 – The Ugly Section! – (9.5 out of 10)
Larry consistently keeps getting placed in the “ugly section” at the back of a restaurant. Simultaneously, he attempts to woo the widow of his friend who recently committed suicide.
Highlights: Larry asking Jane Krakowski’s character where she got the handles for her husband’s coffin. Later, Larry ruins a possible sexual liaison with her by arguing about the New York Jets. Lastly, Larry insults Susie as she should be in the restaurant “ugly section”.
Episode 8 – Elizabeth, Margaret and Larry! – (10 out of 10)
Actor, Jon Hamm, shadows Larry as he prepares to play a character like him in a film. Larry and Leon start a new business venture which initially proves profitable. Cheryl is angered when Larry spontaneously begins a relationship with her sister, Becky.
Highlights: Jon Hamm slowly turning into Larry throughout the episode, culminating in them both being ejected from a dinner party. Also, Kaitlin Olson returning as Becky and the surprising sex with Larry.
Episode 9 – Beep Panic! – (9 out of 10)
Larry strikes up a friendship with a waitress that dripped sweat into his soup. He also becomes obsessed with the liqorice at his car showroom. Meanwhile, Mocha Joe plots his own revenge using DVD film screeners.
Highlights: Leon and Larry succumb to the severe laxative effect of the liqorice in a silly bit of toilet humour.
Episode 10 – The Spite Store! – (10 out of 10)
Latte Larry’s is well and truly open, and it inspires other celebrities to open similar spite stores. Larry is irked by siren abusers and gives a job to Joey Funkhouser, but his big penis causes the store no end of issues.
Highlights: Sean Penn’s opening a spite-driven pet store. All Larry’s innovations at the coffee store ultimately lead to a very explosive downfall.
“NO GOOD?” – CONCLUSION
In preparing for this review I rewatched season 9 and watched season 10 twice. So, it’s obvious to say that I love, Curb Your Enthusiasm. Overall, I found the latest season to be a wonderful mix of old-fashioned slapstick and farce, combined with Larry David’s original and skewed vision of humanity. What was also impressive was the structural coherence of juggling so many comedy plots and situations. Plus, Larry behaves appallingly, and this is very appealing in an ever-increasingly politically correct world. Many times, throughout the season Larry is shown to be a provocative arsehole, but on occasions he very much has a valid point. Larry’s issues are very much first world problems, but because of the skilled writing and consistently high joke rate I related greatly to this season. Plus, Larry doesn’t win. His spiteful plotting and perpetual disagreements with those around him mostly fail. Indeed, ultimately, the joke is always on him.
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.
IT’S ALWAYS SUNNY IN PHILADELPHIA – SEASON 14 REVIEW
Created by: Rob McElhenney
Developed by: Rob McElhenney and Glenn Howerton
Writers:Charlie Day, David Hornsby, Megan Ganz, John Howell Harris, Rob McElhenney, Glenn Howerton, Dannah Phirman, Danielle Schneider, Conor Galvin, etc.
Directors: Glenn Howerton, Heath Cullens, Pete Chatmon, Tim Roche, Kimberly McCullough
Charlie Day as Charlie Kelly Glenn Howerton as Dennis Reynolds Rob McElhenny as Mac Kaitlin Olson as Dee Reynolds Danny DeVito as Frank Reynolds Mary Elizabeth Ellis as The Waitress David Hornsby as Cricket Dolph Lundgren as Thundergun
*****MAY CONTAIN SPOILERS, BITCHES!*****
I’ve written about the scurrilous comedy show It’s Always Sunny in Philadelphia at length here and here and reviewed Season 13 here. It is genuinely one of my favourite TV shows of all time. Moreover, it is always one of the cultural highlights of my year when a new season is released by FX/Netflix. This is the fourteenth season of the show, which now means it is one of the longest running live action comedy sitcoms in the U.S. It’s basically one of the main reasons I carry on living.
If you haven’t seen It’s Always Sunny in Philadelphia – THEN WHAT IS WRONG WITH YOU! No, seriously, it is one of the darkest, funniest and absurd shows I ever seen. It is the Anti-Christ of sitcoms and a twisted anathema to the Friends template. It concerns five narcissistic individuals who run a bar in Philadelphia called Paddy’s, and each episode tracks their weird and wonderful antics. It may not sound like it, but it is comedy gold.
Further, it’s also pretty smart in satirising zeitgeist issues relating to race, gender, politics, friendships, sport, addiction, crime, feminism and sexuality. It is quite often shocking but not just for shock’s sake, because there is a streak of intelligence running throughout the show. Season 13 felt mildly broken because Glenn Howerton seemed to have left, it still had some classic episodes like The Gang Beats Boggs: Ladies Reboot, The Gang Escapes, Mac Finds His Pride and The Gang gets New Wheels. Having said that the Dennis-shaped hole was mostly filled with Glenn Howerton appearing as Dennis in many episodes during last season. This year Howerton is back with in every episode; and he even directed a couple too.
The season opens strongly with the episode The Gang gets Romantic, which essentially involves Dennis and Mac using the Air BNB model to trap an unsuspecting woman in their flat. Frank and Charlie do the same but in a way less sophisticated fashion. Safe to say their creepy plots go badly in very unromantic and different ways. Frank and Charlie at least find some bromance with some European male counterparts, having kicked out some junkie Euro skanks. Episode 2, Thundergun 4: Maximum Cool, then found the Gang in a focus group situation. Here they tore into what they perceived to be political correctness gone mad, diverse Hollywood reboots, a lack of male nudity and the expensiveness of the cinema experience. It’s always chaotic and hilarious when they come into contact with outside agencies; and so it proves to be!
The 3rd and 4th episodes, Dee Dayand The Gang Chokes were full of crazy situations. In both episodes Kaitlin Olsen is on particularly great form, as is Danny DeVito in The Gang Chokes. It’s hilarious when he chokes at the dinner table and no one jumps in to help him, forcing him to shun the group and pay back the person who saved his life. The next episode The Gang Texts is one of the highlights of the season. The Gang visit the zoo, but get a text group started to stay in touch. Mac and Dee struggle to retain control amidst the communication problems. While Dennis wants to see a lion feast on flesh, Frank tries to rile the Gorillas by teasing them with bananas. Ultimately, this episode contains the message that it’s best to live in the moment and not on your phone. That and Mac gets pissed on a lot by the others.
The Janitor Always Mops Twice was a hilarious pastiche of film noir genre films. Here Charlie is the private dick investigating a devious cherry racket. Once again Kaitlin Olsen is hilarious as Dee and Mary Elizabeth Ellis appears as a seductive femme fatale who suspiciously looks like the Waitress. The script zings along and there are many classic moments, notably when Charlie mixes cat food in his whisky. In The Gang Solves Global Warming, Paddy Has a Jumper and A Woman’s Right to Chop the series satirises some serious issues with the usual anarchic results. Climate change, suicide, streaming algorithms and abortion are important matters affecting society, but the Gang doesn’t get bogged down too much with the messages. Instead they explore and irreverently barb humanity. The Gang Solves Global Warming was particularly funny as the bar became a microcosm for Earth. A massive party ensues and as the heat rises no one wants to stop the partying even for a second.
The final episode called Waiting for Big Mo is set in a Laser Quest establishment as writer, David Hornsby, cleverly turns it into a curiously florescent parody of Beckett’s seminal play, Waiting for Godot. The Gang are essentially controlled by Dennis who is obsessively sticking to his plan of winning the game. Mac, Charlie, Dee and Frank just want to have fun and play like children. The show examines existential philosophies amidst some hilarious exchanges between the characters, including Charlie not knowing the difference between riddles and jokes. Ultimately, it was a fun, daft, and at times, intelligent end to a very satisfying season of one of the greatest comedy shows of all time.
Created and Written by: Karl Pilkington and Richard Yee
Directed by: Richard Yee
Cast: Karl Pilkington, Sondra James, Marama Corlett, Cokey Falkow, Lou Sanders, Shola Adewusi, Cavan Clerkin, Finn Bennett and more.
Original Network: Sky One
**MAY CONTAIN SPOILERS**
I’m a late developer when it comes to appreciating the Northern homespun charm and philosophies of one-time radio producer, but now TV presenter, writer and actor, Karl Pilkington. I only caught up with his melancholic and eccentric outpourings when I recently listened to recordings of The Ricky Gervais Guide To. . . podcast show, featuring Gervais, Pilkington and Steven Merchant. The two high status comedians basically take a subject and throw themes and shit at Karl Pilkington and he delights them with a mixture of odd, but also weirdly wise rants and musings. Subsequently, I watched the hilarious shows An Idiot Abroad and The Moaning of Life. Then, having decided he was not being bullied and was actually a real person, I firmly emerged a big Karl Pilkington fan.
Pilkington’s first major venture into fictional storytelling, as opposed to crazy and hilarious travel programmes or stooge-like appearances with Gervais and Merchant, is called, appropriately enough, Sick of It. There have been two seasons and twelve entertaining episodes so far screened on Sky television. Karl portrays a downtrodden taxi driver called, wait for it, Karl, who having been dumped by his girlfriend is now living with his Aunt Norma (Sondra James) in Ladbroke Grove, West London. While he has featured in small roles previously, this is Pilkington’s first major acting gig. It’s interesting too as he also plays the part of his own “inner voice”, So, you get two Karl Pilkington’s for the price of one. While not having much range his acting is actually pretty good. Furthermore, he’s a likeable everyman character, both empathetic and droll.
The alter ego or inner voice character is essentially Karl’s self-doubt, insecurity and negativity personified. Only seen by Karl and the audience, he provides some very funny rants throughout the two seasons. Having said that, the writing and performances are strong enough that the show could definitely have worked without the “double” element. To conclude, Sick of It is a bittersweet slice-of-life character comedy, with some very funny episodes. I especially enjoyed the ones where he escapes London to go on holiday or returns to his hometown of Manchester. Lastly, I imagine the show will appeal to Karl Pilkington fans mainly, yet, those who identify with individuals dealing with loss, loneliness, depression, failed romances and the perils of everyday living will find something to enjoy in the show also.
Release Date: September 25th 2019 – December 11th 2019
UK Release: Comedy Central
Another year passes and another year of South Park! It has now incredibly reached its twenty-third season and the energy, humour, satire and desire to surprise and shock is still very much there in the latest ten episodes. However, I think that in Trey Parker’s desire to reinvent and reinvigorate the format, he seems to have taken a few missteps along the way. Because, while containing some sublime moments of comedy and wonderfully grotesque episodes, the latest season does not consistently reach the heights of previous ones. One could argue this is the weakest season in a long time.
Don’t get me wrong, I am just a humble worker drone and totally respect Trey Parker’s satirical genius. Yet, having worked on South Park for over thirty years Parker has arguably moved the furniture around too much in Season 23. I can understand why he has re-jigged the format, but for me, concentrating mostly on Randy Marsh’s Tegridy Farm enterprise in the first six episodes, many characters we love like Butters, Kyle, Kenny, Mr Garrison, Wendy, and even Cartman are sidelined to mere supporting roles. Of course, they do feature, but not as much as I would have preferred. I guess Parker just wanted a change and in recent seasons this has garnered many fantastic episodes. In Season 23 though, the over reliance and prolonged attempts at stoner and weed humour just did not make me laugh. Plus, Towelie as a comedy character has never worked and I wish he had over-dosed permanently, never to return.
There are some fine comedic moments throughout, and the themes are as strong as ever. Parker takes many satirical swipes at all manner of sociological, political, gender, health, economical and media targets. Through some excellent writing he successfully lampoons: media censorship, China, the anti-vaccine movement, plant-based food, transgenderism in sport, the PC or ‘woke/snowflake’ generation, drug abuse, streaming services, Christmas greed, addiction, drunk drivers, immigration detention centres, and, very briefly, the Trump administration. Ultimately, the season features several very good episodes, but arguably only Band in China and Turd Burglars hit the heights of classic South Park episodes of past seasons. Nonetheless, Trey Parker on autopilot is still one of the greatest writers and comedic voices around. If only he had a little less ‘Tegridy’, this season could have been another classic.
ALL 4 CLASSIC TV REVIEW – “THE COMIC STRIP PRESENTS. . . “
I have been continuing my cultural trawl through the online streaming platform ALL 4, which, if you didn’t know, screens television films and programmes from Channel 4’s roster, past and present. My next port of call was re-watching the twenty-three comedy films – ranging from thirty to six minutes – written and directed by the anarchic comedy collective called The Comic Strip.
The Comic Strip were pioneers of the late 1970s and early 1980’s alternative comedy scene. Much like punk rock did for music, alternative comedy sought to satirise and lampoon the status quo, railing against the capitalist, sexist and homophobic right wing politics of the day. This energetic and crazy comedy troupe consisted of now established comedic and acting luminaries such as: Peter Richardson, Rik Mayall (R.I.P), Adrian Edmondson, Dawn French, Jennifer Saunders, Nigel Planer, Robbie Coltrane, Keith Allen, and Alexei Sayle etc.
Peter Richardson booked and opened the first The Comic Strip show at the Revuebar’s Boulevard Theatre on October 7th 1980. Soon the company had television executives clamouring for these anti-establishment comedic talents. The BBC would soon get Mayall, Planer, Edmondson and Richardson signed up for the anarchic student comedy The Young Ones, and the rest, they say, is comedy history. Richardson would drop out of the classic BBC comedy show, but signed a deal with Channel 4 to write, produce and direct a series of films called The Comic Strip Presents. . .
Channel 4 was a perfect platform for the The Comic Strip as they were a brand new channel whose remit was to provide an alternative creative output to the more traditional British TV channels. Thus, on the launch night of Channel 4 in November 1982, their very first comedy film was released called Five Go Mad in Dorset (1982). Immediately, it caused controversy as the show mercilessly satirised Enid Blyton’s wholesome “Famous Five” with a scurrilous deconstruction of middle-class values. The first series consisted of six short half-hour films and were so successful they would run for another five seasons, plus many comedy specials and feature films too.
The Comic Strip Presents. . . above all else is extremely funny and took many risks in its productions, even to the extent that some episodes verge on avant garde incomprehensibility. The following episodes, however, perfectly marry that punk and anarchic spirit with reasonable narrative and genre cohesion. Well, I say that because I grew up with watching these legendary and always quotable comedy programmes.
To an outsider watching the first time round they may find them, like comedy masterpieces such as Monty Python, Spike Milligan, The Young Ones, The League of Gentleman and The Mighty Boosh, too surreal for their taste. But compared to some of today’s television they can seem quite tame and even dated. Having said that, at the time many of these shows were considered cutting-edge and even “dangerous”, shaking up the conservative complacency with satirical swipes, slapstick parodies, nihilistic irony and genre pastiche.
ALL 4/Channel 4, currently hold twenty-three episodes and I re-watched them all before writing this article. Please be aware that I am aware that there are a number of episodes produced for the BBC before The Comic Strip Presents. . . went back to Channel 4. But it’s at its’ original channel that I am focusing on today. Overall, for me, The Comic Strip Presents. . . is part of my cultural DNA and something I shall always treasure. The opening intro-ident with the bomb falling into the countryside and “Quando, Quando, Quando” playing is as iconic as it comes. Anyway, enough of the talking bollocks, here are some of their programmes I recommend you watch immediately!
BAD NEWS TOUR (1983) / MORE BAD NEWS (1988)
Two riotously funny fly-on-the-wall mockumentaries about the infamous British rock band, Bad News!
DIRTY MOVIE (1984)
Rik Mayall features as a slimy cinema-owner who wants to watch a porno in his cinema, in this silly, post-modern slapstick classic.
EDDIE MONSOON – A LIFE? (1984)
Adrian Edmondson stars as suicidal TV producer Eddie Monsoon, facing both financial and mental ruin.
THE BULLSHITTERS (1984)
British TV action show The Professionals is mercilessly lampooned with Keith Allen and Peter Richardson as tough-guy cops, Bonehead and Foyle.
THE STRIKE (1988)
Brilliant comedy which satirises the Hollywood adaptation of the British Miner’s Strike; starring Al Pacino (Peter Richardson) as Arthur Scargill!
MR JOLLY LIVES NEXT DOOR (1988)
Genuinely one of the funniest comedy films ever made, with Rik Mayall and Adrian Edmondson as Dreamytime Escorts! Together they have to “take out” Nicholas Parsons and cause mayhem in the process.
FOUR MEN IN A CAR (1998) / FOUR MEN IN A PLANE (2000)
Hilarious comedies about four salesmen out on the road who argue and conflict all the time. In each episode they manage to get themselves stranded on the motorway and in a barren desert.
Cast: Daisy May Cooper, Charlie Cooper, Paul Cooper, Paul Chahidi
Original Network: BBC Three
**MAY CONTAIN SPOILERS**
“I am Jack’s bitter, failed arsehole!”
In Chuck Palahniuk’s contemporary literary classic Fight Club – and the movie version – the narrator often refers to a third person called, ‘Jack’, to describe inner rage. It’s a nifty narrative device and kind of a foot-in-the-door to explain my feelings when watching BBC3 mockumentary series This Country. Because having watched the two series and extended one-off special I have to say I didn’t get the joke and I’m thinking it must be me and not the show.
Perhaps it’s my ongoing sobriety? I mean, while the acting is sublime, I could not work out why this comedy series has received so much critical praise. Moreover, I could not work out how it has won several Royal Television Society and BAFTA awards. I will perhaps have to accept I am wrong and know nothing about comedy and the television industry. I am just a bitter, failed arsehole.
This Country is a rural sitcom in the mockumentary style. Thus, first and foremost, while it’s nearly impossible to achieve originality in TV and film, the show is derivative of Ricky Gervais and Stephen Merchant’s classic comedy, The Office. While Gervais was influenced by the Christopher Guest-led ensemble genius of, This is Spinal Tap (1984), one cannot escape the fact This Countryis a weaker clone of The Office.
Episodes revolve around an accurate rendition of rural life; somewhere not too far from Swindon, Wiltshire. Comedy and drama derives from issues relating to: boredom, crime, unemployment, failed romances, general village idiot-types and very dysfunctional families. The main protagonists are Kerry and Lee ‘Kurtan’ Mucklowe; cousins in the show but portrayed incisively by siblings, Daisy and Charlie Cooper. In fact, the actors are way more likeable than the characters they portray. Kerry and Kurtan are so moronic and obnoxious at times it was difficult to empathise with them.
It is a testament to the precise conveyance of village life that the programme felt believable as an actual documentary. Unfortunately, for me, the pace was quite slow and, while I guess that was the point, there are only so many dry pauses-for-comedic-effect you can experience without getting bored. Similarly, with the “realistic” pace, punchlines often felt very spaced out, with a reliance on the accents to get the laughs.
There are a number of strong episodes including, Kurtan’s attempts to win a scarecrow contest and also when he worked on a building site. Yet, certain episodes never really went anywhere as character development also suffered inertia in the narrative. Having said that, there is some excellent writing. Daisy’s doomed relationship with her bastard of a father, Martin, does lend a depth and pathos to the narrative. But this is more dramatic than funny overall. Then again, I accept that this is just the opinion of a bitter, sober and over-analytical arsehole and some may find this the funniest show on television.