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TOTTENHAM HOTSPUR F.C. – PREMIER LEAGUE REVIEW (2016 – 2017)

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TOTTENHAM HOTSPUR FOOTBALL CLUB LEAGUE REVIEW (2016 – 2017)

“Alright, I know I’m gonna lose here. But I’ll be the best second you’ve ever seen.”

From the film McVicar (1980)

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KICK OFF

I love football. I love Spurs football club! I have followed and supported them for over 35 years and have tasted glory and despair; well mainly despair. However, of late, with the current squad and manager we have been really quite good. So, here’s my view on the latest 2016/2017 season.

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THE NEARLY TEAM

Well, let’s address the elephant in the room first!  Tottenham Hotspur FC did not win any trophies during the last football season. However, Mauricio Pochettino’s team were one of the most exhilarating performers, coming closest of all the teams to catch the Chelsea machine managed by effervescent Italian Antonio Conte. Manchester United, under the guidance of dour millionaire whinger Jose Mourinho, professionally ground out respective wins in the Europa League Cup and English League Cup; while Spurs’ bitter North London rivals Arsenal found some form to beat an on-the-beach Chelsea in the FA Cup final. Yet, while Spurs finished trophyless for another season there were a great many wins for the team and I remain very optimistic for the future.

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SCORES ON THE DOORS

We had a cracking season overall despite not winning anything.  Here are some statistics and finishing positions for the season

  • 2016/17 Premier League season as runners-up.
  • 2nd place finish was the clubs’ highest league position since 1962/1963
  • 86 points was highest total Spurs gained since 3 point introduced for a win.
  • Unbeaten at home in the League for the first time in over 50 years.
  • 86 goals was the highest scored by any team in 2016/2017 season.
  • 25 goals conceded was the lowest number by any team in season.
  • +60 was highest goal difference for any team in season.
  • Harry Kane won the Golden Boot – 29 goals in 2016/17 season.
  • Christian Eriksen with 15 assists was 2nd in the 2016/2017 season.
  • 7-1 win against Hull FC was a record away win in the League.
  • 85,512 – Highest attendance ever (at Wembley) against Bayer Leverkusen.
  • FA Cup: Semi-finals
  • EFL Cup: Fourth round
  • Champions League: Group stage
  • Europa League: Round of 32
  • Finished above Arsenal for first time in 22 years!

Despite the abject displays generally in the Champions’ League and Europa League the young team I believe will learn from this experience and hopefully we will give a better show next season. In the Premier League we were on fire, however, with sterling victories over the likes of Champions’ Chelsea, scumbags Arsenal, Guardiola’s show ponies’ Manchester City and boring Manchester United confirmed us a team of the highest quality in regard to results against the top teams. Klopp’s Liverpool were the ones who gave us the toughest matches, beating us at Anfield and drawing at the Lane 1-1 earlier in the season.

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Spurs confidently swatted aside most of the lower teams in the division both home and away and lost only four games to Manchester United, Chelsea, West Ham and the aforementioned Scousers. Obviously, the losses were disappointing, but if anything it was the 8 draws which cost us most of all really as we found Chelsea 7 points too good by the end of the season.

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THE PLAYERS

How do you choose a player of the season when we’ve had so many consistent performers? Hugo Lloris was once again, a couple of rash out-of-the-box situations aside, formidable between the sticks. The fluidity of the three/four at the back system found Jan Vertonghen, Toby Alderweireld, Eric Dier, Danny Rose and Kyle Walker providing a solid white wall in defence. Even when Rose and Walker were injured Ben Davies and Kieran Trippier deputized with some aplomb. In midfield Moussa Dembele and Victor Wanyama were both powerful and athletic beasts, stomping and controlling games, especially at White Hart Lane.

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Adding silk to their steel was the mercurial Dane, Christian Eriksen, who continues to impress with his passing range and incisive crossing. In the forward positions Heung Min Son added a serious amount of goals to his pace and skill scoring 21 goals in all competitions. Then the dynamic headline-stealer Dele Alli, who at the age of twenty, won the young PFA player of the year and was named in the PFA Team of the Year. I really hope we can hang onto him as he is just an incredible talent as his 22-goal season testifies. Two headers against Chelsea were superb and his goal against Watford from outside the box was a beauty amidst a stream of wonderful goals.

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Finally, with 29 goals in the Premier League alone Harry Kane was once again phenomenal!  His strength, movement, skill and dead-eye shooting skills in front of the goal means he was arguably our player of the season. Wanyama, Eriksen, Alderweireld and Alli were equally valuable in a fine team effort, but without Kane’s goals we would have been lower in the league. Two separate injuries during the season prevented even more goals being scored and his injury in October 2016 coincided with those draws which possible cost us the title. Nonetheless, what a player Kane was for us, leading the line with sheer genius.

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THE MANAGER

What can you say about Mauricio Pochettino that has not been said? Perhaps inexperience in European competition caused a slight blight on his 2016/2017 managerial season overall, but that is being very critical. Because overall his Spurs team in the Premier League were just exhilarating. It’s one thing creating a steely and measly defence but to then craft a structure to allow the team to bolt forward and destroy teams the way we did throughout the season was incredible. We hunted and crushed teams with sheer energy and force of will. Of course there were defeats but we bounced back with strength and determination and finished unbeaten at home going on an amazing nine game winning run which got us close to Chelsea.

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More than any player Tottenham Hotspur need to hang onto Pochettino as I think he is destined to be a managerial great as his ability to structure, coach and motivate players is second-to-none. Given our wage structure and lower net transfer spend, compared to other Premier League clubs, Spurs are punching well above their weight and for me Pochettino is performing a minor miracle at White Hart Lane. Long may it continue too!!  Here’s a musical tribute to Mauricio!

 

THE FUTURE

White Hart Lane is gone! Long live the new White Hart Lane!  The Chief Executive Daniel Levy has overseen a resurgence of Spurs on and off the field. For the 2017/2018 season Tottenham Hotspur FC will be playing all home games at Wembley Stadium and while our record hasn’t been great there recently I’m hoping we can make it a formidable place to come next year.

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It was a wonderful day to witness Spurs beat Manchester United 2-0 on the last game to be played at the old White Hart Lane and the future looks very bright for the new state-of-the-art stadium currently being built. The tribute to past players and games was tremendous and so many memories came to light. My blog item from a year or so ago echoed many of the sentiments of the day. Check it out here:

Also there was a fine tribute video narrated by Kenneth Branagh no less.

In terms of the playing staff for next season I think we, most importantly, need to hang on to the players who have done us proud this year. Some will inevitably leave as surplus to requirements, while others will possibly be the subject of bids from other clubs. Indeed, Kyle Walker, our dynamic right-back is being looked at by Manchester City I believe. However, I’m confident we should hang on to most of our players and if we do get bids clubs will have to negotiate with Daniel Levy; a man who drives a very hard bargain.

In terms of purchases our modus operandi is usually to buy hungry, younger players rather than make huge purchases. Our record signings are the currently injured Erik Lamela and disappointing Moussa Sissoko. If both of those players were to find top form it would worth keeping them. These are big IFs though. I would like to see us get another striker to back up Harry Kane, however, if Vincent Janssen develops positively that may not be necessary.

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The 2016/2017 season was a tremendous one for Tottenham Hotspur FC on the pitch and I really hope we can push for more glory next season and perhaps even win a cup or incredibly win the Premier League. As usual for a Spurs fan hope springs eternal!

Cinema, New Releases, Reviews

MOVIE REVIEW: WONDER WOMAN (2017)

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MOVIE REVIEW: WONDER WOMAN (2017)

DIRECTOR: Patty Jenkins 

WRITERS: Created by: William Moulton Marston,
Screenplay: Allan Heinberg
Story: Allan Heinberg, Jason Fuchs, Zach Snyder

CAST: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen

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**CONTAINS MINIMAL SPOILERS**

The need for super women and men to rise and protect us against the foes of everyday existence has never been more requisite. Governments, politicians, military commanders, corporate greed, religious leaders and humanity’s capacity for evil and destructive behaviour means people are under threat from violence and death on a daily basis. It’s the world we live in and one we have always lived in. Life is a gift which we continue to throw away because of a difference in beliefs, thoughts, race, gender and language. It is insane but I doubt it will ever stop. So, one must except it and be grateful for all the good people and for every day one is alive. But how do you escape from this terror that lurks in the world and the fear that comes with it? Well, we have the fantasies on film and TV screens and in comic books that convince us we can be saved; that the bad people in league with the devil can be put to the sword of justice. This month we have the Amazonian powerhouse that is Wonder Woman!!

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The DC comic-book-cinema-world has taken a critical pasting and much of this can be put at the door of the attention-deficit-director Zach Snyder and of course the studios themselves who have, in my humble opinion, ignored the basics of storytelling and genre in a bombastic attempt to out-do Marvel’s slick and productive Universe. Indeed, there were great films somewhere in the over-stuffed crusts of Man of Steel (2013), Suicide Squad (2016) and the incomprehensible Batman v. Superman (2016); brilliant characters, actors, special effects, action, set-pieces, music in all of them. However, they were ultimately let down by the structure and storytelling. Not so with Wonder Woman, which goes back to basics and takes its time to establish our heroine’s origins and, unlike the other DC films, builds character and empathy prior to launching into a feast of amped-up-to-eleven fight sequences and wondrous leaps of derring-do.

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At the centre of all the action is the athletic Gal Gadot as Diana, Princess of Themyscira, who as a girl, desires to join her Aunt Antiope (scene-stealing Robin Wright) as a great warrior, but is forbidden by her mother Queen Hippolyta (Connie Nielsen.) The first act is full of powerful mythology, imagery and characters and to be honest I could have watched a film about their lives on the beautiful secret island. Yet when their peace is unsettled by the appearance of Chris Pine’s American spy and the German Navy pursuing him we get an almighty beach battle between the modern-day Teutonic troops and the Amazonian warriors. This sets the tone of the mythological past juxtaposing with the modern era (albeit circa 1914-1918) and this theme remains one of the strengths of the film.

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With the introduction of the charismatic and handsome Steve Trevor (Pine), Diana is galvanized to fight for the Allies in World War One, and thus truly begins the heroine’s journey. The pace and turns in the narrative are handled extremely well by director Patty Jenkins. She gives as much importance to the scenes between Diana and Steve, notably the witty exchanges on the boat and during Diana’s first encounter with the big city. This ensures we are committed to their relationship and the romance had echoes of Indiana Jones and Marian Ravenwood’s from Raiders of the Lost Ark (1981). Conversely, everyone’s favourite baddies, the Germans, provide a solid nemesis which to root against as Danny Huston’s General and his more interesting assistant, Doctor Maru (Elena Anaya), develop a heinous gas with which to defeat the Allies.

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I think I liked the film so much mainly because it was simple in structure, well directed, and yet retained much of the magical fantasy and mythology of the comic books. Moreover, it contained some kick-ass slow-motion action sequences and the sight of a warrior Princess using a mighty sword and golden rope while taking out Germans and huge tanks was nothing less than breath-taking. The cast, especially Gadot and Pine commit wonderfully to their characters and the story. Minor criticisms are the slightly over-long running time and the cardboard cut-out nature of the secondary German characters. Nonetheless, as superhero films go Wonder Woman is right up there with some of Marvel’s best movies.

Essentially a traditional origins story, Wonder Woman may follow the well-worn formula of establishing our heroine, her strengths and her commitment to peace through powerful means, but it does it with verve, heart and compassion. I cared about these characters and while it may be a simple notion that love can conquer all, it is a universal emotion that I can definitely get behind. Because there is a lot of hatred on Earth and it needs all the heroes and heroines it can find; even if they are merely fantasy.

(Mark: 9 out of 11)

Cinema, New Releases, Reviews

MOVIE REVIEW: COLOSSAL (2016)

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MOVIE REVIEW: COLOSSAL (2016)

**CONTAINS MINIMAL SPOILERS**

Having watched Alien: Covenant (2017) and Guardians of the Galaxy: Vol. 2 (2017) in the last few weeks at the cinema, it’s been a bit of an alien-monster-sci-fi month so far. Both of those films were very entertaining genre/franchise movies with loads of action, suspense and decent enough performances and set-pieces to make them well worth the admission fee. Of course, they also used established formulas and known properties to propel their narratives and the movie Colossal (2016) too draws upon Japanese movies or ‘Kaiju’ subgenre; which in itself was influenced by the atomic age and Hollywood monster movies of yesteryear. Colossal, however, transcends the monster genre to become something surprisingly more human altogether.

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The filmmaker Nacho Vigalondo wrote and directed one of my favourite time-travel films ever called TimeCrimes (2007). In that an ordinary guy gets caught in a paradoxical nightmarish loop of murder and temporal intrigue, delivering a film rich in devious plotting, mind-bending structure and also strong thematic subtext. Similarly, Colossal is equally ambitious employing intelligence and powerful concepts as Anne Hathaway’s lost-in-life-thirty-something finds her consciousness somehow connected to a Godzilla like beast wreaking havoc in South Korea. If you’re thinking that’s a bit weird isn’t it – then you are correct! However, Vigalondo has crafted one of the most original cinema experiences I have had all year.

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Safe to say this has one of those fantastical-let’s-go-with-it plot turns in the first act which establishes the films’ quirkiness very quickly and runs with it superbly. Anne Hathaway provides the films’ emotional heart with a terrific performance as an alcoholic-unemployed-party-girl who seeks to escape the hedonistic night and day life which is slowly destroying her. On top of her addictions she is kicked out by her cloying and controlling boyfriend, portrayed with overloaded smug by Dan Stevens.
Heading back home to the place she grew up in is seen as a way of escaping and gaining control. Indeed the move from the city to a small town is a staple of many lo-fi indie comedies and dramas but when a monster attacks Seoul, the film suddenly mashes up the genres to fascinating dramatic and comedic impact.

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Admitting defeat in life, Gloria has nothing but an empty place to reside and very little to cling onto emotionally. That is until Jason Sudeikis’ Oscar, a childhood friend, gives her a job and furniture and most importantly, an ear to listen to. Sudeikis is amazing in his role as the complex Oscar as he sees, in Gloria, a chance to rekindle a past unrequited love. However, while the two connect the story goes in an unexpected direction and his motivation really pushes the narrative to surprising places. But what about the monsters I hear you ask?  Well, without giving too much away the human story of Gloria and Oscar is cleverly reflected by the destruction in Seoul as Vigalondo pushes both emotional and cerebral buttons very successfully.

Lastly, thematically speaking this film is a very rich. The subtext is all about human beings gaining control over the external forces, internal weaknesses and those people who bully you and try to mould your existence.   While it may be tonally uneven in the latter half of the film, as it veers from comedy to high drama, this merely adds to the overall charm and unconventionality. In a summer which will bring us blockbusters galore they will have to go some way to match Vigalondo’s lower-budgeted Colossal for originality, humour, heart and Seoul (sorry!) (Mark: 9 out of 11)

Comedy, Essays and Theory, Netflix, Reviews, Television, Ten Things

12 REASONS WHY ‘IT’S ALWAYS SUNNY IN PHILADELPHIA’ IS ONE OF THE FUNNIEST SITCOMS EVER!

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12 REASONS WHY IT’S ALWAYS SUNNY IN PHILADELPHIA IS ONE OF THE FUNNIEST SITCOMS EVER!

With the new season now up on Netflix I thought it advisable to revisit my awe and admiration for the clever, crazy and scurrilous comedy show that is: It’s Always Sunny in Philadelphia.  I have reviewed it in the past here, but rather than simply do another glowing evaluation of Season 12 – which I loved by the way – I thought why not consider its disgusting genius as a whole. So, here you go! 12 reasons why the crazy gang from Paddy’s Pub completely rock!

**CONTAINS SPOILERS BITCHES**

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1. CHARACTERS

Any successful comedy and drama show lives and dies by the characters who inhabit the storylines and world. In the show we have a rich differentiation of people collectively known as ‘The Gang’; who all work collectively within the comedy as a highly dysfunctional family. Charlie is the idiot youngest child; Dennis and Mac are the insane older brothers; Dee is the incompetent and much maligned sister; while Frank is the wayward father and the mother is, well, there is no precise mother but a random set of insane surrogates. What they have in common is that they are all deluded-self-serving-narcissistic-insane-lunatics all seeking to undermine each other in turn. Thus resulting in some incredibly hilarious episodes and seasons.

2. FEARLESSNESS

To me political correctness is a fair way to behave and make judgements within everyday life, but sometimes it can go too far and is used as a weapon to demonize behaviour meant as humour. Moreover, in life the unwritten and written laws of society deem it necessary – for upstanding citizens that is – to abide by a certain set of rules. Those same rules don’t apply to the characters in this show. Indeed, behaviour such as: doing drugs, blacking up, stalking, pretending to be gay, arson, selling fake cola, luring women into bed under false pretences, black market surrogacy, faking own deaths, blowing up cars and generally attacking and verbally abusing people around them, should get them locked up. However, the punkish and illegal shenanigans allow the viewer to both live out vicariously such bad behaviour; not so much shock for shock sake but as an attempt to drive the humour down very dark avenues for comedic impact.

3. DARKNESS

The characters inhabit a world where it’s dog-eats-man-eats-woman-eats-dog; and in some ways this reflects the darker aspects of society.  I mean we have become a selfie-taking-blogging-wait-until-you-finish-talking-culture only interested in getting one-up on each other. While of course there is much humanity and charity too in life, It’s Always Sunny is not a cosy or safe world where everything ends up great at the end. No!  Dead dogs fall out of children’s coffins; tramps have anal sex under the New Jersey boardwalk; Frank exploits Vietnamese people in sweatshops; people pretend to have cancer; the long-suffering Cricket had his face and existence burnt off; characters laugh when others fall flat on their face or try to kill themselves etc. Today, and quite rightly, we should strive to respect each other so the show is a terrible role model for life and lurks in a world far away from and the warm hearts of other benign TV shows.

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4. FORMAL BRILLIANCE

Throughout every season of It’s Always Sunny there is always an attempt to present episodes in an imaginative form and structure.  For example, in Who Pooped The Bed we get a Rashomon-style-split-perspective murder investigation into who crapped in Charlie’s bed.  While in The Gang Go On Family Fight, the humour is structured around the gang appearing on a classic gameshow. In addition to the hilarious historically anachronistic flashbacks in The Gang Cracks the Liberty Bell, in Season 11’s Being Frank the whole episode was shot from Frank’s POV. In the current superb 12th season one episode is presented from a supporting characters dream perspective; while the most impressively detailed form presentation is in Old Lady House: A Situation Comedy. In this Dennis sets up a series of CCTV cameras in Mac and Charlie’s Mum’s abode and becomes a god-like TV director; editing their everyday lives into a bizarre but hilarious reality show/situation comedy. This intelligence and thought keeps the show fresh and funny in presentation and delivery.

5. WRITING

As well as the impressive formal structuring all twelve seasons of It’s Always Sunny the plots are always pretty tight and logical in a twisted way. Of course some of the storylines can become quite convoluted for humorous purposes but the writers use pace and a plethora of plot twists to great impact. I especially loved the episode The Gang Breaks Dee which finds Dee finally hitting it big as a stand-up comedian only to find it was the Gang who set her up with a massively elaborate practical joke. Dee again was at the centre of a big mystery in Season 6 where she gets pregnant and tries to make money out of surrogacy. This plot became a classic arc for the season and the episode Who Got Dee Pregnant is brilliant twisted as each of the Gang debate as to whether it was them or not; including even Frank and Dennis!  So essentially rather than being just a litany of abusive characters being horrible many of the narratives are tighter than a wrestler’s nut-sack in Speedos.

6. RUNNING GAGS

Throughout all the episodes there are a plethora of running gags such as:

  • Charlie is a perpetual glue or paint sniffer.
  • Charlie ‘loves’ and stalks the Waitress.
  • Frank and Charlie are garbage scavengers.
  • Frank always tries some underhanded money-making scheme.
  • Dee is a terrible stand-up comedian.
  • Dee has terrible taste in men who all suffer at her hands.
  • Dee is mocked for being a bird.
  • Cricket’s life and body is destroyed by the Gang.
  • The McPoyle family are the Gang’s sworn enemies.
  • Dennis thinks he’s the most intelligent but is just as dumb as the rest.
  • Mac thinks he’s a brilliant bodyguard with great fighting moves but isn’t.
  • Everyone thinks Mac is gay but he doesn’t know or admit it!
  • The Gang ALWAYS destroy Dee’s cars.
  • Dennis is a committed “lady-killer” with sociopathic tendencies.
  • Charlie does all the dirty work!
  • The Gang will promote ridiculous products such as: Kitten Mittens, Wolf Cola and Fight-Milk!
  • The Gang ALWAYS dumbfound and conflict with figures of authority including: Police; Lawyers; Health & Safety; Doctors; Therapists etc.

These and many more provide the spine for the show and give it a depth and wealth of humour throughout.

7. SATIRE

Similar to South Park many people who haven’t seen the show may think that It’s Always Sunny is just a gross and base comedy show. However, many of the episodes show the Gang attempting to resolve a national or international capitalist crisis. Usually led by Frank’s desire to screw someone over or simply because they prefer ill thought out and hair-brained schemes to actual proper work these episodes successfully satirise the world today. My particular favourites include: The Gang Runs for Office, The Gang Solve the Gas Crisis, The Great Recession and The Gang Recycles Their Trash  all demonstrate a finger-on-the-pulse of political and social satire; albeit from a completely ridiculous angle.

8. DIALOGUE

In some respect the dialogue is some of the most disgusting words ever committed to TV. In fact I’m amazed there isn’t more controversy for some of the episodes. However, like the characters it remains on the fringe of the TV schedules remaining cult viewing. Here are just a few of their classic quotes:

“Hey-o! What’s up, bitches!”                                                 Mac

“Wildcard, bitches! Yee-haw!”                                              Charlie

“I browned out that evening.”                                               Mac

“You keep using this word “jabroni. It’s awesome!”          Charlie

“If you’re in my room, you’re always being filmed.”          Dennis

“I’m not fat. I’m cultivating mass.”                                       Fat Mac

“Your mom doesn’t know dick! She’s a dumb, fat cow!”    Sweet Dee

“Fight Milk! The first alcoholic protein drink for bodyguards!” Mac

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9. CAMEOS

In the latest season there is a wonderful cameo from Scott Bakula where his 1980s character Sam Beckett is shown to have jumped into the body of an old black man. Bakula features throughout with a wonderful hang-dog desperation as to how he ended up in such a crazy situation. Other cameos include: filmmaker Guillermo Del Doro and Games of Thrones writers David Benioff and D. B. Weiss who have actually written the Flowers for Charlie episode and guest-starred in one two. Other guest stars include: Josh Groban, Sinbad, Puff Daddy, Dax Shephard, Tom Sizemore and my personal favourite Sean William Scott as Country Mac. I think the appearance of said celebrities is not enough to get the laughs, but the writers often use them parodically and the actors really get into the craziness of the show.

10. PARODIES

Like many great contemporary comedies including South Park, Father Ted and The Simpsons many of the shows episodes are clearly influenced by the makers love of music, movies, TV and radio. Episodes parodying musicals, 1980s ski/sex comedies, gangsters, Reality makeover shows, animated kids programmes, horror films, detective and cop shows and many more. In Season 11 they parodied Oscar winning Birdman (2014) by filming the show in one-take to a jazz score and in Season 12 But the show doesn’t just mention or take plots from certain genres it mocks but it pays tributes to specific films too. For example in Season 9 they even made Lethal Weapon 6 with hilarious results.

11. SONGS

Believe it or not the rag-tag-weirdo-idiot-boy Charlie (Charlie Day) is a songwriter of some ill-repute. The best examples of his music can be found in the legendary episode The Nightman Cometh where he gets the Gang to stage a musical for no apparent reason. It is complete and utter insanity but somehow actually works and the songs are pretty catchy too. Season 12 also finds the Gang stuck in The Wiz and having to sing their lines involuntarily. This is absolutely hilarious too as they attempt to find the rules of the parallel world they are trapped in.

12. LOW BUDGET

Incredibly the very first pilot episode was shot for $200 and ever since that the Gang and creators have stuck to the lower budget ideals of the debut season. In fact that is the strength of the show as they must use their writing and acting abilities to come up with ideas which do not need massive budgets or special effects. Indeed, the lo-fi charm of the show remains as it is from the first season. Okay, the Gang have got older and Mac got fatter and gayer but the same theme tune and credits play out in the current season as they did in the first; and that is very comforting to me, BITCHES!

Reviews, Television

SCREENWASH – AMERICAN TV DRAMA REVIEWS, INCLUDING: BILLIONS, BIG LITTLE LIES & WALKING DEAD

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SCREENWASH – AMERICAN TV DRAMA REVIEWS

Following on from my recent reviews of ITV drama shows I have also recently watched, many U.S. programmes over the last few months.  So, here are some more bite-size reviews with marks out of eleven. Hope you enjoy.

**CONTAINS SPOILERS**

BATES MOTEL (2014) – SEASON 1 – NETFLIX

So, Norman Bates gets a paradoxical contemporary prequel which while chronologically set before Alfred Hitchcock’s classic Psycho (1960), exists in the now of mobile phones, crooked cops, Chinese sex slaves, cystic fibrosis and huge cannabis forests that drive the towns’ industry.  Freddie Highmore as young psycho Norman and Vera Farmiga as his domineering, yet sexy, mother are absolutely brilliant in this absurdly plotted but nifty little horror-crime-thriller-mish-mash. I especially enjoyed Highmore’s subtle delivery as he fights with the demons in his head, amidst hormonal teenage desires. Plus, more often than not he echoes Anthony Perkins classic performance as the original Master Bates. (Mark: 8 out of 11)

BIG LITTLE LIES (2017) – SEASON 1 – SKY ATLANTIC

One of the most difficult things a screenwriter and director have to do, in my view, is to make rootable those wealthy, spoilt and first-world characters that drive your story. One way to do it is to make their conflict human and relatable, plus casting brilliant actors in the lead roles helps greatly too. Reese Witherspoon, Nicole Kidman, Laura Dern, Adam Scott, Alexander Skarsgard and Shailene Woodley are all on top acting form portraying various personas within the affluent Monterey upper middle classes. Jean-Marc Vallee directs David Kelley’s superb script with aplomb and the editing is some of the best you will see in a television show all year. The interweaving stories concerning an unknown murder victim; school bullying; warring parents; extra-marital affairs; and the abusive relationships, is expertly played out over seven compelling episodes. (Mark: 9 out of 11)

BILLIONS (2017) – SEASON 2 – SKY ATLANTIC

Again, how do you make rich people empathetic and rootable? Well in Billions the writers don’t!  They have created a superbly written series around some of the most selfish, self-centred, vicious and vindictive characters in hedge-fund shark Bobby Axelrod and unscrupulous Attorney General Chuck Rhodes; and pitted them against each other over ten compelling episodes. Damian Lewis and Paul Giamatti are on fantastic form as “Masters of the Universe” leads that will stop at nothing to destroy each other’s lives. Maggie Siff and Malin Akerman as their respective wives also at the sharp end of the legal, financial and psychological one-upmanship drama, along with a terrific ensemble cast including: David Constable, David Strathairn, Eric Bogosian, Toby Leonard Moore and the very gifted Asia Kate Dillon. (Mark: 9 out of 11)

HOMELAND (2014) – SEASON 3 – NETFLIX

After the explosive end to Season 2, which wiped out many of the major supporting players, Season 3 found Carrie Matheson and Nicholas Brody find themselves separated and in deep trouble. Matheson is cast as the scapegoat for the destruction of the CIA and failure in protocols while Brody is in Columbia lurching from one violent episode to another. The strength of the first two seasons came from the dynamic plotting, heart-racing suspense and the chemistry between Claire Danes and Damian Lewis. Season 3 suffers from the two’s separation slightly but there was enough dramatic moments throughout to make it well worth a watch. Danes was especially impressive as Matheson who is forever taking chances because of her determination to protect her country, plus her love for Brody. The show doesn’t present easy answers and the ending was particularly bleak as we come to realise that no one wins in these political and international wars. Have to say that Mandy Patinkin as Saul Berenson and Rupert Friend gave great support and the show ultimately remains compelling, even if at times it slightly tested believability.  (Mark: 8 out of 11)

SONS OF ANARCHY (2015) – SEASONS 6 & 7 – NETFLIX

My lord this show is SO brutal; in fact I think it is arguably the most violent TV show I have ever seen because many of the deaths are cold and hot-blooded savagery. In Seasons 6 and 7, Jax (Charlie Hunnam) desperately tried to become a better person and take the club down a more legitimate route, however, once an outlaw – always an outlaw. Thus battles with cops, IRA, gang-bangers, Mayans, Aryan Brotherhood, and more culminated in two seasons of the usual carnage and bloodshed. Also, Jax had the horror of dealing with the death of loved ones borne out of terrible lies and decisions by those close to him. The main strength of the show is the terrific ensemble cast of which Jimmy Smits, Charlie Hunnam, Tommy Flanagan and Katey Sagal really stood out. Also, the action and serpentine plot twists kept the dramatic irony and suspense at pulsating levels. Only the indulgent montages, over-the-top “I love you, brother” dialogue and overlong episodes wrenched a little but overall an exciting end to a gruesome but entertaining TV show.  (Mark: 8.5 out of 11)

THE WALKING DEAD (2017) – SEASON 7 – FOX

The Walking Dead is very much like an elderly grandparent in as much as it has provided happy past memories; has a lot to offer in terms of historical experience; yet sits in their armchair only occasionally sparking into life for our entertainment. However, I must say, Season 7 was way more entertaining than Season 6, which overall really stalled in terms of storylines and fast-paced action. Rick Grimes (Andrew Lincoln) and his Alexandrian crew and family came under pressure, not just from the zombie hordes but also Jeffery Dean Morgan’s delightful uber-villain, Negan. Massacring two of the leading characters at the beginning of the season created a real sense of suspense throughout and, aside from a few filler episodes; I thought the writing and the introduction of other clans gave the show some dramatic impetus. I still think sixteen episodes are too many but the war against the Saviours was gripping and overall there was enough bloody zombie deaths to entertain this horror fan. (Mark: 8 out of 11)

Reviews, Television

SCREENWASH SPECIAL – ITV DRAMA REVIEWS

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SCREENWASH SPECIAL – ITV DRAMA

Of late I have been theming or focussing my viewing in certain directions. The last few months I decided to watch more ITV dramas. Historically ITV have arguably suffered in comparison to BBC dramas, and most certainly the big budget HBO, FOX and SHOWTIME programmes from the United States.

So, I thought I would check a few out and see if they are still the safe and formulaic ITV dramas I have seen in the past. Well, I would say, while adhering to certain genre conventions, notably in regard to cop stories and “true story” biopics, the writing, direction and acting is of an excellent standard. Here are some bitesize reviews.

**CONTAINS SPOILERS**

BROADCHURCH (2013 – 2015) – Seasons 1 & 2 – ITV ENCORE

This terrific police procedural drama begins with the death of a young boy and the subsequent police investigation, plus the impact this has on his family and coastal community of Broadchurch. The first season is first and foremost a terrific “whodunit” as various members of the town are all plausible suspects. Moreover, the brilliant acting duo of Olivia Colman and David Tennant spark off each other throughout the investigation. Writer Chris Chibnall deals expertly with the emotions too as the family – including Jodie Whitaker as the mother of the tragic child – are put through the wringer by the crime. The second season is almost as gripping as the child killer faces trial and Tennant’s character obsessively investigates a historical crime which blotted his career. Overall, it is an excellent drama with many twists and a superb ensemble cast of British actors. (Mark: 9 out of 11)

CHASING SHADOWS (2014) – Season 1 – ITV ENCORE

Reece Shearsmith is one of my favourite actors and I have loved his work ever since the grotesque comedy genius of The League of Gentlemen. Here he shows his range as a socially awkward but exceptionally determined Detective searching for long-lost missing people. Like Broadchurch it’s another Dr Who cast reunion as Noel Clarke and Alex Kingston also co-star in a decent by-the-numbers cop show.   (Mark: 7.5 out of 11)  

CILLA (2014) – Season 1 – ITV ENCORE

While there is an element of tragedy in regard to uber-manager Brian Epstein’s tragic death, this biopic of the early life of Priscilla White and her rise to stardom is pretty tame and fluffy. Still, Sheridan Smith is brilliant as the young songbird who would hit the top of charts with a series of late sixties ballads. The evocation of working class Liverpool and bands such as The Beatles is well played and the songs are belted out with a passion by the very likeable Smith. (Mark: 7 out of 11)

IN PLAIN SIGHT (2016) – Season 1 – ITV ENCORE

This is a very compelling 1950s set drama which tells the story of heinous Scottish serial-killer Peter Manuel. It benefits from an exceptionally good performance from Martin Compston as the devious killer; and also by Douglas Henshall as the Detective trying to catch him. Overall, a good drama which had me gripped throughout. (Mark: 8 out of 11)

JEKYLL & HYDE (2015) – Season 1 – ITV ENCORE

I really enjoyed this updating of the old Robert Louis Stevenson monster classic. Created by Charlie Higson it was over-the-top and frankly loopy at times with some occasional bad acting thrown in. In going for a 1930s-period-Bond-meets-Dr-Who-meets-Hammer-horror-mash-up it wasn’t always successful but overall it was fun entertainment.  The cast all seemed like they were having fun and Amelia Bullimore, Enzo Cilenti, Natasha O’Keeffe, Richard E Grant were standouts while Tom Bateman was okay in the lead monster/man dual role. It’s just a damned shame the show got cancelled on a bloody suspenseful cliff-hanger. (Mark: 7.5 out of 11)

LUCAN (2013) – Season 1 – ITV ENCORE

ITV love a “true” story or crime stories based on real events and at the forefront of many of those are the excellent writer Jeff Pope. As Head of Factual Drama at ITV he has written and produced many fine TV programmes and this biopic of the infamous “Lucky” Lord Lucan case is also very good.  Rory Kinnear is an impressive brooding presence as Lucan and Catherine McCormack also excels as his abused wife. We may never know what happened to Lucan but this drama attempts to shed some light on the ill-fated events from 1970s British society. (Mark: 7.5 out of 11)

MRS BIGGS (2012) – Season 1 – ITV ENCORE

Another narrative based on true events focusses on the 1960s Great Train Robbery and its aftermath from the perspective of Ronnie Biggs’ wife Charmian. Sheridan Smith is astounding as the long-suffering wife partner of Daniel Mays’ Ronnie. The acting all-round and writing are excellent as we find Charmian essentially falling big for the wrong guy. Her determination and commitment to Biggs was incredibly naïve yet admirable as she carried herself and her kids to Australia and Brazil in order to keep the family together. At no time does it glamorise the crimes as Smith and Mays prove an unlikely but testament to the power of love and the lengths one may go to because of it. (Mark: 9 out of 11)

SAFE HOUSE (2012) – Season 1 – NETFLIX

Christopher Eccleston, who is always reliable, stars as a retired cop who employs his Lake District property as a “safe house” for witness protection. The vistas are beautiful and the suspense is often palpable in this well written drama by Michael Crompton.  Paterson Joseph provides excellent support as Eccleston’s former boss but the highlight of the show is under-rated British actor Peter Ferdinando, who portrays an obsessive criminal with sinister verve and pathos. (Mark: 7.5 out of 11)

SHETLAND (2013) – Season 1 – NETFLIX

Another detective show starring the impressive Scottish actor Douglas Henshall. This one feels old-fashioned but the stark contemporary Scottish settings work in its favour and interestingly enough it is an ITV produced show FOR the BBC.  The characters are believable and Henshall’s police team are down-to-earth and likeable. Overall, the writing is pretty good with some gripping storylines while the slower pace adds to the drama and atmosphere. (Mark: 7.5 out of 11)

THE WIDOWER (2014) – Season 1 – NETFLIX

Reece Shearsmith stars again but as a weird sociopathic wife-murderer based on a real-life case. His modus operandi was to finagle himself deceitfully into women’s lives and then use their wealth to clear his debts. Sheridan Smith pops up in the first episode but Shearsmith’s Malcolm Webster later moves abroad to New Zealand to prey on other victims. Webster is an everyday monster and his actions defy belief that there would be someone so heinous; and Shearsmith gives a chilling performance. (Mark: 8 out of 11)

Cinema, New Releases, Reviews

CINEMA REVIEW: LADY MACBETH (2016)

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CINEMA REVIEW: LADY MACBETH (2016)

DIRECTOR:  William Oldroyd

WRITER:      Alice Birch, adapted from Lady Macbeth of the Mtsensk by Nikolai Leskov

CAST:           Florence Pugh, Cosmo Jarvis, Naomi Ackie, Paul Hilton

**MAY CONTAIN SPOILERS**

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Are there great films announced as classics or loved by critics which you do not like? That isn’t to say they aren’t great films but subjectively you just don’t enjoy them? I guess the biggest ones for me are probably Mulholland Drive (2001) and Close Encounters of the Third Kind (1977). I love the work of Spielberg and Lynch mostly but just do not enjoy these critically acclaimed films at all.

Similarly, a brilliantly made low-budget-period-horror from last year called The Witch (2016) got huge plaudits and the filmmaker Robert Eggers deserved much praise for his atmospheric direction. However, I found it a tremendous bore. As for the box office smash Blair Witch Project (1999); don’t get me started on that over-rated genius-marketing-over-quality-cinema-trash.

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Anyway, how is this ranting connected to my viewing of the grim and pretentious Lady Macbeth (2016)? Well, it’s a film that critics are no doubt going to enjoy for its subversive genre skewering of the traditional period drama. Moreover, the direction by William Oldroyd is stark and impressive, while the fearless Florence Pugh in the lead is clearly going to be an actress to watch in the future. However, it is an intellectual film with little humanity and is ultimately nihilistic in terms of entertainment.

The story is set in 1865 rural England up North against the backdrop of patriarchal dominance where women must and shall know their place. Pugh’s character Katherine is essentially sold into a loveless marriage and rather than play the dutiful wife she rebels viciously. Firstly, she drinks the Master’s house dry of the booze and then enters into an extremely erotic affair with one of the servants, portrayed with muscular naivety by Cosmo Jarvis.

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From then on the cycle of events descend to hellish depths. Murder and revenge are clearly hinted at in the film’s Shakespearean title as Katherine gives Lady Macbeth a run for her money in terms of evil plotting and fiendish acts.  Indeed, this expertly made film is a pure exercise in passionate hysteria featuring a spoilt and lustful lead character. While I love challenging cinema — especially by the likes of Nicolas Winding Refn, Michael Haneke and Lynn Ramsay — there remains an emotional vacuum in this narrative because I found it hard to care about anyone.

The most sympathetic character in my view was the brutalized maid Anna and perhaps the story would’ve been more interesting for me if told from her perspective? So while the film was beautifully shot and framed, I was quite often stumped by the characters’ motivations; especially by Katharine’s decisions at the end. I mean is she the kind of heroine feminism longs for? I doubt that because ultimately she is an evil human being and not a standard bearer for woman kind. Or is she?

Lady Macbeth undoubtedly makes valuable points in regard to the racist and sexist oppression of the time but it is very difficult to have empathy for a lead character who has had a severe personality by-pass.  A far better representation of female empowerment against dominant patriarchy is Park Chan-Wook’s brilliant film The Handmaiden (2016). So, while this film is likely to be on a lot of critics’ “Best films of 2017” lists, I found it overall a pretentious bore.

(Mark: 5.5 out of 11 for the film)
(Mark: 9 out of 11 for Florence Pugh)

Cinema, New Releases, Reviews

CINEMA REVIEW: THE HANDMAIDEN (2016)

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THE HANDMAIDEN (2016)

DIRECTOR:  Park Chan-Wook

WRITERS: Park Chan-Wook, Chung Seo-kyung (from the novel Fingersmith by Sarah Waters)

CAST:  Kim Min-hee, Kim Tae-ri, Ha Jung-woo, Cho Jin-woong

**MAY CONTAIN SPOILERS**

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You may be too young to know or too old to remember but Channel 4 in the 1980s used to have an eclectic choice of arty independent and World Cinema films.  Now you get a few on Film Four but Channel 4 was a main outlet for interesting cinema not shown on the BBC or ITV channels. Channel 4 also used to, for a short period between 1986 and 1987 have a ‘Red Triangle’ on certain films to advise of sexual scenes and material that may be considered controversial. Not surprisingly the films with a ‘Red Triangle’ guaranteed nudity and erotic scenes causing audience figures to actually rise. After some moaning from the likes of Mary Whitehouse – a right-wing puritanical harpy who was a self-appointed anti-everything woman – the ‘Red Triangle’ was vanquished by Channel 4, but not before gaining notoriety and publicity.

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As a teenager I used to look forward to the more risqué content on Channel 4 as the Internet was at the virgin stage and yet to be invented; so titillation was often confined to late night films on a Friday night. Flash forward thirty years and because I’m more mature and it’s very easy to access pornography online I’m not a big fan of overtly sexual material in mainstream or independent features. Not sure why but I prefer subtlety and suggestion over all-out copulation. In Park Chan-Wook’s majestic erotic con-artist thriller there are some wonderfully subtle erotic scenes which raise the blood pressure and enhance the characterisation. There is also some serious scissoring between the two female leads going on too which in my view pushes the boundaries between eroticism, controversy and exploitation. However, this is the line Chan-Wook has always skipped along in classic films such as: Old Boy (2003), Sympathy for Mr Vengeance (2002), and Thirst (2009).

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The Handmaiden is set in 1930’s Korea amidst the backdrop of the Japanese occupation and the cultural differences between the two nations are expertly drawn and examined in the story. Class differences are also highlighted in a rich text which finds Sook-hee seconded to look after the neurotic Lady Izumi Hideko, who is a ward and being groomed for marriage by her controlling Uncle Kouzuki. I will not give any further of the plot away but safe to say it is an incredibly complex narrative structured into three parts which overlap different perspectives within flashbacks and contrasting character voiceovers and angles.  Did I enjoy it? Absolutely, this is a beautifully shot period masterpiece which I took great pleasure in viewing. In my view the running time was arguably over-long and a couple of the more overt sex scenes could have been trimmed. Nonetheless, the film had me gripped throughout.

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Park Chan-Wook directed a gem of a noir thriller called Stoker (2013) for his first Hollywood film, but here is a bigger-budgeted and thematically richer cinema affair. It takes a complex con-artist-twisting-plot and imbues it with an erotically charged and explicit feminist love story which finds sharp-witted female characters overcoming the dominant and deviant patriarchal beast. Moreover, Chan Wook’s screenplay is a masterful adaptation of the original novel, the wonderfully titled Fingersmith, by Sarah Waters. Like the Coen Brothers, Quentin Tarantino, Martin Scorcese, Christopher Nolan, Jacques Audiard, Michael Haneke to name a few, Chan-Wook’s work is always a must-see-at-the-cinema-event and you don’t need a ‘Red Triangle’ to ensure you watch it.

 (Mark: 9 out of 11)

Articles, Reviews

TV REVIEW: LEGION (2017)

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TV REVIEW: LEGION (2017) – SEASON 1

DIRECTOR(S): Noah Hawley, Michael Uppendahl, Larysa Kondracki, Tim Mielants, Hiro Murai, Dennie Gordon

WRITER(S):  Noah Hawley, Peter Calloway, Nathaniel Halpern, Jennifer Yale  – based on Marvel’s Legion created by Chris Claremont & Bill Seinkiewicz

CAST:  Dan Stevens, Aubrey Plaza, Rachel Keller, Jean Smart, Jeremie Harris, Jemaine Clement, Bill Irwin

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**REVIEW CONTAINS SPOILERS**

Noah Hawley is a postmodern auteur par excellence. He takes established genre output and influences from film, television and literature, before translating them through his creative persona to breathe paradoxical original life into his productions. For example, he actually had the creative courage to take one of my favourite films Fargo (1996) and turn it into a brilliant and quirky television series. Similarly he has done the same with Marvel’s comic-book-X-Men-based-anti-hero Legion.

Of course the superhero/heroine genre has become massive business at the box office. I loved Nolan’s Batman trilogy and personally am also a big Marvel and Avengers fan, believing the Captain America trilogy to be representative of the height of the genre model. Meanwhile, the X-Men franchise also has some fine entries too notably X-Men: First Class (2011) and Days of Future Past (2014); and Netflix’s Daredevil (2015) has also given us two seasons of gritty and energetic delight too. Yet arguably some of the more intriguing Marvel adaptations have been the lesser known products such as: Ant Man (2015), Doctor Strange (2016) and the effervescent Guardians of the Galaxy (2014). Now, FX’s sensational television series Legion (2017) proves to be the most mind-boggling and consistently brilliant of the lot.

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It features a talented ensemble cast led by the intensely brilliant Dan Stevens portraying a mentally disturbed young man called David Haller. The pilot episode’s opening sequence establishes his issues from a young age through teenage-hood right through to the now as he finds himself in a psychiatric hospital being treated for schizophrenia. Patients he connects with mostly are Aubrey Plaza’s eccentric and wild Lenny Busker and the more sensitive Sydney Barrett (Rachel Keller). Syd cannot stand to be touched – a character quirk which is soon to be revealed more than a phobia – yet her and David fall for each other. This romance propels one facet of the multi-stranded narrative; at the same time providing the story with much empathy and heart.

The main thrust of the narrative though is totally cerebral. While David finds himself in the middle of a war between mutants and the shady government agency called Division Three, we essentially spend many of the episodes in David’s troubled mind. There events unfold in a whirling cavalcade of images, characters and monsters all battling for supremacy of his brain. At times I could not work out what was happening yet I felt compelled, like last year’s HBO production Westworld (2016), to persist and the rewards and payoffs in the final episodes are indeed legion. Because the show, no doubt propelled by Hawley’s creativity and the original source material, is brimming with stunning ideas and visuals that literally burst out of the screen.

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The cast are incredible. Dan Stevens cements himself as one of the best emerging actors and he is destined for stardom in my view. Aubrey Plaza, who was great at laconic sarcasm in Parks and Revelations is wildly over-the-top and entertaining in her devious role; while Rachel Keller is the polar opposite: doe-eyes cute, vulnerable but with steely determination to protect David. My favourite supporting character was Flight of the Conchords’ comedian Jemaine Clement as a far-out scientist lost to the astral plane. His delivery and deportment just made me laugh out loud amidst the madness on show.

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This is as imaginative and original take on the superhero/mutant/X-Men genre you are going to find. Many people lost their shit over Logan (2017) but that is pedestrian compared to Legion. It also very cleverly melds themes relating to: mutation, special powers, telekinesis, split-personality, disassociation and schizophrenia expertly while wearing its’ influences neatly on its sleeves. Indeed, if you’re a fan of One Flew over the Cuckoo’s Nest (1975), I’m a Cyborg But That’s Okay (2005), Clockwork Orange (1971), Eternal Sunshine of the Spotless Mind (2004) , Inception (2010) and the work of David Lynch, then you’ll love Noah Hawley’s masterful Marvel adaptation.

(Mark: 9.5 out of 11)

 

 

 

Cinema, New Releases, Reviews

MOVIE REVIEW – RAW (2016)

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MOVIE REVIEW – RAW  (2016) 

 TITLE:  RAW  (2016)

DIRECTOR/SCREENPLAY: Julia Ducorneau

CAST:  Garance Marillier, Laurent Lucas, Rabah Naït Oufella, Ella Rumpf

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Often you watch films and think it’s not a great movie but such is the intriguing premise or themes, it could make a fascinating essay. With Raw, however, it’s both a bloody good coming-of-age-gory-horror-story and has a number of thematically powerful messages that makes you think too. Indeed, in this film meat is definitely murder.

It begins with innocent-goody-two-shoes-veggie-star-student entering her first week at Veterinary college. With it being the first week she is subject to the more experienced student practical jokes and initiation ceremonies; all amidst hedonistic sex and drug parties reminiscent of something from the fall of the Roman Empire.

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Not surprisingly this is a very sexual, animalistic and instinctive film dealing as it does with beasts both human, canine and equine. The lead actress Marillier is a prominent force throughout as her journey follows a carnal, chemical and gory path. Ducorneau, the director, gets a great performance from this young talent as her character transforms from angel to devil without the loss of audience empathy.

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This is both an entertaining contemporary horror film and a very intelligent one. It works on so many different levels with themes covered including: veganism, peer pressure, initiation, fitting in, animal cruelty, sexuality. lesbianism, homosexuality, animalism, sisterhood, hedonism, nature versus nurture, cannibalism, family etc.  It crosses genres effortlessly and has one of the greatest and disgusting scenes I have had the pleasure to see for some time.   (Mark: 9 out of 11)