Category Archives: Reviews

Cinema, Essays and Theory, Reviews

WHAT IS LOVE? VALENTINES’ MOVIE REVIEW SPECIAL

February 13, 2017 Paul. Writer and Filmmaker 8 Comments

WHAT IS LOVE?

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

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

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

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

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

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

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

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

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

**MAY CONTAIN SPOILERS**

45 YEARS (2015) – NETFLIX

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

BLACK MIRROR (S3) – SAN JUNIPERO – NETFLIX

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

BLUE JAY (2016) – NETFLIX

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

BLUE IS THE WARMEST COLOUR (2013) – FILM FOUR

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

BROOKLYN (2015) – NETFLIX

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

JACKIE (2016) – CINEMA

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

LA LA LAND (2016) – CINEMA

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

My original review can be found here:

THE LOBSTER (2015) – NETFLIX

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

LOVE ACTUALLY (2003) – DVD

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

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PASSENGERS (2016) – CINEMA

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

Cinema, Reviews

THE GIRL WITH ALL THE GIFTS (2016) FILM REVIEW

February 3, 2017 Paul. Writer and Filmmaker Leave a comment

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

**CONTAINS SPOILERS**

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

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

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

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

Cinema, Reviews

WAR AS HEAVEN AND HELL! HACKSAW RIDGE (2016) REVIEW

January 31, 2017 Paul. Writer and Filmmaker 2 Comments

WAR AS HEAVEN AND HELL! HACKSAW RIDGE (2016) REVIEW

**CONTAINS SPOILERS**

What is it with Andrew Garfield and his battles with the Japanese, armed only with his faith? In a thematic replica of the compelling drama, Silence (2016), Garfield leads the cast of Hacksaw Ridge (2016) by portraying 7^th Day Adventist, Desmond Doss, who while compelled to serve his country during World War II, declines, on principle to pick up a rifle and kill. He wants to save lives not end them. Now, I, as a screenwriter feel this is a fantastic base for drama and suspense; and so it turns out to be, in a rip-roaring, inspirational, bloody and heroic war film.

Hacksaw Ridge is classic Hollywood filmmaking par excellence. Andrew Garfield’s Doss is a humble everyman we can all root for as he contends with a drunken father, and then with army training as colleagues and superiors fail to recognise his religious stance. In the final lengthy battle scenes he then faces the Japanese, along with his unit, as they clamber the eponymous Hacksaw Ridge in an attempt to gain control of Okinawa. This is where the action really takes off as the gruesome war scenes create an astounding flurry of bombs, shots, bullets-on-tin-and-bone and whooshing flame-throwers searing the skin of men. All produced by both sides apart from Doss who, incredibly without a rifle, saves many, many lives.

Mel Gibson the storyteller doesn’t do grey areas in his narratives. Black is black; white is white; good is good and the Japanese are just plain bad. Indeed, this film reminded me of the good old-fashioned war epics of yesteryear such as Howard Hawks’ Sergeant York (1941) starring Gary Cooper. Moreover, the brilliant constructed action sequences echoed the kinetic majesty and orgiastic bloodbaths of Saving Private Ryan (1998); as well as the director’s own work in Braveheart (1995).

Andrew Garfield inhabits the character of Doss perfectly exuding a homespun goodness and religious core which at no time feels sappy. He is ably supported by an excellent cast including: Hugo Weaving, Sam Worthington, Rachel Griffiths, Luke Bracey and scene-stealer Vince Vaughan. While the characters are essentially binary archetypes, the film stands ultimately as a formidable war film with suspense elements. Because we care so much about Doss, the tension is incredible during many nerve-jangling moments; and especially when he’s in the rat-infested Japanese tunnels.

Given Mel Gibson’s controversial history especially when it comes to alcohol-related domestic fights, rants and convictions, he is no doubt looked at suspiciously by the public and filmmaking community. Thus, it meant he would have to produce something special to redeem his reputation in Hollywood; so a Best Oscar Director nomination aids his comeback. Yet, while this film does not represent total redemption for Gibson personally, he once again proves his value as a worthy movie-maker. Overall, via Doss’ heroics, Gibson, his writers, cast and crew demonstrate that war is hell but with such acts of compassion for humanity, Doss showed, it can represent a fragment of heaven too.

Cinema, Reviews

A LOVELY NIGHT IN THE SUN: LA LA LAND (2016) REVIEWED

January 27, 2017 Paul. Writer and Filmmaker 5 Comments

LA LA LAND (2016) FILM REVIEW

**SPOILER ALERT!**

In light of the FOURTEEN Oscar nominations from the Academy who am I to go against the tide of musical loveliness that is La La Land. Indeed, while I dislike all kinds of award ceremonies per se it does deserve most of the accolades coming its way. Because as the Trump puppet rears his huge, ugly head in the United States and Brexit looms large in the UK we all need something feel-good and nostalgic to lift us; especially amidst the bitter cold of winter.

Damian Chazelle, who wrote and directed the exceptional drama Whiplash (2014), has sculpted a sunny post-modern musical which soars throughout paying tribute to both Los Angeles and Hollywood. The movie stars Ryan Gosling as an uncompromising jazz pianist and Emma Stone as a sensitive, budding actress who meet in a contemporary yet somehow old-fashioned vision of LA; where magic and love are in the air and the potentialities of dreams are a palpable force.

Stone and Gosling are a stunning couple and while Chazelle’s leads may not have the strongest voices they serve the songs exceptionally well with an ordinary wonder. The chemistry between the two sparkles as the story entwines their characters within a “follow your dream” narrative. Arguably there could’ve been slightly more differences between the two than the “I hate jazz” tension; but as in the romantic comedy Crazy, Stupid, Love (2011), Stone and Gosling sail through the film with confidence and profound likeability.

Chazelle throws everything at the story employing jazz, 80s pop, old band numbers, R and B, and ballads. Moreover, all manner of parody, pastiche and cinematic devices are employed to echo the classic Hollywood musicals of yesteryear; the formidable work of Jacques Demy; plus the more modern pop promos of recent times. The opening Another Day of Sun traffic sequence is a real showstopper as Fame-like dancing and singing on motors in an LA highway jam brilliantly establishes the hyper-real and fantastical elements to come.

It seems obvious to say that the music in La La Land is to the fore, but Chazelle and the ultra-talented composer Justin Hurwitz commit a verve and soul to the songs and direction. Clearly the characters and lyrics reflect their own personal emotions, dreams and desire to escape everyday existence. While much of the film skims a stylish surface of colour and verve, numbers such as City of Stars and The Fools Who Dream really touch the heartstrings and draw out the internal emotions of the characters.

It’s hard to criticize such a funny, feel-good movie and as a musical it is probably a masterpiece, however, while the love story served the musical structure really well, I felt that, compared to say Funny Girl (1968), Grease (1977) and Half-A-Sixpence (1967) it arguably lacked a bit of dramatic tension. Indeed, the break-up itself was under-baked and latterly covered by a have-your-cake-and-eat-it “what could have been” fantasy flashback. Yet, this is a minor critique of an incredibly well realised escapist joy.

So, roll on the Oscars where the film will almost certainly win best film and direction, plus accolades, no doubt, for the musical and technical achievements. The wonderful Ryan Gosling and Emma Stone are certain to be in the fray too. However, while I have seen other more dramatically impactful films such as: Arrival (2016), Manchester by the Sea (2016) and Silence (2016) (not even nominated!!), this remains one terrific musical that will lift the spirits even on the darkest day.

Articles, Cinema, Reviews, Six of the Best

SIX OF THE BEST #4 – FILMS TO AVOID WHILE EATING

January 25, 2017 Paul. Writer and Filmmaker 9 Comments

SIX OF THE BEST #4 – FILMS TO AVOID WHILE EATING

My blog strand of collating six of the best of something or other continues with a breeze through a series of disgusting, vile and horrific movies that it’s best not to watch while eating.

**CONTAINS SPOILERS & DISGUSTING IMAGES**

BRAINDEAD (1992)

Peter Jackson’s monstrous rom-zom-gore-fest is an utter joy from start to finish. A rabid monkey bite sets in motion a series of flesh-eating zombie attacks as carnage ensues with lawnmowers, death, intestines, blood and dog-eating mothers in 1950s New Zealand.

EVIL DEAD (1981)

Sam Raimi’s debut feature is a low-budget horror treat. But be warned as Ash Williams (Bruce Campbell) battles his friends and girlfriend — who all become demons — the bloodletting, decapitations and violent deaths are enough to put you off your pudding.

THE HUMAN CENTIPEDE (2010)

We all like to connect with people socially but this film takes the cake. Watch and learn as an insane German scientist stitches two American tourists and a random Japanese bloke together. Both grim and hilarious at the same time and gives a whole new meaning to the phrase, “Eat shit and die!”

ICHI THE KILLER (2001)

The site of a man cutting off his own tongue is enough to have you reaching for the remote; as Takashi Miike’s off-the-wall-manga-gangster-mash-up really tests the boundaries of taste. My favourite image is a sliced face slamming and sliding down the wall following one particularly offensive fight scene.

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RATS (2016)

Morgan Spurlock’s brutal documentary takes us on a whistle-stop tour of the globe visiting New York, Reading, Rajasthan, Cambodia and so on. Amidst the rat-catching, baiting and butchering we are also witness to scientific examination of rats. Most disgustingly the eating of rodents in Vietnam is considered a delicacy. Gross!

TRAINSPOTTING (1996)

While Irvine Welsh’s classic novel was a dark, violent, black-humoured yet grim portrayal of heroin addiction in Edinburgh; Danny Boyle’s adaptation entertainingly presents it as a fast-paced-rock-and-rolling-drug-lifestyle-sketch-show! Nevertheless, with scenes that involve: the dirtiest toilet in Scotland; Tommy’s toxoplasmosis squat death; and Spud’s shit being flung across the breakfast table, make this one to avoid while tucking into a Friday night curry with your partner.

Reviews, Television

HOW’S YOUR CATHOLIC GUILT? THE YOUNG POPE REVIEW (2016)

January 21, 2017 Paul. Writer and Filmmaker 6 Comments

**HOW’S YOUR CATHOLIC GUILT? REVIEWING THE YOUNG POPE (2016)**

**CONTAINS SPOILERS**

Having recently reviewed Martin Scorcese’s Silence (2016) I thought it apt to follow it up by looking at a more contemporary vision of religion and faith with a review of Paulo Sorrentino’s HBO produced The Young Pope. Created, co-written and directed by uber-Italian-auteur Sorrentino it stars the impressive Jude Law as the eponymous lead protagonist. Law’s Lenny Belardo, rather than the crusty-almost-dead-looking-Popes we’re used to seeing behind bulletproof glass or delivering sermons from the Vatican, is in fact a younger, muscular and even sexy Pope.

Now, while I respect an individual’s right to believe what they want to, be it the teachings of Christ or Mohammed or Obi Wan Kenobi for that matter, I’m not a great fan of ‘Organized Religion.’ Indeed, ‘Organized Religion’ must be up there, along with global governments, Hitler, Spanish flu, and bubonic plague, as the main cause of wars, death and the suffering of millions. More specifically, Catholicism and its representatives have been at the forefront of negative events down the years including the Medieval Witch Hunts; Spanish Inquisitions; the tragedy of the ‘Fallen Women’ in 1920s-1950s Ireland; general acquiring of huge wealth while followers live in poverty; anti-gay and Pro-life ideologies; and as most recently seen in the film Spotlight (2015), a worldwide cover-up of paedophilia by Catholic priests. So how does Sorrentino approach such issues?

Well, his creative team’s approach to the material is not one of demonization but rather playful satire, wistful respect and a formidable testing of the Vatican as an institution. His desire it not to bring down the Catholic Church but rather purge the old and modernize its way of thinking and how it represents itself. It’s a testament to the strength of the writing that it held my interest throughout and this was essentially down to the incredible characterisation and performances from Jude Law, Diane Keaton, James Cromwell and incomparable Sivio Orlando as the devious but ultimately soft-hearted-Napoli-fan Cardinal Voiello.

Over ten episodes of high quality dramatic analysis Sorrentino presents many of the issues facing the Catholic church now including: the paedophilia cases charged; the sexual behaviour, addictions and sins of Priests; the financial and political machinations of the Vatican; the importance of public relations and marketing the Vatican; and of course the very nature of faith and what it means to be a Catholic. These are indeed heavy subjects yet while serious like Scorcese’s Silence, The Young Pope contains some wry and delicate humour too. I mean ten episodes of a Vatican-based comedy it isn’t, but Paulo Sorrentino’s skewed look shows the priests and nuns, not as higher beings but rather flawed humans like the rest of us.

None are presented as more human than the lead character Lenny Belardo. Jude Law’s character is a surly, sarcastic and snappy dude from the start. He smokes and shows little respect for the elder priests, led by Cardinal Voiello and his prior mentor, Cardinal Spencer (James Cromwell) who are as surprised as him that he somehow won the Papacy due to an advantageous split in the votes. Belardo vows to break the “old boys” network and spends much of the season locking heads with Voiello and Spencer in a bitter series of power plays. This young Pope does not suffer fools and refuses to be seen in public and reneges on his public relations duties. He even at times “jokes” about not believing in God; while his first speech delivered in silhouette is an unmitigated PR disaster.

Yet, at Belardo’s heart is a dark sadness due to his abandonment by his hippy parents, who while a young boy, dumped him at an orphanage run by Sister Mary (Keaton). Keaton portrays the surrogate Mother to Lenny and his best pal, Cardinal Dussolier (Scott Shepherd) as she supports him admirably during his papal duties. We see Belardo battle his elders, his faith, his anger, loneliness and sexual temptations which are put before him; all as he finds his voice as the Pope. It is a fascinating journey which really pulls you into the Pope’s internal and external strife.

Overall, this was a heavy yet rewarding series to watch. The scenery and imagery on show dazzle as Sorrentino and his cinematographer conjure some startling holy visions and beautiful architectural compositions. The writing is also of the highest quality with some magnificently lofty, pious and poetic speeches throughout. Being very clever Sorrentino both pokes a teasing stick at the Vatican but also praises the Lord in his own inimitable way, creating several fascinating characters in the process. Jude Law has never ever been better in a show which while initially testing rewards those who keep the faith.

Cinema, Essays and Theory, Reviews

SILENCE (2016): REVIEWED BY A RELIGIOUS OUTSIDER

January 17, 2017 Paul. Writer and Filmmaker 4 Comments

SILENCE (2016): REVIEWED BY PAUL LAIGHT

Rather than review every single thing I have seen in one monthly instalment I have decided to theme my reviews concentrating on quality rather than quantity in 2017. So, here I go with a light essay on the nature of the existence of God, the relevance of religion in today’s world and at the same time give my humble opinions on Martin Scorcese’s passion project Silence (2016).

In my mind I do not believe in God. I do not believe in a higher-power that created Earth and oversees our everyday lives. I believe Jesus, Buddha and Mohammed existed in some form or another in the past and their philosophies and teachings laid the groundwork for Christianity, Islam and Buddhism; plus many of the other religions that are followed today. Personally, I believe in all that I see and hear and experience in life and while I respect other people’s faith, commitment to an all-powerful being is not for me. Each to their own I reckon.

A belief in Heaven and God certainly explains many things such as why are we here? And what happens when we die? Because let’s face it the threat of a never-ending abyss of no consciousness is a terrifying thought after all. I mean, I lived and studied in Stoke-on-Trent for three years so have seen the void and it is frightening. So, I get that people need some comfort and answers to difficult questions. It’s just a shame that religion, organized or otherwise, has been used historically for not only good but also something that has caused: torture, war, murder, inquisitions, control, heartache and division etc. But, hey, that’s more of a critique of humanity rather than faith.

Thus, while I respect individual’s choice of faith or politics or ideology, religion and prayers are not for me. Having said that, I’m not a fundamental atheist looking to attack those believers and when reputed filmmakers such as Martin Scorcese embark on personal journeys into their own faith it certainly makes one have a look and reconsider your own perspectives. Indeed, Silence features a lead character which clearly acts as Scorcese’s personal conduit as Rodrigues journeys into the heart of darkness and faces a horrific test of faith.

Like The Last Temptation of Christ (1988) and Kundun (1997), Martin Scorcese is no stranger to broaching heavy and powerful subjects relating to religion. Of course, it’s easy to say I prefer his stylised, violent and darkly humorous gangster films as they are eminently watchable with kinetic camerawork, great soundtracks and brutal men taking each other out in all manner of bloody ways. Having said that these films still ring true to Scorcese as he grew up in a tough Italian neighbourhood where more often than not the choice was to become a gangster or a priest. What a choice!

Silence is set as far away from New York as you could get: in 17^th century feudal Japan. It concerns two priests Rodrigues and Garupe (brilliant portrayed by Andrew Garfield and Adam Driver) who venture into the heart of darkness to attempt to find their mentor, Father Ferreira (Liam Neeson). It is a long film which requires much stamina in both heart and mind and at times certainly tested my faith in the director. However, after it had ended it left me with so much to think about I knew it was worth the journey. It’s a story that you absorb through your psyche and physicality. It does not strike any easy notes as it discordantly pulls at your cerebral sinews.

The first act quickly establishes the drama but I felt that the second thirty minutes was arguably too slow as I was very keen for the quest to find Ferreira gain some pace. Yet, when the film focusses on Andrew Garfield’s character and the testing of his faith Scorcese really got to the heart of the narrative. Moreover, there was much in the film which reflected today. The priests are captured, humiliated and tortured in a Japanese equivalent of Guantanamo Bay. But the Japanese were not stereotypical or evil for evil’s sake. Their motivations of protecting their culture and own religion were well argued. In fact, it’s an important theme in the film where, in testing Rodrigues’ faith, are they not perhaps right to protect their way of life? Especially given they may have some knowledge of the violence committed by Westerners and Christians in the name of God.

Overall, Silence is a reflective and personal film about faith and culture clashes. Over the running time Scorcese, through the characters, questions his beliefs and how he should best go about praising the Lord. Scorcese’s soul is in many characters notably Rodrigues but also Neeson’s Ferreira. Most importantly he is also present in a fascinating sin-confess-repent-Judas character called Kichijiro (Yōsuke Kubozuka). While moving at a meditative pace Silence possesses some wonderful cinematography, sterling performances and a brooding score. Ultimately, faith is a personal choice and whether you believe in God or not an individual must choose their own path of faith even if it is silence.

Comedy, Reviews, South Park

THE FRACTURED BUT TROLL! – SOUTH PARK – SEASON 20 REVIEW

January 10, 2017 Paul. Writer and Filmmaker 1 Comment

THE FRACTURED BUT TROLL! SOUTH PARK – SEASON 20 REVIEW

The latest season of South Park ended mid-December time and so I’m a bit tardy with the review. This is mainly because I decided to watch all ten episodes back-to-back over the Christmas holidays, and in some ways, this was a mistake. I say this because I think sometimes as viewers we have to take some criticism too. In hindsight I definitely should NOT have binge-watched this season as it was so complex and plot-heavy with many themes and interlinking plot strands. In fact, similarly to the more satisfactory Season 19, this season transcended the usual mix of puerile and satirical comedy it’s known for, to become something much more.

**SCREW YOU GUYS – THERE ARE SPOILERS!”

TAKING PRESIDENTS!

Over ten episodes South Park once again became a huge mirror that reflected many of the events occurring in the USA and the world in general. The biggest event was of course, the Presidential elections which saw Mr Garrison and Caitlyn Jenner representing the Trump/Republican side and Hilary Clinton, of course, representing the Democrats. Amusingly they were referred to as Douche and Turd Sandwich respectively; calling back the classic episode where Stan is banished for refusing to vote.

Garrison soon realises he’s made a terrible mistake in running as he has NO policies and tries to extricate himself from the race. Thus, much of the comedy deriving from this narrative strand was brilliant and made me laugh throughout the season; especially during the episode Oh Jeez when Garrison won and went into full Trump mode. By the end of the season he’s shown to be a complete buffoon open to manipulation by Mr Slave and Kyle Broflovski when it comes down to the bombing of Denmark. But, hey, that’s a whole different story!

A TROLL IN THE PARK

The second major narrative line in this season was Gerald Broflovski (Kyle’s Dad) being revealed as an uber-Troll online called Skankhunt42. He begins by trolling his son’s school before moving onto cultural icons and then the whole of Denmark itself. Gerald, who usually represents the liberal side of the show, is seen becoming a vicious sneak who enjoys bullying for the humour. However, being the intellectual hypocrite he distances himself from the nerdy-no-life-outcasts he ultimately gets lumped in with.

Gerald’s actions eventually spiral totally out of control by the end and, while South Park itself has been a massive critic of celebrities and government figures in the past, it is quite justified in lampooning the cowardice of online trolls. These sad individuals hide under the bridges of social media feeding their tethered egos and weak personalities for the benefit of either humour, revenge or to obtain some idea of power.

In the episode The Damned, Gerald is literally pissed on by his wife in order to extricate himself from being rumbled as an online troll. That online bullies are shown to be mainly shut-in losers as opposed to Jocks, demonstrate that bullying can be done by anyone and needs to be pissed on from a great height. Lastly, the monstrous rise of Garrison to power also highlights the fact that hair-brained Trump has become the biggest troll in the world.

ANTI-SOCIAL MEDIA

The theme of hyperbolic social media behaviour was supported by the further strand of South Park Elementary School students committing “suicide” by leaving Twitter. A character named Heidi is even mourned by her class during the episode Skankhunt even though she is actually in the class! Also, believing Cartman to be the troll ‘Skankhunt’ the kids gang up and ‘kill’ his electronic devices, burying them in an Evil-Dead-Cabin-in-the-Woods-horror-film-homage. The internet and social media is therefore cast as an extension of the playground; with kids and adults giving their social media live’s more importance than real life and move away from actual intimacy and human contact.

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Consequently, Cartman himself goes the other way and falls in love with Heidi and their relationship is quite touching over course of the season. It’s especially funny as it plays with the audience’s expectations and the other kids think it’s all part of some Cartman uber-plan. Indeed, Cartman’s arc in this season is interesting as it seems they tried to make him more sympathetic. At first his feminist leanings are part of some scheme to undermine the girls’ sit-down protests during the opening Member-Berries episode. But eventually it turns out he does find Amy Schumer’s “vagina” comedy actually funny. Alas, the storyline kind of runs out of steam by the episode 9, Not Funny.

Gender politics and the boy-versus-girls dynamic further complicate the narrative when Butters leads a protest against the girls. Butters and the boys who have all been revenge-dumped by the girls because of ‘Skankhunt42’s vicious actions decide to protest too. So, they get their dicks out during the U.S. national anthem; which in itself satirized last year’s “sit-down” protests that occurred during U.S. college sporting events. I myself was not as educated about these particular occurrences but as usual Parker and Stone went to ridiculous lengths to demonstrate that however noble the cause, once everyone jumps on the bandwagon the protests become diluted and lose their power. Moreover, such stands against authority can also be wiped by a simple rewrite of history or rebooting for the future.

‘MEMBER WHEN. . .

Rebooting the present or future was yet another thematic present within this packed season. The “Member-berries” introduced in the first episode are a super-food which while innocent at the start become evil-humanized-nostalgia-fruit hell-bent on ensuring humanity lives in the past and doesn’t move on with any new ideas. Indeed, in the final episode The End of Serialization the “Member-berries” even end up in the White House. While not always convinced by these turn of events I can see the satirical point being made that living in the past remembering: Star Wars, Chewbacca, Tie-Fighters, Luke Skywalker, Indiana Jones, Flash Gordon, Superman, Reagan, the 80s, sugar from your neighbour, feeling safe, Stormtroopers etc. can be culturally dangerous and lead to the excavation of archaic politics hence the rise of Trump and the perceived right-wing Brexit vote.

Yet, nostalgia can also be a positive thing too and paradoxically I do at times hanker after the simpler, yet brilliantly effective South Park episodes which were perhaps more focussed and arguably funnier. But one cannot fault the programme makers for aiming higher than the usual shit you get on television. Plus, the “Member-berries” plot line did rightly put the boot into the ridiculous eulogizing of J.J. Abrams and The Force Awakens which definitely wasn’t as good as people made out. So, in that respect, the show made a very valid cultural point. But while going back can be a negative force it can also help us learn from our mistakes, however, given President-Trump’s about to enter the White House it seems humans just love making the same mistakes over and over again.

CONCLUSION. . . FRACTURED BUT NEARLY WHOLE!

While Season 19 became arguably the most coherent, incisive, funny and complex narrative out of all Trey Parker’s and Matt Stone’s previous work, Season 20 had a lot to live up to. However although the riotous narrative strands represented a major strength I don’t feel, overall, this season had as many gags or classic episodes. I would say that it worked best as an accomplished serialized conceptual satire with a few piss and dick jokes as opposed to the fast-paced-gag-filled-stand-alone-episode format of the earlier seasons. Still, while it may not have had many stand-out classic episodes, Season 20 was still a blast of wonderful filthy satire and due to the complex density of the storylines will no doubt improve with further viewings.

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As I have attested on this blog many times, South Park is the greatest comedy of all time and shows no sign of losing its comedic and satirical power. The bar was raised SO high by Season 19 that perhaps ambition to beat that was always going to be tough. Still, I still respect Trey Parker and Matt Stone’s multi-skilled “authoritah” in using the inhabitants of South Park to rip into the world, media, politics, culture and religion with hilarious effect.

My favouritest ever episodes up to Season 17 can be found here:

https://paulraylaight.wordpress.com/2013/10/28/respect-my-authoritah-my-favourite-17-south-park-episodes-ever/

Articles, Cinema, Reviews, Television

TOP TWELVE BESTEST FILMS AND TV SHOWS OF 2016

December 31, 2016 Paul. Writer and Filmmaker 4 Comments

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

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

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

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

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

ARRIVAL (2016)

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

BONE TOMAHAWK (2015)

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

CAPTAIN AMERICA 3: CIVIL WAR (2016)

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

DOCTOR STRANGE (2016)

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

THE HATEFUL EIGHT (2015)

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

MANCHESTER-BY-THE-SEA (2016)

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

MEN AND CHICKEN (2015)

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

THE NICE GUYS (2016)

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

RAW (2016)

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

THE REVENANT (2015)

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

ROGUE ONE: A STAR WARS STORY (2016)

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

ROOM (2015)

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

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

BETTER CALL SAUL (2016) – SEASON 2

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

BILLIONS (2016) – SEASON 1

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

DAREDEVIL (2016) – SEASON 2

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

FARGO (2015) – SEASON 2

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

GAME OF THRONES (2016) – SEASON 6

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

GOMORRAH (2016) – SEASON 2

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

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

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

MAKING A MURDERER (2015) – SEASON 1

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

PENNY DREADFUL (2016) – SEASON 3

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

SOUTH PARK (2016) – SEASON 20

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

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

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

WESTWORLD (2016) – SEASON 1

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

Cinema, Reviews, Television

SCREENWASH – DECEMBER 2016 – REVIEW ROUND-UP

December 24, 2016 Paul. Writer and Filmmaker Leave a comment

SCREENWASH – DECEMBER 2016 – FILM & TV REVIEW ROUND-UP

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

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

**MAY CONTAIN SPOILERS**

A PERFECT DAY (2015) – NETFLIX

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

BILLIONS (2016) – SKY ATLANTIC

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

BLUE VELVET (1986) – BFI CINEMA

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

CASE 39 (2009) – NETFLIX

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

FUNDAMENTALS OF CARING (2016) – NETFLIX

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

FUNNY GIRL (1968) – NETFLIX

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

JOY (2016) – SKY CINEMA

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

IP MAN 3 (2015) – NETFLIX

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

LES DOULOS (1963) – BFI CINEMA

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

MASCOTS (2015) – NETFLIX

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

MATCHSTICK MEN (2003) – SKY CINEMA

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

PUSH (2009) – NETFLIX

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

REMAINS OF THE DAY (1993) – MOVIE MIX

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

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

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

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SATURDAY NIGHT & SUNDAY MORNING (1960) – DVD

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

SECRET IN THEIR EYES (2015) – SKY CINEMA

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

SELF/LESS (2015) – SKY CINEMA

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

THE SIEGE OF JADOTVILLE (2016) – NETFLIX

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

SUGARLAND EXPRESS (1974) – FILM FOUR

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

SULLY (2016) – CINEMA

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

THE THIN BLUE LINE (1988) – NETFLIX

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

THE THREE AMIGOS (1986) – SKY CINEMA

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

WESTWORLD (2016) – HBO – SKY ATLANTIC

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

WHITE FANG (1991) – SKY CINEMA

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

WOLF HALL (2015) – NETFLIX

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

The Cinema Fix presents

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