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BBC TV REVIEW: INSIDE NO. 9 – SERIES 6: CONSISTENTLY DENYING ARTISTIC EXHAUSTION BY DELIVERING FURTHER TELEVISUAL GENIUS!

BBC TV REVIEW: INSIDE NO. 9 (2021) – SERIES 6

Created and written by: Steve Pemberton & Reece Shearsmith

Directors (Season 6): Matt Lipsey, Guillem Morales

Original Network: BBC (available on BBC Iplayer)

No. of Episodes: 6



I have written exhaustively about how brilliant this television programme is, so much so I don’t think I can add any further other than I believe it deserves regaling as TV national treasure. Just when you think Reece Shearsmith and Steve Pemberton could be running out of creative steam they prove you wrong with another superb series of Inside No. 9. If you are interested, here are prior articles I have written about it.

1) NINE REASONS WHY INSIDE NO. 9 IS ONE OF THE BEST TV SHOWS EVER! | The Cinema Fix presents:

2) BBC TV REVIEW – INSIDE NO. 9 (2020) – SEASON 5 – more hare-raising twists from geniuses Pemberton and Shearsmith! | The Cinema Fix presents:

However, to recap, if you have never seen Inside No. 9 I urge you to do so. It is an exceptional anthology series with six stand-alone episodes per series. Individual episodes feature a whole host of different characters and amazing actors each time led by the multi-talented Pemberton and Shearsmith. As per the prior seasons, the latest one is absolutely unforgettable. It again privileges tightly woven thirty-minute short narratives, which more often than not, feature a twist in the tale. Moreover, the events usually unfold in one location with rarely more than a handful of characters. This makes the narratives feel more focussed, intense and intimate. In series 6, there is even more growth within the anthology genre and much risk-taking where style and form are concerned.

So, here are my mini-reviews of each episode from Season 6 with marks out of nine (obviously).

*** BEWARE: POTENTIAL SPOILERS ***



EPISODE 1: WUTHERING HEIST

Main cast: Paterson Joseph, Gemma Whelan, Kevin Bishop, Reece Shearsmith, Steve Pemberton, Rosa Robson, Dino Kelly etc.

Not only are Pemberton and Shearsmith accomplished actors, writers and directors, they are also acutely aware how fans revel in their incredible work, devilishly mocking their own mythology and playing with audience expectations. They do this to dizzying impact in the puntastic opening episode, Wuthering Heist. Marrying elements from farce, crime, Commedia dell’arte and the plot of Reservoir Dogs (1992), the players wear masks, prat about and bleed over each other while attempting to pull off a diamond heist. Set in one location, a disused warehouse, Gemma Whelan is superb as the fourth-wall breaking narrator attempting to hold all the story innards together. Pretty soon though one realises that the flurry of puns, sight gags, plot contrivances and comical misunderstandings are intended as wondrous and silly fun. The lack of emotional depth is the joke here and the writers know this. Because Shearsmith and Pemberton’s script has a gag every four seconds, be it a sight jape or involve some sparky verbal dexterity. Lastly, not only do they know they are jumping the shark, but they revel in doing so during this hilarious meta-work.

Mark: 8 out of 9



EPISODE 2: SIMON SAYS

Cast: Reece Shearsmith, Steve Pemberton, Lindsay Duncan, Nick Mohammed

Among many of the recurring pleasures of watching Inside No. 9 is wondering what the number nine will refer to. It’s been a myriad of things including: a karaoke booth, a hotel room, a train sleeper car, a dressing room, a referee’s changing room, and even a shoe. In Simon Says it’s the name of a television epic called The Ninth Circle. This show is very similar to Game of Thrones in genre and scale, and likewise has a battalion of fans across the country who feel the final series undid the majesty of the prior seasons. The episode opens with immediate mystery as Steve Pemberton’s writer, Spencer, enters his flat with blood staining his clothes and conscience. Suddenly, Simon (Reece Shearsmith), is at the door saying he has evidence Spencer has committed a serious crime. Simon, a Ninth Circle uber-fan then blackmails Spencer into, among others things, rewriting the whole of the last season of The Ninth Circle into something more fan-friendly. Managing to be both funny and suspenseful in equal measures, Pemberton and Shearsmith’s characters play cat-and-mouse expertly, throwing in several big plot twists at the end of this compelling tale.

Mark: 8 out of 9


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EPISODE 3: LIP SERVICE

Cast: Sian Clifford, Steve Pemberton, Reece Shearsmith

I watch some television series and films and am often struck at how much time is wasted in setting up the protagonists and story. Similarly, in unnecessarily long TV series you get either eight or ten episodes full of padding in the middle which destabilizes the momentum of the story. Nothing of the sort occurs in Inside No. 9. Stories are set-up with stylish economy and the situations immediately grab you by the throat and rarely let go. In Lip Service, Steve Pemberton’s downtrodden Felix is holed up in a hotel room waiting to liaise with a woman. But it’s not what you think. Sian Clifford’s Iris arrives and it turns out she is there to offer her services as a lip-reader. Felix suspects the woman he loves is having an affair and he requires Iris to read her and a possible lover’s lips at an adjacent hotel suite. I’ve now seen this episode three times and it truly is breathtaking. There’s empathy for Felix’s lost soul, some fine linguistic comedy, a potential romance, Clifford’s performance knocking it out of the park, Reece Shearsmith having great fun as an officious German hotel manager and THAT ending. The denouement, while totally believable, comes out of nowhere and leaves you genuinely speechless.

Mark: 8.5 out 9



EPISODE 4: HURRY UP AND WAIT

Cast: Adrian Dunbar, Steve Pemberton, Reece Shearsmith, Donna Preston, Bhavna Limbachia, and Pauline McGlynn

Quite possibly my favourite episode of the series, Hurry Up and Wait manages to achieve that difficult juxtaposition of being meta-textual and containing some real emotional power. Because it is one thing to be self-referential and satirise the creative process, in this case the making of a television police drama starring famous actor Adrian Dunbar, but it’s quite another to build in a murder mystery and empathetic characters who you root for. While Reece Shearsmith is always excellent playing angry characters, here he portrays James, a mild-mannered actor, who has got a break playing a scene with the precious talent, Dunbar. The TV drama they are in concerns a missing child and the “green room” happens to be a static caravan owned by a working-class family who may have important information about said grisly crime. Steve Pemberton and Pauline McGlynn play the parents of immature, Beverley – the brilliant Donna Preston – adding much comic relief, but all possibly hiding a dark secret. As James learns his lines he also plays detective seemingly discovering the truth until the truly chilling ending is revealed.

Mark: 9 out of 9


EPISODE 5: HOW DO YOU PLEAD?

Cast: Steve Pemberton, Reece Shearsmith, Derek Jacobi

Arguably the darkest tale, both in terms of the noir lighting and foreboding themes, it is difficult to discuss this tale of soul-searching guilt and justice without giving away too much of the story. Thus, I’ll talk about the actors and characters more. Derek Jacobi gives a deeply moving performance of a dying barrister who prides himself of, after an upturn in his early legal career, never losing a case in court until retirement. As he lies dying in bed, lungs heavy around his heart, he feels guilt about one case where he defended the indefensible. As he confesses his regret to Shearsmith’s cheery carer, it is soon revealed both men have sins they buried in the past which will soon come back to bite them. Watching these two fine actors spark off one another is as compelling as television drama can get, but there’s also comedy there too as Shearsmith delivers some spirited one-liners in between Jacobi’s grand screen gravitas. But where’s Pemberton I hear you ask? He’s sitting there waiting patiently in the shadows of this evocatively lit and thrilling tale.

Mark: 8 out of 9



EPISODE 6: LAST NIGHT OF THE PROMS!

Cast: Steve Pemberton, Reece Shearsmith, Julian Glover, Debra Gillett, Bamshad Abedi-Amin, Sarah Parish etc.

Are you aware of the work of Dennis Potter? He was one of the finest writers in British television from the 1960’s way into the early 1990’s. His scripts were always highly erotic, political and incredibly controversial. They skewered very British and human themes and burnt great sacred cows of the church, government, family, sex and marriage on the TV barbecue, leaving charcoal remains in their stead. Potter was a genius and with Last Night of the Proms, Pemberton and Shearsmith match him for bravado in deconstructing human nature and what it means to be British. Set in a well-to-do, middle-class household, a family of three generations sit down to watch the Last of the Proms on the BBC. It’s a big traditional classical music event and cultural celebration of what it means to be British. It makes me sick! Britain isn’t great. The British are racist, imperialistic and hardy murderers, who have a history and present (fucking Brexit!) they should be ashamed of. The thought-provoking screenplay here is heavy on compelling themes, memorable imagery and striking symbolism. This is a jarring and messy episode and what it lacks in precise plotting it more than makes up for in juxtaposing horror, satire, drama, surrealism, Jesus, social commentary and comedy to rather mesmerising effect. Potter’s ghost would have watched with glee and disgust and hate and love and pity and sadness; which is much how I felt witnessing Last Night of the Proms.

Mark: 9 out of 9


MY CINEMATIC ROMANCE #23 – CHRISTIAN BALE

MY CINEMATIC ROMANCE #23 – CHRISTIAN BALE

“Essentially, I’m untrained, so I just go with my imagination and try to put myself as solidly as I can into the shoes of whatever person I’m going to be playing.” Christian Bale


It’s easy to forget that Christian Charles Philip Bale was only thirteen years old when he was chosen out of thousands of young actors for a starring role in Steven Spielberg’s war drama, Empire of the Sun (1987). From there on in he has become one of the most formidable actors of a generation. Unlike many young actors he has not fallen by the wayside, but rather delivered a series of tour-de-force and award-winning performances in both independent and big budget Hollywood blockbusters.

So, for my occasional look at the major talents of cinema I have turned to one of the greatest actors of the last twenty-something years, and chosen five of his best roles to illustrate that. An intense and natural talent he has been in many outstanding films and some not so good. However, whatever role Christian Bale chooses he is usually never less than powerfully magnetic. I must say, I have not selected any of his portrayals of Bruce Wayne and that very fine Batman performance, notably from a physical perspective. Even though in, Batman Begins (2005), he created a stirring existential vision of a wealthy child growing out of grief into the dark saviour of Gotham City. I just think he has given five better acting transformations on screen. Here they are.

***CONTAINS FILM SPOILERS***



AMERICAN PSYCHO (2000)

Having tread water in a career-sense attempting to traverse the difficult bridge from child actor to the leading man we have come to know, Christian Bale got a break in Mary Harron’s adaptation of Bret Easton Ellis’s notorious novel, American Psycho. And boy – did he make the most of it! I watched the film again recently and I have to say, other than perhaps Leonardo DiCaprio (who was originally cast in the role), no other actor could have delivered such an unhinged, evil and funny (yes he’s hilarious) portrayal of the Wall Street banker-turned-serial killer, Patrick Bateman. It’s a dangerous and sick character who Bale somehow manages to make you despise, yet simultaneously humanise.



THE MACHINIST (2004)

Possibly the greatest Christian Bale performance that hardly anyone has seen. Oh you have seen it? Wow, what an intense performance Bale gives as lonely blue collar worker, Trevor Reznik. Reznik is a haunted man who cannot sleep. He is also anorexic as Bale reduced his weight to 62kg for the role, demonstrating, not for the last time, a dangerous method of obsessive physical transformation. It works too as the skeletal Reznik struggles to overcome a slow descent into madness, with Bale, once again, showing incredible commitment to his craft in this under-rated and haunting noir nightmare of a film.



THE FIGHTER (2010)

While Mark Wahlberg was excellent as the lead actor in David O. Russell’s profile of tough Massachusetts fighter, Micky Ward, Bale absolutely steals the thunder with an incredible acting performance as Ward’s half-brother, Dicky Eklund. As a study of the nefarious curse of addiction, Bale makes the charismatic, but unreliable, Ekland both a loathsome and somehow empathetic character. Because while his crack cocaine addiction drives him to make bad choices for both him and his brother, there is at his heart a loving person battling to win over his illness and make his brother a champion. A story about family and human beings overcoming the odds, Bale punches out another memorably flawed individual in The Fighter (2010), deservedly winning an Oscar in the process.



HOSTILES (2017)

This revisionist Western did not get nearly enough attention on release. Yet buried in here is another quietly intense acting performance from Christian Bale. His other Western, 3:10 to Yuma (2007) is the more entertaining film, but in Hostiles (2017), he gives a much more complex characterisation as Captain Joseph Blocker. The weight of guilt and pain and death hang heavy on Blocker following years of brutal conflict. Scott Cooper’s film conveys the depressing murderous times borne out of the greedy need for progress. Hatred and white man’s guilt drives his character as Bale’s soldier initially refuses to take Chief Yellow Hawk back to his homeland. Is it more because of the deaths of his own men on the battlefield or because he does not want to face up to his own crimes against the Native Americans? The film explores this question superbly with Bale at the heart of the conflict from savage beginning to bloody end.



VICE (2018)

While I agree with critics of Vice (2018), that it is cartoonish and simplistic, it is also a brilliant and scabrous work of satire. Yes, sure it’s preaching to the liberal and left-winged Hollywood choir, but it definitely presents a fascinating snapshot of Dick Cheney’s rise from alcoholic wastrel to powerful political figure. I mean let’s face it, Cheney, based on his reign in U.S. politics, is arguably one of the most dangerous men who ever existed. In Adam Mckay’s black political comedy Cheney is shown to be a manipulative puppet-master to Bush’s marionette President. McKay’s film, while certainly one-tracked, powers along picking apart one of the most shadowy political figures of recent years. But what about, Bale? Why take a role where he had to live on doughnuts for year to gain the weight required for the film? Well, because he likes to challenge himself and Bale should have won the Best acting Oscar! Rami Malek was decent as Freddie Mercury, but Christian Bale is astonishing. Fair enough, he takes a real person and delivers an emulation performance, but he also brings to Cheney to life with such intelligent style. Of course, the physical transformation takes the headlines, but in terms of emotion and mentality he really raises the bar. Cheney may be an enigmatic character but Bale brings menace, whispers and evil to the role. There is also a sly humour there too which makes Bale’s Cheney another unforgettable monster he’s brought to the screen.


GREAT ENSEMBLE FILM CASTS #5 – COPLAND (1997)

GREAT ENSEMBLE FILM CASTS #5 – COPLAND (1997)

Directed by: James Mangold

Produced by: Cathy Konrad, Ezra Swerdlow, Cary Woods

Written by: James Mangold

Cast: Sylvester Stallone, Harvey Keitel, Ray Liotta, Robert De Niro, Peter Berg, Janeane Garofalo, Robert Patrick, Michael Rapaport, Annabella Sciorra, Noah Emmerich, Edie Falco, Deborah Harry etc.

*** CONTAINS SPOILERS ***



James Mangold is rarely mentioned as one of the best filmmakers around. Probably because he is not a flashy director or a household name. Yet, he has consistently delivered a series of extremely entertaining and inventive genre films over the past few decades. These include: Identity (2003), Girl, Interrupted (1999), Walk the Line (2005), 3:10 to Yuma (2007) and more recently, Logan (2017). His films always feature solid characterisation, compelling conflict and well-structured plots. Above all else, Mangold always attracts A-list actors to his film projects. None more so than in the urban neo-Western, Copland (1997).

Copland (1997) is a thriller which still resonates today with themes that focus on corrupt cops conspiring to control crime from the town of Garrison, New Jersey. Drug deals, racial profiling, murder, larceny and perverting the course of justice are all in a day’s work for the crew led by Harvey Keitel’s alpha cop, Ray Donlan. The Sherriff of Garrison is half-deaf and lumpy, Freddie Heflin (Sylvester Stallone). He is so in awe of Ray and his crew that he is prepared to turn a blind eye to their crimes. However, after a series of brutal incidents which bring heat and Internal Affairs onto Freddie’s patch, he must decide whether to take a stand against the bullies.

Copland (1997) is both a fine character study of a downtrodden man finally standing up against those keeping him down, and a searing damnation of the dishonest nature of American police enforcement. Moreover, Mangold has assembled a hell of a cast. Stallone has never been better in his role of Freddie Heflin. He is a sympathetic character, but frustrating as one wills him to fight back. Robert DeNiro attempts to help him as the Internal Affairs officer, Moe Tilden. While slightly over-the-top here, DeNiro’s scenes with Stallone really sizzle. DeNiro spikes with energy as Stallone offers silent awkwardness.

Ray Liotta almost steals the show as the coked-up-copper-on-the-edge, Figgis. While Robert Patrick, unrecognisable from his performance as the T-1000, shines too as nasty piece of work, Jack Rucker. Add Keitel, Michael Rapaport, Peter Berg, Janeane Garofalo and Cathy Moriarty into the mix and you have one cracking ensemble. Interestingly, Stallone said the film hurt his career. However, he received much critical praise and I wish he’d pursued more character-heavy roles like this rather than films like the forgettable Expendables trilogy.


R.I.P – HELEN MCCRORY (1968 – 2021) – SIX GREAT SCENES!

R.I.P – HELEN MCCRORY (1968 – 2021) – SIX GREAT SCENES!

“I’m heartbroken to announce that after a heroic battle with cancer, the beautiful and mighty woman that is Helen McCrory has died peacefully at home, surrounded by a wave of love from friends and family. ‘She died as she lived. Fearlessly. God, we love her and know how lucky we are to have had her in our lives. ‘She blazed so brightly. Go now, Little One, into the air, and thank you.”Damian Lewis



Sad news that one of my favourite actors, Helen McCrory, passed away on the 16th of April 2021 from cancer.

Helen McCrory had an amazing career on stage, television and in cinema. She began studying acting at the Drama Centre in King’s Cross, London. After which she rapidly gained fabulous onstage notices, appearing in theatrical productions at the Donmar Warehouse, National Theatre and Almeida Theatre. It didn’t take long before she was starring in prominent roles on television and cinema screens.

An actress of immense quality and charisma, McCrory would bring a sophistication and heart and magnificent class to every role she inhabited. Her characters were always strong, independent and a little bit dangerous. In tribute, I have chosen six scenes which showcase her incredible talents. No words can describe how big a loss Helen McCrory is to the world and my condolences go out to her family.

*** THE FOLLOWING SCENES CONTAIN SPOILERS ***


HESTER – THE DEEP BLUE SEA (2016 STAGE PRODUCTION)

I haven’t even seen this production, but this excerpt from the play immediately makes me feel so much for Helen McCrory’s character. She gives such a beautifully magnetic performance.


ROSANNA CALVIERRI – DOCTOR WHO (2010)

I personally would have loved to have seen Helen McCrory star as Doctor Who. But she made a wonderfully dark-hearted villain in this episode. This scene is so brilliant as it builds slowly with two fine actors bringing both humour and pathos and stirring drama to their characters.



NARCISSA MALFOY – HARRY POTTER AND THE HALF-BLOOD PRINCE (2009)

Originally cast in the role of Bellatrix Lestrange, McCrory had to leave the role out due to pregnancy. Eventually cast as the wonderfully name, Narcissa Malfoy, Helen McCrory’s evocative voice and elegance perfectly enlivened the character.


TABITHA – INSIDE NO. 9 (2014)

Many of Helen McCrory’s earlier roles found her portraying strong young women, however, as she matured she grew even more powerful and was also cast in darker more gothic roles. Once such character was the enigmatic Tabitha in the awesome anthology series, Inside No.9 episode, The Harrowing.


POLLY GRAY – PEAKY BLINDERS (2013 – 2019)

The BBC’s flagship drama is a muscular-bleeding-tattooed-up-parade-of-masculinity, but it also presents a set of powerful female characters too who are just as deadly. Helen McCrory as tough-talking, Polly Gray, more than holds her own as a leader within Cillian Murphy’s gang.



MRS POOLE – PENNY DREADFUL (2014 – 2015)

One of my favourite television dramas of recent years had a some incredibly beautiful writing, a wondrous cast and the most elegant of bloody horror. Helen McCrory revelled in the role of Evelyn Poole/Madam Kali, stealing every scene with an over-the-top performance as the immortal uber-witch casting spells and wreaking havoc throughout.


MEMORABLE FILM CHARACTERS #4 – WITHNAIL

MEMORABLE FILM CHARACTERS #4 – WITHNAIL

Written and directed by: Bruce Robinson

Produced by: Paul Heller

Cast: Richard E. Grant, Paul McGann, Ralph Brown, Richard Griffiths


***CONTAINS SPOILERS***



“We want the finest wines available to humanity. And we want them here, and we want them now!” Withnail


I am not one to believe in fate, but there has to be something magical about the random moment, at the age of seventeen, I was perusing my local video shop looking for a film to rent, and the cover of low-budget, British independent character drama, Withnail and I (1987), shone amidst the variety of Hollywood produced fodder. I picked up the box and for some reason the story of two unemployed actors mooching about at the fag end of the 1960s called to me. Perhaps it was the front cover featuring the debauched and worse-for-wear looking character of Withnail which drew me in? Or was it the casting of Paul McGann as the eponymous ‘I’, an actor I recognised from excellent TV drama, The Monocled Mutineer. Whatever the reasons, I rented the film and a special bond was formed forthwith. It lasts to this day.

Firmly in my top-ten-line-for-line-best-dialogue-ever-movies, Withnail and I (1987) simply bursts with memorable spats, insults, one-liners, and speeches. Another major strength of Bruce Robinson’s elegantly profane screenplay is the relationship between permanently inebriated and cowardly ‘thespian’, Withnail (Richard E. Grant) and his buddy, ‘I’ (McGann). It is a strange friendship full of mutual disrespect, petty bickering, and envy, but by the end of the film a kindly form of love is revealed. Withnail may seem an angry man, but ultimately, he’s using that ire to hide pain, sadness, and disappointment.




“I feel like a pig shat in my head.” Withnail


Richard E. Grant is incredible as the paralytic, pathetic and cowardly Withnail, who, along with ‘I’, laments a lack of career opportunities. Such bitterness, jealousy and ranting make him hugely obnoxious. However, Robinson’s exquisite writing and Grant’s subtly empathetic performance actually create an incredibly poignant character. Well, that and he’s absolutely hilarious, Indeed, it’s a hedonistic joy witnessing Withnail drinking every liquid known to humanity as he attempts to obliterate the now and tomorrow. Unbelievably, Richard E. Grant was teetotal, so director Bruce Robinson had to get him very, very drunk in preparation for a role he never bettered in his whole career.

Bruce Robinson, arguably, never reached the heights of Withnail and I (1987) again, although he does have other impressive writing credits. But this screenplay is one of the greatest ever written; conversely making it one of the funniest and tragic films of all time. Lastly, his often quoted but rarely bettered work is one of the greatest I have ever read, brimming with towering poetry, bilious insults, and drunken repartee. I mean there is little plot to the story of two actors getting drunk, going to the country, getting drunk and coming back. However, it remains one of my favourite films of all time, with one of the most memorable characters in Withnail.


GREAT ENSEMBLE FILM CASTS #4 – HELL DRIVERS (1957)

GREAT ENSEMBLE FILM CASTS #4 – HELL DRIVERS (1957)

Directed by: Cy Endfield

Produced by: Benjamin Fisz and Earl St John

Written by: Cy Endfield and John Kruse

Cast: Stanley Baker, Peggy Cummins, Patrick McGoohan, Herbert Lom, Sean Connery, William Hartnell, Alfie Bass, Sid James, David McCallum, Gordon Jackson, Jill Ireland etc.

**** CONTAINS SPOILERS ****



Often on this blog I will write about very well-known actors or films, however, sometimes it’s good to explore more forgotten cinematic gems. Hell Drivers (1957), is one such film from the past that certainly deserves revisiting. Not simply because it is an excellent action drama, but because it contains an incredible cast, with most of the players going on to have major parts in some iconic screen roles. I caught the film again on the cable channel, Talking Pictures, and it’s a really gripping low-budget British thriller.

The plot of Hell Drivers (1957) is quite simple. Tom Yateley (Stanley Baker), a drifter with an unknown past, turns up looking for work at Hawlett’s truck yard. Their group of drivers carry gravel/ballast from a quarry to site. The drama derives from the fact they must meet a certain quota per day, and this involves driving like maniacs to achieve this. Let’s just say that the Health and Safety executive would have a field day now. But that’s one of the strengths of the script. In post-war Britain men and women were desperate for work and money and therefore prepared to do anything to survive. Thus, the film, amidst the helter-skelter driving action, contains a strong social commentary in regard to the exploitation of the workers. There is of course camaraderie among the men, but fierce rivalries also develop. Such competitiveness drives the conflict within the film.

Cy Endfield, a solid American genre filmmaker, directs the ensemble cast brilliantly. What a cast it is too! It’s essentially a “who’s who?” of “before they were famous” actors, all combining to incredible effect. Stanley Baker as Tom carries the lead role. Baker would gain further success in Endfield’s war epic Zulu (1964), and become a renowned lead until his death at the age of 48. The supporting cast though, is something else. Patrick McGoohan, who plays the bruising antagonist, Red, would cement his fame in the incredible 1960’s cult classic, The Prisoner. Furthermore, we have the first Doctor Who in William Hartnell and of course, James Bond himself, Sean Connery. If that wasn’t all, The Man From Uncle star, David McCallum, features in an early role. So does the already established comedic actor Sid James. James would become synonymous with the quintessentially English, Carry On…, film series. Throw in great characters actors Herbert Lom, Gordon Jackson, Alfie Bass and a very young, Jill Ireland, and you have one hell of a cast; all starring in this excellent British film gem.


MY CINEMATIC ROMANCE #19 – DENZEL WASHINGTON

MY CINEMATIC ROMANCE #19 – DENZEL WASHINGTON

In all the excitement, I seemed to have forgotten about this feature, but will reignite it here. Essentially, I pick a favourite film actor or director or writer or composer or film craftsperson, who I have followed and admired for some time, and pick out five of their works which resonate with me. Usually it is difficult to stick to just five selections, however, I find writing with a rule or discipline sharpens the critical mind. Today’s choice is one of the greatest actors to have walked the boards, appeared on the box, and graced the silver screen. His name is of course, Denzel Washington.

Born in Mount Vernon, New York and having initially attended a military academy, Washington would later gain a BA in Drama and Journalism from Fordham University. He began by acting in Summer Stock theatre, but his first major break was in the television series, St Elsewhere. His performances as Dr Philip Chandler would lead to castings in prominent film roles, notably as Steve Biko in Cry Freedom (1987). In that film he would receive his first Academy award nomination. From then on Washington would go from strength to strength traversing stage and screen roles with incredible range and skill. As writer, director and actor he is an artist who can span genres and disciplines, equally brilliant in commercial projects and more arthouse productions. Here are just five roles which I very much think he excelled. But to be honest, there are many, many more I could have included.



GLORY (1989)

Glory (1989) was the first major Hollywood film to profile the fight of black soldiers to free themselves from slavery in the context of the U.S. Civil War. It is an excellent drama with some brutal battle scenes and memorable characters. None more so that Washington’s portrayal of Private Silas Trip. He is quite understandably an angry man determined to fight all the way against oppressors. Washington delivered a searing performance which would earn him a Best Actor in a Supporting role award. It is an outstanding portrayal full of power and strength.



MALCOLM X (1992)

Washington worked with Spike Lee on many film productions and Malcolm X (1992), is arguably their most significant and impressive film. It charts the life and death of a man born Malcolm Little who would grow to be anything but. After a troubled childhood he became a drug dealer and criminal in order to survive. Having converted to Islam he rejected his slave roots, going on to become one of the most outspoken voices against black oppression the world has ever known. Both Lee and Washington should have won Oscars for their work, and Washington’s intense performance stands as a fine cinematic tribute to a true spokesperson for a generation.



TRAINING DAY (2001)

Washington has played his fair share of heroic and complex anti-heroes trying to find their way in the world, but in David Ayer’s brilliant cop drama Training Day (2001), he revels in the role of bad-ass corrupt cop, Alonzo Harris. Washington and Ethan Hawke are both brilliant as the mentor and apprentice narcotics officers who are about to have a very intense day of plots and double-crosses. Washington spits and chews up Ayer’s meaty dialogue as Harris, who has a devilish plan up his dirty sleeves. Ultimately, the respect between the two erodes and a violent power game ensues with surprising twists ahead. Washington won the Best Actor award at the Academy Awards, and while it was well earned, it was arguably more for his body of incredible film performances overall.



MAN ON FIRE (2004)

While not necessarily the best film on Denzel Washington’s amazing acting C.V., Man on Fire (2004) is one of the more memorable films he made with uber-Hollywood genre filmmaker, Tony Scott. Washington clearly respected Scott as a man and director, and while Scott’s flashy and bombastic style could drown his actors, Washington’s talent always shone through. As John Creasy, Washington’s characterisation is that of a broken ex-military man who has killed for his country, and now realised it was all for nothing as he lost and alone. Alcoholic and suicidal, Creasy finds redemption in the guise of a young girl, portrayed brilliantly by Dakota Fanning, who following her kidnapping, goes on a vengeful kill-crazy-rampage-search-for-justice. Washington’s acting is both muscular and tender in equal measure as Scott delivers an explosive genre film of the highest quality.



FENCES (2016)

Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working-class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character, Troy Maxson, and his long-suffering wife, Rose; portrayed with significant humility by Viola Davis. Troy’s character is charismatic, and he delivers some hearty yarns from his past, but he’s also bullies everyone around him. Moreover, Washington directs brilliantly, “fencing” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall, the performances alone make the film feel cinematic.


fences

NETFLIX REVIEW – OZARK (2020) – SEASON 3

NETFLIX REVIEW – OZARK (2020) – SEASON 3

Created by: Bill Dubuque & Mark Williams

Producers: Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams

Director(s): Jason Bateman, Alik Sakharov, Ben Semanoff, Amanda Marsalis, Cherien Dabis

Writers: Chris Mundy, Paul Kolsby, Ning Zhou, Martin Zimmerman, Miki Johnson, John Shiban, Laura Deeley

Cast: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Lisa Emery, Janet McTeer, Charlie Tahan, Tom Pelphrey, Joseph Bedford Lloyd, Joseph Sikora, Felix Solis, Jessica Frances Dukes etc.

Original Network: Netflix

**CONTAINS SEASON 1 & 2 SPOILERS**



So, the third season of the Netflix crime drama, Ozark, confirms its status as one of my must-watch TV programmes. It joins the likes of Game of Thrones, Penny Dreadful, It’s Always Sunning in Philadelphia, Breaking Bad, Doctor Who, Curb Your Enthusiasm, Inside No. 9 and many more, which became essential viewing. If you haven’t seen the show, Jason Bateman plays an accountant who has to go on the run with his family to Ozark, Missouri, while working for a murderous Mexican drug cartel. Accompanying him are his wife, Wendy, portrayed by Laura Linney and their two teenage children, Jonah and Charlotte. The structure of the season one and two is to essentially place the American “nuclear family” at the heart of a noir thriller and watch them use their wits to survive. What is even more apparent though is that the ingenuity of the writing means we are rooting for the bad guys. Of course, there is always a bigger fish or predator, but slowly and surely the Byrdes are climbing a slippery ladder up the crime food chain.

Season 3 begins not long after season 2 ended. The explosive and brutal Mexican drug wars, involving the Navarro Cartel and bitter rivals, provides a violent back drop for the drama. It heightens the tension and danger for Marty and Wendy, who are now running a casino literally on the Ozark lakes. With the Cartel wars raging, the Byrdes also have major problems closer to home. They are attending marriage therapy, the FBI are about to audit their casino, Navarro himself is breathing down their necks about the flailing money-laundering operation, Janet McTeer’s devious lawyer, Helen Pierce, wants more control, and Frank Cosgrove Junior, from the Kansas City mob, is being a spoilt arsehole. His character and Julia Garner’s foul-mouthed Ruth Langmore face off many times during the season. In addition, Wendy’s erratic wanderer of a brother, Ben (Tom Pelphrey) is thrown into the heady mix, while always lurking is devilish Darlene Snell (Lisa Emery). The stakes are high, and the players are set for one almightily gripping game of life and death.



All the ingredients of what I loved in the first two seasons of Ozark are still present in the latest season. This is good old-fashioned crime and noir drama, with ultra-violence and shocking plot twists, presented via a stylish set of production values. The cinematography alone is just so stylish with natural lighting, shadows and silhouettes used to cloak the characters. Furthermore, many of the narrative twists and turns could be deemed as over-the-top, but the scriptwriting and lead performances are of such high quality you cannot fail to be drawn into this shady world of drug dealers, gangsters, assassins and liars. Indeed, pretty much every character is a liar and there are very few innocent or righteous characters in Ozark. Even the kids are in on the lies and have some of their own too.

Of the new characters introduced, FBI Agent Maya Miller (Jessica Frances Dukes) is a welcome addition to the machinations. Yet, her attempts to follow the rules leads her directly into dark water, as Marty attempts to manipulate her to his own ends. Not as innocent is Wendy’s brother, Ben. While he is lively and a bit of a maverick, he still has a good heart though. However, he has a secret which will come to the fore later in the season. This allows Wendy to face one of the most difficult life choices she ever has to make. In such scenes the acting from Tom Pelphrey and Laura Linney is incredibly powerful. Some may say that these episodes trivilize mental illness, but Ozark is not attempting to explore major issues. Instead, it uses them to serve the darker plot developments and continued tragedy within this savage world. Afterall, this is a show which literally had a character suffer a Caesarean section with a hunting knife.

Overall, season 3 of Ozark is a brutal and exciting wade through a swamp of vicious and calculating set of characters. There is also much dark humour, especially in the industrial language and biting delivery of the amazing Julia Garner. Even Jason Bateman as Marty Byrde, a cool and calm individual, continues to prove he will stop at nothing to keep him and his family alive. I think also that Marty enjoys the games and the gambles. He wants to win at all costs as demonstrated in flashbacks to his childhood experiences with a particular arcade game. Likewise, Wendy, whose character really came to the fore in season 2, is just as ruthless. To both of them death has become part of their everyday lives. As Bateman and Linney continue to give incredible performances, I’m hooked on where Ozark is leading us. Given season 4 promises old and new rivals to threaten the Byrde family, I bet it’s going to get darker and even more shocking.

Mark: 9.5 out of 11


FIX FILMS SHOWREEL (2005 – 2020)

FIX FILMS SHOWREEL (2005 – 2020)

I’ve been busy trying to avoid the booze in the fridge most days, although I did fail miserably on Saturday. But I was kind of celebrating fifteen years of low budget short filmmaking. If you didn’t know my production company is called Fix Films Ltd. Here is my latest showreel video. It’s basically a look back at all the films we have made. Also, it’s a tribute to all of the talented people we have worked with.

SUBSCRIBE TO OUR YOUTUBE CHANNEL HERE:

https://www.youtube.com/c/FixFilmsLtd



CREDITS & LINKS

Fix Films are a filmmaking collective. Since 2005 they have been involved in the creation of many, many short films and promos. They self-produce, write, direct, edit and score their own films to a very high standard despite the low budgets. They are true independent filmmakers.

This showreel features images, clips and music from most of our major short films productions.

Fix Films Ltd are:

Paul Laight, Gary O’Brien and all the amazing people we have worked with.

Music by:

James Wedlock – www.jameswedlock.com
The FireProofSkratchDuck
Pete Mercer

Please also check out our other sites:

http://www.fixfilms.co.uk/
http://startrekshortfilm.com/
https://thecinemafix.com/
https://www.youtube.com/c/FixFilmsLtd https://www.youtube.com/user/FPSD

A FIX FILMS PRODUCTION © 2020



YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM UPDATE

YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM UPDATE

Last year I wrote and filmed a new short film called You Have a New Follower (2020). It is now completed and it is now being prepared for submission to film festivals. Here are the details, credits and a trailer to watch.

Please also feel free to SUBSCRIBE HERE to my YouTube channel which has all my short films on. Or check out the WEBSITE HERE.


YOU HAVE A NEW FOLLOWER (2020) – TRAILER



YOU HAVE A NEW FOLLOWER (2020) – DETAILS

TAGLINE

“Watch your back…”

PREMISE

Astrid Nilsson’s life begins to unravel when she is stalked by a mysterious hooded figure.

ABOUT

You Have a New Follower (2020) is the latest short film from Paul Laight and Fix Films. It was shot in London and combines mystery, suspense and science fiction genres with dramatic effect. It’s a short, low-budget film which seeks to explore themes of paranoia, anxiety, and identity within the thriller genre.

MAIN CAST

ASTRID NILSSON – Tilde Jensen
DAVID MARKER – Mitchell Fisher

CREDITS AND CREW

DIRECTED BY: Paul Laight and Tilde Jensen
WRITTEN AND PRODUCED BY: Paul Laight
CAMERA: Petros Gioumpasis
LIGHTING: Sakis Gioumpasis
SOUND: Marina Fusella
EDITORS: Oliver McGuirk, Petros Gioumpasis
COMPOSER: James Wedlock
SOUND DESIGN: Simos Lazaridis
LOCATION MANAGER: Melissa Zajk
PRODUCTION ASSISTANT: Lue Henner

A FIX FILMS PRODUCTION © 2020