Tag Archives: Comedy

TO BOLDLY REVIEW #12 – STAR TREK: NEXT GENERATION: SEASON 7 (1993 – 1994)

TO BOLDLY REVIEW #12 – STAR TREK: NEXT GENERATION – SEASON 7 (1993 – 1994)

Based on Star Trek & Created by: Gene Roddenberry

Season 7 writers (selected): Joe Menosky, Jeri Taylor, Ronald D. Moore, Brannon Braga, René Echevarria, Michael Piller, Naren Shankar, Jean Louise Matthias, James E. Brooks, Michael A. Medlock, Christopher Hatton, Nick Sagan, Spike Steingasser, Dan Koeppel, etc.

Season 7 directors (selected): Les Landau, Cliff Bole, Winrich Kolbe, Alexander Singer, Robert Weimer, Robert Scheerer, Adam Nimoy, Patrick Stewart, Jonathan Frakes, Gabrielle Beaumont, James L. Conway, LeVar Burton, Gates McFadden, etc.

Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Gates McFadden, Michelle Forbes, Majel Barrett, Rosalind Chao, John De Lancie, Wil Wheaton, Kirsten Dunst, Paul Sorvino, Dwight Schultz, etc.

Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway

Production Company(s): Paramount Television, CBS Television

**** CONTAINS SPOILERS ****


Full Details On Star Trek: The Next Generation Season 7 & 'All Good Things'  Blu-rays – TrekMovie.com

My Star Trek journey started when I was a kid many moons ago. I used to watch the original series on my portable telly in the kitchen while eating dinner. I loved the adventures of Kirk, Spock, Bones, Uhuru and the rest of these bold space heroes. Thus, it was surprising that the whole of the Next Generation era of shows, including DS9 and Voyager, passed me by. Nonetheless, I have, since writing and producing two Star Trek fan films, been on a dedicated mission to watch every episode and film of the franchise that has been released.

This escapade began with the original series and my first blog review can be read here:

TO BOLDLY REVIEW #1 – STAR TREK: THE ORIGINAL SERIES (SEASON 1)

Subsequently, and three engrossing years later, I have finally completed watching the last season of The Next Generation. I have to be honest that this marathon viewing project is certainly a big cultural task. Furthermore, I still cannot work out how the hell they managed to produce so many episodes per season for TNG. It truly beggars belief the amount of high quality TV that was produced. I mean, I was exhausted watching it, so how those making it felt I do not know. I guess the fan’s respect and money and joy of being part of the Star Trek legacy was more than compensation.

Season 7 was again a mammoth twenty-six episode tranche. One might think there would be a drop in quality and there was some element of this in certain episodes. However, that was more to do with attempting to crowbar in a satisfactory ending for certain characters, notably Wil Wheaton’s anaemic, Wesley Crusher. Family ties and dramas linked many of season 7’s narratives, yet there was also the usual high concepts and socio-political themes explored throughout. Thus, dearest Next Generation, I thank you for taking me on a bold ride to the final frontier of journey’s end. Here are six of my favourite episodes of season seven!


ATTACHED – EPISODE 9

One of the great pleasures of watching The Next Generation is that the show always gave us mature romantic relationships. The “will they-won’t they” romance of Dr Crusher and Captain Picard is directly addressed in Attached, as the two find themselves shackled physically and telepathically by a paranoid alien race. As they attempt to survive and escape capture the two explore their hidden feelings in a moving episode of some power.

Doux Reviews: Star Trek The Next Generation: Attached

THE PEGASUS – EPISODE 12

Commander Riker (Jonathan Frakes) is portrayed as a dynamic action hero of strength and skill, so it is always interesting when his character is tested. In The Pegasus he is faced with both the sins of the “father” and of his own past. The surrogate father is this case is Captain Erik Pressman, portrayed brilliantly by Terry O’Quinn. Pressman is determined to track down the lost ship, ‘The Pegasus’ before the Romulans get to it. He places pressure on Riker to keep confidential the secrets the missing vessel has as the episode contains great drama and conflict.

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HOMEWARD – EPISODE 13

When shows have been going for many seasons they often have to introduce previously unknown siblings, parents or love interests to manufacture storylines. I totally get this and often it creates fantastic episodes. In Inheritance we get to meet Data’s “mother”, but an even better episode is Homeward where Worf’s foster brother, Nikola (Paul Sorvino) rebels against the ‘Prime Directive’ to save the Boraalan people. It’s a great episode full of twists and some excellent scenes between Paul Sorvino (not playing a gangster for once) and the ever-excellent, Michael Dorn. The use of the holodeck as an integral part of the narrative is highly inventive too.

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LOWER DECKS – EPISODE 15

Most episodes of Star Trek will focus on the core characters with a leaning to one or two of the main cast. But Lower Decks turns that around with the fantastic premise of profiling some of the younger crew members. It’s a well written narrative which focusses attention on a Starfleet promotion with Ensigns Sito Jaxa, Sam Lavelle and Taurik in “friendly” competition to achieve the goal. We immediately warm to their personalities as the witty dialogue adds much fizz, but the drama of the piece is heightened when Bajoran, Sito Jaxa, is sent on a dangerous mission, leading to a powerfully emotional denouement.

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GENESIS – EPISODE 19

I loved this episode because it contained a fantastic melding of sci-fi and horror genres with some monstrous creatures on show. With Gates McFadden directing her only episode, the story finds the Enterprise crew falling ill and regressing to various animal states. Worf has reverted into an aggressive predator attempting to mate with Troi; Riker an Australopithecine (Caveman); Troi an amphibian; and Barclay a spider. Even Spot the cat has become an iguana. While it may sound weird and a bit silly I loved the imaginative animal transformations as the cast shed both their human skin and inhibitions.

Star Trek: The Next Generation" Genesis (TV Episode 1994) - IMDb

ALL GOOD THINGS – EPISODES 25/26

As they say all good things come to an end. So, after boldly going for many seasons, The Next Generation finally concluded with a moving and inventive two-parter. I must admit that while it was clever to call back to the first episode, Encounter at Farpoint, I was never a massive fan of the character, Q. Even though John De Lancie’s performance always brought great energy to every episode, I just felt that this character with uber-God-like powers could always resolve the drama with a Deus ex Machina click of the fingers. Nonetheless, the idea that he was always testing humanity was a great theme, and once again in All Good Things, he puts Jean Luc Picard through a trio of trials in the past, present and future. It’s a superbly written, acted and directed finale and possibly one of the best final episodes of a long-running TV show of all time! The last scene with Picard finally joining his crew at the poker table is truly logical! Make it so – Number One!

10 Things You Should Know About "All Good Things..."

FILMS THAT GOT AWAY #14 – BASKET CASE (1982)

FILMS THAT GOT AWAY #14 – BASKET CASE (1982)

Directed by: Frank Henenlotter

Screenplay by: Frank Henenlotter

Produced by: Arnold H. Bruck, Edgar Ievins, Tom Kaye

Cast: Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner

Cinematography: Bruce Torbet

Edited by: Frank Henenlotter

*** REVIEW CONTAINS SPOILERS ***



Being a massive fan of horror and cult movies, it is quite incredible that I had never seen Frank Henenlotter’s low-budget exploitation film, Basket Case (1982). So, when I saw it available via my Shudder subscription I dived straight into the basket, and found the insane premise, bad acting, zero-cash lighting style, lo-fi stop motion and monster effects, all combining to deliriously horrific and hilarious effect. Because, what it lacks in polished performances and filming style, it makes up for in riotous bad taste and shocking entertainment.

Henenlotter’s debut film was shot on grainy 16mm film and for a budget of around $35,000. The story finds the enthusiastic Duane (Kevin Van Hentenryck), visiting New York and staying at the low-rent fleapit called the Hotel Broslin. What makes Kevin so intriguing is he carries around a basket. What’s in the basket I hear you ask? Well, you soon find out that it is something quite disgusting and despicable. A grotesque freak which, when you learn it and Duane’s backstory, takes on a bizarre kind of empathy. As Duane begins to make friends, both with a prostitute neighbour and Doctor’s receptionist, his grisly telepathic and physical connection with the monster pushes him to the brink of insanity. Because the demon is driving Duane to assist him on a vengeful journey of bloodlust and murder.

While the story is certainly nuts and much of the acting is woeful, Kevin Van Hentenryck’s energetic performance makes Duane a likeable protagonist. You really root for him when he begins to fall in love, but the monster becomes jealous, wreaking havoc on Duane’s romance. Further, Henenlotter deserves so much credit for making the insanity on the screen work. I think he does this because he gives us a tragic lead character, moves the story along at a whip-crack pace, has a fantastic monster and devises many memorably gruesome deaths. All throughout I was both laughing and feeling sick at the same time. Lastly, I also just love that Henenlotter made up many of the names in the credits because only a handful of people were in the crew. Indeed, Basket Case (1982) is a true independently made gonzo-horror classic, which makes the most of the dirty-porno-sleazy New York streets it is set on. Dare YOU open the basket?

Mark 8.5 out of 11


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


THE HORROR OF IDENTITY: DOUBLE BILL FILM REVIEWS – DEERSKIN (2019) & POSSESSOR (2020)

THE HORROR OF IDENTITY: DOUBLE BILL FILM REVIEWS – DEERSKIN (2019) & POSSESSOR (2020)

“Be yourself; everyone else is already taken.”-Oscar Wilde


We’ve all wanted to exist outside our own skin. Or perhaps inhabit someone else’s? Or, maybe even change our own identity, both literally and psychologically. Or is that just me? At the least we have all thought about it. Even losing weight and going down the gym or giving up alcohol or changing our hairstyle is a means of basic transformation. We may make a more defiant change and leave that job we hate or break out from a negative relationship. Arguably though, personality, attitude and mental changes in one’s life are the most difficult. After all, it is incredibly difficult to change the very fabric of one’s personality or character.

We can find an alternative source of transformation in a vicarious sense through storytelling mediums such as literature, television and cinema. The horror genre especially is replete with monstrous visions of identity switches, psychotic breakdowns and physical transmogrification. I personally take great pleasure in seeing altered identities occur on the screen and am especially drawn to characters who experience mental and corporeal metamorphosis. That simply isn’t because I cannot change who I am or what I do on a daily basis, but it’s quite scary to attempt to reshape one’s existence and identity. It’s bloody hard work without much guarantee of success. Horror films, while also frightening when done well, are far more satisfying and give a more immediate hit than the grind of reality.

Two films I have seen recently both relate to mid-life crises and exhibit themes that illustrate two characters changing their appearance to bring about a shift in identity, behaviour and personality. They also show characters spiralling out of control in incredibly violent, bizarre and entertaining ways. Those films are Deerskin (2019) and Possessor (2020) and here are my reviews.

*** MAY CONTAIN SPOILERS ***



DEERSKIN (2019)

Directed and written by Quentin Dupieux

Main Cast: Jean Dujardin, Adele Haenel

Have you ever seen the film Rubber (2010)? It is a gonzo horror-comedy about a murderous-tyre called Robert killing birds and people with telekinetic powers. Beneath the insanity of the pitch there is in fact a subtextual satire on the nature of Hollywood filmmaking and an audience starved of originality; I think! It came from the mind of Quentin Dupieux, so I was intrigued that he had nabbed for a subsequent production the grand talents of Jean Dujardin and Adele Haenel for the obsidian killer comedy, Deerskin (2019).

Dujardin is Georges, a middle-aged loner, recently dumped by his wife whose only aim now it appears is to purchase a deerskin jacket. Buoyed by the confidence the jacket has given him, and armed with a video camera thrown in with the deal, George plots up at a rural hotel and befriends Adele Haenel’s bar server and enthusiastic film editor. Their budding friendship threatens to turn this into a relatively conventional love story, however, a series of twisted turns tip the story into a hilarious series of murderous set-pieces, with Georges determined to get money to make a movie, but most importantly buy deerskin trousers, hat and gloves.

The story of a middle-aged man altering his outer look in order to transform his life and fortune is a staple of Hollywood comedies and romance films. Deerskin (2019) is that kind of film on the surface. Yet when filtered through Dupieux’s iconoclastic imagination the premise is an altogether different kind of demented animal. Ultimately, it is a low-budget gem of a black comedy with some fantastic ideas and fascinating character study of a man attempting to shift skin, but falling deeper and deeper into psychopathy. It’s a wacky journey with committed performances, yet, it felt like the ending was just too sudden, as if the filmmaker either ran our of money or just wanted to screw with audience expectations right up until the final sudden frame.

MARK: 7.5 out of 11


POSSESSOR (2020)

Directed and written by Brandon Cronenberg

Main Cast: Andrea Riseborough, Christopher Abbott, Sean Bean, Tuppence Middleton etc.

Whereas Deerskin (2019) finds a literal and figurative metamorphosis when a character buys a jacket, Brandon Cronenberg’s vicious horror film, Possessor (2020), is an altogether more cerebral, violent and psychologically stunning journey. Andrea Riseborough is as intense as ever portraying an assassin named, Tasya Vox, who through some incredible technology is able to inhabit the mind and body of another individual and use them as a human puppet to commit murder. It’s a perfect set-up for the assassination agency led by Jennifer Jason Leigh’s handler, Girder. Yet such murder by scientific proxy comes at a cost to Vox’s family life and mental stability.

After a glorious opening scene featuring an astoundingly brutal stabbing, Vox attempts to reconnect with her partner and son, but finds herself becoming ever more disconnected. The pressure of taking over another individual’s identity is causing Vox to discombobulate as her mind begins to fracture. Despite this she takes the next job, a contract to kill John Parse (Sean Bean), using Christopher Abbott’s Colin Tate as a conduit. As Vox struggles with her splitting psyche, Tate himself is having personal issues also and this leads to some mind-bending and psychedelic montage scenes as the two battle within Tate’s brain. If this all sounds a bit weird, it is and it isn’t because the filmmaking is of such a high quality one believes the process. Further, the director never loses his grip on the narrative and Cronenberg gets a compelling performance from Abbott as his character confronts the invasion into his soul.

Overall, Possessor (2020) has a stunning concept at its heart but I just kept wondering how a genre filmmaker like Leigh Whannell may have handled the idea. He certainly would have made the characters more empathetic because it is so tough to warm to either Vox or Tate. Indeed, Tate’s character should have been developed more at the beginning in my view as he would have made an ideal “innocent/wrong man” type character so often used by Hitchcock. Nonetheless, Brandon Cronenberg has crafted one of the most visually impressive and shocking psychological horror films I have seen in a long time. Like Whannell’s Upgrade (2018), it contains some memorable gore and violence. It is also very intelligent as the fantastic ideas explore what it means to not only inhabit another person’s skin, but rip through their very soul.

Mark: 8.5 out of 11


SIX OF THE BEST #32 – CINEMATIC STATEMENTS OF INTENT!

SIX OF THE BEST #32 – CINEMATIC STATEMENTS OF INTENT!

This is a dive into the world of punchy dialogue that sums up a film or character or a relationship in a few key words. Because sometimes you just don’t want to think and sometimes you don’t want subtle hints to a character’s intentions. On occasions you want the whole plot and cinematic situation summed up succinctly and in an emotionally impactful way. I like ambiguous or complex characters, but from time to time I just gots to know, in a few words, what the character wants or their plans or capabilities. How do they do that? Well, through a good old-fashioned statement of intent.

I would categorise a statement of intent as generally involving the words “I” or “me” and has a character telling another character or group, plus the audience, what they intend to do or how they feel about a particular moment in their life. Or indeed their life as a whole. There is no ambiguity, but rather a direct proclamation of where the character stands and what he or she wants. Actually, I should say this is an extremely masculine list, but la-di-da, it is what is and so it goes. Thus, here are six of the best, of what I call statements of intent from film.


*** CONTAINS SPOILERS ***


QUINT – JAWS (1975)

“I’ll catch this bird for yer – but it ain’t gonna be easy. . . bad fish!”

One of the great character introductions of all time and an incredible statement of intent too. In a way Quint did catch the “bird”, but that big bird caught up with Quint too! What a speech! What a film!


HOWARD BEALE – NETWORK (1976)

“I’m as mad as hell and I’m not going to take this anymore!”

Acclaimed playwright Paddy Chayefsky arguably wrote one of the greatest cinema speeches of all time with Peter Finch’s newscaster, Howard Beale, reaching the end of his tether with society and life! The saddest thing about this statement of intent is that NOTHING has changed – the world is still nuts and it gets crazier by the day!


T101 / T800 – THE TERMINATOR (1984)

“I’ll be back!”

Sometimes three simple words can say more than a lengthy monologue, as James Cameron and Arnold Schwarzenegger combined to amazing impact in this classic sci-fi action film! Arnie lived up to his promise too, coming back again and again in a series of sequels and prequels and, aside from Terminator 2: Judgement Day (1992), rarely equalled follow-up films.


MARTIN RIGGS – LETHAL WEAPON (1987)

“Do you really wanna jump… Well, that’s fine by me!”

Amidst all the mullets, bullets and B-movie baddies of Shane Black’s over-the-top 1980’s script, there is in fact a moving buddy relationship in here too. There is also a compelling character arc of a suicidal man finding a reason to live through an adopted family. Mel Gibson’s Riggs has so many great scenes to demonstrate his wild-man acting style and the “jumper” scene is probably the best of them.


HAWKEYE – THE LAST OF THE MOHICANS (1992)

“You stay alive no matter what occurs – I will find you!”

This statement of intent comes later than they usually might in a film. But, under the fall of water and with the majestic score swelling Daniel Day Lewis’ Hawkeye powerfully declares his love and intentions to Madeline Stowe’s Cora Munro in Michael Mann’s incredible romantic war drama.


BRYAN MILLS – TAKEN (2008)

“I have a particular set of skills… I will look for you. I will find you. And I will kill you!”

Despite the xenophobic undertones within Pierre Morel and Liam Neeson’s rapid-paced action thriller, it does have one of the most iconic statements of intent in recent film history. Neeson delivers it brilliantly and what’s great is he does find the kidnappers and he does kill them! Just like he said he would! Nothing I like more than a man who keeps his word!

CINEMA REVIEW: ANOTHER ROUND (2020)

CINEMA REVIEW: ANOTHER ROUND (2020)

Danish: Druk (2020)

Directed by: Thomas Vinterberg

Produced by: Sisse Graum Jørgensen, Kasper Dissing

Written by: Thomas Vinterberg, Tobias Lindholm

Cast: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe

Music by: Janus Billeskov Jansen

Cinematography: Sturla Brandth Grøvlen

***MAY CONTAIN SPOILERS***


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“First you take a drink, then the drink takes a drink, then the drink takes you.” – Francis Scott Key Fitzgerald


I love drinking alcohol. Perhaps TOO MUCH at certain periods of my life. Indeed, for many years I bordered on addictive reliance or at the very least some form of functioning alcoholism. I’ve binge drunk in my life, abstained for weeks and months on what one would call being “on the wagon”, and in a personal experiment I gave booze for almost twelve months in 2019. It was the longest year of my life. Thus, the old adage of doing everything in moderation certainly works for me where alcohol is concerned. It is all about balance.

In the Danish film, Druk (2020), four middle-aged Danish men attempt their own experiment with alcohol. Apparently, stuck in a rut and suffering inertia where work, family and relationships are concerned, they decide to follow a theory by psychiatrist Finn Skårderud, who has posited that having a blood alcohol content of 0.05 makes you more creative and relaxed. So, the rules are put in place as Martin (Mads Mikkelsen), Tommy (Thomas Bo Larsen), Peter (Lars Ranthe) and Nikolaj (Magnus Millang) — all teachers of variant levels at the same school — set about drinking a specific amount of booze to see if their lives improve over time. Fun and games are certainly had as they begin their “theorizing”, with Martin especially finding his teaching and home life improving. Have the four friends found the secret to happiness, or are these just false victories, with alcohol providing a screen to hidden existential pain?


See the source image

The film is structured well in establishing the various, admittedly privileged, white males in crisis. Martin’s marriage is crumbling, and his students hate his teaching methods. Tommy lives alone, seemingly overcoming the loss of his partner. Peter appears the most together, but he suffers from a lack of love, while the more academic, Nikolaj, struggles with being an adequate father and husband. As their drinking increases the relative first world problems are not really solved, but become exacerbated as the alcohol exerts a tight grip on them. There are some hilarious scenes where the four get blind drunk and make fools of themselves. However, as they take drink after drink, the demon liquor begins to take them. As the film moves toward the final act, their previous drunken joy leads to both emotional and physical pain. In fact, tragedy is not far away for the friends.

It’s not surprising there are reports of a Hollywood remake because Druk (2020), has a perfect hook and set-up for a classic mid-life crisis comedy. However, with Thomas Vinterberg’s expert direction, evocative natural cinematography, and Mads Mikkelsen giving yet another acting masterclass, the humorous narrative soon leaves the laughs behind to become a bittersweet, yet still uplifting, work of Nordic cinema. I must admit I was slightly disappointed there wasn’t more debate and exploration of the alcoholic experimentation. Because ultimately the theory is used as more of a springboard for the examination of men, friendship and their issues. While Martin is a fine character to lead the journey, overall his story dominance meant the other three, especially Tommy’s arc, were mildly undercooked. Yet, I am nit-picking here, as overall I really enjoyed going a few rounds with my Danish peers and one probably won’t see a more joyous end to a film in many a year and many a beer!

Mark: 8.5 out of 11


CULT FILM REVIEW: HOUSE/ハウス – (1977)

CULT FILM REVIEW: HOUSE (1977)

Directed by: Nobuhiko Obayashi

Produced by: Nobuhiko Obayashi, Yorihiko Yamada

Screenplay by: Chiho Katsura

Story by: Chigumi Obayashi

Cast: Kimiko Ikegami, Miki Jinbo, Ai Matubara, Kumiko Oba, Mieko Sato, Eriko Tanaka, Masayo Miyako, Yōko Minamida

Music by: Asei Kobayashi, Mickie Yoshino

***MAY CONTAIN SPOILERS***



This Japanese film from the late 1970s is absolutely nuts, but a riotous genre mash-up of rites-of-passage, horror, musical, martial arts, romance, fantasy, comedy and anti-war genre movie styles. If you are a fan of the work of Takashi Miike’s both energetic and often insane genre films, you can definitely see how, House (1977), may have had a major influence on his and many other Asian filmmaker’s cinematic works.

Initially receiving negative reviews, but big box office in Japan on release, House (1977), opens by introducing a set of seven teenage girls called, Gorgeous, King Fu, Prof, Melody, Fantasy, Mac and Sweet. The names give them their major characteristics too. Kung Fu for example loves martial arts, Fantasy is a daydreamer and Melody loves music etc. You get the idea. As each character is introduced in a basic fashion, the energetic performances of the actors and the quirky screenplay develops their characters beyond the initial stereotypes. Gorgeous is especially well developed as she is suffering the loss of her mother and has rejected her father’s choice of stepmother. Eschewing her kindly father’s protestations, she decides to visit her aged Aunt in the countryside.



When Gorgeous’ friend’s school trip is cancelled due to several bizarre plot turns, and a couple of crazy musical numbers later, the girls join her on the visit to the creepy house. When they finally arrive Gorgeous’ aunt behaves extremely oddly. She rarely gets visitors and only has a white cat for company. When the girls begin to disappear one-by-one and Fantasy’s daydreams begin to turn to nightmares, the true horror of the situation takes shape. The house itself is a malevolent force and has trapped the girls. What appeared to be a lovely summer vacation is now the total opposite.

Now, what I have described actually seems quite normal in terms of the narrative content. It’s a standard horror plot of characters imprisoned by supernatural forces and trying desperately to stay alive. However, director, Nobuhiko Obayashi, who devised the story with his daughter, presents a series of images and sounds David Lynch would have been proud to have devised. These include: a mirror attacking the viewer, a watermelon being pulled out of a well appearing like a human head, a pile of futons falling on and attacking a character, a carnivorous piano with biting keys and all manner of surreal fights and deaths. Allied to this the eccentric and jolly music works against the horror and suspense, so one is both laughing and disturbed simultaneously.

Ultimately, House (1977) is one wacky viewing experience, but it also taps into themes of friendship, romance, grief, as well as drawing on the horror of destruction Japan suffered when the atomic bombs hit Nagasaki and Hiroshima. It is fast paced with an abundance of imaginative ideas, film styles and practical effects throughout. Thus, if you love the work of aforementioned Miike, Lynch and Sam Raimi, you are bound to want to stay in House (1977) for the rapid eighty-eight minutes duration.


AMAZON FILM REVIEW – I CARE A LOT (2020)

AMAZON FILM REVIEW – I CARE A LOT (2020)

Directed by: J Blakeson

Produced by: Teddy Schwarzman, Ben Stillman, Michael Heimler, J Blakeson

Written by: J Blakeson

Cast: Rosamund Pike, Peter Dinklage, Eiza González, Chris Messina, Macon Blair, Alicia Witt, Damian Young, Isiah Whitlock Jr., Dianne Wiest, etc.

Music by: Marc Canham

**MAY CONTAIN SPOILERS**



Strange that this highly entertaining and acid-humoured thriller should be a Netflix release overseas, but in the U.K. released via Amazon Prime. Anyway, streaming platform aside was I Care A Lot (2020) any good? Firstly, let’s talk about genre. Do you enjoy watching films without any redeemable or essentially heroic characters? Do you enjoy spending time with criminals? Whether they are the charismatic kind like those in Goodfellas (1990) or Layercake (2004), or romantic kind in Drive (2011), or ultra-ambitious types such as Lou Bloom in neo-noir masterpiece, Nightcrawler (2014). If you do, then you will both love and hate Rosamund Pike’s confident sociopath, Marla Grayson!

J Blakeson’s razor-sharp and barb-cracking screenplay opens with Marla’s brutally honest statement of intent. She wants it all and doesn’t care who she crushes to get it. Unlike, Lou Bloom, who was on his knees broke when we meet him, Marla already has a successful, legal but morally repugnant business going on. Marla and her associate and partner, Fran (Eiza Gonzalez) run a successful ‘Guardian Angel’ corporation. Their modus operandi is to exploit the elderly and tie them up in legal knots to asset-strip their money, properties and belongings. Complicit Doctors and retirement home directors are also in on the con, while the most frightening thing is that the American justice system assists the process. If I had had a gun, I would have shot the television after forty minutes, such was my anger toward Marla and her sordid business practices. Then she inadvertently makes a fatal mistake in choosing her next mark, Dianne Wiest’s wealthy “cherry,” Jennifer Peterson. That is a rich retiree with NO relatives or children. Marla thinks it is Christmas come early – it has not!


See the source image

Without wishing to give away too much away, Peter Dinklage’s rich businessman, Roman, enters the narrative and Marla’s devious planning suddenly comes under threat. Here the film moves from spot-on satire into extremely generic territory losing the dynamism of the first half of the film. Indeed, the first hour of I Care A Lot (2020) was a fantastic critique of the care system in the USA, and no doubt across the world. In blood-boiling fashion the film tells us that getting old is extremely expensive. One can work all one’s life and then see your savings and properties ripped away by expensive health care, homes for the elderly, pharmaceutical companies jacking up their products, greedy carers and pernicious lawyers. Marla Grayson is a grinning symbol of this corrupt system and nothing will get in her way – not even Roman and his associates. This is perfectly encapsulated in a fine scene where Marla ruthlessly negotiates with Chris Messina’s slippery lawyer. But the suited shark is just the starter as Roman is now on the warpath.

Peter Dinklage again proves what a brilliant actor he is as Roman. He is extremely good at rage in many scenes. His and Marla’s ongoing battle comes to a head in the final act, and when he turns the tables on her I was so happy that she would get her comeuppance. I felt maybe the direction lost some focus in the second half of the film as J Blakeson arguably felt the audience should somehow side with Marla as she finds her life under threat. I can safely say that I wanted her to die in the most painful way possible. Because unlike the ‘Driver’ (Ryan Gosling) in Drive (2011), Marla Grayson is utterly beyond redemption. Not that she would care what anybody else thought! Overall, that’s why I found the film incredibly entertaining. It may have lost sharpness when it moved from socio-political tubthumping into more standard crime film territory, it continually made me feel proper emotion, anger mainly. Sure, it may be slightly overlong, but J Blakeson crams a lot of twists and shocks into into, I Care A Lot (2020).

Mark: 8.5 out of 11


FILMS THAT GOT AWAY #12: THE DAY SHALL COME (2019) + SIX OF THE BEST #29 – CHRIS MORRIS THINGS YOU MUST WATCH!

THE DAY SHALL COME (2020) – FILM REVIEW

Directed by:  Chris Morris

Produced by: Iain Canning, Anne Carey, Emile Sherman

Written by: Chris Morris, Jesse Armstrong

Cast: Marchánt Davis, Anna Kendrick, Danielle Brooks, Kayvan Novak, Denis O’Hare, Jim Gaffigan etc.



Chris Morris is a bona fide genius. A natural prankster, a fearless satirist, writer, actor, producer, director and enfant terrible of radio, television and more recently cinema. He has been suspended by Greater London Radio and by the BBC and described by the Daily Mail as “the most loathed man on TV.” Which to me is a highly positive thing. Moreover, Morris is genuinely one of my cultural heroes and certainly one of the funniest artists to have graced the planet.

Morris’ latest cinema release is called The Day Shall Come (2019), and given I am such a fan of his work it did not make any sense why I have only just seen the film. Perhaps I had seen some negative reviews or maybe it was released at the same time as the London Film Festival in 2019? Thus, it meant I could not find time to watch it. Anyway, the story is somewhat of a mixed bag and definitely not as focussed or blisteringly funny as Morris’ prior directorial masterwork, Four Lions (2010). Centring on the idiotic efforts of the F.B.I’s terrorist taskforce to bring down targets that threaten United States security, operative Kendra Glack (Anna Kendrick) and her boss, Andy Mudd (Denis O’Hare) pull focus on Marchánt Davis as Moses Al Shabaz, an impoverished preacher, running the hapless ‘Star of Six’ commune. Moses, who is possibly bi-polar, is a likeable fool with delusions of grandeur, however, the FBI decide he is a threat and try to fit him up in many farcical scenes of entrapment.

There are funny moments and some delightfully bizarre dialogue exchanges. Furthermore, Davis excels in his role as the eccentric Moses and the under-used Danielle Brooks brings much needed humanity to her role as his wife. However, the film is full of mostly unlikeable and unlikely characters, meaning Morris’ satirical bullets rarely hit their target. Kendrick is miscast and while there are a few laugh-out-loud moments throughout, I just felt like the script was continually trying to squeeze square blocks into round holes. I even watched it twice to see if maybe I had missed something first time round. Goes to show even for a creative magician such as Chris Morris, certain tricks don’t always come off.

Mark: 7.5 out of 11


SIX OF THE BEST #29 – CHRIS MORRIS THINGS YOU MUST WATCH!

NEWSREADER: The main stories so far: Jimmy Savile drops dead at the Stoke Mandeville Boxing Day bash—but the patients are far from mourning.

CORRESPONDENT: The majority, if not all of them, are extremely relieved that he’s now dead, although I suspect that some of them will be sorry that he didn’t suffer a great deal more.

— The Chris Morris Music Show, 16 December 1994


While The Day Shall Come (2019) does not reach the dizzy heights of Chris Morris’ best output, it is still a highly thought-provoking critique of American law enforcement practices. Arguably though it misses more marks than it hits. Here are six of the best things that Chris Morris has been involved in and I urge you to try and find them on a streaming platform or on DVD or online somewhere. If you love obsidian black and controversial comedy then Chris Morris is your man!

CHRIS MORRIS RADIO SHOWS!

Morris’ creative career really formed on radio. He worked at Radio Bristol, Greater London Radio and made the The Chris Morris Radio Show on BBC Radio 1. He gained notoriety and was suspended from the BBC for announcing Conservative politician Michael Heseltine was dead. In fact, fake obituaries were one of his early favourite pranks. Later, Morris joined forces with another comedy legend, Armando Iannucci, to help create the seminal spoof news show called, On the Hour. The rest they say is history.




THE DAY TODAY (1994)

The Day Today was a TV comedy show that parodied current affairs programmes. Broadcast in 1994 on BBC2, it was created by Armando Iannucci and Chris Morris and an adaptation of the radio programme On the Hour. The genius and surreal satire The Day Today found Morris winning the 1994 British Comedy Award for Best Newcomer. The rest of the cast including Steve Coogan, Rebecca Front, Doon Mackichan, Patrick Marber and David Schneider were incredibly good too. I wonder what happened to them?!


BRASS EYE (1997)

Chris Morris took the ferocious journalistic character he created on The Day Today (1994) into Brass Eye (1997), with one of the most scurrilous and controversial works of television ever. Once again, Morris was lampooning current affairs shows and the often hysterical way the media sensationalise issues such as drugs, sex and crime. Morris fooled many celebrities and politicians during the filming of Brass Eye (1997), getting them to commit to absurd, but fake media campaigns. A 2001 special was planned but cancelled due to fear of further controversy and litigation against Channel 4.


JAM (2000)

Ever pushing the boundaries of radio and television genre form and style, Morris’ cult sketch show Jam (2000), is a truly dark and twisted experience. Unsettling and bleak it presented unconnected and surreal sketches, unfolding over an ambient soundtrack. Buried late at night on the Channel 4 schedule it was incredibly striking in style and content with a superb cast including: Amelia Bullimore, Julia Davis, Mark Heap and Kevin Eldon.


NATHAN BARLEY (2005)

This absurdist comedy found Morris working with another comedy genius in Charlie Brooker. Here they took inspiration from Brooker’s TVGoHome – a 2001 E4 TV show parodying television – as the focus of a fly-on-the-wall documentary called Cunt. With energetic fool and influencer Nathan Barley as the lead idiot, the sitcom delivered six delicious episodes which skewered hipster characters and pretentious Shoreditch-based culture. The cast included: Julian Barratt, Ben Whishaw, Richard Ayoade, Nicholas Burns, Claire Keelan etc. and Nathan Barley is a highly recommended comedy that seems as vital now as it did in 2005.


FOUR LIONS (2010)

Oh my word! How the hell this film did NOT get banned is something that still shocks me. It is one of the the funniest and controversial films ever about the darkest subjects, namely terrorism and radicalised Jihadis. How Morris and his co-writers, Jesse Armstrong and Sam Bain, managed to successfully satirise, demonise and humanise Muslim fundamentalists is beyond belief. The wicked script and unbelievably good performances by Riz Ahmed, Nigel Lindsay and Kayvan Novak help make Four Lions (2010) one of the finest socio-political comedies of all time. It’s hilarious and actually moving at the end as I pitied, recoiled and felt for these poor misguided fools. Deservedly, Chris Morris won the award for Outstanding Debut by a British Writer, Director or Producer at the BAFTAS in 2011.


NETFLIX FILM REVIEW – I’M THINKING OF ENDING THINGS (2020)

NETFLIX FILM REVIEW – I’M THINKING OF ENDING THINGS (2020)

Directed by: Charlie Kaufman

Produced by: Anthony Bregman, Charlie Kaufman, Robert Salerno, Stephanie Azpiazu

Screenplay by: Charlie Kaufman (Based on: I’m Thinking of Ending Things by Iain Reid)

Cast: Jesse Plemons, Jessie Buckley, Toni Collette, David Thewlis

Music by: Jay Wadley

Cinematography: Łukasz Żal

***MAY CONTAIN SPOILERS***



I read some background information online about Charlie Kaufman’s latest film adaptation for Netflix, I’m Thinking of Ending Things (2020), and there is a leaning to describe it as a psychological horror. Of course, in order to market their films, studios write copy to entice an audience for their film. However, this adaptation of Iain Reid’s novel is far more than a psychological horror. It has elements from a whole plethora of genres including: surrealism, comedy, romance, thriller, arthouse, road movie, and even dance, animation and musical genres. Safe to say that once again Charlie Kaufman has delivered yet another ingenious cinematic smorgasbord that defies easy categorization. But is it any good?

The film opens gently with the lilting voice of Jessie Buckley’s voiceover. We hear her character deliver a set of poetic existential queries, and her mantra throughout the film: “I’m thinking of ending things. . .” over a set of seemingly unconnected images. She waits for her boyfriend of a couple of months, Jake (Jesse Plemons), as they plan to meet his parents, portrayed by David Thewlis and Toni Collette, for the first time at their farm. So far, so straightforward; kind of. However, as Jake and the young woman’s (whose name changes during the film) drive through picturesque and snowy landscapes, Kaufman intercuts to an elderly Janitor going about his cleaning duties at a high school. How these juxtaposed situations eventually marry together is open to many interpretations. While certainly obtuse and narratively impenetrable to many, I really connected with Kaufman’s surreal trip. Because I’m Thinking of Ending Things (2020) is certainly as much about the journey than the ultimate destination.


As he has demonstrated since his debut feature film screenplay, Being John Malkovich (1999), Kaufman has an urgent desire for original invention, sight gags, existential examination, exploration of mental health, relationship breakdowns, non-linear structure and intellectual discourse. The respective journeys of characters like Jake and the young woman are taken by road and in the mind. Whose mind the film is in and out of is also open to question. The car journey is treacherous both due to the weather and the anxious tension between the couple. This is brought about by the young woman desiring to end things. Is it her life or her relationship she wants to end? Or is it both? Things between the two aren’t made easier by the surreal visit to Jake’s parents’ farm. Thewlis and Collette inject much humour and pathos into their characters. Their performances, a succession of visual punchlines and the brilliant dialogue combine to really bring the film to life during the middle act.

After the couple leave the parents’ farm and head back home, events get even stranger as connections with the aforementioned Janitor intensify. An extremely anxious pitstop at an ice-cream parlour, an animated pig and a ballet dance sequence threatened to destabilize the narrative. But once I had suddenly interpreted my truth and understanding of Iain Reid’s and Kaufman’s vision, it all kind of almost made sense. Indeed, compared to Kaufman’s surreal meta-fictional masterpiece, Synecdoche, New York (2008), I’m Thinking of Ending Things (2020) is arguably more accessible, funnier and less bleak.

Having said that, given Kaufman’s predilection for characters on the edge of nervous, depressive and existential breakdowns, some may find this film’s journey tough to complete. But I loved the invention and constant ideas on show throughout. Kaufman’s takes risks structurally, visually and thematically and I congratulate him for challenging the audience. Lastly, I’m Thinking of Ending Things (2020) has a wondrously cinematic look, sound and dreamlike feel to it. Plus, in Jessie Buckley and Jesse Plemons, Kaufman has cast two exceptional acting talents, who are certainly worth going on the road with. However, bizarre and twisted that road may be.

Mark: 9 out of 11