Tag Archives: Comedy

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***


See the source image

“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


FX/BBC TV REVIEW – MRS AMERICA (2020)

FX/BBC TV REVIEW – MRS AMERICA (2020)

Created by: Dahvi Waller

Producers: Tanya Barfield, Boo Killebrew, Sharon Hoffman

Writers: Dahvi Waller, Tanya Barfield, Boo Killebrew, Micah Schraft and April Shih, Sharon Hoffman, Joshua Allen-Griffiths, etc.

Directors: Anna Boden & Ryan Fleck, Amma Asante, Laure de Clermont-Tonnerre, Janicza Bravo,

Cast: Cate Blanchett, Rose Byrne, Uzo Aduba, Elizabeth Banks, Kayli Carter, Ari Graynor, Melanie Lynskey, Margo Martindale, John Slattery, Jeanne Tripplehorn, Tracey Ullman, Sarah Paulson, and many more.

No. of Episodes: 9

Original Network: FX on Hulu / BBC (UK)

*** CONTAINS HISTORICAL SPOILERS ***


“Feminism has never been about getting a job for one woman. It’s about making life more fair for women everywhere. It’s not about a piece of the existing pie; there are too many of us for that. It’s about baking a new pie.” — Gloria Steinem

I just won’t ever understand this world and the people in it. We are capable of wonderful moments of love and compassion and just being good to one another, but equally just as capable of negativity, division and dispute. Take for example the Equal Rights movement. First proposed by the National Woman’s political party in 1923, the Equal Rights Amendment was to provide legal equality of the sexes and prohibit sex discrimination.

Initially failing, the E.R.A. was revived in the late 1960s, and throughout the 1970s tireless work was done to get it ratified. Here was a group of people striving for gender equality and generally fighting for better working conditions. This for me is a noble cause. However, unbelievably there were women, not just men, in America who were AGAINST the Equal Rights Amendment. Of course, it is a constitutional right to freedom of speech and to protest your point of view, however, arguing against something that is looking to improve lives is hard to credit.



FX’s historical biopic, Mrs America (2020) is set against the backdrop of the 1970s and it dramatizes the amazing fight by those individuals and groups seeking to ratify the E.R.A. across the disunited states of America. Leading political activists such as Gloria Steinem (Rose Byrne), Betty Friedan (Tracey Ullman), Shirley Chisholm (Uzo Aduba), Bella Abzug (Margo Martindale) and Jill Ruckelshaus (Elizabeth Banks) were just a few of the people struggling to get the E.R.A. over the line. While it seems like a no-brainer to me, the 1970s was clearly another country when it came to gender roles and the treatment of women. Thus, the amendment, while slowly gathering momentum in various states, faced much opposition. The mini-series represents the major source of opposition in ultra-conservative spokesperson, Phyllis Schlafly (Cate Blanchett), an activist and lobbyist who started the No E.R.A campaign group. The battles between her group and the feminist legion gives way to much incisive drama, comedy and entertainment.

Presented in nine brilliantly written, acted and directed episodes, Mrs America (2020) is television of the highest quality. The ensemble cast is one of the finest ever assembled in my opinion and there are so many amazing performances. Cate Blanchett is magnetically charismatic as PhylIis Schlafly. Blanchett gives a complex characterisation of a formidable woman who, while striving to be taken seriously in the world of law and politics, finds she is undermined by the men she is fighting for. Sarah Paulson also gives another nuanced and exquisite rendition of a housewife on a slow journey of self-realisation. There are just too many great acting portrayals to mention, but Tracey Ullman steals every scene she is in for sure.

Overall, Mrs America (2020) takes a potentially dry subject and infuses it with the intricacies of both political intrigue and powerful personality. The script fizzes with wit, style and verve, and is supported by an amazing soundtrack and some jaw-dropping acting. No doubt many liberties have been taken with the events for dramatic purposes. But if that means bringing to prominence this important struggle then I am all for it. Rather incredibly, the E.R.A., at the time of the programme’s release this year, still had not been ratified by the number of States needed to make it law. I know it’s too complex an issue to be resolved so easily, however should this political matter still remain unratified today? It remains a sad indictment of humanity that equality for all was seen as such a negative thing in the 1970s, especially by individuals it sought to protect.

Mark: 9.5 out of 11

AMAZON PRIME REVIEW -PREACHER (2016 – 2019) – S1-S4

AMAZON PRIME REVIEW – PREACHER (2016 – 2019) – S1-S4

Based on: Preacher by Garth Ennis, Steve Dillon

Developed by: Sam Catlin, Seth Rogen, Evan Goldberg

Writer(s): Sam Catlin, Steve Dillon, Garth Ennis, Evan Goldberg, Seth Rogen, Mary Laws, Olivia Dufault, Carolyn Townsend.  Sara Goodman, Craig Rosenberg, Mark Stegemann, Gary Tieche, Rachel Wagner, Kevin Rosen, Jim McDermott, and many more.

Director(s): Michael Slovis, Evan Goldberg, Seth Rogen, Wayne Yip, Sam Catlin, Michael Morris, John Grillo, Kevin Hooks, Laura Belsey, Iain B. MacDonald, Jonathan Watson, and many more. 

Cast: Dominic Cooper, Joseph Gilgun, Ruth Negga, Lucy Griffiths, W. Earl Brown, Derek Wilson, Ian Colletti, Tom Brooke, Anatol Yusef, Graham McTavish, Pip Torrens, Noah Taylor, Julie Ann Emery, Betty Buckley, Mark Harelik, Tyson Ritter, and many more.

Cinematography: Bill Pope, John Grillo

Composer: Dave Porter

No. of seasons: 4

***CONTAINS TRACE SPOILERS***



Ever wanted to know who would win in a fight between Hitler and Jesus? Well, if you desire the answer then watch all four seasons of AMC’s graphic novel series adaptation, PREACHER. Because that is just one of the insane scenarios which ultimately rewards viewers who love controversial, violent and irreverent representations of holy, historical and fantastical characters.

Developed by Hollywood players Seth Rogen and Evan Goldberg, along with BREAKING BAD screenwriter, Sam Catlin, this darkly comedic post-modern vision of heaven, Earth and hell is based on the devilishly imaginative work of Garth Ennis and Steve Dillon. Starring the charismatic Dominic Cooper as hard drinking and former career criminal-turned Preacher, Jesse Custer, the first season finds him losing faith in a small Texan town and a dwindling set of hopeless parishioners. That is until one day he is struck by some twisted divine interpretation. Then, literally, all hell breaks loose as Custer battles his inner demons and the local slaughterhouse baron portrayed with callous joy by Jackie Earle Haley.

Like another Amazon Prime release, THE BOYSI initially found PREACHER a little bit slow in terms of setting up the story and characters. But I think that was deliberate as there are so many crazy concepts relating to religion, angels, demons and the afterlife in here, a balance had to be given to combining the fantastic and more realistic elements. I’m not sure they’re wholly successful but there’s enough riotous and bloody anarchy to keep horror and comic book fans happy. Cooper is great as the anti-heroic holy man. Moreover, he is ably supported by the effervescent Ruth Negga as his tough-talking, fist-fighting and gun-toting ex-girlfriend, Tulip. English actor Joseph Gilgun arguably steals the show as Cassidy, the Irish sidekick with a dark secret. While the narrative moves slowly in the first season, the bloody gore levels during the fight scenes are absolutely spectacular. It was this and the litany of fascinating concepts relating to religious icons which kept my interest piqued.



Season 2 picks up the pace when Custer, Tulip and Cassidy go to New Orleans and literally try to find God. Here they encounter their major nemeses for the remainder of the series in, the damned Saint of Killers (Graham McTavish), and a nefarious group of Catholic fascists called The Grail. Further, Season 3 is arguably the strongest of the series as Jesse goes back home to fight the demons of the past, notably his grandmother, Madame L’ Angelle (Betty Buckley). She has done deals with Satan and happens to have put a deathly spell on Custer’s soul. This season is particularly hilarious because Cassidy meets a fellow creature of the night in New Orleans with bloody hilarious results. Lastly, in season 4, all of heaven and hell implodes as The Grail attempt to precipitate God’s planned apocalypse and only Jesse, Tulip and Cassidy can stop them. These series summations cannot begin to even touch the surface at the insanity of ideas and action on show. If you like your television safe and inoffensive, then DO NOT WATCH IT!

If, like me, you enjoy irreverent bible-black comedy which offends mainly Christian religions and contains lashings of ultra-violence, then PREACHER is definitely one to venture to the church of television for. There is not a lot of internal logic as the narrative chucks in the proverbial theological kitchen sink. Representations of angels, God, Jesus, Hell, Heaven, Satan, devils, vampires, and various other religious figures are all par for the course for the show. While the iconography, action and visual power of the series is a major strength, the core story of Jesse Custer searching for God was essentially a very loose structure with which to hang the many spectacularly crazy, violent and bad taste ideas on. However, I am glad I had the faith to witness such events because I was very entertained and ironically it made me believe more in God than any visit to a church has ever done. Because in PREACHER, this vision of God was extremely human and flawed and somehow more believable.

Mark: 9 out of 11


FIFTY NOT OUT! 50 FAVOURITE FILMS IN 5 MINUTES!

FIFTY NOT OUT! 50 FAVOURITE FILMS IN 5 MINUTES!

I celebrated my fiftieth birthday last week. So, for a bit of fun I set myself a cinema game involving the theme of fifty. I gave myself no more than five minutes to list fifty favourite films. The rules are simple:

  • Pick 50 favourite films off the top of your head.
  • Take no longer than 5 minutes.
  • No checking Imdb.com or other cinema sites.
  • One film per franchise.
  • Go with your instinct – don’t overthink it!
  • Once you have written fifty down – you cannot change any.

Of course, these aren’t necessarily the best films ever, but instinctively films I love. Obviously, I am now kicking myself for the many great works of cinema I have missed. But, it’s just a bit of fun! So, here we go! In alphabetical order – FIFTY FAVOURITE FILMS chosen in FIVE MINUTES to celebrate FIFTY YEARS alive!



A GHOST STORY (2017)

AMERICAN BEAUTY (1999)

ANCHORMAN: THE LEGEND OF RON BURGUNDY (2004)

AU REVOIR LES ENFANTS (1987)

THE BIG LEBOWSKI (1998)

CAPTAIN AMERICA: THE WINTER SOLDIER (2014)

CASABLANCA (1942)

CASINO ROYALE (2006)

DAWN OF THE DEAD (1978)

DEAD MAN’S SHOES (2004)



THE EXORCIST (1973)

FARGO (1996)

FIGHT CLUB (1999)

FOUR LIONS (2010)

GLADIATOR (2000)

THE GODFATHER: PART II (1974)

GOODFELLAS (1990)

THE GOOD THE BAD AND THE UGLY (1966)

THE GREAT ESCAPE (1963)

HALLOWEEN (1978)



INGLOURIOUS BASTERDS (2009)

JAWS (1975)

KES (1969)

LORD OF THE RINGS: THE RETURN OF THE KING (2003)

THE MAGNIFICENT SEVEN (1960)

MAN ON FIRE (2004)

MEMENTO (2000)

MILLER’S CROSSING (1990)

MISSION IMPOSSIBLE (1996)

NETWORK (1976)



THE NINTH CONFIGURATION (1980)

NOSFERATU (1922)

ONCE UPON A TIME IN AMERICA (1984)

PSYCHO (1960)

RAGING BULL (1980)

RAIDERS OF THE LOST ARK (1981)

RESERVOIR DOGS (1992)

ROBOCOP (1987)

ROCKY (1976)

SCARFACE (1983)



SECRETS AND LIES (1996)

THE SEARCHERS (1956)

THE SEVEN SAMOURAI (1954)

STAR WARS (1977)

THE TERMINATOR (1984)

THE THING (1982)

TREMORS (1990)

TRUE GRIT (1969)

WHEN HARRY MET SALLY (1989)

WITHNAIL AND I (1986)