THANKS TO UNRESTRICTED VIEW HORROR FILM FESTIVAL 2020!
Just a quick post to say thank you to the Unrestricted View Horror Film Festival for screening my short film You Have A New Follower (2020). They screened it online as part of their Little Terrors programme on Tuesday 27th October 2020. Loads of great shorts and features were screened in an amazing programme. Further, in this period of COVID-19, it is a testament to their talents and enthusiasm they continue to support independent filmmakers.
If you didn’t know, Unrestricted View was set up in 1997 by Felicity & James Wren in order to produce exciting and innovative new theatre, comedy & film. In 1999 UV became the resident company at The Hen & Chickens Theatre and remains so to this day. UV was also resident company at Lowdown at The Albany on Great Portland Street 2003-2011 and The Vandella in Shepherds Bush in 2012. Subsequently, they continue to run the Unrestricted View Film Festival and a separate Horror Festival too. This year’s event ran online from 26-10-20 to 1st November 2020. Check out their website here.
Here is the brochure for the festival at this link.
You Have a New Follower (2020) is a psychological thriller/horror. The story concerns Astrid Nilsson, whose life begins to unravel when she is stalked by a mysterious hooded figure. It combines mystery, suspense and science fiction genres, while exploring themes of paranoia, anxiety and identity.
One of the main reasons I watch films is because I love a good story. I especially like working out the ins and outs of the plot lines too. So, it stands to reason that some films may have inconsistencies in their story or even plot holes. I would define a plot hole as a gap in the story which remains unexplained by the writer or writers. Sometimes these can spoil the film, but more often than not it can add to the enjoyment. They may in fact be known to the writers, however, they may have left it as an enigma for the audience to work out. Either that or the writers made a mistake or they could not be bothered to, or were unable to close the hole. In fact, they may be hoping we don’t notice or care.
There are so many films out there and I’m sure one could nitpick holes in most stories. Here I have picked out six of my favourites. I have chosen well known films so as to differentiate between good and just plain bad storytelling. Moreover, I have also omitted horror films where people just make stupid decisions. Likewise fantastical, surreal and dream logic narratives are avoided. Lastly, the major Marvel franchise plot hole is skimmed. You know the narrative hole that occurs in the stand alone entries. E.g. in Spiderman: Far From Home (2019), if the world is being threatened why don’t the other Avengers help poor Peter Parker? Oh, they’re conveniently busy. . . hmmm. Anyway, here are six of the best plot holes I like. If you can think of more please let me know.
***CONTAINS MASSIVE SPOILERS***
KING KONG (1933 / 1978 / 2005) – how did they get King Kong back to New York?
This question is not always one that is brought up as an obvious plot hole. However, think about it. Kong is captured on Skull Island, but is suddenly revealed in New York. How did they manage to find a boat big enough to carry him to America? And what if he woke up? He would destroy any ship carrying him with a yawn and stretch. Plus, because we do not SEE him being transported a massive hole in the narrative occurs.
HALLOWEEN (1978) – who taught Michael Myers how to drive?
It chills the bones when Donald Pleasance’s Dr Samuel Loomis finds on a dark evening on October 30th, the day before Halloween, his most feared patient, Michael Myers has escaped from a maximum security facility. Myers has stolen a car and sped off into the night. The big question is, given Michael was six when he committed the murder, how the hell did he learn to drive? Obviously given Myers is a manifestation of pure evil, he somehow mastered driving through psychic force.
STAR TREK: THE MOTION PICTURE (1979) – the V’Ger probe would be coded as Voyager!
Talking of William Shatner masks, Star Trek is a wonderful science fiction television series and film franchise. It’s loved by many and given the numerous narratives involving time travel and alien species there are no doubt more plot holes in there. I mean the number of aliens who talk English and look human is quite something. However, in Star Trek: The Motion Picture (1979), there is a major plot hole involving the “V-Ger” probe. Indeed, the entire twist of the plot centers around “V-Ger” actually being “Voyager,” as demonstrated by the corroded name plate on the probe. It seems weird though that nowhere in its programming (or anywhere else) did Voyager have its name recorded. It would be like if a label of a computer, say “Dell”, had the “D” covered up, the boot-up screen would not read, “ell” during post, it would still read, “Dell”! Thus, the plot hole is entirely illogical, Captain.
THE TERMINATOR (1984) – why not just destroy the time machine and stop Kyle Reese going back?
There are loads of plot queries in James Cameron’s classic sci-fi thriller. The one I like the most is more paradoxical than plot hole, but similarly this illustrates flaws in Skynet’s overall plan. Given Skynet and The Terminator have detailed files on everyone, why didn’t they know Kyle Reese was John Connor’s father? If so, just destroy the time machine to stop him going back. If killing Sarah Connor in the past stops John from ever being born, perhaps killing Kyle or stopping him time travelling would have the same effect.
SHAWSHANK REDEMPTION (1994) – when Andy escapes, how does he put the poster back so perfectly?
This is one plot hole I love and is in fact, given Andy Dufresne’s incredible struggle to escape, one you can certainly understand. I mean, thematically speaking, Andy is coded as a spiritual Christ-like figure throughout the film. It’s very subtle, but it is there. Thus, perhaps, he had some divine intervention during his escape. He definitely earned it. Lastly, I also love that it is literally a plot hole and Andy escaped right through it.
SIGNS (2002) – why did the Aliens raid a water-based planet when it hurt them?
While the director has had his fair share of critics, I generally enjoy most of his early films and some of the more recent ones. Signs (2002) is a fantastic sci-fi thriller with themes of faith, family and alien incursion. The major hole is the aliens have to be incredibly stupid to want to invade a planet that is 70% their biggest weakness. However, as some have pointed out, it wasn’t an invasion, but a raid to get some people. However, given people are made up of water and water is in Earth’s atmosphere, perhaps Shyamalan should have made their weakness alcohol or even actual acid. Still a very entertaining film though.
Producers: Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams
Director(s): Jason Bateman, Alik Sakharov, Ben Semanoff, Amanda Marsalis, Cherien Dabis
Writers: Chris Mundy, Paul Kolsby, Ning Zhou, Martin Zimmerman, Miki Johnson, John Shiban, Laura Deeley
Cast: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Lisa Emery, Janet McTeer, Charlie Tahan, Tom Pelphrey, Joseph Bedford Lloyd, Joseph Sikora, Felix Solis, Jessica Frances Dukes etc.
Original Network: Netflix
**CONTAINS SEASON 1 & 2 SPOILERS**
So, the third season of the Netflix crime drama, Ozark, confirms its status as one of my must-watch TV programmes. It joins the likes of Game of Thrones, Penny Dreadful, It’s Always Sunning in Philadelphia, Breaking Bad, Doctor Who, Curb Your Enthusiasm, Inside No. 9 and many more, which became essential viewing. If you haven’t seen the show, Jason Bateman plays an accountant who has to go on the run with his family to Ozark, Missouri, while working for a murderous Mexican drug cartel. Accompanying him are his wife, Wendy, portrayed by Laura Linney and their two teenage children, Jonah and Charlotte. The structure of the season one and two is to essentially place the American “nuclear family” at the heart of a noir thriller and watch them use their wits to survive. What is even more apparent though is that the ingenuity of the writing means we are rooting for the bad guys. Of course, there is always a bigger fish or predator, but slowly and surely the Byrdes are climbing a slippery ladder up the crime food chain.
Season 3 begins not long after season 2 ended. The explosive and brutal Mexican drug wars, involving the Navarro Cartel and bitter rivals, provides a violent back drop for the drama. It heightens the tension and danger for Marty and Wendy, who are now running a casino literally on the Ozark lakes. With the Cartel wars raging, the Byrdes also have major problems closer to home. They are attending marriage therapy, the FBI are about to audit their casino, Navarro himself is breathing down their necks about the flailing money-laundering operation, Janet McTeer’s devious lawyer, Helen Pierce, wants more control, and Frank Cosgrove Junior, from the Kansas City mob, is being a spoilt arsehole. His character and Julia Garner’s foul-mouthed Ruth Langmore face off many times during the season. In addition, Wendy’s erratic wanderer of a brother, Ben (Tom Pelphrey) is thrown into the heady mix, while always lurking is devilish Darlene Snell (Lisa Emery). The stakes are high, and the players are set for one almightily gripping game of life and death.
All the ingredients of what I loved in the first two seasons of Ozark are still present in the latest season. This is good old-fashioned crime and noir drama, with ultra-violence and shocking plot twists, presented via a stylish set of production values. The cinematography alone is just so stylish with natural lighting, shadows and silhouettes used to cloak the characters. Furthermore, many of the narrative twists and turns could be deemed as over-the-top, but the scriptwriting and lead performances are of such high quality you cannot fail to be drawn into this shady world of drug dealers, gangsters, assassins and liars. Indeed, pretty much every character is a liar and there are very few innocent or righteous characters in Ozark. Even the kids are in on the lies and have some of their own too.
Of the new characters introduced, FBI Agent Maya Miller (Jessica Frances Dukes) is a welcome addition to the machinations. Yet, her attempts to follow the rules leads her directly into dark water, as Marty attempts to manipulate her to his own ends. Not as innocent is Wendy’s brother, Ben. While he is lively and a bit of a maverick, he still has a good heart though. However, he has a secret which will come to the fore later in the season. This allows Wendy to face one of the most difficult life choices she ever has to make. In such scenes the acting from Tom Pelphrey and Laura Linney is incredibly powerful. Some may say that these episodes trivilize mental illness, but Ozark is not attempting to explore major issues. Instead, it uses them to serve the darker plot developments and continued tragedy within this savage world. Afterall, this is a show which literally had a character suffer a Caesarean section with a hunting knife.
Overall, season 3 of Ozark is a brutal and exciting wade through a swamp of vicious and calculating set of characters. There is also much dark humour, especially in the industrial language and biting delivery of the amazing Julia Garner. Even Jason Bateman as Marty Byrde, a cool and calm individual, continues to prove he will stop at nothing to keep him and his family alive. I think also that Marty enjoys the games and the gambles. He wants to win at all costs as demonstrated in flashbacks to his childhood experiences with a particular arcade game. Likewise, Wendy, whose character really came to the fore in season 2, is just as ruthless. To both of them death has become part of their everyday lives. As Bateman and Linney continue to give incredible performances, I’m hooked on where Ozark is leading us. Given season 4 promises old and new rivals to threaten the Byrde family, I bet it’s going to get darker and even more shocking.
REVIEWS OF THE BOYS (2019), THE EXPANSE (2016) & PREACHER (2016)
So, we are now a few weeks into the lockdown scenario caused by the COVID-19 virus and I have been off work for around that amount of time too. Tragically people are dying, and we owe it to be responsible by continuing to follow the rules laid down that will prevent the spread of the infection. It’s tough for everyone including families, employees and businesses. The capitalist system has taken a massive hit, and some will not survive in terms of life and work. I am not a religious person, but I pray to everyone’s God, whoever that may be, society comes through this. We are digging tunnels, looking for light and an escape. It cannot come soon enough.
In terms of escape it has never been easier to find both the time and formats with which to fill the gap. Thankfully the internet is still up and running, thus I have been filling my time in — aside from some minor administrative work-from-home stuff — writing my film reviews, editing and posting short videos, exercising and watching quite a lot of television and film content. Anything to stop me from becoming a beer monster or functioning alcoholic – AGAIN! The latest focussed viewing has been of Amazon Prime, and the many boxsets they have. So, here are mini reviews of three shows I have seen recently. All with the usual marks out of eleven.
***MAY CONTAIN SPOILERS***
THE BOYS (2019) – SEASON 1 – PRIME VIDEO
Based on the comic book series created by Garth Ennis and Darick Robertson, this violent superhero comedy is the complete antithesis of the Marvel Universe. Taking savage satirical swipes at huge corporations and United States foreign policy, it features a group of vigilantes, led by Billy Butcher (Karl Urban) called ‘The Boys.’ For a variety of reasons, including good old-fashioned revenge, they have targeted the most powerful business in the world, Vought International. Vought control and monetize ‘The Seven’, a group of all-powerful superheroes who happen to mostly be narcissistic, unstable and psychotic arseholes.
The initial episodes started slowly for me and I found it difficult to warm to any of the characters. This could simply be superhero fatigue or certain weaknesses in the writing throughout. However, the spikes of tremendous action, vicious humour and spectacular violence kept me on board. Elisabeth Shue and Antony Starr impress as the nefarious villains, while Erin Moriarty shone as the one decent superhero, Starlight. The least said about the shockingly bad English accent Karl Urban delivers the better. I mean his acting is impressive, but mate – come on!!
Mark: 8.5 out of 11
THE EXPANSE (2015) – SEASON 1 – SYFY/AMAZON PRIME
Usually when I see something is on the Syfy channel I baulk slightly. I mean the shows are pretty decent as a rule, but some right old fantasy schlock can get dumped there. So, with a saturated streaming market offering a plethora of U.S. cable shows, sometimes the Syfy channel shows get short shrift. It’s a shame because The Expanse is a really good science-fiction programme which began airing on Syfy, but is now on Amazon Prime. The sci-fi show hangs tonally betweenAlien (1979), Blade Runner (1982) and the Philip K. Dick-style “Mars v Terra” stories I have read. Indeed, while it doesn’t contain actual aliens or Dick’s surreal explorations of the psyche, it is, in fact, a fantastically plotted and styled industrial, political and humanistic set of narratives.
Based on James S. A. Corey’s (a pseudonym I believe for two writers), The Expanse(Season 1), is set hundreds of years into the Earth’s future and space has been colonized. But it’s not a utopia. Mars, Earth and an outer-planetary system of space stations called ‘The Belt’ are all conflicted on the brink of civil or galactic war. The multiple narratives follow the likes of the always-excellent, Thomas Jane, as a grizzled cop investigating a missing person and a space freighter gang led by Stephen Strait. The latter’s crew go from episode to episode finding life-threatening situations throughout. It’s a space-rock solid production full of twists, action and conspiracies; retaining a cynical, noir and unglamorous edge which makes me want to watch further seasons.
Mark: 8.5 out of 11
PREACHER (2016) – SEASON 1 – AMC/AMAZON PRIME
Developed by Hollywood players Seth Rogen and Evan Goldberg, along with Breaking Bad writer, Sam Catlin, this darkly comedic post-modern vision of heaven and hell is based on a comic book by Garth Ennis (that man again) and Steve Dillon. Starring the very reliable Dominic Cooper as hard drinking and former career criminal-turned Preacher, Jesse Custer, we find 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 The Boys, I 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 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, however, Cooper is great, and he is ably supported by the effervescent Ruth Negga as his tough-talking ex-girlfriend, Tulip. Moreover, English actor Joseph Gilgun steals the show as the Irish sidekick with a dark secret. While the narrative moves steadily, with arguably too many secondary characters, the bloody gore levels during the fight scenes are absolutely spectacular. If, like me, you enjoy irreverent bible-black comedy which offends most religions and contains lashings of ultra-violence, then Preacher is definitely one to pray to the lords of television for.
UNDER-RATED CLASSICS #6 – SEANCE ON A WET AFTERNOON (1964)
Directed by: Bryan Forbes
Produced by: Richard Attenborough, Bryan Forbes
Written by: Bryan Forbes (based on the novel by Mark McShane)
Cast: Kim Stanley, Richard Attenborough, Nanette Newman, Mark Eden,Judith Donner, Gerald Sim, Patrick Magee
Music by: John Barry
***MAY CONTAIN SPOILERS***
I started this series a while ago and posted a few times on the subject with multiple entries; however, I have now decided to make it a feature, like ‘Classic Movie Scenes’, concentrating on singular films. My rules are simple. An under-rated classic can be a film I love, plus satisfy the following criteria:
Must not have won an Oscar.
Must not have won a BAFTA.
Must not appear in the AFI Top 100 list.
Must not appear in the IMDB Top 250 list.
Must not appear in the BFI 100 Great British films.
Must not appear in the all-time highest grossing movies of list.
The latest film I have chosen did receive some critical acclaim when released, but it has since slid into mild obscurity. I only caught it on the cable channel Talking Pictures by chance. This channel, if you didn’t know, is like a British equivalent of TCM. However, it does have less well-known films and TV shows when compared to the American cable channel. Occasionally though, Talking Pictures will have a total gem and that is the case with Seance on a Wet Afternoon (1964).
Adapted and directed by experienced British writer and director, Bryan Forbes, Seance on a Wet Afternoon (1964), casts Kim Stanley and Richard Attenborough as a married couple called the Savages. Stanley portrays Myra Savage. She is a psychic medium who hosts seances for small groups of people, while her more timid husband, Billy (Richard Attenborough), assists. They seem to have a comfortable life and live in a nice house; however, their history is blighted by the tragedy of losing a child. This leaves Myra’s personality, while dominant over Billy, somewhat neurotic and nervy. Determined to elevate her career as a psychic, she plots the kidnapping of a millionaire businessman’s young daughter. With Billy reluctantly agreeing to carry out the physical part of the crime, Myra intends to then use her psychic “skills” to help the police and family locate the missing girl. This and the ransom money will secure their financial future.
While we are all familiar with hostage plots, Seance on a Wet Afternoon (1964), is more complex than a basic crime thriller. It explores themes relating to psychic ability, grief and mental illness. Rather creepily, Myra often uses the spirit of her dead son, Arthur, as a guide to her decisions. Moreover, it also contains a series of suspenseful scenes relating to the kidnapping of the girl and the handing over the ransom money. While these are staple tropes of the kidnap genre the film does break with convention. Indeed, while revealing the kidnappers from the very start, the narrative also concentrates many scenes on the gradual breakdown of their fraught marriage. The Savages are not your everyday career criminals and their risky plan is testament to that.
Overall, Seance on a Wet Afternoon (1964) is a brilliant film which should be held in much higher regard. It contains one of the greatest acting performances I have witnessed in a while. Kim Stanley as the psychic, Myra Savage, is a haunted individual full, not only of hidden grief, but also a controlling sociopathy. One feels equally appalled by her and sympathetic at the same time. Richard Attenborough gives a quieter and unselfish performance as husband Billy, his character attempting to keep his tragic wife from going over the edge. The Savages may be kidnappers, but the skill in the writing, while not condoning their actions, makes you understand their skewed motives. In the end, Kim Stanley would be deservedly nominated for an Oscar, but lose to Julie Andrews as Mary Poppins. As we are aware, there is no justice in the world, and it doesn’t take a psychic to know which film and performance is the more memorable.
THE PERSONAL HISTORY OF DAVID COPPERFIELD (2019) – CINEMA REVIEW
Directed by: Armando Iannucci
Produced by: Armando Iannucci, Kevin Loader
Screenplay by: Simon Blackwell, Armando Iannucci
Based on: David Copperfield by Charles Dickens
Cast: Dev Patel, Aneurin Barnard, Peter Capaldi, Morfydd Clark, Daisy May Cooper, Rosalind Eleazar, Hugh Laurie, Ben Whishaw, Tilda Swinton, Benedict Wong, Anthony Welsh, Paul Whitehouse etc.
Music by: Christopher Willis
Cinematography: Zac Nicholson
**MAY CONTAIN SPOILERS**
Armando Iannucci is a bona fide genius if you ask me. For over thirty years I have been listening, watching and laughing at his various collaborative comedic works. These include notables such as: The Day Today, I’m Alan Partridge, The Thick of It, Time Trumpet, Veep, In the Loop (2009), andThe Death of Stalin (2017). Now, one can include the wonderful delectation of an adaptation that is The Personal History of David Copperfield (2019). While I am embarrassed to say I am not as familiar with this Charles Dickens novel as I am his other books, Iannucci has taken his own inimitable style and married it perfectly to Dickens’ narratively opulent Victoriana vision. The result is an entertaining comedic and dramatic romp, tantamount to a quasi-greatest hits package of a Dickens masterwork.
Dev Patel stars as the eponymous hero in adulthood, while the young David is portrayed with energy and charm by Jairaj Varsani. As a child, his father passed, David is brought up by his mother, Clara and the ebullient housekeeper, Peggotty. Peggotty, portrayed brilliantly by Daisy May Cooper, encourages David’s word-smithery and youthful imagination. But this being Charles Dickens, David’s innocent and magical childhood soon gives way to tragedy and he soon finds himself at the mercy of fate. Conversely, the narrative is more of a chronicle of David’s life and contains what I call an “up-and-down” structure.
Through the rollercoaster that is David’s life he finds family love, then industrial pain via his stepfather condemning him to years of child labour. Then in an attempt to overcome his cruel fate he finds positive gain through family, creativity, romantic love, friendship and education. But destiny tests him by having this all taken away once again. Throughout, Dev Patel shines brightly. His David Copperfield is as tough as they come, as he rolls with the punch’s life throws at him. Moreover, he is a fantastic conduit and spine within the structure. Through him we are introduced to some wonderfully vivid characters; some likeable and some not so. Indeed, Iannucci’s casting is a primary joy with Peter Capaldi as Mr Micawber, Hugh Laurie as Mr Dick, Tilda Swinton as Betsy Trotwood, Ben Whishaw as Uriah Heep and Aneurin Barnard as Steerforth, all giving splendid renditions of their respective characters.
Overall, Iannucci and his scriptwriting partner, Simon Blackwell, mine Dickens’ novel for much comedy gold and there are so many hilarious one-liners and funny situations. Moreover, there’s some depth here too as it’s a story of an individual finding their soul, identity and place in a cruel world. One could argue a feature film is not enough to do the novel justice, and it would probably best be served as a television mini-series. However, for a whip-cracking, razor-sharp and heart-warming two hours, in the company of one the greatest novelists, one of the greatest modern satirists, wonderful set design; and finally one of the most impressive ensemble casts gathered in recent memory, this film is highly recommended.
YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM UPDATE
Last year I wrote and filmed a new short film called You Have a New Follower (2020). It is now completed and it is now being prepared for submission to film festivals. Here are the details, credits and a trailer to watch.
Astrid Nilsson’s life begins to unravel when she is stalked by a mysterious hooded figure.
You Have a New Follower (2020) is the latest short film from Paul Laight and Fix Films. It was shot in London and combines mystery, suspense and science fiction genres with dramatic effect. It’s a short, low-budget film which seeks to explore themes of paranoia, anxiety, and identity within the thriller genre.
ASTRID NILSSON – Tilde Jensen DAVID MARKER – Mitchell Fisher
CREDITS AND CREW
DIRECTED BY: Paul Laight and Tilde Jensen WRITTEN AND PRODUCED BY: Paul Laight CAMERA: Petros Gioumpasis LIGHTING: Sakis Gioumpasis SOUND: Marina Fusella EDITORS: Oliver McGuirk, Petros Gioumpasis COMPOSER: James Wedlock SOUND DESIGN: Simos Lazaridis LOCATION MANAGER: Melissa Zajk PRODUCTION ASSISTANT: Lue Henner
FILMS THAT GOT AWAY #6 – THE UMBRELLAS OF CHERBOURG (1964)
Written and Directed by: Jacques Demy
Produced by: Mag Bodard
Music by: Michel Legrand
Cast: Catherine Deneuve, Anne Vernon, Nino Castelnuovo, Marc Michel, Ellen Farmer, Mirielle Perrey etc.
**MAY CONTAIN SPOILERS**
I knew there were good reasons to get married. The obvious one is the positive nature of a caring relationship and not becoming a lonely, bitter old man. The other is that given my wife loves films too, she will introduce me to the occasional classic film I may have missed. Thus, we went to the BFI and watched the classic musical The Umbrellas of Cherbourg (1964). While she is a massive fan of the musical genre, I can take or leave it generally. Every now and then though I will really love a musical film. The Umbrellas of Cherbourg (1964) is now one of them.
Starting in 1957 and structured over three acts that end in 1963, we follow the lives and loves of two main protagonists, Genevieve (Catherine Deneuve) and Guy (Nino Castelnuovo). The ups and downs of their romance drives the narrative. The two struggle to keep their love alive amidst the obstacles of military conflict, social convention and family pressure. While the story is relatively simple, Jacques Demy’s wonderful script and direction warms you to the two young lovers. So much so, by the emotionally gut-wrenching ending, even a grizzled cynic like myself felt like crying.
The Umbrellas of Cherbourg (1964) is not your classic all-singing-all-dancing musical. It is more an opera of everyday life and love. The actors sing the dialogue all the way through and once I got used to this, the device really worked well for the story. Of course, Michel Legrand’s incredible score literally drenches the colourful sets and mise-en-scene with wonder. Moreover, Demy’s cinematographer, Jean Rabier, works miracles; his camera gliding around the actors in small spaces such as shops, garages, apartments and French cafes. Lastly, Catherine Deneuve and Nino Castelnuovo are such an attractive, but beautifully tragic screen couple. Clearly their touching story, amazing music and Jacques Demy’s cinematic brilliance had a massive influence of Damian Chazelle’s splendidLa La Land (2016).
Once again the festive season is upon us. Thus, the over-privileged first world will buy stuff they don’t need, drink and eat more than humanly possible, and perhaps even celebrate the birth of the son of God. As you may gather, being a miserable cynic, I’m not a massive fan of Christmas, but it is a lovely time to try and be nice to people, take time off from the day job and watch even more films and television.
Watching films and not being at work is definitely my favourite thing about Christmas, so I thought it fun to have a look at what I consider six of the best Christmas films. How do you define a Christmas film? I would say the film should not only be set at Christmas, but also invoke a sense of the Christmas spirit, evil or otherwise. It should also contain Christmas themes or even some kind of moral within the narrative. Therefore, Die Hard (1988) is NOT a Christmas film. Here, in my humble opinion, are six that most definitely are! Happy holidays!
A CHRISTMAS CAROL / SCROOGE (1951)
“Well, then, I’ll just swallow this and be tortured by a legion of hobgoblins, all of my own creation! It’s all HUMBUG, I tell you, HUMBUG!”
BAD SANTA (2003)
“I beat the shit out of some kids today. But it was for a purpose. It made me feel good about myself. It was like I did something constructive with my life or something, I dunno, like I accomplished something.”
“We elves try to stick to the four main food groups: candy, candy canes, candy corns, and syrup.”
“First of all, keep him out of the light, he hates bright light, especially sunlight, it’ll kill him. Second, don’t give him any water, not even to drink. But the most important rule, the rule you can never forget, no matter how much he cries, no matter how much he begs, never feed him after midnight.”
IT’S A WONDERFUL LIFE (1946)
“You see, George, you’ve really had a wonderful life. Don’t you see what a mistake it would be to throw it away?”
“Saint Nicholas is not coming this year. Instead, a much darker, ancient spirit. His name is Krampus. He and his helpers did not come to give, but to take. He is the shadow of Saint Nicholas.”
I started this blog in October 2013 with a review of a low budget sci-fi film called Arrival of Wang (2013). 500 posts later and I am still going. I, like many, don’t make any money out of writing this blog, but I really enjoy it. I have also made connections with other bloggers and film fans all over the world and I find that brilliant too.
I thought it may be interesting to look at the TOP TEN most viewed reviews or articles I have written. So, excluding views for the Home page/Archives clicks, here are the top ten articles with links in the heading.
HBO’s adaptation of George R. R. Martin is one of the greatest television narratives ever. Full of action, intrigue, treachery, quests, sex and murder, it also had some great dialogue. Here I listed six great speeches from the show.
I still cannot believe that Rik Mayall is dead. He was such a hero of mine growing up and genuinely one of the funniest people that ever existed. R.I.P Rik Mayall! This article is a tribute to both his genius and my love of one of his hilarious TV comedies: Mr Jolly Lives Next Door.
Another classic film scene from another classic film gets into the top ten! I should probably write more of these!! Sergio Leone’s gangster epic is rarely screened on television but it is as amazing as it is long.
Ken Loach is one of my favourite filmmakers in terms of both quality and consistency of cinematic output. His incredibly raw depiction of Northern life in Kes (1969) gave us many memorable scenes, including this one about the injustices of the education system.
Aside from reviews of past and present films and TV shows, I occasionally do more focused articles. This one picked some great films that tell their story in one hundred minutes or less. Maybe I should do one about classic films over one hundred and eighty minutes too?
Perhaps it’s because “sex” is included in the tags of this review of Park Chan-Wook’s erotically charged crime noir, or because it is brilliantly written, who knows! Anyway, it’s the highest seen new release review so it must be of some interest to some people.
THE END OF THE WORLD
Well, that’s the top ten most viewed articles out of the five hundred I have posted. For the record, the LEAST viewed article with only SEVEN VIEWS is this one: APOCALYPSE WHEN? VISIONS OF FUTURE EARTH! It goes to show that no one is interested in reading about filmic visions of the end of the world. C’est la vie!