Main cast: Harris Dickinson, Charlbi Dean, Dolly de Leon, Zlatko Burić, Henrik Dorsin, Vicki Berlin, Woody Harrelson etc.
Cinematography: Fredrik Wenzel
Edited by: Ruben Östlund, Mikel Cee Karlsson
Music by: Mikkel Maltha, Leslie Ming
*** MAY CONTAIN SPOILERS ***
Ruben Ostlund is fast becoming one of those go to directors who can be relied upon to deliver cinema of the highest quality. His latest film, Triangle of Sadness (2022) is his finest to date. Having said that, his Force Majeure (2014) was one of those excellent films I hated. Technically, it was beautifully shot, performed, and directed, however, I just found the characters too irritating. Personally despising ski holidays probably didn’t help either. I actually wished the characters had been killed in the avalanche to save on all the middle-class matrimonial moaning.
Ostlund’s next film The Square (2017) was bravura arthouse storytelling containing wonderful digs at the nature of modern art and how rich people will buy any old crap if it is put in a gallery. While a tad overlong, it was wonderfully funny with hilarious mocking of the bourgeoisie, art and the rise of social media. With Triangle of Sadness (2022), Ostlund has moved up the social strata and focussed his satirical eye on the uber-wealthy, combining socialist dialectic with gross-out comedy, as Das Kapital meets Monty Python’s The Meaning of Life (1983).
The film opens with Carl (Harris Dickinson) and Yaya (Charlbi Dean), a model and Social Media influencer, as a couple whose relationship is fraught with problems. Through Yaya’s connections she secures them free passage on one of the most luxurious yachting holidays on the ocean. While they aren’t short of money, they have nothing compared to the wealthy millionaires and business types on the boat. As Carl and Yaya act as our conduits in the story, Ostlund uses them to explore the petty first world problems which impact many romances. The staff are also introduced as key players in the “Upstairs, Downstairs” character dynamic, notably Woody Harrelson’s drunken socialist Captain Thomas Smith, and Vicki Berlin’s staff supervisor, Paula. Lastly, the money is represented essentially by lonely tech millionaire, Jarmo (Henrik Dorsin), obnoxious Russian, Dimitry (Zlatko Burić) and stroke victim, Therese (Iris Berben) and her husband.
Throwing these disparate, and latterly desperate personalities, into the trapped spaces of a superyacht is great writing by Ostlund. What unfolds in the second act of the film is an extended set-piece of riotous fun. As the yacht becomes battered by the stormy sea and weather, the guests all become violently ill to devasting impact. While it may not be to everyone’s taste, I was laughing for twenty odd minutes straight at this sickening skewering of these privileged people. At the same time the drunken Dimitry and Captain Smith argue relentlessly about the differences and merits of capitalist and Marxist ideologies. It’s easily one of the funniest and impressively directed sequences of this cinematic year.
But Ostlund isn’t finished yet. These characters have not suffered enough for him, and the final section of Triangle of Sadness (2022) drenches the story in another hilarious and satirical direction. I won’t spoil the events which unfold, but Carl and Yaya’s relationship issues come to the fore as a darkly comedic peril strikes the yacht and passengers. Here Ostlund strikes a further blow against capitalism, exploring the nature of survival of the fittest and true values of human currency in a savage indictment against the obscenely rich. Overall, while the characters may not be the most likeable, that is never Ostlund’s aim. Ostlund’s desire is to critique capitalist hegemony through both high and low brow humour. He succeeds, making Triangle of Sadness (2022) one of the most thought-provoking and exhilarating cinema experiences of the year.
Screenplay by: Katie Silberman – Story by Carey Van Dyke, Shane Van Dyke and Katie Silberman
Produced by: Olivia Wilde, Katie Silberman, Miri Yoon, Roy Lee
MainCast: Florence Pugh, Harry Styles, Olivia Wilde, Gemma Chan, KiKi Layne, Nick Kroll, Chris Pine etc.
Cinematography Matthew Libatique
*** MAY CONTAIN SPOILERS ***
Part arthouse character study, part science fiction social satire and eventually a rushed concertinaed thriller, the Olivia Wilde directed, Don’t Worry Darling (2022) is a visual feast, anchored by Florence Pugh’s devastatingly brilliant performance. However, the ambition of the themes remains hamstrung by pacing and structure which fails to serve the story to its full potential.
Set within a utopian 1950’s sun blanched town called Victory, Wilde and her writers throw us straight into the hedonistic lives of a set of youthful and dynamic couples, drinking, partying and sexing. They work and play hard. Well, the husbands work as the dutiful women stay at home cleaning and churning out kids. So far-so-Stepford Wives! At the heart of Don’t Worry Darling (2022) is Pugh as the loyal but inquisitive, Alice. Her husband, Jack (Harry Styles) is ambitious, seeking the approval of big boss, the hubristic Frank (Chris Pine). When Alice begins to experience Kafkaesque dreams of feeling trapped by her daily life, she slowly realises all is not quite perfect in paradise.
No one does anguish and anxiety on screen like Florence Pugh. As Alice falls deeper down the rabbit hole of despair, Pugh produces true cinematic power once again. Olivia Wilde also brings a compelling image system to fully visualise Alice’s hellish descent. In comparison, the male characters are far less developed and the exchanges between Pugh and Styles, especially in the final act, are really lacking in dramatic punch. Styles himself I felt was miscast, but he does have an engaging screen presence. It’s just I didn’t feel enough threat from him.
Structurally, Don’t Worry Darling (2022) is also flawed. The major reveal comes way too late to assuage the pacing issues. While the narrative contains some striking visual set-pieces there are too many parties, barbecues and social events getting in the way of the potential thrills that could have occurred if Alice had discovered her plight much earlier. Overall, there is too much set-up and not enough punch. The longer you wait to reveal the twist, the bigger the revelation needs to be. The Outer Limits and The Twilight Zone have done this style of story with more emotional impact and better economy. Pugh and Wilde though prove once again they are major talents and thematically speaking it’s good that men get another kick in. Men are fast becoming the go-to villains of this century and long may it continue.
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.
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
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.
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 includingSteve 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: THE TRIAL OF THE CHICAGO SEVEN (2020)
Directed by: Aaron Sorkin
Produced by: Stuart M. Besser, Matt Jackson, Marc Platt, Tyler Thompson
Written by: Aaron Sorkin
Cast: Yahya Abdul-Mateen II, Sacha Baron Cohen, Daniel Flaherty, Joseph Gordon-Levitt, Michael Keaton, Frank Langella, John Carroll Lynch, Eddie Redmayne, Noah Robbins, Mark Rylance, Alex Sharp, Jeremy Strong, etc.
Music by: Daniel Pemberton
Cinematography: Phedon Papamichael
***CONTAINS HISTORICAL SPOILERS***
In 2006, screenwriter Aaron Sorkin met Steven Spielberg met to discuss a film project which would focus on the 1968 riots at the Democratic National Convention, which occurred in Chicago. After the meeting Sorkin has admitted he had no knowledge of said riots or the infamous trial which took place afterwards. Sorkin would remedy this with much research and complete his screenplay in 2007. Having been in development for some time eventually Sorkin himself has directed, The Trial of the Chicago 7 (2020). Part-historical drama, part courtroom-thriller and part political satire, the film illustrates skilfully the shocking attempt by the U.S. Government to convict, initially eight, then latterly seven individuals believed to have conspired to cross state lines with the desire to incite violence and mayhem in Chicago.
I, like Sorkin back in 2006, knew nothing of this huge legal and political event from the late 1960’s. But, The Trial of the Chicago 7 (2020), while obviously taking narrative liberties with the temporal order and specificity of certain events, provides an entertaining and insightful flavour of the before, during and aftermath of the incendiary trial. Opening stylishly and rapidly, Sorkin establishes the major characters who will be charged with causing violence on the streets of Chicago. Notable amongst these are civil rights and counter-culture figures such as: Abbie Hoffman ( Sacha Baron Cohen), Jerry Rubin (Jeremy Strong), Tom Hayden (Eddie Redmayne), Bobby Seale (Yahya Abdul-Mateen II), David Dellinger (John Carroll Lynch et al. Swiftly, Sorkin then takes us into the trial itself, which took place in 1969, and structures the narrative around flashbacks from witnesses on the stand to events leading up to conflict between police and demonstrators.
Given the gravity of the socio-political importance of this trial, I was surprised how much I was laughing during, The Trial of the Chicago 7 (2020). The humour, and later pathos, comes from both the absurdity of certain events and behaviour of the characters on trial. Indeed, in a trial which lasted an incredible five months, there was clearly an abundance of rich material for Sorkin to mine. Thus, we get a greatest “hits” summation of this politically driven farce, explained as being influenced by, U.S. Attorney General John Mitchell’s ire, at being snubbed by his predecessor. Moreover, the trial itself escalates into further absurdity as Judge Hoffman (Frank Langella) takes exception with the majority of the defendants and their lawyers, bringing most of them up on charges of contempt, notably the attention-seeking Hoffman and Rubin. It was not surprising as there were often mocking and zinging one-liners from them and even more vociferous protests from Bobby Seale. Nonetheless, that does not excuse what Judge Hoffman did to Bobby Seale in court. That remains a low in the history of the American justice system.
As The Trial of the Chicago 7 (2020) progresses, the comedic elements transition to a more serious tone and many heartfelt speches are given. The demonstrations and violent scenes from the riots bleed through to the fore also. My understanding is that in the United States there is such a thing as freedom of speech and the demonstrators were attempting to have their say on the war in Vietnam. They wanted their voices heard against what they considered to be an unjust war. Of course, I cannot possibly know what occurred that day as I was not there, however, given the U.S. Government’s fear of opposing views, as demonstrated by their handling of race issues and the McCarthy-led investigation into the Communist threat, one must surmise they were scared of anyone protesting a different perspective from theirs. From such fear comes a desire to wield power and suppress such voices; something which the Chicago Police Department appeared to do during the fateful Democratic National Convention.
Aaron Sorkin and his incredibly adept ensemble cast deserve much praise for taking such a complex case and distilling it into such an enlightening work of cinema. Sacha Baron Cohen and Jeremy Strong stand out as a fine double act, while Mark Rylance attends his usual intelligence and class to the role of defence lawyer, William Kunstler. In fact, all the cast are exceptional in bringing to life Sorkin’s witty and storming screenplay. Ultimately, one could argue though that The Trial of the Chicago 7 (2020), is simplistic fodder, designed to spoon-feed the liberal left and preach to the millennial choir. In all honesty, it is that and arguably full of caricatures and one-dimensional storytelling. However, given the United States, and the world, have suffered recent and extreme political dumbing down from one of the worst U.S. Presidents of all time, Sorkin’s one-dimension is still more nuanced and deep than those in power could ever be.
Main Cast: Larry David, Jeff Garlin, Cheryl Hines, Susie Essman, J. B. Smoove, Ted Danson, Richard Lewis, Vince Vaughan, Kaitlin Olson etc.
Guests: Mila Kunis, Clive Owen, Laverne Cox, Chris Martin, Sean Penn, Jonah Hill, Jon Hamm, Philip Rosenthaland many more.
Distribution Platform: HBO (USA) – SKY (UK)
**CONTAINS MASSIVE SPOILERS**
“AH! INTERESTING. . . “
During a lengthy hiatus from 2011 to 2017, fans of Curb Your Enthusiasm were left bereft of their dose of Larry David’s inimitable and eccentric behaviour. The multi-millionaire writer of Seinfeld had carved out a wonderfully politically incorrect comedy series, full of misunderstanding, farce and hilariously embarrassing situations. Thankfully, he returned with season 9, and it was absolutely brilliant. Larry managed to get himself a death sentence, having written a musical called Fatwa, along with all manner of other comedic shenanigans. Season 10 has now followed and, once again, anti-heroic Larry delivers ten more fantastically offensive and funny episodes. More often than not we find his behaviour abhorrent as he goes about upsetting friends, family members, celebrities, and strangers on a daily basis. However, sometimes we are with Larry and his actions have merit and reason. Furthermore, due to the wonderful writing, improvising, cast and situations the humour is always more than pretty, pretty good!
NARRATIVE ARC (OF THE COVENANT)
Usually, Curb Your Enthusiasm episodes can stand alone due to the richness of the narrative strands Larry David and his writers create. But most seasons will have a very solid narrative arc running through it to provide looping rejoinders, a structural spine and a fitting conclusion. In season 10, there were echoes of storylines from prior seasons. Larry wanted to get back with Cheryl and they even committed divorced adultery, cuckolding Ted Danson in the process. However, the main arc revolved around the return of coffee store owner, Mocha Joe (Saverio Guerra). Larry pisses Mocha Joe off because he complains about “cold” coffee, wobbly tables and weak scones. Following Larry’s customary banishing he swears revenge on Mocha Joe. This takes the form of the wonderfully named ‘spite store’ he sets up next door. Thus, Latte Larry’s is born, and ten episodes of fast-paced, tit-for-tat, vengeful and hilarious scenes ensue.
“THE GOLDEN RULE” – STYLE AND THEMES
Curb Your Enthusiasm is not just funny because of the situations, dialogue, observations, guest stars and acting performances. It is also very sophisticated and stupid, combining a variety of comedy styles to fuel the humour. Earlier seasons could be argued to be more based in reality per se. The interactions between the characters felt more natural, in keeping with the pilot episode which was shot as a mockumentary about Larry returning to stand-up. Later seasons, especially seasons 9 and 10, upped the gag rate and one could even say felt slicker. Don’t get me wrong, the jokes have always come thick and fast in Curb Your Enthusiasm, but in the last two seasons there is not only a reliance on the usual comedy of embarrassment, observations and satire, but farce, slapstick and gross-out humour too have been added to the palette. Lastly, the show has always skated close to the edge in regard to non-PC humour and causing offence. Evidently, Larry David has now fully thrown himself over that edge and is happy to offend everyone in a two-fingered salute to so-called snowflakes or liberals out there.
In regard to thematics, Larry David clearly has his finger on the pulse relating to contemporary society, politics and human behaviour. Much of the humour and funny scenarios derive from what is acceptable behaviour and certain “rules” within everyday living. In season 10, Larry finds himself questioning, among other things: the behaviour of a pregnant woman; the merits of artificial fruit; what is and what isn’t’ sufficient praise; usage of disable parking badges; whether he should be in a restaurant’s ‘ugly section’; whether sex with Cheryl’s sister is post-relationship cheating; and the overall benefits of running a spite store. These elements, the running feuds with Ted Danson, Mocha Joe and Larry’s assistant, Alice, and themes relating to the Harvey Weinstein scandal and #MeToo movement; Larry and Leon’s continued chats about the nature of being black/white; Donald Trump’s presidency; fat shaming; suicide; Susie’s alleged plot to murder Jeff; nationalist ridicule; egotistic actor types; and transgender issues, all connectedly make this season a very rich product, full of ideas and challenging storylines.
“PRETTY GOOD. . . ” – EPISODE RATINGS
Episode 1 – Happy New Year – (8.5 out of 10)
Larry goes to war with Mocha Joe and reignites his romance with Cheryl. His relationship with his assistant also descends into accusations of sexual harassment.
Highlight: Larry wearing his Donald Trump, “Make America Great Again!”and ensuring no one wants to be seen with him.
Episode 2 – Side Sitting – (8.5 out of 10)
Larry’s relationship with his assistant, Alice, is possibly going to court unless he settles and makes amends. His attempts to get back with Cheryl are rebuked, so he dates his lawyer’s assistant.
Highlight: Larry gives Susie a portrait of herself as a birthday present. She loves it – but Jeff doesn’t.
Episode 3 – Artificial Fruit – (9 out of 10)
Larry’s donation to a charity fails to bring forward redemption when he refuses to hug Laverne Cox at an event, because she has a cold. Meanwhile, Richard and Larry argue over who is paying a lunch bill, leading to a very embarrassing escapade at a Spanish funeral.
Highlights: Larry is unsure if the Heimlich manoeuvre is appropriate when his assistant is choking. Plus, Larry’s doodle debate with Christine Lahti blows up into a serious disagreement.
Episode 4 – You’re not going to get me to say anything bad About! – (9 out of 10)
Larry, Donna (his new girlfriend), Cheryl, Jeff, Susie and Leon go to Cabo San Lucas for a friend’s wedding. Larry becomes fixated with Donna’s yo-yo dieting, but he and Leon do find some incredible coffee beans for Latte Larry’s.
Highlight: Larry’s determination to locate a toothbrush descends into a farcical conclusion. Later, at the wedding, Ted discovers Larry and Cheryl’s infidelity in a hilarious fashion.
Episode 5 – Insufficient Praise! – (9 out of 10)
Preparations for Latte Larry’s gather pace as Larry asks for a specific urinal type. Larry also gets a new housekeeper and is given a sex doll by Freddy Funkhouser. Meanwhile, Larry clashes with actor Clive Owen and Richard Lewis’ new girlfriend; a professional “crier”.
Highlights: Larry’s frantic battle with the sex doll resulting in his housekeeper and Cheryl catching him. Also, Clive Owen’s brilliantly pretentious send-up of narcissistic acting types.
Episode 6 – The Surprise Party! – (8.5 out of 10)
Larry meets a German inventor who has an anti-Semitic Alsatian called Adolf, and he gains joy from the use of a disabled parking badge. He also clashes with Susie over the surprise party she intends to throw for Jeff.
Highlight: Despite not having an appointment, Larry uses his cardiologist’s reception area to wait, because it’s a “waiting room”.
Episode 7 – The Ugly Section! – (9.5 out of 10)
Larry consistently keeps getting placed in the “ugly section” at the back of a restaurant. Simultaneously, he attempts to woo the widow of his friend who recently committed suicide.
Highlights: Larry asking Jane Krakowski’s character where she got the handles for her husband’s coffin. Later, Larry ruins a possible sexual liaison with her by arguing about the New York Jets. Lastly, Larry insults Susie as she should be in the restaurant “ugly section”.
Episode 8 – Elizabeth, Margaret and Larry! – (10 out of 10)
Actor, Jon Hamm, shadows Larry as he prepares to play a character like him in a film. Larry and Leon start a new business venture which initially proves profitable. Cheryl is angered when Larry spontaneously begins a relationship with her sister, Becky.
Highlights: Jon Hamm slowly turning into Larry throughout the episode, culminating in them both being ejected from a dinner party. Also, Kaitlin Olson returning as Becky and the surprising sex with Larry.
Episode 9 – Beep Panic! – (9 out of 10)
Larry strikes up a friendship with a waitress that dripped sweat into his soup. He also becomes obsessed with the liqorice at his car showroom. Meanwhile, Mocha Joe plots his own revenge using DVD film screeners.
Highlights: Leon and Larry succumb to the severe laxative effect of the liqorice in a silly bit of toilet humour.
Episode 10 – The Spite Store! – (10 out of 10)
Latte Larry’s is well and truly open, and it inspires other celebrities to open similar spite stores. Larry is irked by siren abusers and gives a job to Joey Funkhouser, but his big penis causes the store no end of issues.
Highlights: Sean Penn’s opening a spite-driven pet store. All Larry’s innovations at the coffee store ultimately lead to a very explosive downfall.
“NO GOOD?” – CONCLUSION
In preparing for this review I rewatched season 9 and watched season 10 twice. So, it’s obvious to say that I love, Curb Your Enthusiasm. Overall, I found the latest season to be a wonderful mix of old-fashioned slapstick and farce, combined with Larry David’s original and skewed vision of humanity. What was also impressive was the structural coherence of juggling so many comedy plots and situations. Plus, Larry behaves appallingly, and this is very appealing in an ever-increasingly politically correct world. Many times, throughout the season Larry is shown to be a provocative arsehole, but on occasions he very much has a valid point. Larry’s issues are very much first world problems, but because of the skilled writing and consistently high joke rate I related greatly to this season. Plus, Larry doesn’t win. His spiteful plotting and perpetual disagreements with those around him mostly fail. Indeed, ultimately, the joke is always on him.
Release Date: September 25th 2019 – December 11th 2019
UK Release: Comedy Central
Another year passes and another year of South Park! It has now incredibly reached its twenty-third season and the energy, humour, satire and desire to surprise and shock is still very much there in the latest ten episodes. However, I think that in Trey Parker’s desire to reinvent and reinvigorate the format, he seems to have taken a few missteps along the way. Because, while containing some sublime moments of comedy and wonderfully grotesque episodes, the latest season does not consistently reach the heights of previous ones. One could argue this is the weakest season in a long time.
Don’t get me wrong, I am just a humble worker drone and totally respect Trey Parker’s satirical genius. Yet, having worked on South Park for over thirty years Parker has arguably moved the furniture around too much in Season 23. I can understand why he has re-jigged the format, but for me, concentrating mostly on Randy Marsh’s Tegridy Farm enterprise in the first six episodes, many characters we love like Butters, Kyle, Kenny, Mr Garrison, Wendy, and even Cartman are sidelined to mere supporting roles. Of course, they do feature, but not as much as I would have preferred. I guess Parker just wanted a change and in recent seasons this has garnered many fantastic episodes. In Season 23 though, the over reliance and prolonged attempts at stoner and weed humour just did not make me laugh. Plus, Towelie as a comedy character has never worked and I wish he had over-dosed permanently, never to return.
There are some fine comedic moments throughout, and the themes are as strong as ever. Parker takes many satirical swipes at all manner of sociological, political, gender, health, economical and media targets. Through some excellent writing he successfully lampoons: media censorship, China, the anti-vaccine movement, plant-based food, transgenderism in sport, the PC or ‘woke/snowflake’ generation, drug abuse, streaming services, Christmas greed, addiction, drunk drivers, immigration detention centres, and, very briefly, the Trump administration. Ultimately, the season features several very good episodes, but arguably only Band in China and Turd Burglars hit the heights of classic South Park episodes of past seasons. Nonetheless, Trey Parker on autopilot is still one of the greatest writers and comedic voices around. If only he had a little less ‘Tegridy’, this season could have been another classic.
Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Christopher Plummer, Jaeden Martell etc.
Cinematography: Steve Yedlin
****** SPOILER FREE ******
“What is this, CSI: KFC?”
Rian Johnson seems to have been writing and directing for years, but interestingly, KNIVES OUT (2019), is only his fifth release since his debut film, Brick (2005). His last film Star Wars: The Last Jedi (2017) was, of course, a massive hit across the galaxy. However, having watched it again recently, I felt it was racked with inconsistencies in tone and suffered weak storytelling.
Indeed, I was shocked that such a meta-filmmaker as Rian Johnson, with such a unique approach to genre, was given the Star Wars gig. To me, his filmmaking talent was too offbeat and so it proved. Because, while The Last Jedi (2019) had some memorable moments, (mostly Adam Driver), it did not work as a Star Wars story.
With his latest film, a murder-mystery-comedy-thriller, Johnson is on more solid ground. His penchant for quirky characterisation, irreverent jokes and wicked twists is more than suited to an Agatha Christie pastiche. Especially because this one has more tricks up its sleeve than the Magic Circle. I personally love the detective genre and Johnson successfully pays homage and deconstructs the murder-mystery tropes with a brilliantly funny script. Aiding Johnson is a star-studded cast, all of whom run with the joke superbly.
The plot begins in a traditional fashion; with a heinous “crime.” The story then spins into a complicated and devious web of lies and double-crosses. It concerns famed author, Harlan Thrombey (Christopher Plummer), and his family of sons, daughters and grandchildren. A multi-millionaire writer and owner of a publishing empire, he has managed to upset every one of his family members. So, you can guess what happens to him on his 85th birthday celebration.
Following Harlan’s apparent suicide, Lakeith Stanfield’s police detective investigates, with the assistance of famed sleuth Benoit Blanc (Daniel Craig). With a ridiculous Southern accent, Craig, seems more parodic than the other actors. But, he gives a fine comic performance nonetheless. Michael Shannon, Don Johnson, Toni Collette and Christopher Plummer are also on great form. But, a playing-against-type Chris Evans, arguably steals the show as the overgrown, spoilt rich kid.
Overall, this is film is a so much fun. It should be viewed firstly as a comedy, although the murder mystery plot itself is full of ingenious plot reversals. With everyone a suspect, the fun derives from trying to work out who did it and seeing if there are any holes in the plot. All kinds of satirical, political, sight-gags and murder-mystery in-jokes are brilliantly delivered by a committed set of A-list movie actors too. Moreover, from the big mansion setting, to the costumes and the meticulous set design, it was a lovely film to look at too.
To conclude, Johnson is back on the form he showed with the incredible sci-fi film Looper (2012). Because, Knives Out (2019) definitely has the force with it, working brilliantly as a fast-paced, witty and intricate work of, admittedly style-over-substance, entertainment.
ALL 4 CLASSIC TV REVIEW – “THE COMIC STRIP PRESENTS. . . “
I have been continuing my cultural trawl through the online streaming platform ALL 4, which, if you didn’t know, screens television films and programmes from Channel 4’s roster, past and present. My next port of call was re-watching the twenty-three comedy films – ranging from thirty to six minutes – written and directed by the anarchic comedy collective called The Comic Strip.
The Comic Strip were pioneers of the late 1970s and early 1980’s alternative comedy scene. Much like punk rock did for music, alternative comedy sought to satirise and lampoon the status quo, railing against the capitalist, sexist and homophobic right wing politics of the day. This energetic and crazy comedy troupe consisted of now established comedic and acting luminaries such as: Peter Richardson, Rik Mayall (R.I.P), Adrian Edmondson, Dawn French, Jennifer Saunders, Nigel Planer, Robbie Coltrane, Keith Allen, and Alexei Sayle etc.
Peter Richardson booked and opened the first The Comic Strip show at the Revuebar’s Boulevard Theatre on October 7th 1980. Soon the company had television executives clamouring for these anti-establishment comedic talents. The BBC would soon get Mayall, Planer, Edmondson and Richardson signed up for the anarchic student comedy The Young Ones, and the rest, they say, is comedy history. Richardson would drop out of the classic BBC comedy show, but signed a deal with Channel 4 to write, produce and direct a series of films called The Comic Strip Presents. . .
Channel 4 was a perfect platform for the The Comic Strip as they were a brand new channel whose remit was to provide an alternative creative output to the more traditional British TV channels. Thus, on the launch night of Channel 4 in November 1982, their very first comedy film was released called Five Go Mad in Dorset (1982). Immediately, it caused controversy as the show mercilessly satirised Enid Blyton’s wholesome “Famous Five” with a scurrilous deconstruction of middle-class values. The first series consisted of six short half-hour films and were so successful they would run for another five seasons, plus many comedy specials and feature films too.
The Comic Strip Presents. . . above all else is extremely funny and took many risks in its productions, even to the extent that some episodes verge on avant garde incomprehensibility. The following episodes, however, perfectly marry that punk and anarchic spirit with reasonable narrative and genre cohesion. Well, I say that because I grew up with watching these legendary and always quotable comedy programmes.
To an outsider watching the first time round they may find them, like comedy masterpieces such as Monty Python, Spike Milligan, The Young Ones, The League of Gentleman and The Mighty Boosh, too surreal for their taste. But compared to some of today’s television they can seem quite tame and even dated. Having said that, at the time many of these shows were considered cutting-edge and even “dangerous”, shaking up the conservative complacency with satirical swipes, slapstick parodies, nihilistic irony and genre pastiche.
ALL 4/Channel 4, currently hold twenty-three episodes and I re-watched them all before writing this article. Please be aware that I am aware that there are a number of episodes produced for the BBC before The Comic Strip Presents. . . went back to Channel 4. But it’s at its’ original channel that I am focusing on today. Overall, for me, The Comic Strip Presents. . . is part of my cultural DNA and something I shall always treasure. The opening intro-ident with the bomb falling into the countryside and “Quando, Quando, Quando” playing is as iconic as it comes. Anyway, enough of the talking bollocks, here are some of their programmes I recommend you watch immediately!
BAD NEWS TOUR (1983) / MORE BAD NEWS (1988)
Two riotously funny fly-on-the-wall mockumentaries about the infamous British rock band, Bad News!
DIRTY MOVIE (1984)
Rik Mayall features as a slimy cinema-owner who wants to watch a porno in his cinema, in this silly, post-modern slapstick classic.
EDDIE MONSOON – A LIFE? (1984)
Adrian Edmondson stars as suicidal TV producer Eddie Monsoon, facing both financial and mental ruin.
THE BULLSHITTERS (1984)
British TV action show The Professionals is mercilessly lampooned with Keith Allen and Peter Richardson as tough-guy cops, Bonehead and Foyle.
THE STRIKE (1988)
Brilliant comedy which satirises the Hollywood adaptation of the British Miner’s Strike; starring Al Pacino (Peter Richardson) as Arthur Scargill!
MR JOLLY LIVES NEXT DOOR (1988)
Genuinely one of the funniest comedy films ever made, with Rik Mayall and Adrian Edmondson as Dreamytime Escorts! Together they have to “take out” Nicholas Parsons and cause mayhem in the process.
FOUR MEN IN A CAR (1998) / FOUR MEN IN A PLANE (2000)
Hilarious comedies about four salesmen out on the road who argue and conflict all the time. In each episode they manage to get themselves stranded on the motorway and in a barren desert.
ONCE UPON A TIME IN HOLLYWOOD (2019) – FILM REVIEW
Directed and Written by: Quentin Tarantino
Produced by: David Heyman, Shannon McIntosh, Quentin Tarantino
Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Timothy Olyphant, Margaret Qualley, Austin Butler, Al Pacino, Mike Moh, Bruce Dern, Dakota Fanning, Damien Lewis, Kurt Russell and many, many more.
Cinematography: Robert Richardson
**MAY CONTAIN SPOILERS**
From watching the trailers for Quentin Tarantino’s ninth film, Once Upon A Time in Hollywood (2019), I remember thinking: this looks so cool and I’m glad they haven’t given away much of the story here. Because, I hate those darned trailers which give away the story!
So, you watch Quentin Tarantino’s ninth film and then you realise, after the excessive running time, THERE ISN’T REALLY ANY STORY as such! Okay, DiCaprio’s character suffers an existential career crisis but that’s kind of it. Instead, you get mostly a nigh-on three-hour historical and cultural nostalgia trip down memory lane filtered through the artistic and fetishistic vision of one of cinemas great filmmaking iconoclasts.
Once Upon A Time in Hollywood (2019), is essentially an arthouse character study where you get to hang out with two-and-a-half lead protagonists, plus a whole army of fictional and ‘real’ life supporting characters from the 1969 Hollywood era. Our two main “heroes” are neurotic, alcoholic B-movie actor, Rick Dalton (Leonardo DiCaprio), and tough, handsome and laconic, Cliff Booth (Brad Pitt). The two characters contrast and complement each other perfectly. Moreover, the star quality, chemistry and fine performances of the lead actors bind the movie together amazingly.
Brad Pitt is especially brilliant. His character is not, until the violent ending, given much to do story wise; however, he does it with such charm. He imbues a character who has accepted his place in the world with such easy-going humour and control, it is an absolute joy to watch. It’s an iceberg performance which seems shallow on the surface, but has hidden and unsaid depth. I really wanted to know more about his character, especially what appeared to be a very colourful backstory.
DiCaprio, on the other hand, has the showier performance. Edgy, hungover and insecure due to his characters’ fading Hollywood career, DiCaprio gives another fantastic movie performance. He commits to the Dalton character and features in some wonderful sketches which pay homage and parody B-movies, TV variety shows and old TV Westerns. What I loved was his ability to demonstrate different levels of acting skills. DiCaprio can fuck up Dalton’s acting on set one moment, but then deliver acting on a Shakespearean level the next.
Margot Robbie, who we know is a brilliant actor in her own right, alas, is not afforded the same level of care in regard to the characterisation of Sharon Tate. More of an ornamental character in the film, she looks great going to the cinema, packing a suitcase, driving and generally just being effervescent. Yet, it’s truly is one of the film’s major flaws that it doesn’t make more of Robbie’s acting talent. Even the fantastic ending, which Tarantino, takes incredible liberties with in regard to actual events, finds Tate’s character development unfortunately left bereft of emotion.
Similarly, the Hollywood cameos echoing throughout the films are pure style over substance. For example Steve McQueen, Roman Polanski and Bruce Lee feature but these are mostly inconsequential encounters. The Bruce Lee representation and scene is actually really funny as Cliff Booth and the martial arts star face off in a hilarious flashback. Typically, Tarantino has caused controversy with his Bruce Lee (Mike Moh) rendition. Personally, I respect that people may be offended, however, it’s more comedic and iconoclastic rather than overt racism. After all, this is a fairy-tale vision of Hollywood and not a documentary. Plus, Tarantino knows he’s going to piss people off so it’s obvious he’s playing with people here.
While Bruce Lee’s persona is playfully satirized or racist depending on your point-of-view, Tarantino’s representation of the Manson family is more damning. It’s clear he absolutely hates hippies, especially acid-looped killer hippies. Dalton and Booth represent the old-school, honest Hollywood working class, so are the antithesis of the drop-out youths. The culture clashes between this era and the new flower-power cults is something Tarantino explores. Charles Manson, who barely features, is a ghost-like figure though. Instead, it is the character of Tex (Austin Butler) and the females of the commune who are most prominent.
Margaret Qualley as Pussycat is especially hypnotic in her role. Exuding both sexuality and acid-drenched nihilism, Pussycat is a siren hitcher, luring drivers to symbolically crash against the cliffs. For me, Tarantino should have made way more of the old and new California culture clash themes, as they resonated powerfully when on screen. Plus, the scenes on the commune were actually quite creepy, so more should have been made of this threat from a dramatic perspective. Lastly, the irreverent and violent final act carnage exploits the clashing of these two different cultures, but more could have done throughout to enhance this dynamic.
Overall, Once Upon A Time In Hollywood (2019) is a near three-hour arthouse classic. If you like films about film and TV making, driving, feet, ensemble casts, films within films, cinema-going, Los Angeles, more feet; and hanging with the marvellous DiCaprio and Pitt in a 1969 setting, then you will love this beautifully rendered and lovingly crafted film about Hollywood. Otherwise, you will probably find it a boring, indulgent and style-over-substance folly. Either way you have to admire Tarantino’s exquisitely controlled writing and direction. He certainly does!!
Safe to say though Tarantino will not care either way, because most of his filmic output has made a lot of money at the box office. This has now allowed him the luxury, like that of true cinema artists such as Kubrick, Altman and Antonioni, to make whatever films a studio is prepared to give him the money for. He’s basically making films for himself and doesn’t care if the audience likes it or not.
I personally found myself magnetically drawn to Tarantino’s vision and from a purely filmmaking and artistic perspective I was totally immersed throughout. Having said that, if the incessant driving and shots of dirty feet were cut and Dalton and Booth had been given a proper plot, rather than the thin stranded narrative within the impressive gallery of cameos and set-pieces, I would definitely expect to be writing about one of the best films ever made.
The Cinema Fix presents: 