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All 4, Articles, Reviews, Television

ALL 4 DRAMA RESIDENCY – INCLUDING REVIEWS OF: THE ACCIDENT (2019), CHIMERICA (2019), KIRI (2018), NATIONAL TREASURE (2016) and more…

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ALL 4 – DRAMA REVIEWS

So, I don’t get paid for doing this. I do it because I enjoy watching films and television and writing about them. It helps me to review stuff critically from both a creative perspective and absorb knowledge for when I make my own low budget films. Also, it’s something to do isn’t it; a hobby and means to immerse oneself in something that interests me. Lastly, one also learns much from the hours of viewing, especially if the narratives are grounded in reality, representations of history and social issues.

CHANNEL 4 has always been at the forefront of producing intelligent drama television built to inform, entertain and provoke thought. Their streaming platform called ALL 4 is a great place to catch up with Channel 4’s product and I have already reviewed many of their shows here on this site. Having said that, I thought I should put an even bigger effort to catch up with some of their dramas. After all, ALL 4 is — aside from watching a few adverts — is absolutely FREE! I’m glad I did because they have quality production values and are very powerful, skilfully tackling social themes and historical events. So, here are some quick reviews of Channel 4 television dramas both recent and not so recent with the usual marks out of eleven.

THE ACCIDENT (2019) – Mark: 9 out of 11

What I found from my All 4 residency was that many of the shows were written by Jack Thorne. He is a clever writer with a keen eye and ear for drama relating to everyday people’s lives. The Accident (2019) is set in Wales and concerns a small community whose lives are ripped apart by an explosion at a construction site. Many children are killed, but given they were trespassing the blame initially falls on both them and building company. The ensemble cast lead by Sarah Lancashire and Joanna Scanlan are uniformly excellent, as the impactful drama echoes actual events such as Aberfan and Grenfell Tower disasters.

CHIMERICA (2019) – Mark: 8 out of 11

Based on Lucy Kirkwood’s play of the same name and set during the 2016 American Presidency election, this political drama sees Alessandro Nivola’s once-lauded photographer attempt to locate the “Tank Man” from the 1989 Tiananmen Square protests. Part-redemption and part-historical expose, the writing is excellent as Cherry Jones and F. Murray Abraham easily steal the acting plaudits. I was more interested in the plight of Zhang Lin’s (Terry Chen) China-set parallel storyline than the photographer’s, but, overall, I was drawn into detective plot and human conflict throughout.

THE DEVIL’S WHORE (2008) – Mark: 9 out of 11

The wonderfully titled The Devil’s Whore (2008), features a fine cast of actors including: John Simm, Peter Capaldi, Andrea Riseborough, Michael Fassbender and Dominic West. The drama focusses on the historical era of Oliver Cromwell and Charles I, filtered through the eyes of Riseborough’s strong, yet scandalised heroine, Angelica Fanshawe. Peter Flannery’s excellent script is full of violence, political and religious intrigue and works well as both a work of entertainment and chronicle of key characters from the bloody English Civil War!

I AM. . . (2019) – Mark: 9.5 out of 11

Dominic Savage is a skilful and experienced filmmaker, who recently made the semi-improvised feature, The Escape (2017). It focussed on unhappy mother portrayed by Gemma Arterton, and while an interesting character study, it ultimately felt a little flat dramatically. Using the same improvisatory and documentary style with the anthology triptych, I Am. . . (2019), Savage casts Vicky McClure, Samantha Morton and Gemma Chan in three separate stories of women in various states of domestic plight. All of the narratives are brilliantly acted and directed, focussing on coercive relationships, gaslighting debt escalation and painful maternal inertia respectively, all delivered with tremendous emotional power.

FALLING APART (2002) – Mark: 8.5 out of 11

Mark Strong and Hermione Norris excel is this shocking drama about domestic violence. Seemingly the perfect couple, Pete and Clare fall in love and marry, only for Pete’s aggressive tendencies to come to the fore soon after the honeymoon period. Clare forgives Pete and blames work and herself and then finally thinks he may have a problem. An honest and bleak look at love gone wrong, there are many scenes that make one flinch and feel bad for those women trapped in similar situations.

KIRI (2018) – Mark: 9.5 out of 11

Sarah Lancashire is exceptional as the social worker hung out to dry when a fostered child, Kiri, is killed after a family visit to her paternal grandparents. Jack Thorne writes a subtle and compelling script which explores issues relating to: adoption, social care, race, class, and child murder. As well as Lancashire, Lucian Msamati, Paapa Essiedu, Wunmu Mosaku, Lia Williams and Sue Johnston give exceptional performances. Finally, what begins as a murder mystery drama unfolds into something far more complex, with an ending that leaves you stunned with its brave, narrative risk-taking.

NATIONAL TREASURE (2016) – Mark: 9 out of 11

Not to be confused with the Nicolas Cage film series, this searing drama, written by Jack Thorne again, springboards off the recent #MeToo and Operation Yewtree news events. Robbie Coltrane takes the lead as Paul Finchley, a once successful comedian of the 1980s and 1990s, now hosting a television quiz show, while his wife is portrayed by the exceptional Julie Walters. Finchley’s life and career is turned upside down when he is accused of rape and sexual assault, something he vehemently denies. The drama unfolds in an engrossing fashion as we flash back and forth between Finchley’s present day and past history. Again, a potentially sensationalist subject matter is dealt with mesmeric power, as it all culminates in a tense and emotional court case.

ON THE EDGE (2018) – Mark: 8 out of 11

Excellent set of short anthology dramas which focus on various issues affecting mostly younger people in Britain today. Issues explored include: knife crime, body shaming, race, neurodiversity, date rape, depression and social work. All are extremely well acted and directed, giving excellent examples of diverse drama Channel 4 excels at.

Cinema, Films That Got Away, Reviews

FILMS THAT GOT AWAY #10 – CAPTAIN FANTASTIC (2016)

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FILMS THAT GOT AWAY #10 – CAPTAIN FANTASTIC (2016)

Written and directed by Matt Ross

Produced by: Nimitt Mankad, Monica Levinson, Jamie Patricof, Shivani Rawat, Lynette Howell Taylor

Cinematography: Stephen Fontaine

Music: Alex Somers

Cast: Viggo Mortensen, Frank Langella, Kathryn Hahn, Steve Zahn, George MacKay, Samantha Isler, Annalise Basso, Nicholas Hamilton, Shree Crooks, Charlie Shotwell, Trin Miller, Elijah Stevenson, Teddy Van Ee, Erin Moriarty, Missi Pyle, Ann Dowd,

***MAY CONTAIN SPOILERS***

Have you ever thought about living “off the grid?” Maybe you already do. It’s something I have considered from time to time. Get out of the rat race and stop punching the clock. I don’t think I have the abilities or desire to do so though ultimately. Moreover, I would probably miss my television and home comforts like baths and central heating. Having said that, it’s always fascinating to watch films or TV programmes about characters or people who have tried to live outside conventional societal rules. Films like: Together (2000), The Commune (2016), Leave No Trace (2018) and Into the Wild (2007) are all excellent narratives which represent characters who, to varying degrees of failure and success, have eschewed civilization. Matt Ross’ excellent recent release, Captain Fantastic (2016), is another darkly humorous and poignant movie to add to that list.

I’m not sure why I missed seeing Captain Fantastic (2016) first time round at the cinema, but I am so glad I caught up with it on Netflix. It stars the ever-brilliant Viggo Mortensen as Ben Cash, the father-of-six children, ages ranging from seven to late teens. Their mother, Leslie, alas, has suffered long bouts of depression linked to bipolar disorder and is currently in a mental health facility. Having established Ben and the children’s unorthodox living arrangements in a forest dwelling, the script throws them the tragic curveball of Leslie’s suicide. The family leave behind their strict hunting, education and exercise routine, as well as their self-built huts, shacks and wooden dens, to drive cross-country on their transformed mobile home, a bus called Steve, to attend Leslie’s funeral.

While grief and sadness hang heavy over the family unit, Matt Ross’ brilliant screenplay structures the film around that great American film genre — the road movie. As the bus, Steve, carries them away from the wilderness into civilisation, the clashing of the Cash’s alternative lifestyle and socially eccentric behaviour with society, provides a rich vein of comedic and dramatic moments. For example, Viggo Mortensen eating breakfast naked at a campsite while people pass by, and oldest son, Bodevan (George Mackay), romantically declaring his love to Claire (Erin Moriarty), who was just expecting a random hook-up, are both hilarious scenes. Similarly, Ben and Leslie, having tutored their kids at home quite impressively, have not factored in their apparent lack of socialisation in the outside world. Lastly, Ben’s candidness in matters of sex is shocking too and he conflicts with his sister, portrayed by Kathryn Hahn, who believes the children should have a more “normal” life.

Amidst the humour and hilarious culture clash punchlines, the director, Matt Ross, expertly weaves some heartfelt drama in their too. Ben fights with his father-in-law, Jack (Frank Langella) over Leslie’s funeral arrangements. Jack then attempts to take the children off him via legal means. Throughout all this Viggo Mortensen’s majestic acting performance anchors the film with searing emotional depth. His character must deal with the death of his wife and whether he has made the right decisions for his family. I mean, the kids have cuts and bruises from hunting exploits, possess strange invented names, wear unconventional clothes and do not celebrate Christmas at all. Furthermore, they eschew all organised religion in favour of celebrating academic philosopher, Noam Chomsky’s birthday. With the death of his wife and pressure from her family, it’s no surprise Ben feels cornered. However, Matt Ross’ film, Captain Fantastic (2016), lives up to the positive title and overall gives us a sense of warmth, community and love, proving that family unity is often an impossible bond to break.

Mark: 9 out of 11

Articles, Cinema, Six of the Best

SIX OF THE BEST #24 – FILMS TO HELP YOU KEEP CALM AND FEEL BETTER!

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SIX OF THE BEST #24 – FILMS TO HELP YOU KEEP CALM AND FEEL BETTER!

As everyone knows we’re all being impacted by the medical pandemic and COVID-19 virus in some way. Essentially, these are troubled times for everyone and my sympathies go out to anyone who has the virus, lost someone to it or knows someone who has it. Similarly, if you are vulnerable and isolated, I wish you all the best. If we can, as a species, all keep calm, work together and NOT panic, I think we can work through this. That is my hope, anyway.

The United Kingdom is slowly moving toward, like many other European countries, some kind of lockdown scenario. Indeed, cinemas have shut down, so that means we will be watching a lot of movies indoors. Obviously, there may be a clamouring to watch apocalyptic or dystopian visions of society. However, I would advise watching some feel good or feel better films too. So, here are Six of the Best Films to Help you Keep Calm and Feel Better! Please note that some of these films have darker themes and events, but the narratives represent hope and light, finding resilient and positive characters overcoming the odds.

BABE (1995)

“This is a tale about an unprejudiced heart, and how it changed our valley forever.”

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E. T. THE EXTRA TERRESTRIAL (1982)

“You could be happy here, I could take care of you. I wouldn’t let anybody hurt you. We could grow up together, E.T.”

Image result for et the extra terrestrial AND ELLIOTT

IT’S A WONDERFUL LIFE (1946)

“What is it you want, Mary? What do you want? You want the moon? Just say the word and I’ll throw a lasso around it and pull it down. Hey. That’s a pretty good idea. I’ll give you the moon, Mary.“

Image result for it's a wonderful life film

SEABISCUIT (2003)

“I was crippled for the rest of my life. I got better. He made me better. Hell, you made me better.”

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THE SHAWSHANK REDEMPTION (1994)

“I guess it comes down to a simple choice, really. Get busy living, or get busy dying.”

Image result for shawshank redemption andy in the rain

UP (2009)

“Hey, I know a joke! A squirrel walks up to a tree and says, “I forgot to store acorns for the winter and now I am dead.” Ha! It is funny because the squirrel gets dead.”

Image result for UP FILM DOUG OLD MAN
Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #18 – KEN LOACH

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MY CINEMATIC ROMANCE #18 – KEN LOACH

I haven’t done one of these articles for a while, but in light of the Conservative Party victory in the General Election the other day, I thought it interesting to lean toward a more political filmmaker for my latest post. Thus, I once again pick five highly recommended films by one of my favourite cinema creatives. Today, I look at the work of Ken Loach.

Loach is now, at time of writing, eighty-three year’s old, and has just released a new film called Sorry We Missed You (2019). At the cinema alone he has singularly directed twenty-five films, plus been involved with many television productions too. His ‘Wednesday Play’ Cathy Come Home (1966), was voted in the top ten best British television programmes of all time at the turn of the millennium. It was so powerful in its depiction of a struggling homeless character, the issues were raised in Parliament at the time. His work continues to address socio-political issues even now and has often provoked controversy.

Loach works generally in the dramatic or social realist genre. However, his raw, almost documentary style, which centres on working or characters from the under-classes, does have much comedy going through it too. Structurally his films build empathy with his characters in a generally linear fashion; slices of life which more often than not result in tragedy. While the landscapes he displays are quite depressing, his characters aren’t victims though. They are always strong and passionate and striving for the best outcome. However, poor life choices, poverty, bureaucracy, gangsters, criminality, addiction, military, and unfair government laws and procedures provide fierce obstacles.

Some have accused Loach of, over the years, being a ‘Champagne Socialist’, comfortably attacking the ruling classes from a position of privilege. He’s also been accused of vicariously holidaying in the land of the under-privileged, for what gain I’m unsure of. Personally, I am always compelled by Loach’s cinema, the issues raised and the characters he presents. He is a true humanist director and storyteller, who has made some consistently brilliant films. Whether you agree with his politics or views, he is at least attempting to reflect the injustices in the world and the underdogs within in it. Here are five films which capture this perfectly.

**CONTAINS SPOILERS**

KES (1969)

Based on Barry Hines’ novel, Kes is one of the finest British films ever. It concerns the everyday existence of Billy Casper (David Bradley) and his attempts to survive the harsh realities of Northern life in Barnsley. Billy struggles at school, but finds salvation when he adopts and trains a young kestrel. Kes represents a microcosm of working-class life where the kids are either damned or sent down the pit to work. Simultaneously warm, harsh, bitter, funny and tragic, Kes is a memorable early work from Ken Loach and deserves revisiting over and over again.

MY NAME IS JOE (1998)

Anchored by an incredible leading performance from Peter Mullen, My Name is Joe, centres on Joe Kavanagh and his attempts to stay sober. Joe has been a destructive alcoholic for some years and uses AA to control his drinking. The narrative drive comes from Joe’s attempt to assist recovering drug addict, Liam (David McKay), plus Joe’s blossoming romance with a local health worker, Sarah (Louise Goodall). It’s a raw rendition of Scottish working-class life with romance and tragedy lying side-by-side in a moving portrait of addiction, love and life’s everyday struggles.

THE WIND THAT SHAKES THE BARLEY (2006)

Incredibly controversial when released, Loach’s war drama is set in 1920’s, Cork, Ireland. It centres on the conflict between the Irish Republican Army and the British army, as civil war broke out prior to the Anglo-Irish Treaty. The lead protagonists are two brothers portrayed by Cillian Murphy and Padraic Delaney. As the war and violence heightens the two brothers, their families and their compatriots are devastated by harsh British rule. Loach was described as “anti-English and traitorous” by the English press and Conservative politicians, when the film was released. However, irrespective of your politics, it is a stunningly human work of cinema; both shocking and heart-wrenching in equal measures.

LOOKING FOR ERIC (2009)

Films about football (soccer in the U.S.A) and footballers can be very tricky to get right as the game itself arguably works better as a live spectacle, rather than at the cinema. However, Loach scored a big win with this really moving story about a lowly postman, Eric Bishop (Steve Evets), who is struggling with family, love and work pressures. Depressed and almost suicidal, Eric finds unlikely help in the magical appearance of Manchester United football legend, Eric Cantona. Sprinkling the kitchen sink realism with fantasy is a departure for Loach, and Paul Laverty’s wonderful script brilliantly espouses the need for teamwork, fraternity and community within its touching narrative.

I, DANIEL BLAKE (2016)

Having worked for the Benefits Agency a few decades ago, I have some understanding of social security and government assistance schemes. Via the titular character of Daniel Blake (the brilliant Davey Johns), Loach savagely criticises Conservative austerity measures. The systematic turning of the screw has seen many British people have their benefits stopped because of somewhat Kafkaesque measures. Of course, the system should work to stop people abusing it, but many deserving people suffered too. This is demonstrated here in this heartfelt drama of one man, who having suffered a heart attack, battles for his pride and future.

Cinema, Classic Movie Scenes

CLASSIC MOVIE SCENES #8 – DEAD MAN’S SHOES (2004) – RICHARD MEETS SONNY

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CLASSIC MOVIE SCENES #8 – DEAD MAN’S SHOES (2004) – RICHARD MEETS SONNY

Directed by: Shane Meadows

Produced by: Mark Herbert, Louise Meadows

Written by: Paddy Considine, Paul Fraser, Shane Meadows

Cast: Paddy Considine, Toby Kebbell, Gary Stretch, Stuart Wolfenden etc.

Cinematography: Danny Cohen

**MAY CONTAIN SPOILERS**

Shane Meadows’ Dead Man’s Shoes (2004) is both a revenge thriller and a metaphor for the lost youth of England. Specifically, the youth of the Midlands discarded and forgotten by society.

Paddy Considine gives an incredible performance full of intensity, guilt, pathos, pain, self-loathing and regret. He portrays, Richard, a returning soldier, out to get back at those that hurt his brother, Anthony (Toby Kebbell). The film asks: can revenge absolve guilt? Alas, there is no easy answer.

The film was shot in three weeks on a shoestring budget. Among many, many brilliant and disturbing scenes is the one where Richard initially meets main gang-leader, Sonny (Gary Stretch). It’s a short but impactful scene full of menace and suspense. Richard makes it plain he is coming for Sonny and his motley crew of low level criminals. Apparently a larger scale confrontation was scripted, but due to budget constraints this scene replaced it; proving that more often than not less is definitely more.