Produced by: Todd Phillips, Bradley Cooper, Emma Tillinger Koskoff
Written by Todd Phillips, Scott Silver
Based on : DC Comics’ Joker created by Bill Finger, Bob Kane & Jerry Robinson
Cast: Joaquin Phoenix, Robert DeNiro, Bill Camp, Zazie Beetz, Francis Conroy, Glen Fleshler, Brian Tyree Henry, Marc Maron etc.
Music: Hildur Guðnadóttir
Cinematography: Lawrence Sher
**** MAY CONTAIN SPOILERS ****
“Is it just me – or is it getting crazier out there?”
There’s no let up for poor coulrophobes. You wait so long for an evil clown and two come along in quick succession! First Pennywise hits the big screen twice. Now, Todd Phillips and Joaquin Phoenix deliver an incendiary cinematic masterpiece, based on DC’s uber-villain, Joker.
With Marvel’s cinematic universe heroically saving the world and making Disney a lot of money in the process, everything was looking a bit bright in the comic book film world. Not anymore, because Joker (2019) brings darkness, chaos, delusions and insanity to the screen. This film doesn’t reflect a safe world full of heroes, but instead illustrates one without them or a shred of hope.
The year is 1981. The place is Gotham. The symbol of this urban disintegration will be downtrodden clown, Arthur Fleck (Joaquin Phoenix). Crime and garbage ravage the city and social services budgets are being cut. Arthur struggles with his mental health, his clown work and his unwell mother (Francis Conroy). He attempts to find solace in stand-up comedy, but his psychological problems stretch to uncontrollable laughing fits, making people laugh AT him, as opposed to WITH him. He seeks potential romance with a neighbour, Sophie (Zasie Beetz), but his world begins to collapse when he loses his job and his medication is cut off. Attacked by kids on the street and bankers on the tube, Arthur is forced to fight back. But, violence begets violence, as a new, more dominant persona comes to the fore.
Joker (2019) is a bravura and risk-taking character study charting the downward spiral of both a city on the edge; and an individual losing touch with the real world. Rather than being cared for by the system, Arthur is thrown to the gutter, only to rise up with fire, violence, colour, costume and maniacal chuckling. From the mean streets of Gotham comes not calm, but social unrest and protests; not a hero but a painted villain, dancing and plotting bloody murder.
I have read that there have been complaints that the film trivialises mental health. Well, having experienced a close family member suffer mental breakdown and have a friend commit suicide due to extreme anxiety, I actually think Joker (2019) presents madness in a very truthful way. Mental health is scary, unpredictable, difficult to treat and prone to startling bursts of uncontrollable energy. It’s hard to comprehend what happens in people’s brains to make them act a certain way and this film captures that. The reason the film is scary is because mental health is scary. If it is not treated, then people can harm themselves and others. Therein lies the truth and tragedy of mental illness.
Joaquin Phoenix is absolutely incredible as Arthur Fleck/Joker. Hysterical laughter echoes and haunts the screen. Every cigarette he smokes drags nicotine anxiety into his ravaged lungs. As violent outbursts jolt and as his skinny body dances, I felt a gamut of emotions including: fear, humour, shock and sadness. Fleck’s transformation into Joker is a slow-burn trajectory and masterful acting performance. He tries to avoid violence and confrontation, but it’s drawn to him like a moth to a flame. He tries to make people laugh, but sadly only ends up hurting them. Joker is an outsider desperate to step inside and be part of society, but, even down to his unknown parentage, he is rejected at every turn.
As well as Phoenix, Todd Phillips deserves much kudos for creating an incredibly dark, but impressive cinematic experience. He is ably assisted by the startling cinematography of Lawrence Sher, who captures that gritty, paranoiac and urban look perfectly. Much praise also to Hildur Guðnadóttir, who, for me, has orchestrated the musical score of the year. Lastly, the genius of marrying cinematic classics like Taxi Driver (1976) and The King of Comedy (1983), with a DC comic-book super-villain is an absolute masterstroke. Indeed,Joker (2019), is one of the most memorable and compelling films of 2019. Why so serious? Watch it and discover for yourself.
Between the years of 2008 and 2011, I did some screenwriting work for the Mountview Film Academy; a filmic extension of the Mountview Academy of Theatre Arts. Based in London, they would produce a number of student acting projects including many low budget short films. Writers would be shuttled in and given a remit to create short films using specified actors, locations and length of film. Some work better than others and here are three I wrote in 2010.
What an interesting year. Personally, I had my fortieth birthday, changed jobs and my son turned ten years old. I am still at that current job and my son is now eighteen! Yikes: time is a relentless bastard!
In the world of culture, society, news and media there were some fascinating stories in 2010. Snow and ice dominated headlines in the beginning and end of the year. Tony Blair gave evidence to the Iraq enquiry while Dennis Hopper and Alexander McQueen sadly passed away. Ash from Iceland burst the air and disrupted flights all over Europe, as the Deepwater Horizon platform exploded off the Gulf of Mexico.
Later, Labour would lose the election to a Conservative-Liberal Democrat coalition; while Rauol Moat went on a kill crazy rampage in the North-East of England. Chilean miners got trapped underground, while Julian Assange and Wikileaks also hit the headlines. Finally, most importantly of all, Matt Cardle won The X Factor.
DYING AND KILLING (2010)
This short comedy drama centres on a stand-up comedian who wreaks revenge on a heckler who verbally destroys her set.
I would have to say this is close to being my favourite student short film of the lot. It has a great premise and is very funny. The student actors involved are brilliant and it is directed with style by Jonathan Wolff. As a semi-pro comedian myself I know what it’s like to fail on stage and the film captures that emotion well.
A GOOD CAUSE (2010)
This short romantic comedy-drama centres on a romance between a businessmen and a charity worker that takes a twisted turn.
While the actors do their best with this idea I don’t think the story is particularly sharp. Indeed, the premise feels unfocussed and the direction cannot mask the faults in the script. Having said that the actors are pleasant and the twist is funny, if a little bizarre. Overall, a bit more rehearsal and a re-write may have tightened the film a tad.
This short sci-fi drama centres on a ‘Reaper’ (a person who transfers souls to the ‘other side’), having to make a life and death choice.
I basically wrote this in an afternoon as an emergency script was required by Mountview, after another one fell down at the last minute. Clearly riffing on The Matrix, the film looks and feels too generic and the script is pretty weak. However, there is a decent idea in here which could be worth building on. The actors do well with the formulaic material but not one of my better scripts.
I’M DYING UP HERE (2017) – S1 – SHOWTIME TV REVIEW
Created by: David Flebotte
Based on: I’m Dying Up Here by William Knoedelseder
Starring: Melissa Leo, Ari Graynor, Clark Duke, Michael Angarano, Andrew Santino, Stephen Guarino, Erik Griffin, RJ Cyler, Al Madrigal, Jake Lacy
Network: Showtime US / Sky Atlantic UK
As well viewing loads of films I also block out the horrors of the world by watching lots of television too. With cable, digital, internet and terrestrial channels to choose from you will find some gems to stop you thinking about the end of the world; UNLESS, of course, it’s a show about the end of the world. Anyway, as the war-mongering governments plot and false flag and generate fear and murder innocents all around the world, comedy, as they say, can sometimes provide the best medicine.
Showtime’s1970s based comedy-drama is set in Los Angeles. It features an ensemble cast of wannabe comedians at various stages of their careers, which congregate at Goldie’s Comedy Club. Melissa Leo plays the tough-edged business woman running the show who can make a comic’s career by getting them on the Johnny Carson show. Because of economics and the desperate comedians’ desire for fame the acts will work as open spots until they get a break. Leo anchors the show with a ballsy performance, yet beneath her hard exterior there is much pain and vulnerability in her character. She fights and scratches and bites to stay ahead of her rivals as she’s consistently undermined by the sexist and patriarchy dominated show business ‘system.’
The rest of the cast consists of an assortment of character actors, actual stand-up comedians and up-and-coming actors including: Ari Graynor, Jake Lucy, Andrew Santino, Al Madrigal, Clark Duke, Michael Angarano and RJ Cyler. Ari Graynor, as the Texan comedian fighting her way up in a male-dominated world; and, young, black comedian RJ Cyler especially stood out. I have seen Cyler in a number of shows and films now and I think he is a bona fide star in the making. The double act sparring of Clark Duke and Michael Angarano are also hilarious too as the lively, aspiring acts from out of town, so broke they have to rent a closet to live in.
The era, costumes and smoky settings of comedy clubs are fantastically evoked as is the characterisation of the comedians’ struggle. I mean these are intrinsically narcissistic individuals striving for fortune and fame yet many of them are self-hating, low-esteemed and bitter people just searching for a moment of adoration through the audiences’ laughter. Many of the characters are also deeply flawed and actually unlikeable, notably Andrew Santino’s Bill Hobbs. Moreover, while creating a sense of community with each other the comedians are also fiercely competitive and much humour is driven by their cutting barbs and scathing comments toward each other. Childish tit-for-tat battles rage too when things heat over between the acts; either because they have bombed or because they have been stitched up by another act. Lastly, the socio-politics of the era provide excellent subtext and much of the drama derives from: sexual politics; alcohol and drug addiction; comedy club rivalry; joke-theft; heckler-battles; career and actual suicide; race relations; the Vietnam War; and every day existential crises.
Overall, I’m Dying Up Here may not be for everyone but it was brilliant viewing for me. I love stand-up comedy and I love television drama. I also thought the writing, direction, acting, performances, soundtrack and production design were excellent. The show’s strength is in the ability to balance drama and adult-based humour over ten fascinating episodes. It reminded me, most of all, of an extended series of the film Boogie Nights (1997) and the work of Robert Altman. Finally, I myself have written and performed stand-up comedy and, while there’s been little financial or cultural success, I have absolutely loved my time on stage. As a creative pursuit it can be both exhilarating when it goes well and completely devastating when you ‘die’ and NO ONE laughs. But hey, death on stage is far more palatable than the apocalypse! Indeed, it’s NOT THE END OF THE WORLD!
I love watching TV shows and films. Mainly to fill a void in my soul, or put it another way, stop me drinking myself to death. Oh, also because I just enjoy escaping reality by watching stuff on a screen.
I have split my September Screenwash reviews into television and movies, because I watched so much damned stuff last month. Here are the TV shows I watched with marks out of eleven.
**THERE MAY BE SPOILERS AHEAD**
ASH V. THE EVIL DEAD (2015) – SEASON 1 – STARZ/VIRGIN
This 30-years-later-sequel to the original Sam Raimi Evil Dead trilogy featuring Bruce Campbell is a gory, cheesy and bloody delight. It brings back one of the most iconic-blue-shirted-wise-cracking-big-chinned-chain-sawing-action-horror-dudes ever in Ash Williams.
Having accidentally conjured up the Deadites from the Necronomicon – Book of the Dead, Ash heads cross country battling demons and ghouls with his trusty chainsaw and boomstick. He finds new friends and enemies along the way and Campbell is on wonderful form as the sexist, ageing demon-killer.
Plot wise the story is flimsy and generic, yet the bloody and bone-crunching gore is brilliant and Bruce Campbell is hilarious as usual. Ignore the evil and abominable reimagining from 2013 and get on board this silly and superb horror nostalgia trip with Ash Williams and co. (Mark: 9 out of 11)
BLACK MIRROR – WHITE CHRISTMAS (2014) – NETFLIX
Charlie Brooker is pretty much a genius in my eyes and as well as being a bastard-funny TV critic, he is also a formidable storyteller. The Black Mirror stories echo the short-sharp-shocking plots of Rod Sterling’s The Twilight Zone and Roald Dahl’s Tales of the Unexpected; yet with a very contemporary and technological twist. Season 3 Black Mirror is imminent on Netflix yet this Chrimbo special provided some darkly imaginative tales for the season.
Brooker presents a triptych of stories including: a Dating Coach (John Hamm) guiding – via contact-lens-style-Go-Pro – a naïve lad on a sexual conquest; a spoilt and demanding rich bitch (Oona Chaplin) who buys the ability to digitally clone herself so she can be her own personal ‘slave’; and a story of a doomed relationship between Rafe Spall and Janet Montgomery where an app allows a human to physically BLOCK them in reality. Safe to say all the narratives criss-cross to fiendish effect as cyber-technology is presented as initially a positive thing but ultimately something horrific which undermines humanity and hinders emotions and physical contact. Brooker is of the view that the future isn’t orange but very black indeed. (Mark: 9 out of 11)
FARGO (2015) – SEASON 2 – NETFLIX
Was Season 2 Fargo any good? It sure was – darn tooting! For me this was almost perfect television viewing. It had a great story, memorable characters, and brilliant dialogue and is filtered, like the first season, through the twisted eccentricities, imagery, sounds, music and narrative style of the Coen brothers. Having said that, the writer and showrunner Noah Hawley has taken the Coen’s football and sprinted away with it and almost transcended the primary source material.
Season 2’s plots – and there’s some serpentine shit going down – are set in Fargo and surrounding counties, mid 1979. We focus on country gangsters the Gerhardts and the attempted takeover by some Kansas City “business” people who think they can run the hicks out of town. In amongst the bloody hits, kidnapping and badassery we have Patrick Wilson and Ted Danson as the good cops who, having seen the horrors of war overseas, just want an easy life. Thrown into the mix by the dark lords of fate are self-improver Kirsten Dunst (amazing) and simple butcher Jess Plemons who get out of their depth very quickly.
Overall, the drama, humour and suspense are incredible as is the cast, notably: eloquent hitman Bokeem Woodbine and brutal rural gangsters Jean Smart and Jeffrey Donovan. Philosophically and thematically the writing is very strong too with an existential bent which makes the whole show gold-plated genre TV of the highest quality. (Mark: 10 out of 11)
THE KILLING (2007) – SEASON 1 – NETFLIX
I recall when this first hit the TV screens the Guardianistas shitting bricks over how good this Danish cop-procedural-politico drama was. The moody atmosphere, murky lighting and winter jumpers were all the rage with the lentil-eaters; as were the performances of Sofie Grabol, Soren Malling and the formidable Lars Mikkelsen. In the cold light of day and almost ten years later there is still much to like about this Scandi-genre-cop-thriller. Over twenty gruelling episodes we find ourselves amidst the investigation of the vicious murder of a young woman called Nanna Larsen. Simultaneously a mayoral election is taking place in Copenhagen and the two events become fatefully entwined.
Ultimately, it is pretty generic stuff with the device of “red herring” suspects and characters revealing information later than they could of being over-used. Also, it could’ve have been wrapped up WAY before the twenty episode run, yet, it was gripping throughout with some terrific suspense. I especially liked Grabol’s intuitive cop who could see past the surface and into the psychology of a situation or person. Her obsessional cop was flawed but brilliant at her job even though her family life was threatening to implode. Also, exceptional is Lars Mikkelsen as mayor candidate Troels Hartmann, a man trying to do the right thing, yet with ghosts of the past haunting him. The best scenes were with the Larsen family whose lives were about-faced by the death of their daughter. Their grief brought a real depth to proceedings with many heart-breaking and emotive moments surrounding their ordeal. Perhaps over-hyped on first release, this remains a tremendous cop drama with loads of twists to keep you hooked. (Mark: 8.5 out of 11)
ORANGE IS THE NEW BLACK (2014) – SEASON 2 – NETFLIX
What started, in Season 1, as an ensemble prison drama with the focus mainly on spoilt-brattish-over-grown-Prom-Queen, Piper Chapman (Taylor Schilling), has developed quite brilliantly, by Season 2, into a sexy-black-comedy-drama of the highest quality. Piper is of course still there driving me mad with her bouts of narcissistic wants but this time she’s toughened up and is now bouncing off the inmates, walls and screws with a bit more spunk and verve. However, the power of this narrative is now driven by the ensemble characters – both inmates and guards – who all get a chance to shine in a collection of stories, flashbacks and vignettes which the writers weld together expertly over thirteen brilliant episodes.
Season 2 develops further the histories of, among others, love-struck Morello, cancer-sufferer Rosa, Taystee, Black Cindy, Poussey and Sister Ingalls; as well revealing more about crooked Assistant Warden Figeroa, prison Counsellor Sam Healy and ambitious head screw Joe Caputo. Also, entering the prison was a cracking antagonist Vee Parker brilliant portrayed by Lorraine Toussaint and her battle to control rackets in jail saw her on a collision course with ‘Red’ Reznikov (Kate Mulgrew). Overall, there was SO much going on in the show yet it didn’t feel cluttered. The characters were drawn so well, relying on archetypes and human definition rather than soapy stereotypes. I was just going to give it one more season but the drama, dialogue, performance, humour and pathos delivered here made me want to go in for Season 3 and beyond. (Mark: 9.5 out of 11)
A quick smash through the stuff I’ve been watching on TV, Netflix, Sky and at the cinema for the month of August. I shall be keeping it brief as going on holiday to Maine tomorrow. Also, there are not as many reviews as usual as having been filming my own short film this month; all the details can be found here: http://startrekshortfilm.com/. Moreover, I am in the midst of slogging through the Danish original version of The Killing (2007), which is excellent but also very long and time-consuming. As usual, in tribute to Spinal Tap, marks are out of eleven.
BETTER CALL SAUL (2016) – SEASON 2 – NETFLIX
Are there any better character drama shows around than this one? The writing and acting in Season 2 was just brilliant. I also enjoyed the direction as the characters and situations are allowed to breathe and evolve as opposed to whizz-bang-smash-cut-resolution. Cast including: Bob Odenkirk, Rhea Seehorn, Jonathan Banks and the exceptional Michael McKean make it a joy to watch. (Mark: 9.5 out of 11)
BAD MOMS (2016) – CINEMA
By-the-numbers-chick-flick which is actually funnier than I thought it would be thanks to fine comedic turns from Kathryn Hahn and Christina Applegate. Bush-baby lookalike Mila Kunis is decent enough too as the mother-of-two who decides she just cannot stand anymore of her turbulent family life! (Mark: 7 out of 11)
COMPUTER CHESS (2013) – DVD
This film directed by Andrew Bujalski was shot on analogue video cameras in black and white and has mainly non-professional actors playing IT freaks and geeks who enter a computer chess programming competition. It’s frankly a barmy-indie-geeky-mumble-core-curio that is kind of unwatchable but must be praised for sheer originality and experimental style. (Mark: 7 out of 11)
CRIMSON PEAK (2015) – SKY CINEMA
Guillermo Del Toro’s beautifully shot gothic horror/romance stars Mia Wasikowska who is swept off her feet by handsome Tom Hiddleston. It’s your basic haunted house story with a Murder She Wrote murder mystery thrown in; the star of the show is the cinematography and costume/set design. Jessica Chastain provides eerie glamour as Hiddleston’s enigmatic sister but the whole thing could’ve been mined for many more scares. (Mark: 7 out of 11)
HOMELAND (2011) – SEASON 1 – NETFLIX
This is an absolutely sensational contemporary drama starring the incredibly good Damian Lewis and Claire Danes as soldier and CIA agent dealing with the aftermath of his return from imprisonment by al-Qaeda. Throughout the story fear and suspense are so powerful as the plot twists and the dramatic noose tightens the story constantly wrong foots you. Brilliantly written and acted this is politically astute and one very intelligent thriller. Highly recommended. (Mark: 10 out of 11)
THE LONG GOOD FRIDAY (1979) – DVD
Classic gangster film starring the imperious Bob Hoskins as Harold Shand: an upwardly mobile cockney gangster who in seeking to legitimise his “corporation” finds himself having a VERY bad day. Amidst all the colourful language, violence and explosions we have an adroit examination of the politics of the day and a portent to fast-approaching “greed is good” mentality of the 1980s. Often copied but rarely bettered; it has some great British actors and spot-on working class dialogue throughout. (Mark: 10 out of 11)
OUTCAST (2016) – FOX
Intriguing horror fable from the creators of The Walking Dead combined family drama with a demonic possession storyline. Starring Patrick Fugit, Brett Spiner and Philip Glenister, it started really well with some great scares and interesting characters. However, my interest waned as the plodding pace and lack of narrative clarity made me NOT care. It’s well made and acted but I doubt I will go back to the second season. (Mark: 5.5 out of 11)
PATHS OF GLORY (1957) – BFI CINEMA
Quite rightly Paths of Gloryhas been proclaimed a masterpiece and one of the greatest anti-war films of all time. It’s filled with the now-iconic tracking shots of bloody battle, plus many tremendous performances. Overall, I have watched this classic many times and having seen it on the big screen recently I can testify that it has lost NONE of its grandstanding power. . (Mark: 11 out of 11) For my full review see here:
RED SHIFT (1978) – DVD
Play for Today adaptation of Alan Garner’s pretentious novel which analyses various human relationship dynamics, cosmology and love in Roman, medieval and English Civil times. Artsy and impenetrable, it may be the work of genius yet I found it, on the whole, unwatchable to be honest. Sometimes I think people think things are clever because the writer has not defined meaning precisely thus leaving the themes open to interpretation. I just found it tedious. (Mark: 5 out of 11)
UNBREAKABLE KIMMY SCHMIDT (2015) – SEASON 1 – NETFLIX
Kidnapped by a charismatic cult leader and tricked into living in an underground bunker for fifteen years, naïve but tough Kimmy Schmidt is released into a very different world. Ellie Kempner is brilliant as the indefatigable Kimmy who moves to New York to start a new life and meets a whole host of rich and poor narcissists and eccentrics. The jokes come thick and fast throughout but the premise wore thin as the episodes went on but overall a very funny comedy. (Mark: 7.5 out of 11)
UPSTREAM COLOR (2013) – DVD
Shane Carruth’s mind-bending and pretentious film is both ambitious and brave and incredible for the budget it was shot on! Artsy and impenetrable, it may be the work of genius yet I found it, on the whole, unwatchable to be honest. Sometimes I think people think things are clever because the writer has not defined meaning precisely thus leaving the themes open to interpretation. I just found it tedious. A wonderful premise and intriguing themes give way to a lack of care for the characters. Sorry. (Mark: 6 out of 11)
Six years ago I wrote some articles for a nifty little website called Obsessed with Film. The site was independent and would have some geeky and interesting articles on film and television. Years later the site became the click-bait-pop-ups-from-hell-advertising-led-but-still-not-too-bad: www.whatculture.com
Anyway, one of the articles was about some “forgotten” films or, as I shall refer to them, under-rated film classics. Basically, I listed films which I felt were deserving of further praise. The list included: Bad Santa (2003), Dog Soldiers (2002), Chopper (2000), Midnight Run (1988) and Dead Man’s Shoes (2004) among others. My rules were simple. An under-rated classic can be a film I love plus not be one of the following:
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.
So, with these criteria in mind I present a sequel to my previous article – some six years later – with another set of under-rated film classics. If you have any suggestions that fit the criteria please do let me know and I will include them on my next list.
3:10 TO YUMA (2007)
James Mangold’s directed Western is a rare beast: it’s a remake that’s as much a classic as the original. Russell Crowe and Christian Bale perform brilliantly as the charismatic outlaw and proud farmer who clash on the way to the eponymous prison locomotive. Ben Foster, Logan Lerman and Peter Fonda provide excellent support too in a fantastic character-led drama full of action.
ANOTHER YEAR (2010)
While Mike Leigh was NOMINATED for a best screenplay Oscar, this wonderful character piece is not always given the praise I think it deserves. Containing Leigh’s usual group of deftly observed human eccentrics, the story concentrates on a year in the life of middle-class couple – the Hepples. Superbly portrayed by Jim Broadbent and Ruth Sheen this lovely couple are a familial magnet to various strays including the scatty and neurotic Mary (Lesley Manville) and depressed Ken (Peter Wright). It’s an affectionate and gentle dramedy with uniformly brilliant performances from Leigh’s wonderful cast.
Jonathan Glazer’s sophomore movie is often over-looked due to the coruscating power of his debut Sexy Beast (2000) and his most recent cinematic classic Under the Skin (2013). In this haunting drama a potentially disturbed ten-year-old boy (Cameron Bright) informs Nicole Kidman’s New Yorker Anna he is the reincarnated soul of her deceased husband. This fantastic curveball sends Anna’s life into an emotional spin as past and present events collide in a beautifully moving drama.
Let’s be honest there’s no way career criminal Michael Peterson deserves any real attention for his anti-social and violent behaviour, however, between them Tom Hardy and Nicolas Winding Refn have created an incredible character study of a genuine nutter. It’s brave, brutal, sick, theatrical, daring, Brechtian and an occasionally hilarious profile of one of Britain’s most notorious prisoners.
BUFFALO 66 (1998)
Vincent Gallo is either a genuine nut-job or a misunderstood genius maverick. His directorial effort The Brown Bunny (2003) was panned and on the main his acting career has remained patchy at best. However, he did write, direct and star in Buffalo 66 which is an absolutely blinding dark comedy about an ex-con who “kidnaps” Christina Ricci and forces her to be his wife so he can aspire to some sense of familial normality. It’s quirky and laugh-out-loud funny with Gallo weirdness throughout.
DARK CITY (1998)
This imaginative sci-fi noir had the misfortune of being released around the same time as The Matrix (1999). Yet while the Wachowski’s mind-bending-effects-heavy-actioner caught the eyes of the public, Alex Proyas’ more cerebral vision of the future kind of fell through the cracks of time and space. Rufus Sewell portrays an amnesiac that has no idea where he is before finding himself at the mercy of a group of people called The Strangers. It’s a brilliant melding of film noir and science fiction and remains a rarely seen gem from the 1990s.
GALAXY QUEST (1999)
While I enjoy the new Star Trek reboots as blockbusting if ephemeral popcorn entertainment, the best recent Trek adaptation/homage is the wonderful science-fiction comedy: Galaxy Quest. The inventive story delights with a cracking tale of former TV stars boldly propelled into space when proper aliens, Thermians – believing they are real space heroes – ask them to defeat their vicious nemesis. With a delightful ensemble cast including: Alan Rickman, Sigourney Weaver, Tim Allen, Tony Shalhoub and irrepressible Sam Rockwell, this is a wonderfully funny and clever film which shines an affectionate light on the Trek canon and geek fan base.
So, the story is about a bloke on his phone driving up the motorway? Not a pitch that would grab Hollywood in-a-hurry, but a story that is delivered with such hypnotic power it feels epic despite the limited setting. Ivan Locke is portrayed as a confident and determined man whose life decisions, family and work-life have triangulated simultaneously to crisis point. Tom Hardy plays Locke with incredible restraint and brooding anxiety while Steven Knight’s script is crisply written and full of suspense.
I love this film. It’s a real B-movie guilty pleasure with seismic underground monsters attacking a small back water town ironically named Perfection. The action bolts along and it wears its Jaws-in-the-dirt influences hilariously. Most of all I love the characters, notably Kevin Bacon and Fred Ward’s handyman buddies trying desperately to escape their dead end jobs. It’s a fun script with loads of action and great one-liners with Bacon himself having loads of fun without hamming it up.
TROPIC THUNDER (2008)
Films about filmmaking aren’t always the most interesting yet Ben Stiller’s riotous satire on Hollywood and its over-inflated egos is an absolute joy. Vulgar, over-the-top, stupid, childish and loud it delivers some incredible belly laughs from: the hilarious trailer parodies, to Robert Downey Juniors method acting madness and unrecognizable Tom Cruise as a ludicrously crass studio boss. The daft plot about actors getting kidnapped by a ruthless Vietnamese drug gangs provides an excellent framework for all manner of stupidity, on-the-money punchlines and explosive action.
My ongoing series writing about cinema stuff I love, has gone from eulogizing actors to directors and now to genres; oh, how progressive am I? Seriously though, in this piece I choose FIVE time-travel films which are just brilliant examples of the (sub)genre.
I love time-travel films and the main reasons are:
They offer fantastic and paradoxical narratives and “what if” scenarios.
They really get your brain working overtime.
The concepts fit all manner of different genres from action to comedies and thrillers and even the Western.
The philosophical concepts at play often examine the nature of existence; especially where one tries to make sense of life or find meaning where there probably is none.
As evidence I present FIVE such time-travel films which meet all of the criteria and are representative of most genres. Please note I have concentrated solely on time-travel films released in the cinema so Doctor Who remains parked up for this particular piece.
**HERE BE MASSIVE SPOILERS**
BACK TO THE FUTURE (1985)
This is probably the most perfect Hollywood movie. It’s a high-concept-time-travelling-Oedipal-narrative-joy-fest which combines action, comedy, romance, sci-fi, and nostalgia genres while backed by a past and present pop music extravaganza! A young teenage innocent called Marty McFly is thrown back to the 1950s. In the 50s he unwittingly begins to undo his own future by accidentally beginning a romance with his own mother. Allied to that he must help his father (Crispin Glover) overcome his social weakness plus battles with horrible bully Biff Tannen (Thomas F. Wilson). Following the basic temporal rule that one’s actions in the past will affect your future the tremendous script is jam-packed with so many wonderful gags, twists and chases; while the race-against-time narrative is a thrill-a-second. The rich iconography – notably the mad scientist’s DeLorean “time machine” – plus cracking performances from Michael J. Fox and Christopher Lloyd, render this one of the most exhilarating time-travel films ever.
GROUNDHOG DAY (1993)
Bill Murray is obviously praised as a wonderfully funny man but he’s also a deviously good film actor. At times he doesn’t actually seem to be doing much but his mind is always working as he gives a sly look or a sarcastic smile or a silent sigh from his deadpan, hangdog face. In Groundhog Day he runs the gamut of ALL emotions from anger to desperation to insanity to bliss to apathy to suicide to pride and finally to LOVE! This is a wonderful film with a tremendous “what if” premise which offers the idea we can only move on in life if we’re prepared not only to accept change but also throw off cynicism and find romance. The exceptional script mines the Sisyphean narrative for so many brilliant sequences as Murray relives the same day over and over again. At the beginning this temporal immortality offers an array of gifts to his jaded weatherman Phil Connors; however, by the end his life becomes a dreaded nightmare and repetitive hell. Ultimately, time-travel has never been so funny, tragic and romantic!
I think most time-travel films are paradoxical by nature and holes can always be found in the logic but as a time-travel/thriller genre film Predestination worked really well while providing an intriguing gender-political angle too. The nature of the loner and finding love for others and oneself was also an interesting theme plus the inevitability of fate was there in the subtext too. There’s been a lot of big budget dross at the cinema recently but for the running time this gem offers far more than many other star-driven, big-budget movies. Even though I enjoy seeing stuff blown up on screen I do love a brain-twister too and this film presents one hell of a challenging narrative. Starring Ethan Hawke and with a breakout performance from brilliant Sarah Snook this film from German/Australian directors has intelligence, thrills, heart and several mighty plot twists which bear up under successive viewings.
THE TERMINATOR (1984)
This is one of my favourite films ever. It propelled Arnold Schwarzenegger and James Cameron to mega-stardom in their respective fields and has often been parodied and imitated but rarely bettered. While story is simple: a killing machine has been sent back from the future to destroy Sarah Connor – the soon-to-be mother of uber-rebel leader John Connor; the journey is an absolute humdinger. Cameron’s lean, mean and muscular action screenplay combines brains, brawn, cracking one-liners and explosive set-pieces. Moreover, Linda Hamilton excels as the endangered young woman who turns from a flaky waitress to formidable matriarch over the course of the film. The sequel was brilliant too but the original will remain, despite being made for just $6.4 million dollars, the epitome of a tech-noir-futuristic-time-travel-action classic.
TIME CRIMES (2007)
This fascinating Spanish thriller has a narrative like a Russian doll as it is structured on an enigma within a conundrum within a paradox. It concerns an ordinary Spanish bloke, who having seen some weird behaviour going on in the woods near his house, ends up looping and pursuing multiple versions of himself throughout one very bizarre day. Similar to Triangle (2009) – an underrated time-paradox gem directed by Brit filmmaker Christopher Smith – the enjoyment derives from immersing yourself in the weird and unexplained reasons why Hector (Karra Elejalde) has begun a psycho-sexual, violent loop of death involving a number of temporal leaps. This is all paradoxical plot and wicked thrills and while there is little in the way of characterisation the filmmaker Nacho Vigolondo has created the closest equivalent to a movie version of an Escher painting.
My blog has a few little running series on it such as My Cinematic Romance where I list some of my favourite filmy things; also my monthly review round-up called Screenwash. Moreover, in the annals of time and space there’s my Fix Films Retrospective short film reviews plus two critical series called Under-rated Classics and 100 Not Out! The last two I need a few more entries, however, I now introduce another blog thing called Six of the Best! Basically, it’s another list but this time six of the best of “something”.
We all need a laugh in these times of global conflict so to cheer myself up I thought about some classic British situation comedies which are genuinely funny every time I watch them. We’ve produced so many amazing comedy shows over the years it’s good to look back in celebration. Obviously, there are SO many episodes to choose from but here are a mere six which make me piss myself laughing every time.
**MAY CONTAIN SPOILERS**
BLACKADDER GOES FORTH – “GOODBYEE”
The classic historical sitcom that went from the Dark Ages up to the horrors of World War One had so many legendary episodes brimming with cracking gags, characters and a who’s-who of comedy talent. The final episode is one of those rare programmes which makes you laugh your brain off throughout but has you in tears by the final frame. Blackadder, George and Baldrick, having attempted to avoid the “big push” finally reach the end of the line:
BOTTOM – “GAS”
“Why didn’t we just pay our gas bill?”
Rik Mayall and Ade Edmondson’s juvenile-slapstick-low-life-loser-flat-share-comedy was a wonderful guilty pleasure which essentially updated their “Dangerous Brothers” persona for the 1990s. Basically, Eddie and Rich have been “borrowing” next door’s gas when they get rumbled a whole host of stupid mayhem ensues. Gas was the second ever episode and is definitely my favourite as it contains so many great lines, catchphrases and violent set-pieces. R. I. P comic genius Rik Mayall!
FAWLTY TOWERS – “COMMUNICATION PROBLEMS”
“You can see the sea. It’s over there between the land and the sky.”
Connie Booth and John Cleese’s superlative farce set in a raggedy Torquay hotel contains some of the most brilliantly complex comedy-of-error-plots I have seen. This is especially evident in this episode when the obnoxious stick-insect that is Basil Fawlty meets the hard-of-hearing-customer-from-hell Mrs Richards (Joan Sanderson). A serpentine narrative involving antique vases, secret bets, stolen money and Basil mistakenly using morons Manuel and the Major as alibis leaves you dizzy with laughter. Cleese is on especially good form as Fawlty goes on full sarcasm overdrive throughout.
I’M ALAN PARTRIDGE – “WATERSHIP ALAN”
“Earlier on I put in a pound of mashed-up Dundee cake.”
Steve Coogan’s wonderful comedy grotesque filters the embarrassing foot-in-mouth-media-enunciations of Alan Titchmarsh, Tony Blackburn and Richard Madeley; giving us one of the great comedic creations of modern times. Having been sacked by the BBC Alan found himself self-unemployed and searching for a second BBC series, all the while staying in a Travel Tavern on the outskirts of Norwich. In Watership Alan he manages to upset the Farmers Union while challenging Cliff Thorburn for a corporate video job and becoming obsessed with ‘Ladyboys’. Safe to say things don’t go to plan in a hilariously warped comedy that features Simon Pegg and genius Chris Morris.
THE OFFICE – SEASON 1 – EPISODE 4 – “TRAINING DAY”
“Sometimes the complaints will be false!”
Gervais and Merchant’s brilliant sitcom of embarrassment and character observations is built around the antics of deluded goateed manager and “King of Cringe” David Brent. In this episode Wernham Hogg invite an external contractor to deliver a customer service training session, and of course, Brent sabotages proceedings and brings the Trainer to the edge of a nervous breakdown. From the bizarre roleplay, failed stand-up gags and excruciating guitar-playing Brent uses the session to showcase his perceived ability as an entertainer. A true classic this also features Tim and Gareth doing battle over the “Chicken, Grain and Fox” riddle. Priceless!
STEPTOE AND SON – “UPSTAIRS DOWNSTAIRS, UPSTAIRS DOWNSTAIRS”
“You never know in this house. Some of the things he puts in them.”
This episode from the eighth and final season followed a familiar family formula of pitting Wilfred Bramble’s irascible old git Albert Steptoe against his long-suffering son, Harold. Harry H. Corbett portrayed the son with a tragic hangdog pathos and more often than not his attempts to better himself or escape the totting business are doomed by his father’s devious shenanigans. In Upstairs Downstairs, Upstairs Downstairs, Harold must tend to his father’s every whim as he is laid up with a slipped disc; obviously it’s not long before Harold is being exploited by his father. Galton and Simpson wrote some of the greatest comedies ever committed to radio and television and caught working class hardship and family rivalry perfectly with brilliant scripts full of pain, tragedy and humour.
May was a decent month of viewing with some things old, some things new and nothing blue watched at all. So, here are my TV, film and comedy reviews for the month of May – with marks out of 11 as usual.
THE AFFAIR (2014) – SEASON ONE – NOW TV
Very much a “first world” problem drama starring the excellent Dominic West, Maura Tierney and the effervescent Ruth Wilson, it shows the events an extramarital affair causes to two different families. The acting and writing are just superb as West and Wilson’s sexually charged attraction spills into duplicity, body heat and suspense. The storytelling is excellent too as each episode shows multiple events from different perspectives and the characters are both irritating and intriguing with their wonky moral compasses and poor life choices. The Affair is highly compelling and keeps you gripped throughout. (Mark: 8 out of 11)
ARRESTED DEVELOPMENT (2003 – 2004) – NETFLIX
How the hell did I miss this cracking comedy first time round beats me?! The hilarious show centres on the disastrous Bluth family who are all narcissistic egoists all trying to manipulate each other in some financial or emotional way. Even the sanest of the lot Michael Bluth (Jason Bateman) is a flawed “hero”, although he is positively angelic compared to the other members of his family including failed magician Gob (Will Arnett), pill-popping matriarch Lucille (Jessica Walter), deluded Lindsay (Portia De Rossi) and imprisoned father portrayed with sociopathic insouciance by Jeffrey Tambor. The brilliant ensemble cast (including among others: David Cross, Michael Cera, Henry Winkler, Liza Minnelli, Tony Hale etc.) hit the rapid-fire gags and deranged scenarios out of the ballpark; as the show perfectly encapsulates the very epitome of a dysfunctional family. (Mark: 9.5 out of 11)
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (2007) – BLU RAY
Andrew Dominik’s moody Western is one of the BEST films I have seen in the last 10 years. It was a box-office flop but everything about it screamed greatness to me: stunning cinematography; wonderful cast; beautiful vistas; elegant pace; resonating themes regarding notoriety; and so on and so forth. Sam Rockwell excels in a supporting role as Charley Ford who gets caught between the eerie homo-erotic hero-worship-then-rivalry of his brother Robert (stunning Casey Affleck) and eponymous Jesse James (never better Brad Pitt). The film moves at a glacial pace, building character and suspense, while in between, the sporadic bursts of violence startle and raise the pulse in an altogether memorable cinematic experience. (Mark: 10 out of 11)
CAPTAIN AMERICA 3: CIVIL WAR (2016) – CINEMA
Historical reviews on this very blog have been favourable about Captain America and his exploits; in fact he is probably my favourite Marvel Avenger I’d say. His last outing Captain America: Winter Soldier (2014) was one of my films of the year, so I had high hopes for Civil War. The final film in the trilogy delivers a cracking rollercoaster ride filled with tremendous action, set-pieces and plot twists. As usual the army of Marvel effects technicians deliver an array of computer-generated mastery with a cacophony of colour, explosions, chases, fighting and bone-crunching sound effects.
The strong narrative involves a number of strands which link the prior two films as Steve Rogers protects his brainwashed buddy Bucky Barnes from the US government and allied Avengers attempting to bring him to justice for his crimes. Moreover, Iron Man, Black Widow, Vision and others face off against Captain America and his team in order to make the Avengers more accountable for their actions. This culminates in THE BEST ACTION SEQUENCE of the year as the Avengers have a battle royale on an airstrip in Germany. Overall, it’s a brilliant film which has welcome cameos from Ant-Man and another new Spiderman; while also introducing the all-action nobility of the Black Panther. Again the Russo Brothers direct with whip-cracking pace and humour, making this easily the blockbuster of the year. (Mark: 9.5 out of 11)
GOTHAM (2015) – SEASON 1 – NETFLIX
TV boxset watching is often like a cultural version of Stockholm syndrome. Some programmes grab you immediately while others you have to watch enough of before you give in to their demands. With that in mind, it took about 11 episodes before started enjoying Gotham. It began poorly with terrible dialogue and hammy acting and the Batman canon timeline, tone and characters are all over the shop. However, by the end it had won me over as a trashy guilty pleasure mixing horror, comic-book, crime, Western and fantasy genres. Highlights are the succession of violent cartoon villains and young versions of villains-to-come while Ben Mckenzie (Gordon), Robin Lord Taylor (Penguin), Sean Pertwee (Alfred) and Corey Michael Smith (Edward Nygma) steal the show. (Mark: 7.5 out of 11)
GREEN ROOM (2015) – CINEMA
This was an excellent sophomore feature film from writer/director Jeremy “Blue Ruin” Saulnier, as we find a punk band pitted against neo-Nazis in the back beyond of Portland, USA. It borrows heavily from George Romero and John Carpenter but the filmmakers and cast create a really nasty horror-show as the death of a rock fan spirals totally out of control. A fine cast including: Alia Shawkat, Joe Cole, Anton Yelchin, Amanda Poot, and an against-the-grain-playing-nasty Patrick Stewart. Despite the stupidity of the band and Nazis I was gripped throughout and there is some terrific gore and box-cutting violence and recommended for those who like their thrills rare and bloody. (Mark: 8 out of 11)
IT’S ALWAYS SUNNY IN PHILADELPHIA – SEASON 11 – NETFLIX
Oh the man-children, Dennis, Charlie, Mac and Frank – and not forgetting bird-girl Dee – are back for another season of anarchic derring-do at Paddy’s Pub and beyond. As a massive fan of this very naughty show I was very much looking forward to the mayhem of Season 11; and they did not let us down. In this season we had episodes: parodying 80s ski films; Charlie capturing a Leprechaun; the gang getting trapped on a Christian cruise; Charlie and Mac move to the suburbs; Dee gets involved in porn; a whole episode, rather scarily, shot from Frank’s point-of-view; and all manner of other bizarre incidents and behavior. The gags explode like fireworks throughout the series as things go south and very dark; more often than not ending in chaotic hilarity. (Mark: 9 out of 11)
LINE OF DUTY (2013 – 2014) – SEASONS 1 & 2 – NETFLIX
Very solid cop drama written and produced by Jed Mercurio, this story of cops investigating cops has an excellent British cast across two seasons including: Lennie James, Craig Parkinson, Neil Morrissey, Adrian Dunbar plus leads Martin Crompston and Vicky McClure. It’s tightly plotted with some brilliant twists and great suspense as you never quite know who’s on whose side. Special mention for Keeley Hawes who is a revelation as the cop being chased in the second season; as her acting is so brilliant, you never know if she’s good, bad, manipulative, a victim or just plain evil. (Mark: 8.5 out of 11)
LIVING DAYLIGHTS (1987) – PRINCE CHARLES 007 RETROSPECTIVE
The Living Daylights, for me, is a very fine Bond film and Dalton is an incredibly under-rated 007. He only did two films but brought a pathos, depth and unpredictability to the role that Moore severely lacked. Bond is a stone-cold-killer-burnt-out-anti-authoritarian-adrenaline-junkie who has seen death a thousand times over; and Dalton plays him as such. Connery, Craig and at times Brosnan got this over in their performances but none as much as Dalton. The film works brilliantly on the big screen too and stands the test of time as both a sterling Bond film and cracking espionage action thriller.For my full classic review clink on this link: (Mark: 9 out of 11)
NOSFERATU (1979) – SKY MOVIES
Werner Herzog’s atmospheric and moody adaptation of Stoker’s Dracula works brilliantly as both a horror film and homage to Murnau’s silent classic of the same name. Bruno Ganz excels as the unlucky Harker, sent to Transylvania to complete a property deal for his firm. Moreover, Klaus Kinski is chilling as the vampiric Count hell-bent on sucking the blood out of anyone who gets close. This has some exquisite cinematography plus an ethereal and dream-like style which makes this a memorable horror classic. (Mark: 8 out of 11)
OF MICE AND MEN (1992) – DVD
Steinbeck’s classic novel about two itinerant drifters is one of the best stories I have ever read. This film version directed and starring Gary Sinise, with John Malkovich as the tragic Lennie Small, is a touching rendition of the depression-set story. It’s such a brilliant book that any screen version will pale in comparison but Sinise and Malkovich excel in their respective roles and it’s great to see Steinbeck’s rich, authentic and grim tale of existence brought to life and death. (Mark: 7.5 out of 11)
SON OF SAUL (2016) – SKY MOVIES
This is a heavy-as-hell-Hungarian-holocaust drama deserved won Best Film in a Foreign Language at the Oscars. The story focusses on the intense Saul (Geza Rohrig) and his search for a Rabbi to give his son the Kaddish to allow him a correct Jewish burial. It is a harrowing experience, presented in a 4:3 screen ratio and pretty much all over-the-shoulder of the protagonist. These stylistic choices narrow the focus on Saul’s tireless journey through the camps in vain pursuit of said Rabbi. Amidst his search death, fire and flesh bleed through the landscape and the whole experience is gruelling, overwhelming and upsetting. (Mark: 8 out of 11)
YAKUZA APOCALYPSE (2016) – SKY MOVIES
This film from insane Japanese director Takeshi Miike is just mental. I enjoy Asian cinema films and Miike’s previous movies such as Audition and Ichi the Killer were excellent just-the-right-side-of-bizarre spectacles, yet this is an unwatchable mix of martial arts, horror, and gangster and monster movies. Recommended only for the brave, foolhardy or clinically insane. (Mark: 3.5 out of 11)
THE WATER DIVINER (2014) – AMAZON PRIME
A muddled mix of war, family, romance and period drama genres from debutant director and star Russell Crowe, The Water Diviner, boasts some wonderful scenery and highly moving scenes, notably in the WW1 Gallipoli flashbacks. However, Crowe the director is let down by a hamstrung script plus the miscasting of Olga Kurylenko who just seemed too glamorous to fall for Crowe’s recently widowed character searching for the bodies of his three dead sons. While it fails as a movie epic there’s enough to recommend it as a matinee rental on a wet Sunday afternoon while nursing an uber-hangover. (Mark: 6 out of 11)
WILD (2014) – NOW TV
Reese Witherspoon as Cheryl Strayed is excellent in this road-movie-true-story-drama as she trudges the Pacific Crest Trail in order to exorcise the demons of her past and somehow redeem her soul. It’s very well directed and structured by director Jean-Marc Vallee and screenwriter Nick Hornby and works really well as a pathos-driven character study; as well as stunningly shot travelogue with wonderful vistas. (Mark: 7 out of 11)
THE ‘WORST’ OF GEORGE RYEGOLD – MUSEUM OF COMEDY REVIEW
In January 2008 I first ventured onto the stage of a comedy night about to tell some ill-prepared jokes for five minutes in a Shepherd’s Bush pub beautifully named the Defectors Weld. Well, there was no stage and just a microphone and darkly carpeted floor and some twenty or so people and I was awful. I was nervous and drunk and goddamned awful. My good friend Alan Wood actually gave me this one-line review:
“Paul! You were pissed; slurring your words; but you still got some laughs. I couldn’t believe it!”
Damning praise indeed; yet that night spurred me on to an incredibly average comedy career/hobbyist pursuit which reached the “dizzy” heights of the some lowly paid in-town and out-of-town gigs, open spots at the London Comedy Store and Banana Cabaret plus the deep respect of my peers in the comedy world. Okay, the last one is a lie!
But writing and performing comedy has been a wonderfully creative experience for me. The highs are tremendous, notably: writing and telling jokes that get laughs; the long drives to far flung beauty spots of broken Britain such as Wellingborough, Portsmouth, Birmingham and Ipswich; and not forgetting my unerring ability to partially fill small rooms at the Brighton and Camden Fringe (#sarcasm). Jokes aside, the most joy has derived from the multi-talented individuals I have met on the comedy circuit. These writers, actors, clowns, filmmakers, musicians, photographers, promoters and other general lunatics have provided a healthy course of rich fulfilment to the last eight years of my social life.
On that fateful night in 2008 when I burst my comedy hymen I first experienced the musings of one such artist: the verbose vim of Doctor George Ryegold. Here was a recently struck-off quack now venturing into the world of entertainment regaling tales of run-ins with the General Medical Council; his flailing relationship with his mother; scaring women, children and the elderly with his unorthodox procedures; plus intriguing medical advice for somewhat gross ailments. Indeed, Ryegold’s set of anecdotes about malignant tumours, rotting ball-bags, matted pubic excrement, emergency maternal fellatio and the joys of narcosis made an episode of Embarrassing Bodies seem like an episode of Peppa Pig. It was dirty, disgusting, low-down eloquent filth and I loved it!
Of course, you may know the Doctor is not actually a Doctor but the comedy creation of brilliantly talented actor Toby Williams. His career has deservedly progressed from performing his carnal comedy creation to winning awards for Ryegold, including: ‘Amused Moose Laughter Award Top 10 Comedy Show’ at the Edinburgh Festival Fringe 2013, ‘Scotsman’s Top Five Comedy Shows at the Fringe’ 2012, winner of ‘Best Show’ at The Leicester Comedy Festival 2011 etc. He has also carved out career acting in many short films, adverts, television shows and now feature films including the recent cult hit High Rise (2016).
So, flash forward eight years and there Dr Ryegold was, for apparently the last time, on stage at the Museum of Comedy in Bloomsbury doing his most beautiful worst; delivering an hour of lurid, loquacious and lovely smut with that smooth, deep voice; like Richard Burton reading Roger’s Profanisaurus. If it was his last show it was a wonderful send-off and hearing those sordid stories again took me back to those moments when I either shared a bill or went specifically to see the Doctor’s fantastic filth-laden hour shows.
The comedic power of the act is in the exquisite writing, rich voice and chronographic timing of delivery. But it’s not shock-for-shock’s case as there is a pathos to the character plus dark reflection on the monstrous nature of humanity which breeds murderers such as Ian Huntley, Fred West and Harold Shipman; all of whom are box-ticked by Ryegold during this fine wrap of comedic cocaine. Ultimately, Ryegold racked up a succession of hilarious lines and crossed too many boundaries to mention, as the Doctor administered his final stroke of genius to an adoring crowd of patients. I for one was glad to be there and make it out very much alive.