Tag Archives: The Cinema Fix

Netflix, Reviews

NETFLIX TV SERIES REVIEW – THE STRANGER (2020)

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NETFLIX TV SERIES REVIEW – THE STRANGER (2020)

Created by Harlan Coben – based on The Stranger by Harlan Coben

Writers: Harlan Coben, Danny Brocklehurst, Charlotte Coben, Karla Crome, Mick Ford etc.

Directors: Daniel O’Hara, Hannah Quinn

Cast: Richard Armitage, Siobhan Finneran, Jennifer Saunders, Shaun Dooley, Paul Kaye, Dervla Kirwan, Kadiff Kirwan, Jacob Dudman, Ella-Rae Smith, Brandon Fellows, Anthony Head, Stephen Rea, Hannah John-Kamen etc.

No. of Episodes 8

Network release: Netflix

***MAY CONTAIN SPOILERS***

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Imagine sitting in a bar or restaurant or at the gym or in a coffee shop minding your own business. A stranger approaches you and tells you something that your spouse or partner or relative was hiding from you. This is a secret which rips apart your life and turns everything upside down in the process. This is the basic premise of Harlan Coben’s adaptation of his own novel, The Stranger. Over eight gripping episodes the drama hooks you in from this point forth. Secrets, lies, violence, corruption, blackmail, betrayal and murder drive the narrative in a compelling and serpentine plot.

In what is the TV equivalent of a right page-turner, the main protagonist, Adam Price (Richard Armitage), is the first person to be approached by the titular Stranger. He is given information regarding his wife (Dervla Kirwan) and this threatens to tear his whole family apart. This is just the tip of the iceberg though in regards to the plotting. Other individuals are being targeted too by the Stranger. At the same time a teenager has been comatosed following a woodland rave. It’s not long before Siobhan Finneran’s DS Johanna Griffin investigates this crime, the bizarre beheading of a llama, plus murder, extortion and abduction.

At first, I thought it may be a metaphysical figure revealing guilty secrets to the cast of characters in a Stephen King supernatural-style narrative. However, Harlan Coben’s contemporary crime thriller is firmly set in reality, as it privileges familial and police procedural drama compellingly. Over the eight episodes I was glued to what happens next, as we get so many cat-and-mouse chases and character surprises throughout. Richard Armitage is excellent as the lead protagonist, desperately trying to keep his family together. The teenage character subplots are not so successful as the some of their acting is pretty dire. However, the likes of Siobhan Finneran, Jennifer Saunders, Paul Kaye and Stephen Rea add real quality to what is a conventional, but always watchable genre production.

Mark: 8 out of 11

Articles, Cinema

APOCALYPSE CINEMA – VISIONS OF POSSIBLE FUTURES (IRREVERENT AND PANIC-FREE POST)

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APOCALYPSE CINEMA – VISIONS OF POSSIBLE FUTURES

“It’s the end of the World as we know it – and I feel fine!” Michael Stipe

With the world gripped by the COVID-19 virus threat one’s mind can run amok and look to possible futures. Thus, I thought it interesting to explore some visions of the Apocalypse as seen on the film. I mean you have to hand it to humanity; it’s able to distract itself from the possible end of the world by creating stories and entertainment ABOUT the end of the world!   Here’s TEN of the best I could think of.

***CONTAINS MASSIVE SPOILERS***

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NIGHT OF THE LIVING DEAD (1968) – UNKNOWN CAUSE

George Romero’s seminal classic zombie film gave birth (and death) to a whole subgenre of horror films. The low budget is no barrier to an ingenious concept involving the dead rising up and attempting to wipe out the rest of humanity. Both powerful as a horror narrative and social commentary, it remains one of the most influential films of all time.

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PLANET OF THE APES (1969) – NUCLEAR WAR

Poor old Charlton Heston never had much luck with the future as his characters often ended up in dystopian visions of hell. Such films included: Soylent Green (1973), Omega Man (1971) and the classic Planet of the Apes, where simian humanoids are running the planet and enslaving the savage natives. One of the great sci-fi epics with probably the greatest film ending of all time, the film remains a timeless vision of the future.

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MAD MAX: ROAD WARRIOR (1981) – NUCLEAR WAR

In between the road-raging original and this brilliant sequel there was some kind of global nuclear meltdown hitherto bringing about a dusty wasteland where fuel is God and humans will kill to get their hands on it!  Out of the dust rises a reluctant hero, Max Rockatansky (Mel Gibson), who strives to survive while battling hordes of petrolheads, psychos and punks! Definitely one of the best sequels of all time, George Miller spectacularly remade it with the equally pulsating Fury Road (2015).

THE TERMINATOR (1984) – ARTIFICIAL INTELLIGENCE

Bloody Internet, sorry Skynet!  We create these wonderful computers to help us with everyday life including our Missile Defence Systems and they turn on us!  Only a Mother and her child – who hasn’t been born yet – can save us from a life of death and slavery at the hands of the machines. Cameron’s seminal sci-fi action film delivers an unforgettable feast of story, concepts and emotion, containing in Sarah Connor’s, one of the best character arcs of all time.

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THE MATRIX (1999) – ALIEN MACHINES / ARTIFICIAL INTELLIGENCE

Damned alien machines enslaving humanity and feasting on our fluids and organs for energy in some sick, twisted vision of a futuristic Harvest festival. Then again, compared to some of the shitty office jobs I’ve had I think I’d choose the “Matrix” over those; just don’t tell me I’m in the Matrix! Neo (Keanu Reeves) chose the other pill and it’s a good job he, Morpheus and Trinity did, because we get some kick-ass slow-motion action out of it.

WATERWORLD (1995) – GLOBAL WARMING

In this future we will basically live in the water and grow gills. Also, pure dirt and water will be our most priceless commodity. Well, that’s what will occur according to this apocalyptic-polar-ice-caps-melting-earth-swimming-pool-with-pirates movie. At the time it was one of the most expensive film flops in history, but IT actually wasn’t THAT bad. Kevin Costner plays a softer and more soaked version of Mad Max, while Dennis Hopper chews up the scenery as the over-the-top Napoleonic baddie at sea.

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TWELVE MONKEYS (1995) – DEADLY VIRUS

Seeing someone close to you die in front of your eyes as a child is not a future you really need is it?  But what if THAT person is. . . Following the opening of this brilliant film, the plot centres around future prisoners being sent back in time to find the cause of the deadly viral apocalypse. The awesome mind of Terry Gilliam filtering Chris Marker’s classic short La Jetée (1962), makes this an intelligent and exciting end-of-the-world blockbuster. Bruce Willis and Brad Pitt are on particularly good form too amidst Gilliam’s frightening visuals.

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28 DAYS LATER (2002) – RAGE VIRUS

Alex Garland and Danny Boyle’s blistering British horror classic springboards a Day of The Triffids style opening as Cillian Murphy wakes up in a seemingly empty London. Alas, he is not alone as he finds, along with a ragtag bunch of survivors, the world has been populated with raging and rapid zombies hellbent on feeding. Boyle directs with a low budget, yet prodigious inventive flair in a modern-day monstrous classic.

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THE WORLD’S END (2013) – ALIEN INVASION

The third in the Edgar Wright, Simon Pegg and Nick Frost ‘Cornetto Trilogy’ is often seen as the weakest of the three. That’s because the first two are so strong, The World’s End suffers slightly in their shadow. However, a stellar British cast all combine brilliantly as a group of friends reuniting to enact the same town pub crawl they had done year’s before. It’s just a shame a bunch of aliens have decided to take over the town at the same bloody time!

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THIS IS THE END (2013) – BIBLICAL APOCAPLYPSE

The end of days has never been so hilarious and dumb as in this Seth Rogen and Evan Goldberg directed apocalyptic comedy. The stellar who’s-who cast of rising Hollywood actors including: Jonah Hill, Rogen, James Franco, Craig Robinson, Jay Baruchel, Danny McBride plus many more cameos turns, all find themselves battling monsters, fiery sinkholes and each other, in an irreverent and gleeful disaster movie.

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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.”

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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.“

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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.”

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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.”

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Cinema, New Releases, Reviews

PORTRAIT OF A LADY ON FIRE (2019) – CINEMA REVIEW

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PORTRAIT OF A LADY ON FIRE (2019) – CINEMA REVIEW

Directed by: Celine Sciamma

Produced by: Veronique Cayla, Benedicte Couvreur

Written by: Celine Sciamma

Cast: Noemie Merlant, Adele Haenel, Luana Bajrami, Valeria Golino

Cinematography: Claire Mathon

**MAY CONTAIN SPOILERS**

I haven’t seen any of Celine Sciamma’s previous films, but based on the romantic drama, Portrait of a Lady on Fire (2019), she is a filmmaker of formidable power and vision. I believe this is her fourth feature film directorial release and it is as sumptuous, moving, exquisitely shot and constructed a love story as you are going to witness. Moreover, it is proof that the art of screenwriting, compared to many by-the-numbers Hollywood film productions, is NOT dead.

The story is very simple. At the end of the 18th century, a young painter, Marianne, (Noemie Merlant) is commissioned to create a portrait of a young woman, Heloise (Adele Haenel). Heloise is, as is the tradition of the time, required by her mother (Valeria Golino), to marry a Milanese nobleman. He needs to see the portrait in advance in order to agree to the wedding. The only catch is, the insular Heloise, does not want to be painted for all manner of understandable reasons. What this establishes is two very intriguing characters, both with different emotions and desires.

Following the beautifully rendered story foundation, what follows is a magnetic series of scenes which subtly push these two empathetic characters together. Marianne is the artist who, at first keeps her distance, spying and analysing Heloise. Heloise is cool, sensitive and a prisoner on the Brittany island, trapped by the waves of the sea and her mother’s insistence on a society wedding. Over the space of a few days the walking companions become drawn to each other both artistically and emotionally. But, it’s no sordid desire for lust, rather a respectful and honest joining in romance. We, as the audience, literally see love grow before us thanks to some incredible acting from the leads.

Often the cinema critics will heap praise on a film and I will wonder what they have been watching. However, in regard to both Parasite (2019) and Portrait of a Lady on Fire (2019), the plaudits are so well deserved. Both are brilliantly written and shot works of cinema, that in the past may have been consigned to just the arthouse circuit. Further, given the film is about painting, it is unsurprisingly Portrait of a Lady on Fire (2019) is framed, lit and composed with an eye for the artistic. Yet, it isn’t just the look and colour of the film that impresses. Sciamma and her cinematographer, Claire Mathon, also create a series of haunting shots which will be indelibly scorched on my mind.

In terms of the themes, the film is very powerful too. As well the notion of art as a means of representing love, the narrative explores concepts of female equality and solidarity. There is an interesting subplot involving a member of the household staff, which adds to the thematic texture. Furthermore, the performances by all the actresses are superb too as Sciamma directs with such confidence. I also liked that the critique of patriarchal society was implicit rather than didactic. Also subtly realised are the tasteful love scenes, which never feel exploitational. My only minor criticism is that the opening hour could, arguably, have been trimmed slightly. However, what do you leave out of a film as beautifully composed, delicately written and emotionally compelling as Portrait of a Lady on Fire (2019)? I, a mere mortal, am not qualified to say in the face of such mesmerizing cinema.

Mark: 9.5 out of 11

Cinema, New Releases, Reviews

THE INVISIBLE MAN (2020) – MOVIE REVIEW

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THE INVISIBLE MAN (2020)

Directed by: Leigh Whannell

Screenplay by Leigh Whannell – based on H. G. Wells The Invisible Man

Produced by: Jason Blum, Kylie du Fresne

Main cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Oliver Jackson-Cohen, Michael Dorman,

Music: Benjamin Wallfisch

Cinematography: Stefan Duscio

***MAY CONTAIN SPOILERS***

Many a work, home, pub, dinner party and school conversation has started with the following question: what would YOU do if you were invisible? Depending on the company it’s something that can descend into wild fantasy territory. Being invisible will allow you the freedom to spy and become the ultimate voyeur. You could also become a criminal and creep into places without being seen to thieve. You could be a prankster and play tricks on your friends and family. You could become a superhero, battle crime and help people. You could simply just disappear not just literally, but philosophically from society. The possibilities are endless.

H. G. Wells original novel is an absolute genre masterpiece. Arguably the most famous version was filmed in 1933 with incredible practical effects and an exceptional performance from Claude Rains. In this new version the conventional invisible scientist-goes-mad story is twisted successfully into an exhilarating horror suspense film with themes relating to toxic masculinity and abusive relationships. Here invisibility is used to control and instil fear, as the recently deceased Griffin (Oliver Jackson-Cohen) is, according to his ex-partner, Cecilia (Elisabeth Moss), targeting her from the grave.

Leigh Whannell has great experience writing and producing low-budget horror films including: Saw (2004) and Insidious (2010). His last directorial release, Upgrade (2018), was a fantastic mix of 1980’s B-movies, sci-fi and horror cinema. Building on the crowd-pleasing thrills of Upgrade, Whannell has crafted a paranoiac classic with Elisabeth Moss giving a fantastically nerve-shredding and physically adept performance. From the tense opening scene, we empathise with her desire to escape a controlling and malevolent force. Building slowly throughout the first act, Whannell’s script brilliantly picks up the pace and plots Cecilia’s descent into a living hell. Consequently, Cecilia’s anxiety reaches peak stress as no one believes she is being set up by a gas-lighting, unseen and venal monster.

It pays to see this film on the big screen with the finest sound quality available. I watched it on an IMAX screen where the sound design and Benjamin Wallfisch’s amazing score really enhance the fear-inducing visuals. How the production team made this film for a reported $7 million dollars is beyond me. Yet, Whannell is an economical and highly efficient filmmaker. His writing is lean and mean, as the script is full of fantastic set-pieces and plot reversals. Moreover, the story is very relevant, exploring the themes of the day relating to domestic abuse, depression and mental illness. However, it’s not an overbearing message movie, but rather a smart and surprising thriller.

Overall, The Invisible Man (2020) starts strongly and proceeds to deliver a series of gripping and, at times, heart-in-the-mouth cinematic moments. There are none of the usual scientific and over-expositional set-ups that can slow down such films. The visuals, sound, score and performances deliver the story most effectively. I felt like there were a few fuzzy plot moments that Whannell could have explained in more detail, however, that could have hindered the pace of the story. Finally, with Elisabeth Moss imbuing her character with resilience, energy and steel, we get an individual who will never give up. She sees through her ghosting nemesis and will fight to the last breath to prove her innocence and remain in control.

Mark: 9 out of 11

Netflix, Reviews, Television

NETFLIX REVIEW – CRIMINAL (2019) – UK/FR/GER/SPAIN

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NETFLIX REVIEW – CRIMINAL (2019) – UK/FR/GER/SPAIN

Created by: George Kay and Jim Field Smith

Writers: George Kay, Alejandro Hernandez, Manuel Cuenca, Frederic Mermoud, Mathieu Missoffe, Antonin Martin-Hilbert, Bernd Lange, Sebastian Heeg.

Directors: Frederic Mermoud, Oliver Hirschbiegel, Mariano Barroso, Jim Field Smith

Cast (various): David Tennant, Hayley Atwell, Youssef Kerkour, Nicholas Pinnock, Mark Stanley, Katherine Kelly, Sara Giradeau, Nathalie Baye, Margot Bancilon, Stephane Jobert, Laurent Lucas, Peter Kurth, Deniz Arora, Nina Hoss, Sylvester Groth, Florence Kasumba, Carmen Macha, Inma Cuesta, Eduard Fernandez, Jose Angel Egido, Emma Suarez, Jorge Bosch etc.

Original Network: Netflix

******* MAY CONTAIN SPOILERS *******

I’m a massive fan of anthology shows and also television which adheres to a clear format. Of course, it can be argued to be generic and formulaic, however, there’s something very pleasing in watching a television drama with fixed location, rules and concepts in place. Netflix’s crime procedural drama, Criminal (2019) is one such programme. Each episode is based around the interrogation of a prime suspect, as the police attempt to extract the truth or confession relating to a serious crime.

The enclosed space and the battle of wills in each episode between the police and suspect finds the drama unfold in a similar way to a theatrical play. Thus, the script, characters, dialogue and performances need to be of a high quality. Using the same exquisitely geometrically designed set (shot in Madrid) Criminal has been produced in England, Spain, Germany and France, I watched all four, consisting of twelve episodes, and very entertaining it was too. Here are some quick reviews of each series with usual marks out of eleven.

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CRIMINAL: FRANCE (2019)

Arguably, along with the UK episodes, the most consistent of the four series. The three stories were expertly scripted and acted, tapping into relevant issues of the day relating to terror attacks (Emilie), homophobic violence (Jerome) and industrial murder (Caroline). Veteran actor Nathalie Baye excelled in the latter, while Sara Giradeau was very moving as Emilie, an individual accused of being a fake “victim” in a terrorist bombing. The issue of gender politics in the crimes and between the police hierarchy adds further depth to this excellent drama.

Mark: 9 out of 11

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CRIMINAL: GERMANY (2019)

Set in the same claustrophobic location but this time based in Germany, these episodes are directed by seasoned helmer, Oliver Hirschbiegel. While very thrilling, they had a cooler and more detached feel compared to the other countries. The lead detective Karl Schultz is portrayed by the exceptional actor Sylvester Groth. His obsessive cat-and-mouse interrogation of the accused (Nina Hoss) in the last episode, Claudia, was the highlight of the three compelling dramas. The other two episodes are well written and intriguing, with decent twists too.

Mark: 8.5 out of 11

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CRIMINAL: SPAIN (2019)

Probably my least favourite of the quartet within the franchise, there was still a lot to like about the three episodes. While the segment entitled Carmen was both moving and suspenseful in its’ depiction of a family torn apart following the death of their autistic daughter, the other two stories lacked depth for me. Lastly, the officer leading the interrogations, Chief Inspector Toranzo Puig (Emma Suarez) was highly suspect in her adherence to procedure and while this added to the drama, it made her character cold and hard to like.

Mark: 7.5 out of 11

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CRIMINAL: UK (2019)

My favourite, along with the French series, the UK one starts with a fantastic episode, Edgar, owed mostly due to appearance of David Tennant. He is such a commanding presence on screen, you’re really drawn into the case of whether his Doctor (not that one) had killed his stepdaughter. The second episode, Stacey, features an almost unrecognisable Hayley Atwell. Looking thin, hair-dyed, and speaking with a strong South London accent, it found the classy actor really delving deep into her character. The final episode was very tense too as Youssef Kerkour’s truck driver, Jay, is accused of being involved in people trafficking for a dangerous gang. Ultimately, the series was very solid drama, well-acted and directed. I thought Mark Stanley stood out as the cop battling a hidden secret.

Mark: 9 out of 11

Cinema, Classic Movie Scenes

CLASSIC MOVIE SCENES #11 – JAWS (1975) – QUINT’S U.S.S. INDIANAPOLIS SPEECH

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CLASSIC MOVIE SCENES #11 – JAWS (1975) – QUINT’S U.S.S. INDIANAPOLIS SPEECH

Directed by: Steven Spielberg

Produced by: Richard D. Zanuck, David Brown

Written by: Peter Benchley, Carl Gottlieb, Howard Sackler (uncredited)

Based on the novel by Peter Benchley

Main cast: Roy Schieder, Robert Shaw, Richard Dreyfuss, Lorraine Gary

**CONTAINS SPOILERS**

I have genuinely lost count the amount of times I have watched Jaws (1975). It is one of my favourite films and has one of the tightest written screenplays of all time. There is not an ounce of fat in the lean human versus monster thriller. The story as everyone knows finds a gigantic great white shark attacking beachgoers, tourists and locals at a New England summer resort town. Sheriff Martin Brody (Roy Schieder) is tasked with stopping the shark, but due to pressure from business owners and the Mayor he cannot close the beaches.

Spielberg, in only his second feature film cinema release, directed this classic thriller amazingly, filling it with a series of gripping set-pieces, fearful jump-scares and bloody carnage. He’s ably assisted by John Williams iconic score, Bill Butler’s impeccable cinematography, and sterling character acting from Robert Shaw, Richard Dreyfuss and Roy Schieder. However, amidst the suspense and heart-pounding scenes, arguably the best moment of the film is Quint’s speech that related to his experiences on the U.S.S Indianapolis.

The monologue itself comes as Quint and Hooper share “war stories” from their past experiences at sea. The men share a laugh before Brody asks Quint about a particularly nasty scar. Then the mood darkens and the old sea dog recounts a story about the U.S.S Indianapolis on which he was aboard when it sank in 1945. The chilling tale of a sinking ship and over one thousand men at the mercy of the sea, hunger, dehydration and shark attacks, is eerily recounted by Quint; loss and bitterness in his eyes. Shaw is incredible during this classic monologue as he not only establishes why Quint hates sharks, but also builds palpable suspense prior to the frenzied final shark attack on the doomed Orca.

Lastly, many writers have sought to take credit for the amazing monologue and the debate is almost as famous as the scene itself. An excellent article outlining who wrote the speech can be found here.

Cinema, New Releases, Reviews

A BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019) – CINEMA REVIEW

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A BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019) – CINEMA REVIEW

Directed by Marielle Heller

Produced by: Youree Henley, Peter Saraf, Marc Turtletaub, Leah Holzer

Written by: Micah Fitzman-Blue and Noah Harpster – Based on the article – “Can You Say Hero?” by Tom Junod

Cast: Matthew Rhys, Tom Hanks, Susan Kelechi-Watson, Chris Cooper, Christine Lahti

Cinematography: Jodee Lee Lipes

**CONTAINS MILD SPOILERS**

“Hello Neighbour!” – Fred Rogers

I watch a lot of horror, thriller and drama films that you could say are “feel-bad” in nature. They may eventually have some form of happy or morally satisfying ending, but such cinema seeks to create a sense of danger, anxiety and emotional distress as entertainment. Now I enjoy watching films on the edge of my seat and having my nerves shredded, however, sometimes it’s great to watch something that is quite the opposite. A Beautiful Day in the Neighborhood (2019) is one such “feel-good” film, profiling an American icon and arguably one of the nicest people who ever lived: Fred Rogers.

Rogers (Tom Hanks) was the creator and host of Mister Rogers’ Neighbourhood which ran for decades on U.S. cable channel PBS. The programme, while aimed at children, dealt with serious subjects like illness, divorce and death via puppetry, songs and Rogers’ wise and simple homespun philosophies. Over the years he became a household name and a staple of American family life. Yet, A Beautiful Day in the Neighbourhood (2019), is not a standard biopic exploring Fred Rogers life from birth to death. In fact, he’s more of a magical mentor type of character for the lead protagonist, journalist Lloyd Vogel, portrayed by Matthew Rhys.

Opening with a meticulously presented simulacrum of Mister Rogers’ Neighbourhood TV show with Tom Hanks in the hosting chair, the film immediately welcomes us into a positive and safe place. The audience are the children and we are about to be told a story about Lloyd. Because Lloyd is lost and troubled and needs help. Cleverly combining the TV show with flashbacks to Lloyd’s difficult family life is just one of the wonderful devices the film presents. Another is the use of models to emulate the locations within the film. Given the job of interviewing Fred Rogers for an Esquire piece, there’s a sense that Lloyd could well be looking to do a hatchet job on Rogers. However, he finds himself drawn to Rogers’ soft, magnetic and calming charm. The relationship between Rogers and Vogel’s character is superbly teased and developed by an excellent script.

While the drama is relatively low-key, the film is not without emotional impact throughout. There are several stand-out scenes where Lloyd’s negative and cynical worldview is airbrushed away by Rogers’ incredible goodness. As Vogel’s attitude to Rogers changes, so does his feelings toward his estranged father, his wife and child and the world in general. At the same time, Tom Hanks exceptional performance completely captured my heart. I’d never seen any of Fred Rogers TV shows before, but Hanks conveyed the inner peace and wisdom of this man perfectly. Moreover, my wife, who is American, was crying her eyes out with joy and nostalgia all the way through. Ultimately, this is another fine character and human drama from director, Marielle Heller. So, if you want a break from all the nasty unpleasantness in the world, you should definitely knock on Mr Rogers’ door. Everyone is welcome.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

THE PERSONAL HISTORY OF DAVID COPPERFIELD (2019) – CINEMA REVIEW

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THE PERSONAL HISTORY OF DAVID COPPERFIELD (2019) – CINEMA REVIEW

Directed by: Armando Iannucci

Produced by: Armando Iannucci, Kevin Loader

Screenplay by: Simon Blackwell, Armando Iannucci

Based on: David Copperfield by Charles Dickens

Cast: Dev Patel, Aneurin Barnard, Peter Capaldi, Morfydd Clark, Daisy May Cooper, Rosalind Eleazar, Hugh Laurie, Ben Whishaw, Tilda Swinton, Benedict Wong, Anthony Welsh, Paul Whitehouse etc.

Music by: Christopher Willis

Cinematography: Zac Nicholson

**MAY CONTAIN SPOILERS**

Armando Iannucci is a bona fide genius if you ask me. For over thirty years I have been listening, watching and laughing at his various collaborative comedic works. These include notables such as: The Day Today, I’m Alan Partridge, The Thick of It, Time Trumpet, Veep, In the Loop (2009), and The Death of Stalin (2017). Now, one can include the wonderful delectation of an adaptation that is The Personal History of David Copperfield (2019). While I am embarrassed to say I am not as familiar with this Charles Dickens novel as I am his other books, Iannucci has taken his own inimitable style and married it perfectly to Dickens’ narratively opulent Victoriana vision. The result is an entertaining comedic and dramatic romp, tantamount to a quasi-greatest hits package of a Dickens masterwork.

Dev Patel stars as the eponymous hero in adulthood, while the young David is portrayed with energy and charm by Jairaj Varsani. As a child, his father passed, David is brought up by his mother, Clara and the ebullient housekeeper, Peggotty. Peggotty, portrayed brilliantly by Daisy May Cooper, encourages David’s word-smithery and youthful imagination. But this being Charles Dickens, David’s innocent and magical childhood soon gives way to tragedy and he soon finds himself at the mercy of fate. Conversely, the narrative is more of a chronicle of David’s life and contains what I call an “up-and-down” structure.

Through the rollercoaster that is David’s life he finds family love, then industrial pain via his stepfather condemning him to years of child labour. Then in an attempt to overcome his cruel fate he finds positive gain through family, creativity, romantic love, friendship and education. But destiny tests him by having this all taken away once again. Throughout, Dev Patel shines brightly. His David Copperfield is as tough as they come, as he rolls with the punch’s life throws at him. Moreover, he is a fantastic conduit and spine within the structure. Through him we are introduced to some wonderfully vivid characters; some likeable and some not so. Indeed, Iannucci’s casting is a primary joy with Peter Capaldi as Mr Micawber, Hugh Laurie as Mr Dick, Tilda Swinton as Betsy Trotwood, Ben Whishaw as Uriah Heep and Aneurin Barnard as Steerforth, all giving splendid renditions of their respective characters.

Overall, Iannucci and his scriptwriting partner, Simon Blackwell, mine Dickens’ novel for much comedy gold and there are so many hilarious one-liners and funny situations. Moreover, there’s some depth here too as it’s a story of an individual finding their soul, identity and place in a cruel world. One could argue a feature film is not enough to do the novel justice, and it would probably best be served as a television mini-series. However, for a whip-cracking, razor-sharp and heart-warming two hours, in the company of one the greatest novelists, one of the greatest modern satirists, wonderful set design; and finally one of the most impressive ensemble casts gathered in recent memory, this film is highly recommended.

Mark: 9 out of 11

Cinema, Under-Rated Classics

UNDER-RATED CLASSICS #5 – BLUE COLLAR (1978)

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UNDER-RATED CLASSICS #5 – BLUE COLLAR (1978)

Directed by: Paul Schrader

Produced by: Don Guest

Written by: Leonard Schrader and Paul Schrader

Cast: Richard Pryor, Harvey Keitel, Yaphet Kotto, Ed Begley Jnr.

I started this series a while ago and posted a few times on the subject with multiple entries; however, I have now decided to make it a feature, like ‘Classic Movie Scenes’, concentrating on singular films. My rules are simple – an under-rated classic can be a film I love, plus 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.

Blue Collar (1978) was Paul Schrader’s directorial debut. He had gained much critical and film industry kudos following the release of the exceptional psychological drama Taxi Driver (1976). His screenplay for that classic is one of the best I have ever read, such is the raw power and agony in the character of Travis Bickle. Blue Collar (1978) though is more of an ensemble drama, centring on the tribulations of a group of car workers in Detroit, rather than an individual’s slow descent into madness.

Blue Collar (1978) is rarely on television and is arguably a forgotten classic on Schrader’s impressive cinematic curriculum vitae. The plot revolves around workers on the poverty line deciding to get out of their predicament by robbing their local Union’s Office’s safe. This leads all manner of difficulties for the men as they face the anger of corrupt Union bosses who come for them. In a rare dramatic role, Richard Pryor brings an energetic rage and humour to the character of Zeke. At the same time Harvey Keitel is intensity itself as his friend, Jerry.

According to sources, the conflict in the film between management, Union and workers is reflected by the on-set troubles between the cast and director. It is alleged that working with Keitel and Pryor was so stressful Schrader had a nervous breakdown on set. How much this strife was down to drug use and abuse is open to conjecture, however, Blue Collar (1978) remains an under-rated classic today. It has many memorable scenes and remains a damning indictment of capitalism and socialism inasmuch as such ideologies ultimately turn human beings against each other.