Written and directed by Colin Cairnes and Cameron Cairnes
Produced by Mat Govoni, Adam White, John Molloy, Roy Lee, Steven Schneider and Derek Dauchy
Cast: David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri, Georgina Haig, and Josh Quong Tart
Cinematography: Matthew Temple
*** MAY CONTAIN SPOILERS ***
Some years ago I wrote an article about how I dislike the found footage sub-genre and that article can be found here. Occasionally, found footage is used well such as in Creep (2014) with Mark Duplass or REC (2007) or Chronicle (2012). Now you can add Colin Cairnes and Cameron Cairnes, Late Night With the Devil (2023) to that list of found footage films I actually enjoyed.
Technically, one could argue it isn’t really found footage and it negates such films often “amateurish” filming methods, with a truly stylish rendition of 1970’s television chat shows. However, we are asked by the narrator to view “never-before-seen” images and sounds from a previously unreleased and infamous TV chat show presented by ‘Night Owls’ host, Jack Delroy (David Dastmalchian). So, found footage it is!
David Dastmalchian is absolutely fantastic in his role as ambitious but desperate to be number-one chat show host, Jack Delroy. Often cast in supporting roles he now grabs the chance to become much more than that scene-stealing character actor. Delroy is not unlikable, but his arrogance and ambition dominate his personality. So much so, and despite his grief at losing his wife to cancer, he is prepared to allow all sorts of creepy and inappropriate situations unfold in his desperate search for TV ratings.
Delroy pits a dubious psychic Christou (Fayssal Bazzi) against skeptical former magician Carmichael the Conjurer (Ian Bliss), before asking parapsychologist author June Ross-Mitchell (Laura Gordon), and her subject Lilly D’Abo (Ingrid Torelli) to contact a demonic presence called ‘Mr Wriggles,’ live on television. Even after Christou is rushed to the hospital and Lilly contorts and spits out growling obscenities, Delroy decrees the show must go on. The Cairnes Brothers then continue to ratchet up the tension and horror to a deadly and shocking ‘Night Owls’ televisual denouement.
With echoes of the recent Inside No. 9 (3×3 quiz show episode) and BBC show Ghostwatch (1992), and of course The Exorcist (1973), Late Night With the Devil (2023) is one of the most enjoyable horror films I have seen in sometime. The 1970’s period setting and TV studio location is impressively recreated by the fantastic production team, especially on a relatively low budget. Arguably, the plot, once you dig down into it lacks emotional depth, however, the pacy and darkly funny screenplay more than compensates for this. Overall, the film’s style, design, direction and a commanding performance from Dastmalchian ensure Late Night With the Devil (2023) is essential viewing for all horror fans.
Without planning it I watched a number of Burt Lancaster films over the last few months. It gave me a chance to reflect and re-evaluate this giant of the screen. I say “giant” because not only was Burt Stephen Lancaster physically a big guy, he also had a giant of an acting career. One which spanned fifty years in the business.
From his memorable first screen appearance in noir-classic The Killers (1946) to final performance in Field of Dreams (1989) he appeared in seventy films, as well as many television roles. Lancaster was a formidable actor, film star, producer and political activist. His fierce personality, intelligence and passion often explodes on the screen in so many classic films. But he was also capable of quiet and subtle power too. In keeping with the rules of the ‘My Cinematic Romance’ remit, here are just five of those said memorable acting performances.
** CONTAINS FILM SPOILERS **
SWEET SMELL OF SUCCESS (1957)
While this is not based around actual gangsters or career criminals you won’t find a bleaker or more cynical film noir. Morals are in short supply as Tony Curtis’ pushy press agent attempts to work his way up the greasy media pole in New York. His and many a character’s nemesis is Lancaster’s media kingpin, J.J. Hunsecker, who can make or break a career with the click of a finger. Hunsecker’s unhealthy obsession with his sister drives the downfall of all the characters where no one gets what they want. Lancaster is never afraid to play a flawed and complex personality. Razor-sharp dialogue and James Wong Howe’s stark photography, allied with Lancaster’s dominant presence, the Sweet Smell of Success (1957) is a striking morality tale warning of the perils of greed, fame and ambition.
ELMER GANTRY (1960)
Wow! I’d never seen this incendiary film adaptation of the Sinclair Lewis’s 1927 novel. Starring Lancaster, Jean Simmons, Arthur Kennedy, Shirley Jones and Patti Page, Lancaster is electric as the eponymous anti-hero. Gantry is a travelling salesmen-turned evangelist, who is down-on-his knees when he sees a golden opportunity to sell God instead of vacuum cleaners. Jean Simmons has never been better, but Lancaster delivers a devilishly complex characterisation of a man seeking wealth, sex, and adulation but without true belief. His firebrand sermons are powerful but without substance, and Gantry soon realises he cannot escape the emptiness of his soul. He preaches God without soul in a scathing damnation of organised religion set during the depression. Lancaster unsurprisingly won an Academy award for best actor in a risky role and intelligent film that rarely gets made these days.
BIRDMAN OF ALCATRAZ (1962)
I recall watching Birdman of Alcatraz (1962) when a teenager with my dad and being entranced by Burt Lancaster’s thoughtful, yet powerful performance of dangerous prisoner, turned ornithologist, Robert Stroud. Off-screen Lancaster rallied against the death penalty and argued for rehabilitation over eye-for-an-eye punishment. Thus, this story of a complex, rebellious personality who attempted personal absolution via education certainly would have had creative and thematic merit in Lancaster’s mind. From research the actual Robert Stroud was reported to be a brutal psychopath and beyond redemption. Yet, it’s a noteworthy film and stirring performance from Lancaster about a human paradox. Indeed, when did Hollywood ever let the truth get in the way of a great story. What is the truth anyway?
THE SWIMMER (1968)
Well, this was something of a surprise. I had never watched this adaptation of John Cheever’s short story, The Swimmer (1968) until I recorded it on Talking Pictures TV last month. At fifty-five, Lancaster is in incredible shape as middle-class American alpha-male, and seemingly popular, Ned Merrill. He decides one day he can “swim” across a series of Connecticut pools and back home to his wife and children. It’s certainly an original premise and peculiar take on the road movie subgenre. Merrill’s journey is peppered with both friendly and unenthusiastic meetings with his neighbours, friends and former lovers. Although it soon becomes apparent that something, despite his carefree confidence, isn’t quite right with Merrill. A progenitor to John Hamm’s Don Draper, Merrill is such a nuanced iceberg of a soul; charismatic yet with dubious ‘of-the-era’ morals. I think this could be Lancaster’s finest performance in a truly memorable masculinity-in-crisis cult character study. It’s an odd film, but worth staying with until the incredible ending.
ATLANTIC CITY (1980)
As he aged, Lancaster’s continued working with abandon. He wasn’t averse to taking a paycheck in B-movies such as The Cassandra Crossing (1977) andThe Island of Dr Moreau (1979), but he also struck critical gold in Louis Malle’s romantic crime drama, Atlantic City (1980). Both Lancaster and Susan Sarandon are impressive. They have an intense chemistry in this ‘May to December’ love story, as two characters thrown together amidst the malfeasant underbelly of the gambler and gangster strewn ocean city. It’s a morally ambiguous, powerful and complex story of two characters fighting their way out of a dangerous place. Again, Lancaster proved he wasn’t fearful of taking risky roles, even in the latter stages of his career. Atlantic City (1980) would deservedly receive several Oscar nominations, including Lancaster for Best Actor.
Directing Great Television: Inside TV’s New Golden Age – by Dan Attias – Review by Paul Laight
The opening quotes of praise from a myriad of industry colleagues will make my little review pale into insignificance, as there is no doubt that Dan Attias is a director of some repute, expertise, and experience. Here is an Emmy-nominated director who has worked on an incredible list of amazing television shows such as: Miami Vice, Beauty and the Beast, Wolf, It’s Always Sunny in Philadelphia, The Sopranos, The Wire, House, Homeland, Witness (Peter Weir), Northern Exposure, Penny Dreadful: City of Angels, The Americans, The Killing, The Boys, Six Feet Under, The Wire, Marvellous Mrs Maisel, Friday Night Lights, etc.
With such a breath of experience Dan Attias therefore offers much to those seeking insight into the world of directing high quality TV. Moreover, it will also give priceless advice to those seeking a career in directing for all forms of creative media. It is structured and presented eloquently in a language that doesn’t blind the reader with techno-speak either.
The author began as an actor before moving into directing. In fact he states that the best training he had for directing was being an actor. Dan Attias moved from in front of the camera to behind it as assistant director for Steven Spielberg and Francis Ford Coppola before directing the feature film Silver Bullet (1985). After which he moved into directing episodic television.
Throughout the book, the author shares his wealth of experiences, highs, lows, and scars got from directing many great TV shows of recent years. Dan Attias does not glamorise the industry but illustrates that the craft of television production is all about the hard work and harder knocks. He advises honing one’s craft through being prepared, with collaboration also being vital. It’s a fast-paced endeavour where choices can often go wrong. But learning from those mistakes builds one’s directorial nous. Preparation is invaluable. Even if episodic television does not always allow it. The director will often arrive late to the party as it were with the showrunners, writers, actors, and pre-production crew having worked months developing a project.
I was seriously inspired by many of Dan Attias’ informative anecdotes. Having worked in both drama and comedy it is clear he is not just a point-and-shoot director. One senses a burning desire on his part to tell stories an imaginative, creative, and emotionally interesting style. Moreover, the book provides key insight into the rehearsal process, positioning actors, use of lenses, shifting points-of-view within scenes, framing, background mise-en-scene and of course lighting. For Attias, above all else, engaging with the environment is imperative as, “Each scene is staging a journey.”
As well as the technical knowledge delivered, the author continually promotes the idea that coordinating positively with showrunners and writers is integral when creating the best work. That does not mean there won’t be disagreements or having to overcome material which appears dramatically unpromising. It is the director’s job to be creative and collaborative while breathing new life into well-known characters within long running shows.
The final chapters share excellent scene breakdowns from the author’s experience of working on three different TV shows, Snowfall, Manhattan, and Good Girls Revolt. Here he delivers a fine perspective of a director’s vision, using the camera and stylistic choices to tell the story, both following and breaking the rules. If you’re breaking the rules you may face conflict from certain crew members, but it is all about staying confident in one’s vision for the storytelling. Overall, Attias’ honesty in overcoming difficult creative moments is to be admired.
Some may think that television was always the lesser cousin, locked in the artistic attic when compared to the noble art of cinema. No more though as programmes such as Game of Thrones, The Wire, The Sopranos, Homeland, Breaking Bad, and many more have proved. Such classic television finds the writing, cinematography, acting and increased production values, elevating their status to the cinematic. The old-school image of a 1970’s TV director shouting at a bank of monitors giving orders to the beleaguered floor manager and cast in a studio is now gone. Dan Attias and his book are testament to that.
Michael Wiese Productions (MWP) was launched in San Francisco in 1976 primarily to produce films. Today, the company is known worldwide having published some 200 books. Some of the bestsellers have been translated into 18 languages, are used in over 700 film courses, in the Hollywood studios and by emerging filmmakers.
Paul Laight is a screenwriter, filmmaker, and blogger. In 2005, he formed Fix Films and has written and produced many shorts and other promos. Many of his films have been screened all over the world at various film festivals.
Paul is currently working on feature and short film scripts for future productions. His work can be found here:
Big thanks to TREKLANTA.ORG for organising the 2020 BJO Star Trek Fan Film awards. Delayed due to COVID-19 the awards took place late in 2021 and I am so pleased that The Holy Core (2019) was nominated for a number of awards and won two.
The Holy Core (2019) won BEST ORIGINAL STORY OR SCREENPLAY and BEST DRAMATIC PRESENTATION, LONG FORM!
Here are some photos of Paul Laight (me/writer), Gary O’Brien (Director, Editor/Production) and Philip Wolff (lead cast member) with our awards.
And if you have never seen the film you can watch it here:
R.I.P – HELEN MCCRORY (1968 – 2021) – SIX GREAT SCENES!
“I’m heartbroken to announce that after a heroic battle with cancer, the beautiful and mighty woman that is Helen McCrory has died peacefully at home, surrounded by a wave of love from friends and family. ‘She died as she lived. Fearlessly. God, we love her and know how lucky we are to have had her in our lives. ‘She blazed so brightly. Go now, Little One, into the air, and thank you.” — Damian Lewis
Sad news that one of my favourite actors, Helen McCrory, passed away on the 16th of April 2021 from cancer.
Helen McCrory had an amazing career on stage, television and in cinema. She began studying acting at the Drama Centre in King’s Cross, London. After which she rapidly gained fabulous onstage notices, appearing in theatrical productions at the Donmar Warehouse, National Theatre and Almeida Theatre. It didn’t take long before she was starring in prominent roles on television and cinema screens.
An actress of immense quality and charisma, McCrory would bring a sophistication and heart and magnificent class to every role she inhabited. Her characters were always strong, independent and a little bit dangerous. In tribute, I have chosen six scenes which showcase her incredible talents. No words can describe how big a loss Helen McCrory is to the world and my condolences go out to her family.
*** THE FOLLOWING SCENES CONTAIN SPOILERS ***
HESTER – THE DEEP BLUE SEA (2016 STAGE PRODUCTION)
I haven’t even seen this production, but this excerpt from the play immediately makes me feel so much for Helen McCrory’s character. She gives such a beautifully magnetic performance.
ROSANNA CALVIERRI – DOCTOR WHO (2010)
I personally would have loved to have seen Helen McCrory star as Doctor Who. But she made a wonderfully dark-hearted villain in this episode. This scene is so brilliant as it builds slowly with two fine actors bringing both humour and pathos and stirring drama to their characters.
NARCISSA MALFOY – HARRY POTTER AND THE HALF-BLOOD PRINCE (2009)
Originally cast in the role of Bellatrix Lestrange, McCrory had to leave the role out due to pregnancy. Eventually cast as the wonderfully name, Narcissa Malfoy, Helen McCrory’s evocative voice and elegance perfectly enlivened the character.
TABITHA – INSIDE NO. 9 (2014)
Many of Helen McCrory’s earlier roles found her portraying strong young women, however, as she matured she grew even more powerful and was also cast in darker more gothic roles. Once such character was the enigmatic Tabitha in the awesome anthology series, Inside No.9 episode, The Harrowing.
POLLY GRAY – PEAKY BLINDERS (2013 – 2019)
The BBC’s flagship drama is a muscular-bleeding-tattooed-up-parade-of-masculinity, but it also presents a set of powerful female characters too who are just as deadly. Helen McCrory as tough-talking, Polly Gray, more than holds her own as a leader within Cillian Murphy’s gang.
MRS POOLE – PENNY DREADFUL (2014 – 2015)
One of my favourite television dramas of recent years had a some incredibly beautiful writing, a wondrous cast and the most elegant of bloody horror. Helen McCrory revelled in the role of Evelyn Poole/Madam Kali, stealing every scene with an over-the-top performance as the immortal uber-witch casting spells and wreaking havoc throughout.
Writers: Steve McQueen, Courtia Newland, Alastair Siddons
Composer: Mica Levi
Cinematographers: Shabier Kirchner
Original Network: BBC and available on Amazon Prime.
*** CONTAINS HISTORICAL SPOILERS ***
Small Axe could also be described in the vein of ‘Small Acts’. Dramatized and rich slices-of-life that reflect significant historical figures and events from black culture in the 1960s, 1970s and 1980s. MANGROVE (2020) was the first in a set of five films devised, written and directed by Steve McQueen. It premiered at the London Film Festival in 2020, before being released on the BBC television network. I reviewed the film MANGROVE (2020)here. Such was its power, the searing drama would make my list of favourite films of 2020.
Ultra-talented McQueen was not satisfied with one amazing work. He, his incredible cast and production team also delivered four more high quality dramas called LOVERS ROCK (2020), RED WHITE & BLUE (2020), ALEX WHEATLE (2020) and EDUCATION (2020). I had the privilege of viewing these films via the BBC over the New Year period and provide short reviews here.
LOVERS ROCK (2020)
Main Cast: Micheal Ward, Amarah-Jae St. Aubyn, Kedar Williams-Stirling, Shaniqua Okwok, Ellis George, etc.
As well as alluding to the main love story within the narrative, Lovers Rock also makes specific reference to a style of reggae music with a romantic sound and content. Set over one night during a London-based birthday party, the film opens with the setting up of a sound system, making of food and preparation of the large house. While mostly an ensemble piece, the story narrows its focus on prospective lovers, Franklyn and Martha, who fall for each other amidst the thumping bass and hearty vocals of the music. Surely, Lovers Rock is a testament to the power of harmony and community and love. There are brief moments of drama to spike the party mood, but ultimately this is about the joy of being alive and drunk on song and romance. Lastly, it’s arguably as close to feelgood as McQueen’s intense filmmaking style gets in this amazing anthology.
Mark: 9.5 out of 11
LOVERS ROCK (2020)
RED, WHITE AND BLUE (2020)
Main Cast:John Boyega, Steve Toussaint, Neil Maskell, Joy Richardson, etc.
As well as evoking the socio-political landscape of the era so well, the costumes, hair, make-up and location work feel so authentic in all of the Small Axe films. Such authenticity serves the stories well, as does the virtually perfect casting too. Fresh from his energetic portrayals of Finn in the Star Wars trilogy, John Boyega’s performance as Leroy Logan in Red, White and Blue (2020), brings his character into conflict with a whole different kind of dark side. Logan was one of the first prominent black police officers in the Metropolitan police. He subsequently founded the Black Police Association and attempt to reform the police from within. No two ways around it, based on the early part of his police career, Logan is represented as a trailblazing hero. He is intelligent and tough and ready to face up to the barbaric language and violence from both white police officers and members of the black community who saw him as a traitor. Boyega is spellbinding as Logan, navigating his way up the ranks facing rancour and rejection from within the police and his own father too, who was understandably unhappy at Leroy’s controversial choice of career.
Mark: 9.5 out of 11
RED, WHITE & BLUE (2020)
ALEX WHEATLE (2020)
Main Cast:Sheyi Cole, Robbie Gee, Johann Myers, Johnathan Jules, etc.
What Steve McQueen deserves praise for with Small Axe, among many other things, is bringing to the fore individuals one may not have heard of, or reminding us of important events from within recent British history. In Alex Wheatle (2020), McQueen weaves the early years of now famous author, Alex Wheatle, with circumstances relating to the Brixton riots and the New Cross fire tragedy of 1981. The latter took the lives of fourteen young black people and fuelled much anger at the time in regard to racist attacks on the black community. Alex himself was brought up in care and grows up an angry young man. He finds solace in music and expressing lyrics in a political and combative style. We first meet him in a prison cell sharing with Rastafarian, Simeon (Robbie Gee). The fractious scenes between the two, with both Gee and Sheyi Cole giving fine performances, are full of anger and humour. Far from being a comedy, there remains both witty banter and pathos fizzing around this profile of Wheatle’s formative years. This fine profile finds a young rebel discovering his voice and identity amidst the urban decay, racism and police brutality of the mean streets of London.
Mark: 10 out of 11
ALEX WHEATLE (2020)
EDUCATION (2020)
Main Cast: Kenyah Shandy, Sharlene White, Josette Simon, Tamara Lawrence, Daniel Francis, etc.
Having addressed social and cultural issues relating to civil liberties, law, music, work and identity, Steve McQueen focussed specifically on educational themes within the black community in the aptly named, Education (2020). The highest praise I can give Education (2020) and all the films in the Small Axe anthology is that I felt genuine emotion for all of the characters and the situations they were in. They may not have been perfect and had their flaws, but ultimately all five of these narratives made me feel and care about the characters. Because they were up against an unfair system which demanded to be challenged and changed to stop the systematic prejudice of the time. Education (2020) feels extremely personal to Steve McQueen as one senses the lead character, twelve-year-old Kingsley Smith (Kenyah Sandy) experiences much of the grief he may have when younger. Considered disruptive at the local Comprehensive, Kingsley is dumped into a “Special School” where he becomes lost and ill-educated. One absurd scene simply shows a teacher playing House of the Rising Sun as part of a lesson. Kingsley’s formidable mother, with help from political forces within the black community, strive to right these educational wrongs in a powerful and moving final chapter to the Small Axe anthology.
Written by Jason George – based on the novel The Old Axolotl by Jacek Dukaj
Cast: Pauline Ettienne, Laurent Capulletto, Stefano Cassetti, Nabil Mallat, Jan Bijvoet, Vincent Londez, Babetida Sadjo, Mehmet Kurtulus, Alba Gaia Bellugi, Regina Bikkinina, etc.
Distribution: Netflix
****MAY CONTAIN SPOILERS ****
Netflix’s first Belgian original production series is an inspired adaptation of Jakub Dukaj’s electronic science fiction work, The Old Axolotl. While that work may be a digital release about a post-apocalyptic Earth, Into The Night (2020), is not a futuristic tale, but rather a very contemporary one set in the now. Opening in the Brussels airport the suspense is ratcheted up from the start when a NATO Officer, Terenzio Gallo, takes a Moscow bound plane hostage at gunpoint. Frantic and dangerous he orders the pilot and crew to take off immediately as they are all in danger. I won’t reveal what that danger is for fear of spoilers. What I can say is though these six episodes are one hell of a thrilling and panic-stricken plane journey.
Jason George’s excellent adaptation is written as a fast-paced disaster movie over six sharp episodes. Given the characters convene at an airport and the Brussels office of the United Nations is close by, the narrative establishes an ensemble of various nationalities including: Polish, Italian, Belgian, French, Turkish, Russian, Moroccan and in later episodes, English. Indeed, as well as the environmental threat and technological challenges the characters face, national identities and cultural clashes drive the drama of the series. The various personalities may be facing impending doom from an unknown source, while flying thousands of feet in the air, yet they cannot put their petty prejudices aside and this leads to much trouble. Amidst the in-fighting though some solidarity is found as the passengers and crew overcome a plethora of suspenseful moments and situations.
I personally cannot stand flying. Thus, my heart was literally in my mouth throughout this exciting series. The acting, action, direction and editing are all extremely well delivered, and I can safely say that this is one of Netflix’s winners. The threat the humans face is also very believable too. Furthermore, a classic disaster movie trope is to give the characters enough depth to bring you into their personal stories. Each episode is named after a character and is accompanied by a mini-flashback establishing their back story. We get one character seeking romance, one facing grief, another having an affair, a mother attempting to save her sick son, and so on. While these are very much standard types within the genre, the breathless pace of Into The Night (2020) leaves you dizzy from both the high altitude and anxiety.
In all the excitement, I seemed to have forgotten about this feature, but will reignite it here. Essentially, I pick a favourite film actor or director or writer or composer or film craftsperson, who I have followed and admired for some time, and pick out five of their works which resonate with me. Usually it is difficult to stick to just five selections, however, I find writing with a rule or discipline sharpens the critical mind. Today’s choice is one of the greatest actors to have walked the boards, appeared on the box, and graced the silver screen. His name is of course, Denzel Washington.
Born in Mount Vernon, New York and having initially attended a military academy, Washington would later gain a BA in Drama and Journalism from Fordham University. He began by acting in Summer Stock theatre, but his first major break was in the television series, St Elsewhere. His performances as Dr Philip Chandler would lead to castings in prominent film roles, notably as Steve Biko in Cry Freedom (1987). In that film he would receive his first Academy award nomination. From then on Washington would go from strength to strength traversing stage and screen roles with incredible range and skill. As writer, director and actor he is an artist who can span genres and disciplines, equally brilliant in commercial projects and more arthouse productions. Here are just five roles which I very much think he excelled. But to be honest, there are many, many more I could have included.
GLORY (1989)
Glory (1989) was the first major Hollywood film to profile the fight of black soldiers to free themselves from slavery in the context of the U.S. Civil War. It is an excellent drama with some brutal battle scenes and memorable characters. None more so that Washington’s portrayal of Private Silas Trip. He is quite understandably an angry man determined to fight all the way against oppressors. Washington delivered a searing performance which would earn him a Best Actor in a Supporting role award. It is an outstanding portrayal full of power and strength.
MALCOLM X (1992)
Washington worked with Spike Lee on many film productions and Malcolm X (1992), is arguably their most significant and impressive film. It charts the life and death of a man born Malcolm Little who would grow to be anything but. After a troubled childhood he became a drug dealer and criminal in order to survive. Having converted to Islam he rejected his slave roots, going on to become one of the most outspoken voices against black oppression the world has ever known. Both Lee and Washington should have won Oscars for their work, and Washington’s intense performance stands as a fine cinematic tribute to a true spokesperson for a generation.
TRAINING DAY (2001)
Washington has played his fair share of heroic and complex anti-heroes trying to find their way in the world, but in David Ayer’s brilliant cop drama Training Day (2001), he revels in the role of bad-ass corrupt cop, Alonzo Harris. Washington and Ethan Hawke are both brilliant as the mentor and apprentice narcotics officers who are about to have a very intense day of plots and double-crosses. Washington spits and chews up Ayer’s meaty dialogue as Harris, who has a devilish plan up his dirty sleeves. Ultimately, the respect between the two erodes and a violent power game ensues with surprising twists ahead. Washington won the Best Actor award at the Academy Awards, and while it was well earned, it was arguably more for his body of incredible film performances overall.
MAN ON FIRE (2004)
While not necessarily the best film on Denzel Washington’s amazing acting C.V., Man on Fire (2004) is one of the more memorable films he made with uber-Hollywood genre filmmaker, Tony Scott. Washington clearly respected Scott as a man and director, and while Scott’s flashy and bombastic style could drown his actors, Washington’s talent always shone through. As John Creasy, Washington’s characterisation is that of a broken ex-military man who has killed for his country, and now realised it was all for nothing as he lost and alone. Alcoholic and suicidal, Creasy finds redemption in the guise of a young girl, portrayed brilliantly by Dakota Fanning, who following her kidnapping, goes on a vengeful kill-crazy-rampage-search-for-justice. Washington’s acting is both muscular and tender in equal measure as Scott delivers an explosive genre film of the highest quality.
FENCES (2016)
Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working-class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character, Troy Maxson, and his long-suffering wife, Rose; portrayed with significant humility by Viola Davis. Troy’s character is charismatic, and he delivers some hearty yarns from his past, but he’s also bullies everyone around him. Moreover, Washington directs brilliantly, “fencing” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall, the performances alone make the film feel cinematic.
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***
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.
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.
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