Summerland (2020)

I’ve now seen five films in an actual cinema, which isn’t going to threaten the amount I’ve been watching at home, but it makes a nice change after the past six months. However slightly uncomfortable it may be returning to the cinema (and I think we all have to make our own decisions about such things, regardless of what the official guidance may allow — for my part, I leave my mask on at all times, unlike most people it seems), it was difficult for me not to take up this opportunity. Therefore this week’s theme is going to be the films I’ve now seen at the cinema since they were allowed to reopen.


Director Jessica Swale has made her name in the theatre, and I can see that her talents haven’t quite been matched to film form here. A lot of the way that the themes and characters are developed, while not inherently unsatisfying, just seem overdetermined. Combining the (1940s) past and (1970s) present is done elegantly enough — albeit every time I see Gugu I wish for more of her — but the points in the script where the revelations land just feel so thudding, as we come to understand that the curmudgeonly Alice (Gemma Arterton) has her heart warmed by the love of a child (Lucas Bond), and then later on as multiple different strands are brought together. I probably wouldn’t have minded so much if the setting weren’t so overly familiar from other British period films (include ones starring Arterton), and if the score hadn’t swelled at the expected appropriate moments. For all the ways that the casting and themes tried to expand the range of references for ‘World War II romantic drama’ the drama as a whole didn’t work, and things devolved rather too far into unsubtle melodrama. Still, there are things I like about it, whether the cinematography (by Laurie Rose) or the fine performances, and indeed some of the character details, particularly the early characterisation of Alice, are amusing and I still always enjoy seeing Gemma Arterton on screen.

Summerland film posterCREDITS
Director/Writer Jessica Swale; Cinematographer Laurie Rose; Starring Gemma Arterton, Lucas Bond, Dixie Egerickx, Gugu Mbatha-Raw, Tom Courtenay; Length 99 minutes.
Seen at Curzon Mayfair, London, Sunday 9 August 2020.

Journey’s End (2017)

War films of the last few years have understandably been focused more on World War I, given its centenary, as does the new release 1917. I’ve hardly been following all of them (though I wasn’t a huge fan of Testament of Youth, to take one example), but one of the strongest was this film based on a 1928 play. It has a stagy feel to it, but set in the trenches that feels somewhat appropriate.


I was taken along to see this war film, and honestly had no expectation of liking it (it’s not a film or a genre I would have sought out otherwise), but it’s a really solidly mounted, excellently acted character study of men under duress in World War I. When I say solidly mounted, I mean it looks like a film with a big budget, but I expect it didn’t have that — I suppose it helps that it’s set largely in the trenches, but it never feels cheaply done. It really helps too to have acting as good as Paul Bettany gives here (and of course Toby Jones is no slouch either), and the whole project is immensely lifted by the way he plays his character: genial, world-weary, not given to false optimism, but never defeated by the grinding awfulness of the men’s lives. (We see a fair bit of that.) And when I say it never feels cheap, I mean too that it’s not prone to being overly sentimental — there are opportunities for tears (I found the letters home particularly poignant), and many of the men are emotional enough on screen — but it eschews the orchestral in favour of a cleanly minimal score, and it’s the telling moments of class divisions and generational conflicts that are among the most interesting bits.

Journey's End film posterCREDITS
Director Saul Dibb; Writer Simon Reade (based on the play by R. C. Sherriff); Cinematographer Laurie Rose; Starring Sam Claflin, Asa Butterfield, Paul Bettany, Tom Sturridge, Toby Jones; Length 103 minutes.
Seen at Vue Piccadilly, London, Wednesday 22 January 2018.

Bill (2015)

As far as kids-oriented comedy/thrillers based around the life of William Shakespeare go, this one is pretty good fun. In fact, for the quality of filmmaking and even set and costume design on show, I’d say it gives Shakespeare in Love a decent run for its money, and is frankly more enjoyable in many ways. If there’s a style it’s going for, then probably early Blackadder with a hint of Monty Python would about sum it up. Mathew Baynton’s Bill is a down-on-his-luck provincial type with a dream of making it in the big city as a writer, and so he ups sticks, leaving his wife Anne (Martha Howe-Douglas) behind and tries his luck — running into little success, but meeting Christopher Marlowe (Jim Howick) along the way. Meanwhile the Spanish King Philip (a properly moustache-twirling bad guy with a nifty line in stupid disguises, played by co-writer Ben Willbond) is plotting to kill Queen Elizabeth, all laid out courtesy of an actually rather thrilling pre-credits sequence. He duly takes advantage of the foppish Earl of Croydon (Simon Farnaby), who has been picked to write a play to be performed in front of the Queen (the perfect place for Philip’s plan), but knowing nothing of the dramatic arts has enlisted as ghost-writer… Bill! So it’s all very silly, and silliness really is the watchword, for while the film is not always as historically far-fetched as you might expect, it’s just mostly very silly indeed. Which turns out to be a good fit to the subject matter, hence an enjoyable film. I’m not sure if it’ll really play well to kids though, but what do I know. All I mean is, there’s plenty for grown-ups too.

Bill film posterNEW RELEASE FILM REVIEW
Director Richard Bracewell; Writers Laurence Rickard and Ben Willbond; Cinematographer Laurie Rose; Starring Mathew Baynton, Ben Willbond, Simon Farnaby, Martha Howe-Douglas, Jim Howick; Length 94 minutes.
Seen at Cineworld O2 Greenwich, London, Thursday 24 September 2015.