It appears to be the time of year for what are often dismissively termed “chick flicks”. I hate that term, like “women’s pictures” for the melodramas of the 1940s, it smacks of snobbish derision. There are already too many self-satisfied dude auteur films dealing with alienation and violence courting the film school pseuds, not to mention all those deadening superhero epics, so there can never be too many contrasting visions of the world. That all said, I’m not a huge fan exactly, though as far as a melodramatic ‘weepie’ goes, Miss You Already does fine. Drew Barrymore remains a potently charismatic and cheerful presence on any cinema screen even as she reaches her (shock!) 40s, but this film is all about Toni Collette’s English rock-n-roll chick (her accent doesn’t grate, thankfully), with whom Drew’s character grew up, as she acts out, gets into trouble, then has a family (apparently adjusting with ease) and, as we catch up with her, is now coping with a cancer diagnosis. Being set in London, everyone has those kind of perfect London homes that surely don’t really exist (Barrymore and boyfriend played by Paddy Considine live together on a boat overlooking Battersea Power Station!), and meaningful moments take place in picturesque locations — though at least the geography isn’t strained too far beyond credulity. More to the point, Collette gets through the tearful and angry scenes with her dignity intact, which is more than can always be said for whomever scored the film, though leaning on late-80s alt-indie classics is I suppose in keeping with the characters. It’s certainly not a bad film, and it’s even heartwarming in its way.
NEW RELEASE FILM REVIEW Director Catherine Hardwicke | Writer Morwenna Banks | Cinematographer Elliot Davis | Starring Toni Collette, Drew Barrymore, Paddy Considine, Dominic Cooper, Jacqueline Bisset | Length 94 minutes || Seen at Cineworld Wandsworth, London, Sunday 27 September 2015
NEW RELEASE FILM REVIEW || Seen at Rio, Dalston, London, Friday 12 September 2014 || My Rating good
It’s easy to be dismissive of a certain strand of emotionally-manipulative feel-good films about small communities resisting state oppression, or maybe it’s just easy for me. I can be cynical. Pride recalls similar British films of the recent past, set in the same milieu (miners fighting for their lives and livelihood against the policies of Margaret Thatcher’s Conservative party), like Brassed Off (1996) and to a certain extent The Full Monty (1998). Still, it does the whole thing every bit as well as those films did, and further frames it within the (largely metropolitan) struggles for gay rights during the same era, a struggle marked in some measure by the scourge of AIDS and the Thatcher government’s almost dismissive response to it. (I was but a young lad in the 1980s, but I still remember the bleak finality of their TV ads about AIDS.) You could argue there’s a bit of rose tinting involved in taking two narratives permeated with real pain, death and indignity, and crafting something heartwarming and feel-good out of it. Sure, there’s a nod at the beginning to the unlikeliness of the (drawn from real-life) conjunction of two struggles in the form of Mark Ashton’s Lesbians and Gays Support the Miners (LGSM) activist group, who collect money to help the embattled mining community. When they have their first meeting in London’s Gay’s the Word bookshop (still there, pleasingly), one man angrily denounces the way he’d been beaten up by miners when he was younger, stalking out of the shop and taking most of the rest with him. However, such unease is quickly smoothed over as Ashton (played likeably by Ben Schnetzer) finds a Welsh mining community who are willing to accept donations from the LGSM, and there follows a wary yet rather delightful rapprochement between the two very different camps, ably helped by wiser heads amongst the Welsh (including the very much not-Welsh actors Paddy Considine, Imelda Staunton and Bill Nighy). And yet, whatever reservations one may have about the way things unfold, it has an irresistible charm, by turns funny, sweet and heartbreakingly poignant. It’s also an unapologetic flag-waver for the union movement, bookending the film with rousing pro-union anthems. Most surprisingly, the events of the film are all drawn from real life, so the film’s title is quite apt: it makes one proud, and not a little bit teary.
CREDITS || Director Matthew Warchus | Writer Stephen Beresford | Cinematographer Tat Radcliffe | Starring Ben Schnetzer, George MacKay, Bill Nighy, Imelda Staunton, Paddy Considine | Length 125 minutes
NEW RELEASE FILM REVIEW || Director Edgar Wright | Writers Edgar Wright and Simon Pegg | Cinematographer Bill Pope | Starring Simon Pegg, Nick Frost, Paddy Considine, Martin Freeman, Eddie Marsan | Length 109 minutes | Seen at Cineworld West India Quay, London, Wednesday 24 July 2013 || My Rating very good
It seems like the 1990s was a fertile time for the emergence of a new generation of British comedy, when there were a number of new star writers and performers coming through on television who in the following decade would go on to make their first films. Among these, comedian Simon Pegg and director Edgar Wright made a strong impression with their Spaced TV series and then the film Shaun of the Dead (2004), a witty parody of the zombie genre transposed to leafy middle-class North London. Like many I’ve been a big fan of their work, particularly the second film Hot Fuzz (2007), which takes a quite different genre (the cop film) and imbues it with a great deal of generosity towards its small town setting and well-meaning central characters.