Written by: Chloé Zhao based on Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder
Directed by: Chloé Zhao
Featuring: Frances McDormand, David Strathairn, Linda May and Swankie
Bob:“One of the things I love most about this life is that there’s no final goodbye. You know, I’ve met hundreds of people out here and I don’t ever say a final goodbye. I always just say, “I’ll see you down the road.” And I do. And whether it’s a month, or a year, or sometimes years, I see them again.”
Released on Blu-ray and DVD is the critically acclaimed drama “Nomadland” (2020) based on the book of the same name that delves into a class of people who live in their vehicles following work around parts of the US. Many have either lost jobs, homes, families or all three and are making livings any way they are able in most cases forming tight nit groups of friends with similar aims. This movie sets out to give these people a voice and show a way of life that works for them and illustrates clearly the changing nature of the US both economically and socially.
One of the great aspects of “Nomadland” is that it has been produced, directed and features mostly people who in the past have had no real voice in popular culture. With the advent of the pandemic, the reduced number of films being released over the past year or so and a release strategy that meant many people actually watched it, this meant that it had a very high profile leading to many awards and love from critics and audiences alike.
“Nomadland” is based around Fern who in 2011 loses her job after the US Gypsum plant in Empire, Nevada, shuts down; she had worked there for years along with her husband, who recently died. Fern decides to sell most of her belongings and purchases a van to live in and travel the country searching for work. She takes a seasonal job at an Amazon fulfillment center through the winter. The plot and narrative of “Nomadland” is really framed as a road movie, one of the classic genres in US cinema. Throughout the film we stay with Fern entirely living through her eyes and experiences which are good, bad, uplifting, depressing and hopeful. We encounter other travellers and some have more of an effect on Fern than others which is one of the points of the film.
Written, edited, co-produced and directed by Chloé Zhao “Nomadland” is a testament to her work and perseverance but is told with a compassion and understanding that belies her relative inexperiance but this makes it a must watch. Zhao has written and directed two other features but “Nomadland” is such a step up in quality and understanding that it is no wonder she won two Oscars this year for it and nominated for two others. The film also has not only filmic in every sense of the word but because of two factors those being location shooting as well as real people being cast this also feels like a documentary, this is something that works well making it an almost unique feat, think Larry Clark’s “Kids” (1995) which did something similar.
This film would not be possible without the central performance of Frances McDormand who as Fern portrays a woman who knows what she wants but has trouble finding a way to get it, whilst she eschews company she cannot do what she wants without help, so it is great when she meets others of whom she needs help or when she can offer help. This is a truly touching performance and one that is less caustic than previous which for me is a welcome change, that is not to say that she cannot be cutting but in many of McDormand’s performances she is self assured and almost all knowing believing she is right but here she is out on a limb at times completely lost, I enjoyed that in a number of ways. Her main supporting co-star is David Strathairn who does everything so well that it is obvious he is a great actor. The rest if the cast is rounded out by real people that live this life for real so it feels right and this only aid the performances of all the actors.
“Nomadland” was nominated for six Oscars eventually winning three and well deserved they were for a film that has to be one of the best of the past eighteen months. It clearly illustrates the transient nature of life in the US and the way life can change without any real warning. The movie also reflects the politics of the time when it was made and possibly why someone like Trump was able to ascend the Presidency which again clearly indicates why people in hardship should be looked after and not left to fend for themselves. While not a film that offers any real solution it does show that we as people need each other to survive and to get on when we find it difficult. I recommend this movie highly and it is easily rewatchable.
Featuring: Malin Åkerman, Bella Thorne, Dulcé Sloan, Kevin Connolly, Kevin Nash, Alec Mapa, Dominique Jackson, Fortune Feimster and Alec Baldwin
Released recently on DVD is yet another misguided and seemingly pointless comedy in the form of “Chick Fight” (2020) which was obviously aimed at a certain audience but really leaves the wit and charm at the door while being heavy handed as well as being totally obvious with a framework that has been repeated ad nauseam in so many comedies that as soon as this movie begins any slightly canny audience will know exactly where it is headed.
There are so many comedies being made currently that to even break through into any kind of public consciousness there are any number of elements required, some of these are an truly original concept, a style that makes audiences actually laugh, big stars and new as well as original talent. Of course that does not mean success is guaranteed but it does help, in the case of “Chick Fight” it has one of these elements and it is nowhere enough for this movie to be either successful or funny. In case you have not guessed the element this movie has is a somewhat star studded cast. Unfortunately many of the actors involved in this movie have never really proven to be able to carry a movie within the comedy genre and that statement is no less true here.
The movie is based around Anna Wyncomb who works in a coffee shop and her dad, Ed, who has dated Chuck since her mom, Mary, died nine months ago. One night, Anna and her best friend Charleen, a police officer, accidentally sets the coffee shop on fire after enjoying a joint. Now blaming herself for the incident and totally broke, Charleen takes Anna to the underground all-female fight club and introduces her to Bear, the manager and the referee of the fight club. There, Charleen explains to Anna that the winning fighter puts a dollar bill on the wall with their name on it and the fight club serves as a safe haven for women, who want to cope the problems of their life. Charleen persuades Anna that she must agree to fight in order to resolve her problems. Anna reluctantly agrees and fights in her first bout but is easily knocked out. Anna realizes that her mom founded the fight club and has fought several bouts, a secret that her mom kept from Anna her whole life, dying from cancer six months after her final fight.
“Chick Fight” was written by Joseph Downey and directed by Paul Leyden who it might seem obvious are both men, which on any obvious level seems like an odd choice for a movie called “Chick Fight”. There is no doubt that it is not out of the realms of impossibility for men to create a movie about women or vice versa, but if that does occur, especially in these times, whatever they create had better be funny, insightful, original and most importantly say something that would be worthy of the gender being written about. That certainly is not the case here with broad archetypes that one would expect from something derivative such as this. This movie just seems an excuse to women hitting other women in the guise of some kind of empowerment, but this truly is just the lowest form of denominate in humour, which of course it lacks.
As mentioned the humour like the characters are all straight out of the 1980s era of filmmaking where there are broad archetypes who behave in some way that only men would either find original or even funny. That is the central problem that the type of people who would find this movie even remotely funny are not going to watch it and those that see it will not be entertained in any way which is a missed opportunity which actually sums up at least ninety percent of movies released at the moment.
Featuring: Yootha Joyce, Brian Murphy, Norman Eshley, Sheila Fearn and Nicholas Bond-Owen
George:“That’s a lovely statue, Mildred.”
Mildred:“Oh, thank you. It’s symbolic, of course.”
George:“You can see that, it hasn’t got any what’s-names.”
Released recently on DVD is the UK comedy “George and Mildred” (1976-1979) which itself was a spin off of the hit “Man About the House” (1973-1976) which featured George and Mildred as the landlords of a flat that housed one man and two women. At the time of production “Man About the House” was seen as progressive and antiestablishment with the Ropers as a representatives of the old ways of doing things always coming up against their younger counterparts. When that show ended it was spun off into “Robin’s Nest”and this show both of which ran for a number of years and were successful in their own rights. It is interesting that “George and Mildred” was adapted in the United States as “The Ropers”, a spin-off from “Three’s Company” (itself the US adaptation of “Man About the House”).
Whilst the stories that were contained with the show were actually pretty standard especially looking back now forty years later it was the two main actors Yootha Joyce and Brian Murphy who were the main attraction. Yootha Joyce as Mildred the always looking forward and strong part of their relationship was a gifted actress and knew just how to play not only her part but against Brian Murphy as George the always seemingly nebbish husband always planning something. Murphy would have a long career playing this familiar character who never really left this series behind but was always reliable and extremely funny in this and other shows he was in.
The show was obviously entered around George and Mildred Roper who have left their old house after receiving a compulsory purchase order from the council, and move to 46 Peacock Crescent in upmarket Hampton Wick. While Mildred enjoys the chance to better herself in her new surroundings, she is always being thwarted—usually by the lazy, inept and generally unemployed George, who has no interest in climbing the social ladder, and also continues to show a lack of interest in sexual relations with Mildred.
There is no getting away from the fact that this series is over forty years old, so there are definitely elements that date it, the most obvious are the racial stereotypes as well as the gender issues that do crop up. The storylines are typical of the time, but the real secret to the series are the actors, the characters and the heart that was instilled into the writing from the outset.
I actually recommend this series completely, it is a breath of fresh air and is a precursor to all the English comedies we see now, remember most sit-coms, the successful ones start with a premise, a kernel and grow, much like this one did.
Episodes
Series One
Moving On: When their house is subject to a compulsory purchase order the Ropers must move. Mildred sees her dream house in suburbia, next door to yuppie couple Ann and Jeffrey Fourmile and their seven-year-old son Tristram. Jeffrey is appalled by George and pretends the house is already sold to prevent him and Mildred moving in but Tristram explains that his dad is lying and the Ropers get the house.
The Bad Penny: George and Mildred get to move in and Ann, who is not a snob like Jeffrey, invites them round for a cup of tea. Unfortunately when they go home George and Mildred find they have locked themselves out and left the bathwater running.
… And Women Must Weep: Mildred gets a job as a secretary in Jeffrey’s estate agency. George is thus the house husband but he is a disastrous cook and home-maker. Mildred is relieved when he finally gets a job – less so when she discovers it involves being away all night.
Baby Talk: Having baby-sat for Anne and Jeffrey Mildred is broody and wants a child of her own. George is less keen but is persuaded to apply for adoption. His crassness and the Ropers’ age means that the adoption agency turns them down but he is thoughtful enough to buy Mildred a dog to compensate.
Your Money or Your Life: Following a family funeral Mildred notices that the pay-out on George’s endowment policy is very small and persuades him to take a medical to get a better pay-out. The medical is a success but George starts to worry that Mildred wants to kill him to get the money and cancels the payments. Ann wonders how to break the news of Tristram’s poor school report to Jeffrey.
Where My Caravan Has Rested: George sells his car and buys a caravan, which he parks in front of the house. When Mildred’s sister Ethel and her husband – whom George can’t stand – come to stay and sleep in the Ropers’ bedroom George moves into the caravan but unfortunately it gets towed away.
The Little Dog Laughed: Whilst out walking Mildred’s dog Truffles George happens to lose him and, rather than face Mildred with the news, he buys an identical one from a pet shop. Unfortunately for him – though fortunately for the dog – the plan is rumbled when the police find the real Truffles and return him to the Ropers.
Best Foot Forward: George borrows Jeffrey’s ladder to fix the television aerial but when Jeffrey takes it away George falls off the roof and ends up in hospital in the next bed to the knowledgeable Mr. Jolly who tells him he should sue his neighbour. Out and about in his wheelchair, George – or Ironside, as Mildred calls him, decides to do just that but has to settle for compromise.
My Husband Next Door: When the Fourmiles go on holiday Mildred has a key to their house so she can water their plants but George abuses this by going in to watch the couple’s superior colour television. Mildred has asked George to decorate their lounge but George calls in professionals – who follow him into the Fourmiles’ house,wrongly assuming that this is where the re-decoration is needed. George and Mildred have to put the resultant unwanted make-over back to normal.
Family Planning: Ethel and Humphrey come round to discuss the future of Ethel’s and Mildred’s elderly mother, who they think should be put into a home as she cannot cope on her own and they need their spare room. Curiously it’s George who suggests that mother moves in with them. Jeffrey has Tristram learn boxing after he gets beaten up by a girl.
Series Two
Jumble Pie: George is not happy. Not only has Oscar the budgie died but Mildred has donated all his gardening magazines to the vicar for the local church jumble sale,on the basis that George never does any gardening. What she has failed to realise is that only the top few are about gardening, the rest are girlie mags, so George has to retrieve them before the vicar finds out.
All Around the Clock: The Ropers ‘celebrate’ their twenty-fourth wedding anniversary with an exchange of gifts. George gives Mildred a carriage clock, which is very nice and only cost him ten quid. However, when the Fourmiles return from holiday to discover that they have been burgled and the police arrive it looks as if the clock was among the stolen items.
The Travelling Man: Initially opposed to George’s idea of taking in a lodger to make more money,Mildred changes her mind when the charming salesman Edward Rogers turns up to rent their back bedroom. Edward is everything George is not, charming, cultured and dead keen to help Mildred with all those little jobs George can’t be bothered with. George gets jealous – though ultimately his worries are proved to be unfounded.
The Unkindest Cut of All: Despite the final notice George has forgotten to pay the electricity bill and a man is sent round to the Ropers to cut off their supply. This would be bad enough at the best of times but the visit coincides with Mildred’s efforts to impress Ethel and Humphrey with a gourmet dinner party.
The Right Way to Travel: Mildred wants a holiday in Majorca but George, who can’t speak Majorcan, feels they should stick to familiar Blackpool. If the Ropers travel with the Conservative Association to Majorca they can get discount and so they apply to join the local Tories. However the trip turns out to be already fully booked so they go to Blackpool, only to find everywhere full due to a Labour party Conference.
The Dorothy Letters: Mildred decides to have a spring clean and turf out some of Geoege’s clutter,including his gas mask. She discovers several letters he has written to a woman named Dorothy and fears that he has been unfaithful – though it turns out that they are unsent fan letters to a film actress. Jeffrey decides that the world is over-populated and goes for a vasectomy.
No Business Like Show Business: Jeffrey is directing the neighbourhood’s Christmas pantomime – ‘Cinderella’ – and Mildred is only too happy to be playing one of the Ugly Sisters. Unfortunately on the opening night she loses her voice and is unable to go on stage so,inevitably, George is called upon to replace her.
Season Three
Opportunity Knocks: Jerry the ice-cream man persuades the gullible George to invest in his pigeon-farming idea but the only way George can raise the cash is by selling the house behind Mildred’s back. Jeffrey is delighted, Mildred anything but when she catches George showing prospective buyers around and soon puts a stop to his plan. Ann is pregnant and convinced the baby is a girl.
And So to Bed: After twenty-five years the Ropers’ bed finally collapses and it’s time to buy a new one. The trouble is that George is on a hire purchase black-list and can only get a new bed if he can put down the readies. Fortunately he has a winning system for horse racing and is confident it can get him the money.
I Believe in Yesterday: Mildred is thrilled to get a letter from Lee Kennedy,an ex-American airman with whom she has a wartime fling who is visiting England and wants to see her again. A jealous George rings up his old flame Gloria and arranges to meet up for a drink with her- though neither reunion turns out to be as the Ropers had hoped.
The Four Letter Word: Brother-in-law Humphrey offers George a job at his meat factory but when George finds out that he is enjoying weekends away with his young secretary he uses the fact to persuade Humphrey not to employ him. After George has inadvertently exposed Humphrey’s philandering to Ethel,he finally lands a job with Jeffrey Fourmile which literally carries a lot of weight on its shoulders.
The Delivery Man: Mildred is not happy about George mending his motor-bike in the house but when Ann goes into labour with Jeffrey away in Birmingham and no chance of a mini-cab it comes in handy for rushing her to the hospital in time. Inevitably George is mistaken for the father but a grateful Ann shocks her husband by suggesting they call their new baby son George.
Life with Father: George takes his father to live in a retirement home but he gets thrown out after only one day and billets himself on the Ropers, leading Mildred to discover just where exactly her husband got his loser’s streak from. She finds she has not one but two unwelcome guests before order is restored.
Season Four
Just the Job: The ever work-shy George is apprehensive when called for a job interview but the resultant, successful post suits him down to the ground. He is now a traffic warden and inevitably loves the power that this gives him. Others are less enamoured so that when he turns up in his uniform,with Mildred,for Tristram’s school prize-giving, someone has tipped a bag of cement all over him.
Days of Beer and Rosie: George is surprised and then delighted when young Bill Albright, son of the recently deceased Rosie, approaches him with evidence that he is George’s long-lost son, conceived on V.E. Night 1945. There is even a ready-made daughter-in-law and grand-daughter into the bargain. However on further investigation the real father turns out to be George’s old friend Ernie.
You Must Have Showers: Mildred wants a new bathroom shower but the professionals’ quotes are too pricey for penny-pinching George,so he gets his dodgy friend Jerry the ice-cream man to do the installation. Unfortunately Jerry connects the shower to the Fourmiles’ plumbing system so that the Ropers end up stealing their neighbours’ water.
All Work and No Pay: Due to complaints about his over-zealous attitude George rows with his superior, Arnold Higson, and resigns his job as a traffic warden. He is scared to tell Mildred, who finds out from Mr. Higson with whom she flirts to get George his job back. Jeffrey has a new sports car and Mildred says he can use the Ropers’ garage, unaware that George’s useless friend Jerry is storing bags of cement in it.
Nappy Days: When the Fourmiles have to attend a funeral Mildred is happy to mind their new baby, Tarquin, for the day. But their car breaks down on the way home, making them late, and Mildred has her clay-modelling class to go to. George is left holding the baby and when the last minute call comes from the British Legion to say that they need him for the darts team he has no option but to take Tarquin with him. Will he get him home before Mildred finds out? Will he even get him home for that matter?
The Mating Game: With Truffles,Mildred’s dog,in season, the Ropers mate her with Ethel’s dog in order to produce pedigree puppies that they can sell but find that another dog has been with Truffles already who is decidedly non-pedigree. George gets a surprise when he buys a little friend for his goldfish, Moby, and Jeffrey suffers when he gives up smoking.
On the Second Day of Christmas: Having had an extremely boring and non-eventful Christmas Day, George and Mildred spend next day with the Fourmiles where George and Jeffrey become addicted to Tristram’s present, a video game, which sees George losing money. Ethel and Humphrey arrive for an exchange of presents but George and Mildred don’t have any presents for them.
Season Five
Finders Keepers?: George buys Mildred a fur coat from the Oxfam shop but when she hears that he found a credit card in the pub she assumes he used it in the shop and returns the coat – only to find, too late, that she was mistaken. Jeffrey is disapproving when he learns that Tristram is playing with a new friend from the council estate and finds that he is not the only one who is a snob.
In Sickness and in Health: Mildred goes into hospital with suspected appendicitis so kindly Ann, to Jeffrey’s annoyance, has George round for dinner. When he gets home he finds Jerry, who has been evicted, wanting to stay,along with his ‘niece.’ But the appendicitis is actually indigestion, and Mildred comes home early. She is not happy to find two unwelcome guests and throws them out. Lucky for them Tristram has a tent pitched in the Fourmiles’ garden.
The Last Straw: The Ropers feel shunned by their middle class neighbours so George suggests they move back to the street in which he grew up, only to find it has been replaced by a tower block and that the area is ruled by gangs of teen-aged vandals. They consider emigrating to Australia but are told they are too old. Finally Mildred finds her niche – on Jeffrey’s committee to save a Victorian lamp-post – though George manages to accidentally scupper this too.
A Driving Ambition: Mildred is taking driving lessons from an elderly neighbour but wants to keep it secret from George so she says she is going to Keep Fit class. When Ann accidentally lets slip that the Keep Fit class has finished George suspects Mildred of having an affair and, taking advice from Jeffrey, attempts to be more romantic with her. A misunderstanding arises when the supposed lover comes to the Ropers’ house but all is resolved as Mildred passes her test. Jeffrey has to stand in for a poorly Tristram on his paper round.
A Military Pickle: Charlie Roper, George’s long-lost brother, comes to visit. He is a charmer who once dated Mildred and he gives George a thirty-year-old letter which seems to state that George is still liable to be called up for military service, as he ignored the letter at the time. George wants to hide in the attic and sends away a man who has come to sell Mildred a car thinking he is a policeman before the mistake is rectified.
Fishy Business: George lets his goldfish,Moby, swim in the sink and Mildred accidentally pulls the plug out,losing Moby, so, by way of compensation, George buys two supposed homing pigeons and builds a loft in the backyard to, calculatedly, annoy Jeffrey. Once released the pigeons never return and Mildred, feeling sorry for George, buys him another goldfish,though it comes at a price.
I Gotta Horse: Browsing through ‘Country Life’ Ethel sees a photo of a Ming dynasty china horse worth ten thousand pounds. Her mother tells her Mildred owns the only other one in the world and Mildred agrees to sell it to her,having first established that it is one of many worthless copies made in 1927 and not the real thing. For once the Ropers come out on top as Mildred pockets Ethel’s cheque for 1,500 pounds and Tristram’s pet mouse has the last word.
The Twenty Six Year Itch: Jeffrey gets an invite to the Young Conservatives’ Dinner Dance but Ann will be away so she persuades him to take Mildred instead. A jealous George chats up widowed barmaid Beryl, telling her he is single and arranging to meet with her on the night of the dance whilst he is alone in the house. However Mildred feels out of her depth and returns home early,forcing George to tell Beryl the truth. The Ropers go to bed and,whilst Mildred declares that she loves George for all his faults, his response is less assured – he calls her Beryl.
Featuring: Lesley Joseph, Pauline Quirke and Linda Robson
Dorien Green:“Good afternoon, neighbours.”
Sharon Theodopolopoudos:“It was, up until now.”
Dorien Green:“Now, now, Sharon. Fat people are supposed to be jolly; it’s a tradition.”
Released this month on DVD is the first three seasons of the ITV comedy “Birds of a Feather” (2014-2020) which sees the three returning characters from the original series that aired on the BBC from 1989 through to 1998. The original series was never really considered to be a classic comedy it did have something quite unique in that the three leads were all women with most of the plots centred squarely around them. With the three actresses, Lesley Joseph, Pauline Quirke and Linda Robson, now in their sixties face different issues than their younger days which at this time of life could be something unique on television.
Generally “Birds of a Feather” is based around Cockney sisters Sharon Theodopolopodous and Tracey Stubbs, life is never the same again when their husbands are convicted of armed robbery and sent to prison. Sharon, a common, fun-loving, large and loud-mouthed character from a council flat in Edmonton, moves into her sister’s luxury home in Chigwell, so that she can support Tracey, after her husband’s imprisonment.
There is nothing new in bringing back decades old television shows to new audiences, it happens with ore regularity as space needs to be taken up on not only traditional broadcasters but also on streaming services, whether or not they work is another matter, the most successful reboots or returning shows are those that bring back original stars but also add new ones to fill out casts as well as updating narratives and plots. So we now see gender swapped reboots and limited runs of other series, however with “Birds of a Feather” they have been lucky enough to have the three original stars return as well as being in very good condition so that older audiences will recognise them but with enough new blood so that newer audiences can feel like they are discovering something new.
Now there is no doubt at all that with all returning shows there is an aim to touch the nostalgia button especially to bring in older audiences and although in some cases that can means rehashing old jokes and making a broad show which for comedies can be the kiss of death as the funny elements can be cheap and lowest common denominator humour for “Birds of a Feather” it seems to work meaning the nostalgia that is present is not a bad thing at all. In fact with the ageing of the three main actors this old fashioned humour becomes part of the narrative which works well at least on a first watch.
“Birds of a Feather” even in its heyday was never going to be in its prime a show that was rated as a great show or timeless and so this new series does not have to measure itself against some great institution which is a good thing as too many returning shows with long absences are unfairly measured against their own legacies, the two seasons of the returned “X-Files” (1993-2018) is one of those. So “Birds of a Feather” arrives and does a good job for what it is, a light entertainment that has its laughs and some relevant stories that are for all intents and purposes very entertaining.
Episodes
Series One
Gimme Shelter: Sharon’s living back in her council flat and Tracey’s still in Chigwell with younger son Travis… but what’s become of Dorien? What can bring the Birds back together? And who else might return to the nest?
Slave: Now that Sharon has given up work to skivvy for Dorien full-time, Tracey is the only one in the house bringing in a wage. It’s not enough for Tracey to pay all the household bills, so Dorien offers to dip into her savings for some rent – but when she calls the bank, it emerges that everything she has is going in legal fees. In desperation, Sharon and Tracey decide to take Dorien to a car boot sale to raise some much-needed funds. They sell Dorien’s beloved designer collection, right down to the shoes on her feet, which are bought by Amy Childs from The Only Way Is Essex. Garth has found a job in sandwich shop Seedy McCrusty’s, and Sharon has agreed to go back to working the tills at discount store World of Quid, but it’s not enough – Dorien has to get a job there!
Hot Stuff: Money and space are still tight – and now Tracey can’t ignore the fact that Garth and Marcie aren’t getting any “together time” – so it’s all change in the bedrooms again to give them space. After failing to sleep in the lounge, Sharon tries to bed down in the loft, where she makes an unexpected discovery that might solve all their problems.
Hearts For Sale: Tracey, Sharon and Dorien each get romantically involved with three very different men. Travis has romantic troubles of his own, and Garth and Marcie decide to raise money to refurbish their new pub by having a pop-up restaurant evening at Tracey’s, where everyone’s romantic ambitions are crushed…
Tattoo You: Everyone is complaining about Tracey’s miserable expression, which leads to her becoming self-conscious about her appearance. After being dumped by girlfriend Rosie, Travis chose a tattoo to show how much he loves her, much to Tracey’s rage, however she is quickly exposed as a hypocrite after Dorien reveals Tracey has secretly resorted to Botox to improve her expression. Sharon is always turning up the television volume and asking people to repeat themselves – so when she goes to see the doctor, she discovers something shocking; she needs hearing aids.
Blinded By Love: Sharon’s estranged husband Chris gets in touch. He’s met someone new – a lady called Angie, who is friendly, vivacious, and blind. Chris wants to divorce Sharon so they can get married, but Tracey has her doubts. Dorien meets a handsome blind man at Chris and Angie’s engagement party; who takes a shine to her.
Back to Zero: Sharon, Tracey and Dorien all lose their jobs and the resulting financial crisis leads to a huge row. Some home truths are revealed and the three of them hit rock bottom. Meanwhile, thanks to a mystery celebrity Twitter endorsement, Garth and Marcie’s pub has had a successful launch – meaning they’re finally earning money.
You Can’t Always Get What You Want: Sharon and Tracey get a glimpse of a possible future when they see two elderly sisters in the supermarket – which worries them. Dorien’s court case comes to a conclusion – but what will the verdict be?
Series Two
Birds on a Plane: Dorien is treating Sharon and Tracey to a Christmas trip to the Canary Islands. With Sharon’s old work friends and an overdramatic passenger also on board, the plane does not reach its destination…
There’s Something About Sharon: Dorien is told her next book must be about spying. She then gets the idea that Sharon could be the heroine for her next book if she gets a job at MI5. When Sharon finds out a big argument takes place before Sharon gets her own back on Dorien. Tracey’s got her hands full with a despondent Garth.
Guess Who’s Coming to Essex?: While sorting through her fan mail, Dorien discovers a letter which she throws in the bin. Sharon decides to read what it was and her and Tracey are shocked to discover that Dorien has been keeping a secret for 50 years.
The Girls with the Pearl Buttons: Tracey and Sharon are both been nominated by Auntie Vera to take over her Pearly Queen title. It’s war as they try to outdo each other. meanwhile, Dorian tries to bond with her long-lost daughter Naomi, but upon learning she is a vicar, she fears they have nothing in common.
Tracey’s Choice: Dorien’s Book Group is convening to discuss Crime and Punishment – which turns out to be rather applicable to the events that unfold in Tracey’s household after Travis gets arrested.
The Chief, The Cook, His Mum and Her Lodger: With Tracey in prison, Sharon has been knocking the household into shape in her absence, and meanwhile Dorien is spending money like it’s going out of fashion. So ends up having to work for Sharon at the local school kitchen long with Tracey
Without a Trace” (Part 1): Sharon makes plans to take Tracey and Dorien on a madcap 70s weekender, but there is no dressing up the news that Tracey is about to receive.
Spa Wars” (Part 2): Tracey and Sharon take a trip to a Spa to cope with Tracey’s shattering news and try to make plans for the future: and Dorien prepares to say a long goodbye to her daughter.
Series Three
Knocking on Heaven’s Door (Part 1): When Darryl dies, Tracey has to decide what kind of a send-off to give him. Sharon wants it to be nice for the boys, Dorien has got the perfect outfit, and Chigwell’s criminal fraternity want to make it special.
Too Much of Nothing (Part 2): During Darryl’s funeral, Tracey’s house is burgled. The family decide it is up to them to track down their possessions and set out on a trail involving a snooker club, a pawnbroker and the infamous Theydon Boys drag club.
Tombstone Blues: Sharon’s disapproval of Tracey dating policeman Barry and apparently overlooking Garth’s feelings for his dad lead to a major quarrel between the sisters. Is it one that Dorien, in her new role as Agony Aunt for Get-A-Life Magazine, can solve?
Going, Going, Gone: Tracey’s had enough of Dorien entertaining gentlemen callers and Sharon not bringing in a living wage, and throws them both out. Holed up in Sharon’s old bedsit, the two of them take a united stand…or do they?
Tonight I’ll Be Staying Here With You: Auntie Vera’s got problems with her hips and her block’s defective lifts so tells Sharon and Tracey she’s moving in with them. But Tracey’s only got one room available: it’s Dorien’s… and Dorien is dismayed to be told that family comes first.
Abandoned Love: A surprise visitor in the form of the attractive Emma turns up at Tracey’s house. Sharon’s suspicious, Tracey is welcoming, and Dorien is shocked to the core. Travis, on the other hand, is over the moon.
Blonde on Blonde: Travis has serious school news that he’s scared to break to his mum. Sharon decides she’ll pass herself off as Tracey and sort out his problems, but her efforts land the family in a mess that only arch-seducer Dorien can get them out of.
Forever Young: Sharon and Tracey suspect that Dorien is fast approaching “The Big Seven-0”, and decide that, whether she likes it or not, the event calls for celebration.
Written by: Pete Docter, Mike Jones and Kemp Powers
Directed by: Pete Docter
Featuring: Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Donnell Rawlings, Questlove and Angela Bassett
Jerry:“So what do you think you’ll do? How are you gonna spend your life?”
Joe:“I’m not sure. But I do know… I’m going to live every minute of it.”
Critical Commentary
Released recently on DVD and Blu-ray is the Oscar winning “Soul” (2020) a Pixar/Disney animated movie that is arguably its best effort original since the incredible “Coco” (2017) that actually dealt with some very similar themes, that of life and death. Like most if the Pixar oeuvre the audience aimed at is very wide in both age and demographic and in many cases they succeed in not only telling a good story but are able to wow audiences with the technical acumen of all that happens ‘behind the camera’ and of course there is an A-list cast that is involved led by Jamie Foxx who again proves his skill in portraying any character he takes on.
The story of “Soul” is based around Joe Gardner, a pianist and middle school music teacher living in New York City, dreams of playing jazz professionally. His mother Libba insists that he make his teaching job full time, fearing for his financial security. One day, Joe learns of an opening in the band of jazz legend Dorothea Williams and auditions at a music club. Impressed with Joe’s piano playing, Dorothea hires him for that night’s show. As Joe heads off, his excitement distracts him, and he falls down a manhole. Joe finds himself as a soul heading into the “Great Beyond”. Unwilling to die, he tries to escape but ends up in the “Great Before”, where counselors—all named Jerry—prepare unborn souls for life with the help of mentor souls. I am not going into any plot or narrative specifics as like many Pixar movies the less known about that aspect the better, but this is a truly original and inspiring story about death and of course life which resonates long after the credits role.
Co-written by Pete Docter, Mike Jones and Kemp Powers as well as being co-directed by Docter and Powers this is a very well thought out and great looking movie, it is obvious that Docter is the main person in control as his pedigree at Pixar is high with huge success previously as writer/director with movies such as “Inside Out” (2015), “Up” (2009) and “Monsters, Inc.” (2002). Of course the strength of this movie as well as other successful Pixar movies is the fact that new talent is added all the time making sure their is little stagnation in terms of plots and narratives. So here Pixar have recruited Mike Jones and Kemp Powers who give their own spin on the afterlife and bring their own points of view making “Soul” something unique both in using Jazz as a them and metaphor coupled with African Americans as the main culture used.
Having Jamie Foxx as the main character gives “Soul” immediate credibility as does the addition of Questlove and Angela Bassett who both bring very different skills to the movie but are complimentary as is Foxx with such stars as Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade and Phylicia Rashad who all offer their own skills in terms of humour, drama and understanding exactly what kind of movie they are appearing in.
As I have said “Soul” is one of the better Pixar movies made this decade, especially one that is not a sequel, of which there have been many, and in actuality is one of the better movies of last year. It won two Oscars, one being best Animated feature and the other for original score, which is telling as this is a music based movie. I recommend this movie highly and in fact should be owned on 4K as it is definitely a keeper.
Technical Commentary
Video
Soul comes to Blu-Ray with a stunning and vibrant 1080p transfer. In all honesty, it is hard to imagine a new Blu-Ray release looking better. The colors present in this transfer are practically leaping off the screen with the wide range of hues permeating every inch of the frame. This is about as close to perfect as a Blu-Ray disc can look.
Audio
This Blu-Ray utilizes a DTS-HD 7.1 Master Audio track that gives this music-centric film a real vitality. There is an emphasis on the front channels for a good portion of the sounds, but activity kicks in to the surrounds and rears during performance sequences and action-oriented bits.
Special Features
Audio Commentary – Director Pete Docter, Producer Dana Murray, and Co-Writer/Director Kemp Powers all deliver a fantastic and informative commentary track as they all explore and discuss the themes and tones of the film. They also venture into keeping a mixed theme, relevant for all ages, the animation, their research, the music, and some fun stories from the production house. This is well worth the listen.
Not Your Average Joe (HD, 10 Mins.) – This takes a deep look into the charter of Joe, and just how much work went into him with various cast and crew interviews. It also discusses the diverse production team, Jamie Foxx’s voice acting, and even Jon Batiste’s inspiration for the character.
Astral Taffy (HD, 8 Mins.) – This dives into the Great Before and the world of all the souls, and how the creative team came up with and drew inspiration from real-world locations to create what was shown on screen.
Pretty Deep For A Cartoon (HD, 7 Mins.) – Cast and crew interviews talk about the big and more adult ideas that were implemented into this story. The script process and the big life lessons Joe and 22 learn throughout the film are discussed.
Into The Zone: The Music And Sound Of Soul (HD, 9 Mins.) – This featurette talks all about how all the different sounds and music were made for the film with some pretty good, yet short interviews with the music department.
Soul, Improvised (HD, 7 Mins.) – This takes a look at how the COVID-19 pandemic changed the production process and release of the film.
Jazz Greats (HD, 3 Mins.) – An all-too-quick extra that has some of the best musicians in Jazz music right now talking about the film.
Deleted Scenes (HD, 23 Mins.) – There are five deleted scenes in total, complete with an introduction. These scenes are visually unfinished.
Trailers (HD, 6 Mins.) – Three different trailers for the film.
Featuring: Joe Manganiello, Paul Scheer, Glenn Howerton, Zolee Griggs and Amy Seimetz
Indigo:“I wanna make it rain … we should be going viral.”
Recently released on DVD is the sci-fi/action movie “Archenemy” (2020) featuring Joe Manganiello in the lead role as a somewhat powerless superhero needing help from Earth’s populace, think a tiger with a thorn in its paw looking for assistance.
The movie concerns a teenager who meets a mysterious man named Max Fist, who claims he lost his superpowers after arriving from another dimension. Together, they take to the streets to wipe out a vicious crime boss and his local drug syndicate.
Over the past decade or so these types of genre movies have been prevalent throughout the world in different guises so the question really is does “Archenemy” add anything to this overstuffed genre especially since this new movie has so many limitations. One of those major limitations is its budget which does hold the movie back from establishing any kind of real environment wider than a few locations which is a real shame, one of the parts of genre movies like this that enable them to succeed is creating a three dimensional world to operate in, think “Hancock” (2010) which is a close amalgam, that had multiple real and virtual environments as well as an entire world to operate in, “Archenemy” does not.
I might be more forgiving of this movie and its writer/director Adam Egypt Mortimer if this was his first or second movie but it is not and he actually has delivered a very underrated and good movie in his earlier effort “Daniel isn’t real” (2019), another genre movie but this time a horror which does what any good low budget genre movie should do, that is provide clear characters with a plot that makes sense and operates well within its own limitations, again that word budget arises. Mortimer really misses a trick with this movie, he seems to have the talent in front of the camera but he seems to adamant in trying to put something onscreen that he really is unable to and the plot really is not that original or thought out which means right from the outset most of the audience will know exactly where this is going to end up.
In terms of casting the main character is played by Joe Manganiello who relies on his physical presence more than anything else which means he is always playing an idolised version of himself which is true of all his roles, perhaps taking a chance and playing something other than a tough guy would be a good turn for him and possibly grow his own audience and skill. The two other main actors are comedic actors Paul Scheer and Glenn Howerton who handle their characters well as most actors of their calibre do, not quite great character actors but skilled enough to be in a movie like this.
“Archenemy” is a fine enough movie and could be a welcome diversion on a streaming service but to actually buy and own this movie seems like a step too far, it really adds nothing to the genre. In saying that there is enough here to see a filmmaker like Adam Egypt Mortimer directing something very special in the future with the right tools and a much better story.
Featuring: William Phipps, Susan Douglas Rubeš, James Anderson, Charles Lampkin and Earl Lee
Michael:“He’s dead, they’re all dead! We live in a dead world! And I’m glad it’s dead… cheap, honky-tonk of a world.”
Released recently on Blu-ray for the very first time anywhere is the classic horror/sci-fi film “Five” (1951) that was not only one of the very first movies that had as its setting life after a possible Atomic apocalypse but also tapped into very real fears of the time with this movie actively portraying an existential existence by the survivors who would all analyse their own new existences in conversation with little action and a narrative that was out of step with the expected Hollywood narrative that was almost universally portrayed in mainstream movies.
The science fiction drama Five (1951) was produced independently on a very low budget by Arch Oboler, famous in the 1940s for his radio productions, including the popular series Lights Out. Oboler produced, wrote, and directed Five, shot it largely on his own property, and hired a small, inexpensive crew made up of recent graduates from The University of Southern California film school. His cast was also small (as the title implies), and were made up of unknowns. The finished film was sold outright to Columbia Pictures for a tidy profit. It is remembered today as the first film to portray life after a nuclear holocaust.
The movie begins with Roseanne Rogers (Susan Douglas Rubeš) who trudges from place to place, searching for another living human being. A Mountain News headline reports a scientist’s warning that detonating a new type of atomic bomb could cause the extinction of humanity. Rosanne eventually makes her way to her aunt’s isolated hillside house and faints when she finds Michael (William Phipps) already living there. At first she is too numb to speak and slow to recover. She later resists Michael’s attempted sexual assault, revealing that she is married and also pregnant. Two more survivors arrive, attracted by the smoke coming from the house’s chimney. Oliver P. Barnstaple (Earl Lee) is an elderly bank clerk who is in denial about his situation; he believes he is simply on vacation. Since the atomic disaster, he has been taken care of by Charles (Charles Lampkin), a thoughtful and affable African American. They both survived because they were accidentally locked in a bank vault when the disaster happened. Roseanne was in a hospital’s lead-lined X-ray room, while Michael was in an elevator in New York City’s Empire State Building. Barnstaple sickens, but seems to recover and then insists on going to the beach. There, they drag a man named Eric (James Anderson) out of the ocean. He is a mountain climber who became stranded on Mount Everest by a blizzard during the atomic disaster. The survivors interact with each other in a small location all the while coming to grips with what has happened to them and their world with increasing difficulty although there is an ending that offers some hope.
Considering “Five” was produced in 1951 it is prescient in terms of movies that were to follow not only with all the Cold War era science fiction movies that were produced over the next ten to twenty years but also to the three post Nuclear war movies that were produced in the 1980s those being “Testament” (1983), “The Day After” (1983) and “Threads” (1984) that all focus on the events leading up to the war as well as war itself but their third acts all feel like “Five” albeit more shocking and ‘realistic’ for the time. In fact for what was publicly known about the aftermath of an Atomic war “Five” probably mirrors what many people may have thought, that buildings would be left standing while people would have been killed or vaporised. It was not until the footage of Hiroshima and Nagasaki were released as well as the aforementioned movies that the reality of what existence would look like in the aftermath. However where “Five” comes into its own is the idea of what life might be in an abstract way, that is the emotional turmoil that would follow which remains coherent and relevant today in terms of any great event or loss, this can be seen in events such as 9/11, major seismic events or even deeply personal losses.
“Five” written and directed by Arch Obler who was not only a contemporary of Orson Welles but who also had a career that was similar to Welles in that he started in radio and movies on top film on his own terms which is saying something for the time in which he lived. In fact in some ways Obler had a more fulfilling career than Welles who was never able to get past “Citizen Kane” (1939). Obler not only worked on radio and in film but was able to be involved on stage and on television all very successfully, he operated within the system but always on his own terms.
I highly recommend “Five” to all who enjoy some meaning behind their films as well as a glimpse into the past, if anything this film is all meaning and is a welcome juxtaposition to those movies that would come later in the decade, “Five” is a first amount its genre, it has a European feeling in that it is all about character and emotion with little regard for surroundings, I loved this movie.
Special Features
• NEW Audio Commentary by film historians Glenn Erickson & Matthew Rovner (2020) • NEW Kim Newman Interview on “Five” (2020) 24:37 • Theatrical Trailer (2:02)
Featuring: Robert Duvall, John Beasley, Farrah Fawcett, Walton Goggins, Billy Bob Thornton, June Carter Cash, Miranda Richardson and Billy Joe Shaver
Sonny:“I’m a genuine, Holy Ghost, Jesus-filled preachin’ machine this mornin’!”
Released recently on the Australasian blu-ray Imprint label is the Robert Duvall written and directed drama “The Apostle” (1997) that not only features an all star cast but is one of Duvall’s best movies, which is saying something considering his stellar career as well the legendary films he has appeared in. Like many actors of his generation Robert Duvall has always seemed to march to the beat of his own drum from the films he has appeared in, to where he lives, to his passions and the causes he is privately involved in so it is no wonder that in his debut as a director he not only took that job, but wrote, produced and acted in it, I am sure he was also completely involved in the editing. What he created was definitely a great film in “The Apostle” with not only a singular performance from him but also one of Farrah Fawcett’s best roles as well as some great casting that not only shows Duvall had an eye for up and coming talent in Walton Goggins but some dream roles for June Carter Cash and a great cameo from Billy Bob Thornton.
This is a film that although a fiction attempts to live in the real world with a main character who has no real hidden motives which is made clear throughout the narrative. Much of the narrative revolves around Sonny who is a Pentecostal Preacher who is seemingly having his life taken away from him, with the only true thing in his life the relationship that he has with God, we see him talking, pleading and telling at his God which may seem like a show in itself but it is all in earnest and as honest as he ever gets.
“The Apostle” concerns Euliss F. “Sonny” Dewey (Duvall) who is a charismatic Pentecostal preacher. His wife Jessie (Fawcett) has begun an adulterous relationship with a youth minister named Horace. She refuses Sonny’s desire to reconcile, although she assures him that she will not interfere with his right to see his children. She has also conspired to use their church’s bylaws to have him removed from power. Sonny asks God what to do but receives no answer. Much of the congregation sides with Jessie in this dispute. Sonny, however, refuses to start a new church, insisting that the one which forced him out was “his” church. From here the movie becomes a mix of a road movie as well as a story of rebirth which reveals Sonny as someone who is earnest to save souls and spread the word of his God, it introduces some very authentic characters who are all given their own motivations but who all feel very real indeed.
Like many actors who have worked with legendary directors it is no surprise that they want to turn their own hands to that art, not only to have greater control over a film but to also tell a story that they have been wanting to tell. The list is long with perhaps the earliest example being that of the great actor Charles Laughton who directed the now classic and influential “Night of the Hunter” (1955) through to the many great films of Clint Eastwood, so Robert Duvall was, at the time, the latest in that long tradition. Of course for all those incredible examples there are many who are just unable to make the grade. The great news was that for whatever reason, Duvall was able to write, produced star and direct a truly greta film in “The Apostle”. There is no doubt that he had a lot of time to hone the script while the film was turned down by almost everyone for years, this does show as the plot and narrative are as tight as one would want. Of course eventually being able to produce it independently meant he had control over the end product which means it is exactly what Duvall wanted. “The Apostle” is definitely not flashy at all but grounded in each scene with character being the central element that is given out of the time. However in saying that the themes of belief, loss, redemption and truth are also key to the film with all of those being explored by the central character of Sonny who is one of the more realistic Preacher archetypes seen, perhaps since Harry Powell all those decades ago.
As mentioned “The Apostle” is propelled forward by the central performance by Duvall as Sonny a man who thinks he has everything but looses almost all of it by the time the first act has gone by, with the rest of the film being an act of redemption. Duvall plays this part expertly having at this point in his career honed his skills as a storyteller through decades of work developing almost real and hyper real characters with many who are flawed or sometimes righteous and flawed. In fact this film could be seen as a metaphor for his own career or life, Duvall at the time of this movie seemed to be on a certain track, an ageing character actor who was going about his business appearing in large Hollywood movies, but from this film on he started to take a real interest in directing and would direct two more very interesting if not successful films. Duvall would also pick roles that would pair him with younger filmmakers which has in some ways meant he could weather his own popularity in big budget efforts as well as smaller movies. This has proven to be wise as out of his contemporaries he may be the only one still working who has no movies that he would be embarrassed by which is a feat indeed. Looking at his career he has never seemed to chase fame, glamour or money which is so evident in his oeuvre.
“The Apostle” is a truly great movie from an actor that puts it all onscreen leaving audiences with something truly special, it is in some ways a movie of its time but at the same time is timeless with a story many are able to identify with, as well as having some truly memorable performances by all involved. This is a must for any collection and should be seen in this form on bluray, Imprint have done it again.
Special Features
• Audio commentary by director/writer/producer/star Robert Duvall • NEW “WHAT YOU SEE IS WHAT WE GOT: INSIDE THE APOSTLE” – An all-new interview with actor John Beasley (2020) 11:48 • NEW “I’LL FLY AWAY: COMPOSING THE APOSTLE” – An all-new interview with composer David Mansfield (2020) 11:44 • NEW Mystery of Faith: The Flawed Hero of The Apostle : A Visual • Essay by Ian Mantgani (2020) 11:42 • “The Journey of the Apostle” featurette 27:14 • MCA Records Soundtrack Presentation featurette (8:49) • Theatrical Trailers (2:18 / 1:00)
Featuring: Kurt Russell, J. T. Walsh and Kathleen Quinlan
Red Barr:“Now, before you get any half-baked ideas about calling in the cavalry, just remember we’re gonna be watching you every step of the way. And we’ll be listening to our police scanners. And if we see anything unusual, an unmarked car or truck, or if we see you talking to anyone who even remotely smells like a cop… well, you can just keep your fucking money, Jeff, and I’ll keep your wife. And I’ll mail you pieces of her from time to time.”
Released recently on Blu-ray for the first time on the Imprint label is the late 1990s thriller “Breakdown” (1997) featuring Kurt Russell and Kathleen Quinlan as a put upon husband and wife, that echoes the Speilberg movie “Duel” (1971) as well the 1980s “The Hitcher” (1986) but only as homage as “Breakdown” has not only an element of originality but an A list cast that breathe new life into this sub-genre.
When “Breakdown” was produced in the late 1990s the idea of an adult thriller made on location with a modest budget was not out of the ordinary, indeed casting these movies with well known actors was also not unusual, which made them all the more enjoyable as these stars were normally acting against their own well crafted images, think Michael Keaton in the underrated “Pacific Heights” (1990), Tom Berenger in “Shattered” (1991) and of course Kurt Russell in this terrific action/thriller. The other element was that they had some major creative force so in the aforementioned movies the directors were the legendary John Schlesinger and Wolfgang Peterson, in “Breakdown” there was a rising a rising talent in the form of Jonathan Mostow who has a singular creative vision that is apparent in all his movies.
“Breakdown” is based around Jeff Taylor and his wife Amy who are driving cross-country from Boston to San Diego in their new Jeep Grand Cherokee. Jeff narrowly avoids colliding with a beat-up truck. Later, at a gas station, Earl, the truck driver, confronts Jeff and they exchange hostile words. Shortly after the couple resume their journey, their car breaks down on a vacant road. Leaving Jeff with the Jeep, Amy accepts a ride from a passing big rig trucker to get to a nearby diner and call for help. Jeff eventually discovers that someone has tampered with the Jeep’s battery connections. After reconnecting them, he drives to the diner, only to discover that no one has seen Amy. When he sees the trucker on the road and forces him to stop, the trucker claims he has never seen Jeff or Amy. From here the movie shifts gear from low key drama to a ride through the midwest and the action steadily climbs to a tense stand-off which is handled extremely well.
This was not writer/director Jonathan Mostow’s first movie, it was in fact his third but it was his introduction to studio, big budget, star powered movie making and he handles himself incredibly well with both the intimate dialogue scenes, the confrontational aspects of the movie and of course the action set pieces of which there are more than a few ranging ranging from minor to the huge with a section on a bridge that heightens tension and brings “Breakdown” to its conclusion. In the intervening years Mostow has not risen to the heights that may have been on the horizon in the late 1990s but he has been behind some very good and competent movies including a widely derided ‘Terminator’ sequel and the excellent and still popular World War II drama “U-571” (2000).
This movie is led by the always charismatic and talented Kurt Russell who is in fine form and at the height of his popularity, although I would argue he is a perennially popular actor who shines onscreen. However the key ingredient is one of the truly great character actor J. T. Walsh who died not long after this movie was released with it being one of a handful of final performances. There are many character actors working but Walsh had a huge range and this shows in his career, in his many roles he had to share the screen with truly great leading actors but always managed to hold his own and add to any scene he was in. In fact I would go so far as to say he was the leading character actor in Hollywood up to his death and his loss was felt for years as he died young and prematurely. In this movie he has to play a variety of emotions all the while disguising his true intentions until the third act, which is something in itself.
In the 1990s there was a thriving movie industry with many distinct tiers, what I mean by that is that there were movies budgeted at many levels from micro budgets to huge budgets and everything in between. What this meant was mid ranged movies could made and make a modest box office while having an extended life on video, later DVD. However that has all but disappeared with either low budgeted independent movies or huge blockbusters with anything in between all but disappearing which can be traced to the disappearance of a home video market and the rise and rise of streaming. The direct result is that it is rare to have original plots, mid level budgets and new talents being seen in cinemas because that is not what drives mass audiences and creates perceived franchises.
With the decline of true mass market physical media such as video and DVD (not forgetting blu-ray) it is surprising too see what is released on blu-ray especially in the relatively small Australasian market. But there is a dirty little secret in that physical media still has a place in that the quality from a Blu-ray Disc or even a 4K disc is overall better than any streaming service. This means that consumers will still spend money on a quality movie and a quality transfer and disc which is proven by the fact that a movie that made US$50 million at the box office is being given the treatment it deserves. I recommend this movie highly especially for those that are fans of Kurt Russell, he shines here. It is also a quality movie that deserves a third go round, it has aged remarkably well even with the jumps in technology.
Special Features
1080p high definition presentation from a 4K scan by Paramount Pictures
NEW Audio Commentary by Film Critic Peter Tonguette (2020)
NEW “IT’S GONNA COST YOU: MAKING BREAKDOWN” – A new in-depth interview with writer/director Jonathan Mostow (2020)
NEW “THE TRAP IS SET: INSIDE THE STUNTS” – A new interview with stunt coordinator M. James Arnett (2020)
NEW “WRONG PLACE, WRONG TIME: REMEMBERING BASIL POLEDOURIS” – A new interview with musician Eric Colvin about his time working with composer Basil Poledouris (2020)
NEW “Life is Jeep: Breakdown and the Psychology of the Road” A Visual Essay by Ian Mantgani (2020)
Based on the 2014 novel by Michael Koryta, the story unfolds against a wildfire in the Montana wilderness and follows a fourteen-year-old boy (Finn Little) who witnesses a brutal murder.
He’s put into witness protection at a survival training program for troubled teens, meanwhile the two killers are slaughtering anyone who gets in their way in a methodical quest to reach him.
Jon Bernthal, Tyler Perry, Aidan Gillen, Medina Senghore and Jake Weber co-star. Sheridan co-wrote the film with Michael Koryta and Charles Leavitt and the movie hits cinemas and HBO Max on May 14th.
Created by: T.R. Bowen and Carey Harrison based on the novels written by Tim Heald
Featuring: David Horovitch, Joanna McCallum, Ewan Roberts and Tim Meats
Bognor: (While in bed with Monica, half naked and during champagne) “I have to get back to the Monastery, I have to be on the spot.”
Released recently on DVD is the short lived series “Bognor” (1981-1982), an adaptation of a series of novels by Tim Heald that sees the ongoing adventures of an investigator working for the Board of Trade, titularly named Bognor. The structure of the series is like many series of the time with a series made up of different stories with each story split into different parts with cliff-hander type endings that feed one part into another. In fact the stories are reminiscent of period “Doctor Who” narratives without the science fiction elements. Bognor even has a companion in the form of Monica although his relationship with her is much more adult.
This is a series that takes place in the early eighties with all that entails which means of course that the storytelling, technology and plots are of their time, it is all very white with backdrops that may seem a little ludicrous but there is real fun in this show and not just because it is a window to the past. The original novels were full of humour and much of this is present within this show, but as an audience you must be in tune to all those elements from the early 1980s. If I had to make comparisons to the series it would be to the great Ian McShane vehicle “Lovejoy” (1986-1994) that although broke the fourth wall was about something real, in the aforementioned case, antiques, in “Bognor” it is a government department. The main character does have internal monologues as well as talks to himself which one feel could take an extra step to talk to the audience, alas that is not to be.
Based on the cult mystery novels by author, journalist and royal biographer Tim Heald, this quartet of light-hearted whodunits stars David Horovitch as a bungling but diligent Department of Trade investigator. Featuring guest performances from Patrick Troughton, John Le Mesurier, Glynis Barber, Peter Jeffrey and Elizabeth Spriggs, among many others, this set contains all four stories: Unbecoming Habits, Deadline, Let Sleeping Dogs Die and Just Desserts.
The filming of the series is split between on location shooting as well as sound stages but the as usual with a UK production of the time it is done expertly. The series obviously benefits from the new light weight (for the time) cameras that allowed quick intense sequences of which there are many.
Now while the main character is a government employee he is involved in a lot of action which I would think strays from real life, but there is fun to be had with this series, I wish it had existed for a longer time but it was definitely cancelled before its time.
Episodes
Series One
Unbecoming Habits: Part 1 – Collingdale’s Dead: After his colleague Collingdale is killed hunting for a double agent selling British agricultural formulas to the Russians, Bognor is sent to replace him.
Unbecoming Habits: Part 2 – Batty Tom: After surviving an attempt on his life, Bognor strikes up a friendship with an unusual monk called Xavier. Meanwhile, the local madman, Batty Tom informs him he might have seen the murderer.
Unbecoming Habits: Part 3 – The Cross Country Monk: Batty Tom turns up dead and so does a letter supposedly written by him in which he confesses to the murder of Collingdale. Bognor is not convinced especially after noticing suspicious goings-on in a mysterious locked room in the shed.
Unbecoming Habits: Part 4 – Lord Dismiss Us: Even after solving the mysteries of the running monk and the locked backroom, Bognor’s troubles are not over, especially after Batty Tom’s father, Lord Collingwood, shows up and blows his cover.
Unbecoming Habits: Part 5 – Keeping Up with the Jones: Bognor is suspicious when he learns that one of the monastery’s regular visitors, a schoolmaster called Jones, is actually the high-level civil servant Graymer Burton.
Unbecoming Habits: Part 6 – Making a Bog of It: Unmasked, the killer gives Bognor the slip and a cross-country chase ensues.
Deadline: Part 1 – They Don’t Make Them Like That Any More: After the murder of a newspaper editor, Bognor is sent undercover to his press room to try and find his killer.
Deadline: Part 2 – Who Goes Home?: While nursing a nasty bruise, Bognor has to find his nightly assailant, find the clue in an ominous poem, and deal with a suspicious journalistic union official.
Deadline: Part 3 – There Comes No Answer: Bognor gets drunk at a political party event and meets up with an old Oxford pal. Meanwhile, Port gets into a fight with Gringe after Gringe accuses him of being a Russian spy.
Deadline: Part 4 – The Cricketer’s Almanac: Bognor follows Gringe to a rundown motel while Monica helps him solve the dying man’s poetic clue with the help of a painting and the 1932 edition of the Wisden’s Cricketer’s Almanac.
Deadline: Part 5 – Good Luck Willy: A drunken debacle at a rugby game leads to Bognor having a revealing heart-to-heart with Eric Gringe. Meanwhile, Monica begins suspecting he’s having an affair with Molly.
Deadline: Part 6 – Hard Cheese on Eric: Flanders arrests his prime suspect, but Bognor, who’s just survived a poisoning attempt, suspects the secret behind the killer’s true identity may be in a secret merger agreement.
Let Sleeping Dogs Lie: Part 1 – Dog’s Dinner: Bognor is assigned to investigate a dog smuggling ring after the mysterious death of a prize-winning poodle.
Let Sleeping Dogs Lie: Part 2 – A Handful of Ashes: With his chief informant down with rabies, Bognor travels to the countryside where he tries to find the corpse of the dog he suspects was murdered.
Let Sleeping Dogs Lie: Part 3 – Meet the Mole: Rose turns up murdered after meeting with Bognor and Coriander reveals she’s a double agent for the C.I.A. – the Canine Information Agency.
Let Sleeping Dogs Lie: Part 4 – I Am Yellow: Memoirs of a Danish Dog Lover: Chased out of the countryside by a grumpy police inspector, Bognor travels to Denmark where he hopes to find a missing dog who can identify a certain brand of chewing gum by taste alone.
Let Sleeping Dogs Lie: Part 5 – Dummy Run: Bognor sets a fiendish trap for the dog smugglers.
Let Sleeping Dogs Lie: Part 6 – Feeding Time: Bognor travels to America where he unmasks the dog smugglers but soon finds himself being chased by a pack of specially bred hounds in his underwear.
Series Two
Just Desserts: Part 1 – Scoff Not: Bognor is assigned a safe job, trying to sell restaurateurs the idea of nationally subsidized restaurants. But his safe job turns very unsafe after one of these restaurateurs turns up dead and somehow the KGB and the CIA are involved.
Just Desserts: Part 2 – A Health Warning: As chefs and chief suspects continue dying under mysterious circumstances, Bognor finds himself in compromising positions with a promiscuous lady and being threatened by a professional cricket player.
Just Desserts: Part 3 – The Fastest Cork in the West: Bognor realises that the entire conspiracy revolves around wine, food guides, and industrial espionage and that the clue he needs to blow the whole thing wide open is in the raspberries.
Created by: Michael Winterbottom, Steve Coogan and Rob Brydon
Directed by: Michael Winterbottom
Featuring: Steve Coogan and Rob Brydon
Steve Coogan: “Originality is overrated.”
Released on DVD recently is the television version of the fourth series of the hit comedy “The Trip” featuring at its core actors Steve Coogan and Rob Brydon and Director Michael Winterbottom who this time take a road trip around Greece following the path of the legendary Odyssey, all the while still doing the same old schtick of telling jokes, giving a history of the are they are in, insulting each other and offering impressions. What is immediately different to the previous three series is the tiredness that at times permeates the air of our two protagonists, whilst Rob seems as usual brimming with enthusiasm his partner Steve seems not only tired of the same routine but challenges Rob in almost every episode whether it be about guessing the bill, Rob over talking Steve at points, the idea of what Alan Partridge means and their general disagreeable about a variety of topics, Steve’s perceived success of himself at the cost of Rob or that Rob does not seem to care about that aspect of his life.
The original series of the “The Trip” (no coincidence that the Odyssey was ten years and this travel one has been about the same time) was broadly based around Steve, in an effort to impress his gourmet girlfriend, Mischa (Margo Stilley), accepts a commission from The Observer to go on a restaurant tour of the north of England. When Mischa insists they take a break from their relationship, Steve invites colleague and friend-of-sorts Rob Brydon. On the trip, Coogan has a number of one-night stands, but is miserable professionally and personally, despite being the bigger star; Brydon, with his young family, is more content and laid-back. In the second series, Rob and Steve are commissioned to do another restaurant tour, this time in Italy from Piedmont to Capri, following in the footsteps of the great Romantic poets in the early 19th century on the Grand Tour. While on the tour, Rob wins a part in an American Michael Mann film, which Steve bristles with the idea of. In the third series, Rob and Steve are commissioned to do another restaurant tour, this time in Spain.
Which brings us to this series, and the last, but time has moved on and both actors feel more apart than ever, almost like they are not only over each other but would both rather be somewhere else. In the first series it seemed like a diversion, especially for Steve, as each subsequent series has evolved the idea who the trips were for has altered, now we see that maybe both Steve and Rob may rather be in others company.
It is always important to remember that both Steve and Rob are not themselves but are heightened versions of themselves with fictitious elements brought into the series which also means that their points of view and other personal elements must be taken as a fiction also. This means of course that they can be someone other than they actually are which is a freedom few get to experience and make art out of which is fantastic. Some of the best aspects of the series are when we think we are seeing some truth but it probably is the opposite. My favourite segments of the show have moved away from the meals when the two stars would riff on mimicking other actors, the most famous now being Al Pacino and Michael Caine which still appear here, the importance of which has diminished as time has moved forward. When we see Steve in a stolen moment actually being entertained by Rob is something truly special, the smiles and actual joy are something to see from someone who thinks they might be a better actor and bigger star than they actually are, who seems to dismiss public acknowledgement but loves being recognised by anyone, especially at his partners expense. However we see less and less of the ‘real’ Rob, there are few moments when I think I might actually be seeing some real part of him, for me his performance is either all real or all artifice.
There are so many moments in this series that are so good that by the time we witness them we are already on to the next scene or segment which is a strength and a weakness, we never delve too long on one topic or in one place, the narrative style created by director Michael Winterbottom has increased over the ten years with this one possibly the busiest. Winterbottom has proved himself to be one of the greatest living English directors to have emerged in the past five decades, his work is eclectic in a good way with this travelogue not only defying its genre but introducing a new one where celebrities tour but with a knowing eye on themselves and their audience.
One moment where this particular series threw me was a section where a man who works with displaced peoples recognises Steve from a movie they worked on, he invites both actors to see the place where the people are housed, and in a surprise Steve agrees where Rob is the one who is uncomfortable with this. In any other series it may have been Steve who was uncomfortable and Ron who may have agreed. This is a change from the characters from the first series where Rob was the more open and Steve could not wait for it to be over.
There is much to discuss in terms of this series but the idea of mortality and what that means hangs over the show especially with Steve’s father being sick and on death’s door and Rob with his family not seeming to notice he has even gone on a trip. Add that with the fallen Empire they are travelling through and them constantly talking about the legacies some of the greatest thinkers have left behind it is not difficult to see what the underlying theme is.
This latest and last series may not be agreeable to all but given some time and the idea of a full circle it is not hard to really enjoy this one, it has an ending that not all may enjoy but after the ending to the previous series it is a full stop that I was happy to see.
Episodes
The Trip to Greece: Troy to Kavala: Rob and Steve are on a road trip inspired by the Odyssey through Greece. First, they visit Troy, almost get involved in the refuge crisis near Lesbos, and sing their favorite Rod Stewart song as nostalgia and melancholy start to kick in.
Kavala to Pelion: Steve Coogan and Rob Brydon’s gastro tour takes them to the beach home of Mamma Mia!, where their lunchtime chat is about Alexander the Great and Ray Winstone.
Pelion to Athens: Rob and Steve enjoy a rainy day at Delphi, some Michelin-starred seafood and a battle to see who can do the greatest impressions.
Athens to Hydra; Rob and Steve strike a pose at the Epidaurus Amphitheatre. Then, it’s on to Hydra for a long lunch, before Steve finds romance on the waterfront.
Hydra to the Mani: Rob and Steve set sail for Limini, where they reflect on their middle age. Then it’s off to the caves of Dios for some a cappella.
The Mani to Ithaca: Rob and Steve’s island-hopping tour is cut short in King Nestor’s home of Pilos as Steve receives some bad news. It makes for an emotional journey home.
Lucasfilm has released a brand-new trailer for their original animated series “Star Wars: The Bad Batch” which will launch exclusively on Disney+ on May 4th.
The series follows the elite and experimental clones of the Bad Batch (first introduced in ‘The Clone Wars’) as they find their way in a rapidly changing galaxy in the immediate aftermath of the Clone War.
Members of Bad Batch – a unique squad of clones who vary genetically from their brothers in the Clone Army – each possess a singular exceptional skill that makes them extraordinarily effective soldiers and a formidable crew.
MGM has released the first trailer for Guy Ritchie’s crime thriller “Wrath of Man” with Jason Statham returning for his fourth collaboration with the British helmer.
A mysterious and wild-eyed new cash truck security guard (Jason Statham) surprises his coworkers during a heist in which he unexpectedly unleashes precision skills. The crew is left wondering who he is and where he came from.
Soon, the marksman’s ultimate motive becomes clear as he takes dramatic and irrevocable steps to settle a score. A remake of 2004 French feature “Le Convoyeur,” the film also stars Josh Hartnett, Scott Eastwood, Holt McCallany, Jeffrey Donovan, Laz Alonso, Raul Castillo, Niamh Algar and Post Malone.
The first trailer has arrived for James Gunn’s “The Suicide Squad” at Warner Bros. Pictures along with a bunch of character posters.
The new film, a part-sequel/part-reboot and very different work to the 2016 film sees Colonel Rick Flag, Bloodsport, Peacemaker, Captain Boomerang, Ratcatcher 2, Savant, King Shark, Blackguard, Javelin and Harley Quinn armed and dropped into the enemy-infused jungle island of Corto Maltese.
With militant adversaries and guerrilla forces at every turn, the Squad is on a search-and-destroy mission while Amanda Waller’s techies track their every movement and threaten to kill them if they get out of line.
Viola Davis, Idris Elba, Margot Robbie, John Cena, Jai Courtney, Joel Kinnaman, Peter Capaldi, Nathan Fillion, Taika Waititi, Michael Rooker, Sean Gunn, Alice Braga, David Dastmalchian, Pete Davidson, Joaquín Cosío, Maylin Ng, Flula Borg, Juan Deigo Botto, Storm Reid, Jennifer Holland, Tinashe Kajese, Daniela Melchior, Steve Agee and Julio Ruiz star.
“The Suicide Squad” will be released in cinemas and on HBO Max on August 6th.
Featuring: Liam Neeson, Micheál Richardson, Valeria Bilello, and Lindsay Duncan
Robert:“Disappointment is an absolute certainty, everyone lets everyone down at some point, how you comeback from that, this is romance.”
Released recently on DVD is the comedy/drama “Made in Italy” (2020) which is a small change of pace for star Liam Neeson who has for the past two decades mostly been know as an action star which of course started with the excellent low budget thriller “Taken” (2008). This new movie has been written and directed by actor James D’Arcy who frames “Made in Italy” around an event that Neeson can identify with, that is the loss of his wife and all the repurcussions that come from that. One of the unique elements of this movie is that Neeson’s costar in this movie is Micheál Richardso who is his own son playing that part, it may seem on the surface that this movie is some kind of therapy for both but unfortunately while this movie is indeed like most European shot efforts visually appealing it is in fact a very inconsistent affair that suffers from a first time writer/director. The main issue is that the story has plot and narrative contrivances that distract from the main story, not only that, considering this is about a lost mother, the supporting female characters are little more than one-dimensional props to help move the story along.
The movie concerns Jack Foster who is getting divorced from his wife Ruth. Her family is selling the art gallery, where he works as a manager, which devastates Jack. He decides to buy the gallery by possibly selling the old Italian home he owns with his estranged father Robert, a famous artist. The house belonged to Jack’s mother and Robert’s wife, an Italian woman who died in a terrible car accident. Jack takes Robert with him to Italy. Jack tells Robert he needs the money to buy the gallery from Ruth’s parents. When they arrive, they find it is completely rundown. Kate, an estate agent, comes to survey the home. She tells them the house is in really bad condition, but if they fix the house, it could be worth more. From here there are various issues that must be overcome which are present in any number of movies, the thing that holds this entire movie together is the central performance by Neeson who proves why he has been a star for the past five decades.
There is no doubt that “Made in Italy” is not a perfect movie, it almost reeks of being a first attempt by an actor at something meaningful but all that is lost amongst its genre trappings and the need to put characters through needless obstacles to overcome. These are all traits that exist when a first time or inexperienced screenwriter has the need to tick boxes on a list that is titled ‘How to write a screenplay’. D’Arcy would have been better served if he had have used what he had in front of the camera, some obvious emotion from the true life events where the actors suffered a similar tragedy when Neeson’s wife and Richardson’s mother, Natasha Richardson, died in a skiing accident in 2009. “Made in Italy” could have been a watershed moment for a family that is intensely private, having not spoken about their own tragedy, it would have been amazing to see something true without artifice on screen.
In terms of performance it really is mostly a two hander between Liam Neeson and Micheál Richardson who are obviously real life father and son which for me was a selling point if this movie. There is no surprise at all in regards how Neeson handles the material, he has no problem distinguishing reality from this movie so we get a performance however with his son Micheál Richardso we get a man who has not much experience and this shows onscreen which is a real shame, maybe either more work or more experience may have been key to more success.
“Made in Italy” is not inherently a bad movie but I feel like we have been there done this before such as in the much better movies “A Good Year” (2006) and “Under the Tuscan Sky” (2003) which not only had better straight forward narratives but were handled by better directors who could judge what was good plot wise and what needed to be left out. Still, if you’re stuck at home and in need of an escape (or even a quick cry), “Made in Italy” might work just fine.
Written by: Lior Chefetz, Joe Swanson and Harry Winer
Directed by: Ryuhei Kitamura
Featuring: Ruby Rose, Aksel Hennie, Rupert Evans, and Jean Reno
Released this month on DVD is the action movie “The Doorman” (2020) that on the surface may seem like an attractive proposition but is in fact such a copy of a previous great action movie in the form of “Die Hard” (1988) as well as featuring two actors of such opposite talent that this is nothing but an exercise in blandness and reductive to the point of complete boredom. This may seem like an overly harsh criticism but there is a difference between homage and complete ripoff, one involves
This movie and many like it have been produced for decades, either cheap knock offs of better movies or low budget affairs that have recognisable actors that are simple in nature that hope for a quick buck before word gets around as to how inferior they are to more expensive Hollywood fare. That is not to say that all low budget movies are bad as there are plenty of film-makers working in the low budget world that make excellent movies, one obvious modern example is Ben Wheatley whose best movies come from this field. However there is now a real glut of these inferior movies especially with a cinema release being blocked off because of the pandemic which means there are even more low budget action movies being released, “The Doorman” is one of those. With two mostly recognisable actors in Jean Reno and Ruby Rose who cross generations as well as mediums, this possibly could have had an impact on the box office in many countries now though it has been relegated to the home market where people are actually more cautious about actually purchasing physical product.
This movie is set in Bucharest, U.S. Marine Gunnery Sergeant Alexandra “Ali” Gorski is tasked with protecting a convoy carrying the daughter of the ambassador. Armed mercenaries ambush them, resulting in the death of the ambassador and her daughter. Ali is discharged from the Marines and begins working as a doorman at The Carrington Hotel in New York City along with her co-worker Borz. There, she meets her late sister’s husband, Jon Stanton, a professor, and his two children, Max and Lily. This introduction is actually not bad and perhaps if an action movie had been based around this it may have ended up being something that was original and enjoyable. However from this point “The Doorman” devolves into the aforementioned “Die Hard” ripoff right down to some of the exact same plot points but in a less original and humorous way.
Directed by Japanese filmmaker Ryûhei Kitamura who has had a sporadic career but does have the highlight of “The Midnight Meat Train”(2008) which is a genre piece that actually produced a good performance from Vinnie Jones as well as a pre movie star Bradley Cooper both in an above average slasher pic, it seemed from here that Kitamura may push on but now he is making D grade action movies which for me is a waste of his talent as there is nothing within “The Doorman” that suggests he is nothing more than a journeyman director. In saying that this movie has been produced from a script that was written by committee who all have dubious credits and prove one thing, that they have all at least seen “Die Hard” .
The central actors at the core of “The Doorman” are Ruby Rose and Jean Reno who are as different as could be and it really shows in their performances. Reno who is a veteran actor of both low and high budget movies knows exactly what movie he is appearing in as anyone of his stature would, he is absolutely fine and plays on tropes from his own career as well any number of genres he has appeared in. Make no mistake Reno is a professional who is as always excellent to watch, after all these decades he has a natural air of mystery that follows him to this day, if there was a reason to watch this movie it is down to him. Then we have Australian Ruby Rose who has appeared in both television and movies over the pst few years with a profile that has been growing, her best part being a mute in the fabulous “John Wick: Chapter 2” (2017) but coming to attention in “Orange Is the New Black” (2012-2019). Unfortunately apart from some alt-chic look and (I guess) personality Rose has not really shown any real acting talent in that everything she has appeared in has been one note and lifeless, almost boring. I admit that Rose has the look but like most post modern personalties it is all surface with no discernible onscreen depth, “The Doorman” does nothing to dissuade that opinion.
“The Doorman” does have elements that could have made it successful, it is low budget (yes that can be a strength), it is primarily in one location, it has onscreen talent and it is an action movie. All of these elements needed to be honed into something more original, its fine to use other movies as a framework, that is perhaps a central idea but the details have to be inspired and original which this sadly is not. I would not recommend spending any money on this and if it showed up on a streaming service you might be able to do worse, but trust me if you want something superior and rewatchable just get your copy of “Die Hard”out, maybe on 4K.
Written by: Barré Lyndon based on The War of the Worlds by H. G. Wells
Directed by: Byron Haskin
Featuring: Gene Barry and Ann Robinson
Radio Reporter: [voiceover] “In the First World War, and for the first time in the history of man, nations combined to fight against nations using the crude weapons of those days. The Second World War involved every continent on the globe, and men turned to science for new devices of warfare, which reached an unparalleled peak in their capacity for destruction. And now, fought with the terrible weapons of super-science, menacing all mankind and every creature on the Earth comes the War of the Worlds.”
Critical Commentary
Released this month on Blu-ray is the now classic science fiction movie “The War of the Worlds” (1953) based on the novel of the same name, which sees an alien invasion of Earth with a narrative that sees mankind almost wiped out but saved in the end by something that is unseen but important meaning that this story can be reinterpreted as a story about keeping the natural world intact free from mutation in any forms by humanity. The novel and later the movie when produced were ahead of their time and even though there was little appetite for the film in the 1950s it was only made through the determination of the producer, George Pal and Ray Harryhausen who was not part of the movie at all in the end. After all these decades the movie is still a stunning work, it precedes all the blockbusters that were to come with the human characters taking a backseat to the spectacle of the action as well as the mass destruction.
To be honest there has been so much written and talked about “The War of the Worlds” that I doubt I could very much at all but I will endeavour to offer some small insights into what this movie means to me anyway.
Firstly the movie is set in Southern California, Dr. Clayton Forrester (Gene Barry), a well-known atomic scientist, is fishing with colleagues when a large object crashes near the town of Linda Rosa. At the impact site, he meets USC library science instructor Sylvia Van Buren (Ann Robinson) and her uncle, Pastor Matthew Collins (Lewis Martin). Later that night, a round hatch on the object unscrews and opens; a Martian weapon disintegrates the three men standing guard at the site. The United States Marine Corps surround the crash site, as reports pour in of identical cylinders landing all over the world and destroying cities. Martian war machines emerge from the cylinder. Pastor Collins attempts to make contact with the Martians, but is disintegrated. Seeing this, the Army attacks, but bullets, bombs, and missiles are unable to penetrate force fields protecting the machines. The machines counterattack and effortlessly defeat the military, with their Heat-Ray and skeleton-beam weapons burning, melting, and vaporizing weapons and soldiers.
Whilst “The War of the Worlds” was produced by George Pal it was directed by Byron Haskin, although Pal’s fingerprints are all over this movie especially in terms of harnessing the plot and narrative together while keeping a balance that at threatens to come undone but ends up being a milestone in the sci-fi genre. Of course none of this would be possible without the source material written by H. G. Wells who still remains a giant of the sci-fi world having penned some of the greatest stories ever made, that have been and still remain a deep source for film-makers world-wide. One of the most amazing elements of Well’s own career is that the novels he is most well known for including The Time Machine (1895), The Island of Doctor Moreau (1896), The Invisible Man (1897), The War of the Worlds (1898), The First Men in the Moon (1901) were all produced within a six year period which defies almost every modern author. What a time it must have been for Wells who wrote about the present and the future as well as themes that still haunt us to this day such as the fear of the other, how external forces can shape us, what it means to be a minority in any form and a host of others. Within his work it is easy to see the timeless wonder that so enraptures fans to this day and way with simple changes of time they are easily retold, just last year there were two more adaptations of War of the Worlds.
When George Pal was setting a cast he did not want to employ actors who were stars to overshadow not only the story but the special effects as well, which he did by casting Gene Barry, Ann Robinson as well as a host of other character actors who would be able to grapple with the script as well as the huge amount of special effects in the form of miniatures, models, costuming and a host of other elements that are now common place. To be fair all of the actors quit themselves well especially for a movie made in the 1950s, however in terms of those same performances they are dated so the idea that they take a backseat was a wise one in hindsight.
Of course as this is very much a special effects based movie the question is how does it look in 2021 with a new transfer to blu-ray? The answer is the effects still look amazing especially with the use of miniatures that were ahead of their time then but still hold the attention of audience. Not only that but the decision to use a three colour process meant that the image quality was superior to many movies that followed when the process was discarded for cheaper quicker methods. This is a movie that needs to be seen on blu-ray it looks incredible with all the colours popping even with some negative aspects that may be noticeable.
If there was any movie to purchase from the Imprint range that has become the go to range of Blu-rays over the past year it is this one, not only is the movie one of the best, it also has great effects, the transfer has been done very well and there are some truly great special features.I recommend this highly as it is a must have for any real film viewer.
Technical Commentary
Video
Imprint’s Blu-ray release is mastered from a brand new 4K scan and restoration of the original negative elements done by Paramount in 2018. It’s presented here on disc at the proper 1.37:1 theatrical aspect ratio. For the most part, the resulting image is gorgeous. Fine texturing is lovely, with a significant increase in detail over past DVD editions. Film grain is present and natural-looking but never distracting. Contrast is excellent, with deep blacks. But there is one issue: For some inexplicable reason, in the process of colour grading the film, the opening image of Mars (as painted by artist Chesley Bonestell) was left with too strong a bluish cast—it should be red with just a touch of blue.
Audio
Audio-wise, the Imprint Blu-ray includes the film’s English soundtrack in both remixed DTS-HD Master Audio 5.1 as well as an LPCM 2.0 track that preserves the original theatrical monaural sound experience. Note that while the film’s sound was originally recorded using Western Electric’s then-new Multi-track Magnetic Stereophonic Sound System in “three-track stereo,” only a small handful of theatres were able to exhibit the film that way at the time.
Special Features
Audio Commentary with film critics Barry Forshaw and Kim Newman
Audio Commentary with cast members Gene Barry and Ann Robinson
Audio Commentary with famous fans Joe Dante, Bob Burns, and Bill Warren
The Sky is Falling: Making The War of the Worlds (SD – 30:00)
H.G. Wells: The Father of Science Fiction (SD – 10:26)
The Mercury Theater on the Air Presets: The War of the Worlds Radio Broadcast from 1938 (HD – 59:10)
Featuring: Alain Moussi, Frank Grillo,, JuJu Chan, Tony Jaa and Nicolas Cage
Released recently on DVD and Blu-ray is yet another straight to home release, “Jiu Jitsu” (2020), featuring Nicolas Cage who seems to be an actor in search of something, although I really do not know if he knows what that is, because I sure do not. “Jiu Jitsu” does have an interesting premise and not only does it feature Cage but it also has genre stalwarts Frank Grillo and Tony Jaa who should all bring much to this production, it is unfortunate then that this is as every bit dull and preposterous as many other Cage movies have been in the past few years.
This movie is not great it is at its base a “Predator” (1987) ripoff without any of the budget, raw action and testosterone that made that genre busting movie such a hit as well as being as enjoyable today as it was all those decades ago. What is interesting is the fact that Nicolas Cage decided to be a part of it. Over the years since his Academy Award winning performance in the now classic “Leaving Las Vegas” (1995) Cage has appeared in a number of excellent original films but also some truly terrible movies all the time bringing his own brand of performance which by now has become known to almost everyone that knows him as an actor. What is interesting is that he does not seem to distinguish between big budget or micro budgeted productions something that is truly rare for someone of his fame and stature. The other element of Cage’s career is that he makes many movies per year so that as an audience you may see him in a terrible movie in a given month but within a few months he could be in something truly unique. One great example is in 2019 he appeared in a run of the mill thriller, “Looking Glass” (2018) and the very next film is the truly incredible “Mandy” (2018) which for any other actor could be a career defining event. What this means is that bad moves are forgotten but it to means that great movies are quickly erased as well.
“Jiu Jitsu” is based around the idea that every six years, an ancient order of expert Jiu Jitsu fighters faces a vicious race of alien invaders in a battle for Earth. For thousands of years the invaders have lost to Earth’s defenders, up until now. Earth’s future is in jeopardy. Like many genre movies there is not much more that is needed to be known plot wise or even narratively, it is exactly as described with a healthy dose of action although nothing could be said to be truly original.
Co-Written and directed (I use those terms loosely) by Dimitri Logothetis who has been making movies and some television since the late 1980s here may have his highest profile movie to date although his skill in either department is not really clear, in fact all of his previous output could be considered D movies and that is being kind. It could be something to do with his scope far outreaching his budget or skill which is illustrated clearly with this movie, it has a lack of originality as well as little in the way of coherence which is saying something as this is a fairly simple plot and narrative.
There is nothing to really talk about in terms of performances as we have Tony Jaa who has yet to prove his can carry a movie in the West, Frank Grillo who for all his tough guy bravado is incredibly one note and of course Nic Cage who is in this briefly and has categorically terrible dialogue which helps no-one.
There’s a reason why micro-budget studios and filmmakers generally shy away from science-fiction films, and it’s apparent based on the cheapjack opening scene of “Jiu Jitsu,”. “Jiu Jitsu” wouldn’t seem to need a big budget, but this movie opens with a comet—whose gaseous tail makes it look like it was put together on a budget of a Secondary School Computer Class—that streaks towards earth … slowly … very slowly … it’s coming. Suddenly, as if bored with the comet’s progress, the camera lurches towards a computer-generated Earth (also cheap). This is endemic of the entire movie, it doesn’t need to be made on a huge budget but it still looks awfully cheap. I wouldn’t really bother with this movie at all, maybe if it was streaming and there was some curiosity but otherwise give it a miss.
Featuring: Malin Åkerman, Kat Dennings, Aisha Tyler, Chelsea Peretti, Christine Taylor, Jane Seymour, Deon Cole, Wanda Sykes, Margaret Cho, Fortune Feimster, Jack Donnelly and Ryan Hansen
Released recently on DVD is the movie “Dinner with Friends” (2020) which has been retitled for distribution outside of the US, its original title was “Friendsgiving” a play on the word Thanksgiving which is a popular holiday in the US one that is supposed to bring family and friends together it began as a day of giving thanks and sacrifice for the blessing of the harvest and of the preceding year. That is an old fashioned look at what the Holiday is but of course it has changed over the years, not only that it has become a mainstay of popular culture so producing a movie based around the day is not new so it may seem like a no brainer to create a comedy within that familiar framework.
Many holidays especially those involving bringing families together around a table are fraught with conflict as anyone who has been involved with one will tell you. They become most fractious when those family members have either not met for some time or only come together around these times. So in thinking about that what the movie “Dinner with Friends” is attempting to bring out is that friends and family are completely interchangeable, which of course is completely flawed as the old saying goes, you choose your friends, you don’t choose your family.
The movie is based around Molly (Malin Akerman), apparently: A semi-famous actor and recently divorced single mom, she has a career on the up, an adorable baby and a vast house in plush Los Angeles suburbia, though we’re told repeatedly that she’s in a tailspin. Cue a big social blowout on Thanksgiving, so she can shake out the cobwebs and be her best self. A photo-album opening credit sequence helpfully outlines the connection between Molly and her childhood best friend (and now roommate) Abby (Kat Dennings), a lightly caustic, newly-out lesbian still reeling from a breakup with her first female partner. Molly and Abby’s initial plan for the holiday is simply to eat their feelings together with only the former’s infant son for company. However, when Molly invites vivacious mutual friend Lauren (Aisha Tyler) to join them after her family’s travel plans fall through, and further extends the invitation to her puppyish British rebound lover Jeff (Jack Donnelly), the floodgates are opened and the house party builds.
It may come as not surprise that writer/director Nicol Paone has never written or directed a feature before “Dinner with Friends” which becomes obvious as there is really very little plot and the narrative is built around seperate scenes that are tenuously linked together with little regard for the actual holiday itself. It may come, however, as no surprise that Paone is mostly known as an actress which may explain how she has been able to bring in many actors that are far too good for this material. In fact their presence may indicate material of a far better nature but after half an hour audiences know exactly what they are watching and it is not great, which is a real shame as there have been plenty of movies similar to this, one excellent example is the Christmas based comedy/drama “The Family Stone” (2005) that proved there is not only a market for this genre but it can be done in an original way while using a family framework.
In terms of the casting while not an absolutely A grade one it is definitely a all B cast which is saying something as a majority of the main characters are female, as well as mostly from underrepresented demographics which at times seems a little pandering and obvious but the main character is an actress and obviously a far left one at that. The problem is that when creating conflict with people who are all pretty much the same it can be not only difficult but unbelievable especially in 2021 when we know that people are actually drawn apart along political lines. So no matter that the cast includes Malin Åkerman, Kat Dennings, Aisha Tyler, Chelsea Peretti, Christine Taylor, Jane Seymour, Wanda Sykes, Margaret Cho, Jack Donnelly and Ryan Hansen they all seem a little one note and wasted. There is no doubt that this cast are known for their comedic chops so it is a wonder that they are unable to breathe some life and originality into this movie.
It is difficult to avoid that this movie has been released into a time of pandemic which means many people have not or should not have had gatherings like this to avoid the spread of infection. So the actual narrative is full of light as well as a pop music soundtrack that seems intent on making sure people know this is a light affair, but there is now a darkness that envelops gatherings of all kinds and that is missed here. If that material has been better or original then the idea of a pandemic could have been curtailed but that is the lens in which everything is now viewed at least for the immediate present as well the future.
