Change Your Image
robert-connor
Reviews
In Fear (2013)
This Got Funded?
After two weeks of knowing each other, a witless young New Zealander with a dodgy English accent agrees to go to a music festival in Cornwall... er, Ireland with a witless young Scottish guy. They take the ferry to Cornwall... er, Ireland and stop at a pub where the New Zealander sits on the toilet waiting for something to happen. Later, they get into their car and the Scottish guy announces that instead of going to the festival, they are going to a hotel and need to wait for someone to come and show them the way. A Land Rover pulls up behind them and then drives past with a hotel sign on the tailgate so the witless couple follow. Eventually the Land Rover stops and the driver points to the road ahead before taking a right turn and disappearing. The witless couple continue on and get lost. The Scottish guy is driving and starts to drink, while the New Zealander looks increasingly anxious. It gets dark and they car begins to run low on fuel. The New Zealander tries to follow a map but the Scottish guy keeps on drinking and tries to follow a confusing set of signs for the hotel. Then the Scottish guy decides to pull over and wander off into the forest for no apparent reason. The New Zealander gets even more anxious but the Scot returns and they both decide to wander off into the forest, leaving the keys in the car. They don't get far before the car alarm goes off so they return and can't find the keys, until they find they keys on the ground. They drive off and go around in circles until eventually someone tries to attack them and they flee, only to knock a guy over and then all hell breaks loose, but not in a logical way.
Given that the couple are utterly lacking in common sense, and spend most of the time shouting at each other and making stupid decisions, the viewer is left not really caring what happens as the story spirals down one plot hole after another. One day someone will make a movie about sensible folk who despite their best efforts journey into a nightmare. Sadly, this isn't it.
At least Downton Abbey's Allen Leech get's to chew some scenery!
Holding Trevor (2007)
Like, I mean, ya know, totally whatever...
A young man struggles to find purpose and meaning as he pulled in different directions by best friends, ex-partner and new man in his life.
Rule number one: in order to take the audience on an 'in simpatico' journey with the troubled young protagonist, a film/script/level of character development must allow the audience to care. Trevor's problems are well telegraphed - dead-end job, ambivalent support from his friends, cyclical torments caused by junkie ex-lover, estrangement from family etc., but as Trevor is so unappealing, we find it hard to care. All the primary characters are so self-serving - Trevor's life is all about the aforementioned miseries, Jake is sour and one-note sarcastic, Andi is utterly self-absorbed (I want a man/I don't want a man), Daryl's addiction behaviour patterns and Ephraim's need for commitment and reassurance. Everyone looks at their lives and events with such a total lack of empathy that when Andi finally explodes and delivers her drunken tirade at Trevor for being so self-obsessed I actually had to laugh. Holding Trevor isn't about relationships with others, it's about relationships with 'self', and the eventual choice made by Trevor (start afresh or replace one needy and suffering friend with another) seems to reinforce this - Jake, Andi and Ephraim all put themselves first ('you can't go/stay; we need you') and for all the suggestion of positive change (Trevor's quitting from his job), the reality is just more of the same for poor, poor Trevor... his choice.
Beasts: Baby (1976)
She Married A Monster
Jo and Peter have moved to the country to allow Peter to pursue a career as a rural vet. Jo is pregnant, and is having to contend with ongoing construction in the house and a cat that has been spooked by their new home. However, when something nasty is discovered inside a wall in the kitchen, things take a ghoulish turn for the worse.
Fairly unimaginative take on themes of birth, death and centuries old curses is rendered practically unwatchable by pedestrian direction and awful acting. The entire production is shot like a bad stage play, with the actors telegraphing everything to the back row, even when in close up. Wymark is best of the bunch as the unsettled mum-to-be, struggling with increasing unease, insensitive builders, wayward cat and unsympathetic husband-from-hell, although it's astounding Jo doesn't just crack Peter over the head with the mystery pot they find bricked up in the wall. McKenna is a little OTT as Peter's boss, booming his lack of subtlety all over the set without a thought for the poor viewer, but what makes this so awful is MacCorkindale. His Peter begins as cross and deeply unsympathetic and has nowhere to go but angrier, shoutier, more uncaring and more patronizing as things progress. Nelson mustn't have heard of 'less is more', sadly, and by the end of the piece it's MacCorkindale you'd like to see shoved in a pot and walled up in the kitchen! Fraser offers a wee bit of light relief as McKenna's 'stuff and nonsense' wife, barking advice and retorts to poor Jo, but it's nowhere near enough.
Watch this for one of the worst TV performances of 1976, but otherwise avoid!
Beasts: During Barty's Party (1976)
Rat Swarm
A couple living in a remote part of Hampshire, England come under siege from a swarm of rats.
Extraordinarily simple and effective scenario, which runs like a stage play, containing most of the action in a couple of rooms in a fairly isolated country house. To begin we watch a woman who appears tense, even depressed, sleeping in afternoon, troubled by nightmares. Yet quickly we realise that amidst her general anxiety, something specific has disturbed her. Something outside... screams perhaps? From this point on the tension slowly mounts as she begins to hear noises - scratching from beneath the floor. Her husband arrives home, full of the events of his day, mixing drinks and making calls. At first he humours his wife, dismissing her fears, blaming sleeping pills and alcohol. Then he becomes irritated by the scratching noises, trying to rationalise. All the while his wife fears the unthinkable. What if? She calls a radio show that has mentioned strange reports of rat migrations. She speaks to the DJ, trying to break through his bantering replies. Just as he begins to take her seriously, the phone line is cut, the power goes off. All contact with outside is gone, and the scratching is increasing, noises following her steps as she moves around. Something is trying to get in through the outside door, something chewing, scratching. A small hole begins to appear...
First shown in 1976 on British TV, while a little dated perhaps, During Barty's Party is nevertheless extremely effective, creating a claustrophobic atmosphere, slowing increasing the menace without while never allowing the viewer to actually see its cause. Sellars and Bate are very good, handling the (dated) dynamic of conventional, patronising husband and neurotic wife with aplomb, and allowing a gradual shift in balance - she is at first impotent, he has all the answers - is particularly good. In the end it is her who takes charge as her husband falls apart.
Chilling indeed, and it's a surprise this story has never been developed into a longer screenplay.
The Impersonator (1961)
Mummy?
When a USAF sergeant stationed on a base in England is suspected and then accused of murdering a woman, both he and a local school teacher must race to clear his name and find the real killer.
Fascinating mix of pedestrian acting, atmospheric scenes and period themes in this British B movie. All the action occurs against the backdrop of how a small, provincial English town exists alongside a US air base. Mostly depicted as drunken revellers, the USAF flyers are viewed with irritation and eventual hostility by the local townsfolk. Added to this is an interesting depiction of a working single mother, balancing parenthood, running a business and trying to chase some semblance of a social life - all credit to Burke here, as she captures Mrs. Lloyd's strengths and vulnerability in equal measure. The central relationship between Crawford's Sgt. Jimmy Bradford and Griffiths's prim school teacher lacks credibility, although whether this is due to performance or the extreme differences in character etc. is open to debate.
In lots of ways this is just a standard 'wrong man' procedural, yet there are a number of elements that raise it above the mundane - the eerie lighting and sound during the two evening scenes in the town's municipal gardens; the relish with which the murderer approaches his victim - almost drooling and glistening with depraved pleasure; the sweetness of the children enjoying the pantomime and most of all an astonishing performance by John Dare as the little boy caught up in a nightmare. A more natural performance by a child actor would be hard to find - witness the delight on his face as he watches the pantomime, his sadness and bewilderment momentarily forgotten, and best of all the simple sequence where he wakes up, crawls out of bed and wanders around the house looking for his mother, gradually realising that for the first time in his young life his mother isn't there. This sequence alone is worth the 'price of admission' and all credit to Shaughnessy for creating such an extraordinarily moving, even shattering scene.
Not a masterpiece by any means then, but definitely worth a look.
Third Man Out (2005)
Great Idea, Horribly Executed
When a controversial gay rights activist comes under physical threat from person or persons unknown, he turns to a gay private investigator, expecting unconditional support and assistance. Things don't go well until tragedy strikes...
Fantastic idea that frames a number of interesting questions e.g. does being gay mean automatically accepting and agreeing with all gay politics and attitudes, within the fascinating conceit of presenting a traditional gumshoe who is happily 'out' as a gay man. Sadly, the execution of this relatively low-budget production is frankly terrible, ham-strung by clunking dialogue and some of the worst supporting actor performances I've seen in a while. Chad Allen has charm and chops to spare, and Spence is endearing but for the most part they are horribly hindered by an unimaginative and hackneyed script and a host of wooden performances.
Big shame...
Here's hoping if Joseph Hansen's Brandstetter series ever reaches the screen (small or large), it'll be better than this.
Wallander (2008)
Swedish Wallander Every time!
Both the first series of Swedish TV's Wallander and the second collection of British TV's interpretations have recently been aired on British TV, and whilstthey share a number of elements and qualities (locations, excellent filmatography, thoughtful and impressive 'takes' on the central figure of Kurt Wallander), it's the differences that seem to separate a good television drama from an outstanding one.
Obviously the two productions differ in a number of basic ways and it's worth highlighting these as a given. For the most part Swedish Wallander uses Mankel's stories as inspiration, creating unique plots per episode, whilst British Wallander uses the source material and thus far has for the most part faithfully adapted 6 of Mankel's books (interestingly the choice has been to adapt out of sequence, although the original stories were also published out of sequence, in Britian at least). An exception is the depiction of Kurt's father and his struggle with dementia, which logically has to progress through the overall TV series.
A second key difference is the interpretation of Kurt Wallander's relationship with his daughter. Swedish TV puts Linda into the police force from the outset, and uses this device to explore their legendary troubled relationship with the added frisson of professional, hierarchical tensions. Also into the mix is the relationship between Linda and her colleague Stefan Lindman. British Wallander maintains the original Linda/Kurt story arc, with Linda not yet having enrolled for police duty.
A third difference is the inclusion/exclusion of the Ann-Britt Höglund character. It seems the Swedish version quickly came to view this character as unnecessary within the looser story structure, as she is dispensed with well before Series One concludes. For British TV Höglund remains integral, just as she is in the books.
However, setting aside these givens, there are a number of factors which set the two interpretations apart in terms of quality, success and viewer experience. British Wallander is quite pacey, moving the story along briskly from scene to scene. Whilst this mostly works, it does occasionally occur at the expense of scene and/or character development - the camera (and therefore the viewer) is forced to follow Kurt, leaving other characters as cyphers. This is most notable during scenes with colleagues at police HQ. Swedish Wallander adopts a slower style, allowing characters and stories to develop and unfold with greater subtlety. This approach leads to a second and quite fundamental difference, and it is this element that underlines the superiority of the Swedish Wallander. The combination of writing, direction and editing for a slower pace allows the Swedish actors to effectively 'do less' and achieve more. Accordingly, Henricksson, Bergman, Sällström, Rapace et al are repeatedly given the time and direction to use economy and skill to enable the viewer to understand what they are thinking, feeling etc. The final episode of Series One was a particular example of this, with all concerned but particularly Sällström and Henricksson underplaying beautifully to create scenes of desperate sadness, bewilderment and loss whilst actually 'doing' very little. In comparison, a combination of misjudged casting and actors being let down by script and scene construction in the British version means for the most part the viewer receives less reward. Branagh, Warner and most notably McCabe as Nyberg are the exceptions, the former not least because Wallander remains the prime focus through the British drama, and is therefore given more time, scene-by-scene, and Warner because he is quite simply an experienced and clever film actor. Yet it is McCabe who shines, underplaying beautifully, especially during scenes in Episode 4 - The Faceless Killers.
Views on casting are always contentious. Suffice to say, the Swedish series has somehow managed to secure a host of clever actors who know a thing or two about camera work, and particularly scenes in close-up. From the moments of occasional humour gratefully received from Mörck's Ebba and Gunnarsson's Svartman (an incidental and unsung masterpiece of a performance) to the brilliance of Henricksson and Sällström, it's the Swedish production which holds the treats and subtleties and warrants repeat viewings.
The British Wallander is indeed watchable, but let's hope the BBC transmits Series 2 of the Swedish production as soon as possible, and let's also hope the absence of Rapace and Sällström doesn't diminish what has been an excellent television production.
Wallander (2005)
Swedish Wallander Every time!
Both the first series of Swedish TV's Wallander and the second collection of British TV's interpretation have recently been aired on British TV, and whilst they share a number of elements and qualities (locations, excellent filmatography, thoughtful and impressive 'takes' on the central figure of Kurt Wallander), it's the differences that seem to separate a good television drama from an outstanding one.
Obviously the two productions differ in a number of basic ways and it's worth highlighting these as a given. For the most part Swedish Wallander uses Mankel's stories as inspiration, creating unique plots per episode, whilst British Wallander uses the source material and thus far has for the most part faithfully adapted 6 of Mankel's books (interestly the choice has been to adapt out of sequence, although the original stories were also published out of sequence, in Britian at least). An exception is the depiction of Kurt's father and his struggle with dementia, which logically has to progress through the overall TV series.
A second key difference is the interpretation of Kurt Wallander's relationship with his daughter. Swedish TV puts Linda into the police force from the outset, and uses this device to explore their legendary troubled relationship with the added frisson of professional, hierarchical tensions. Also into the mix is the relationship between Linda and her colleague Stefan Lindman. British Wallander maintains the original Linda/Kurt story arc, with Linda not yet having enrolled for police duty.
A third difference is the inclusion/exclusion of the Ann-Britt Höglund character. It seems the Swedish version quickly came to view this character as unnecessary within the looser story structure, as she is dispensed with well before Series One concludes. For British TV Höglund remains integral, just as she is in the books.
However, setting aside these givens, there are a number of factors which set the two interpretations apart in terms of quality, success and viewer experience. British Wallander is quite pacey, moving the story along briskly from scene to scene. Whilst this mostly works, it does occasionally occur at the expense of scene and/or character development - the camera (and therefore the viewer) is forced to follow Kurt, leaving other characters as cyphers. This is most notable during scenes with colleagues at police HQ. Swedish Wallander adopts a slower style, allowing characters and stories to develop and unfold with greater subtlety. This approach leads to a second and quite fundamental difference, and it is this element that underlines the superiority of the Swedish Wallander. The combination of writing, direction and editing for a slower pace allows the Swedish actors to effectively 'do less' and achieve more. Accordingly, Henricksson, Bergman, Sällström, Rapace et al are repeatedly given the time and direction to use economy and skill to enable the viewer to understand what they are thinking, feeling etc. The final episode of Series One was a particular example of this, with all concerned but particularly Sällström and Henricksson underplaying beautifully to create scenes of desperate sadness, bewilderment and loss whilst actually 'doing' very little. In comparison, a combination of misjudged casting and actors being let down by script and scene construction in the British version means for the most part the viewer receives less reward. Branagh, Warner and most notably McCabe as Nyberg are the exceptions, the former not least because Wallander remains the prime focus through the British drama, and is therefore given more time, scene-by-scene, and Warner because he is quite simply an experienced and clever film actor. Yet it is McCabe who shines, underplaying beautifully, especially during scenes in Episode 4 - The Faceless Killers.
Views on casting are always contentious. Suffice to say, the Swedish series has somehow managed to secure a host of clever actors who know a thing or two about camera work, and particularly scenes in close-up. From the moments of occasional humour gratefully received from Mörck's Ebba and Gunnarsson's Svartman (an incidental and unsung masterpiece of a performance) to the brilliance of Henricksson and Sällström, it's the Swedish production which holds the treats and subtleties and warrants repeat viewings.
Let's hope the BBC transmits Series 2 as soon as possible, and let's also hope the absence of Rapace and Sällström doesn't diminish what has been an excellent television production.
A Time to Kill (1955)
"We Don't Like Beans, Do We Putzi-Wutzi?"
A man and a woman are poisoned. The woman dies, but the man survives. The finger of blame begins to point at the man. A policeman and a newspaper journalist pursue the truth.
Usually, these little British B-movies contain a host of wonderful supporting role performances, which are by-and-large the reason for watching. Sadly this example of mid-fifties 'wodunnit' cinema is almost entirely without merit, suffering from unimaginative scripting, cardboard leads (Rona Anderson is particularly two-dimensional) and clunky supporting cast (Kenneth Kent as Dr. Cole and Hélène Burls as housekeeper Mrs. James appear to have wandered in from a pantomime). The convoluted plot tries to throw suspicion on any number of the local population, but by the denouement the viewer has long-since stopped caring.
Only Joan Hickson and a hilarious cameo from Dandy Nichols offer any respite, with Hickson's dotty Miss Edinger juggling her dachshund Putzi and Nichols' waitress stomping around the obligatory café, crossing out items on the menu - "Beans is orf"!
Conspiracy of Hearts (1960)
Suffer The Children To Come Unto Me
Towards the end of the second world war, an order of Italian nuns makes all attempts to secure the freedom of Jewish children held captive in a local concentration camp. However when the camp comes under the direct control of German troops, the Sisters' task becomes increasingly dangerous.
Combing elements of The Von Trapp Story and Black Narcissus, Conspiracy of Hearts is a surprisingly powerful depiction of the clash between faith and might, as Palmer's Mother Superior stands firm against Lieven's uncompromising Nazi Colonel. The question of conscience and commitment to duty is repeatedly explored, from the perspective of both nun and soldier - Mitchell's Sister Gerta fears and doubts the Holy Order's actions, Sims' novitiate Sister Mitya is forced to confront her feelings towards Lewis's Major Spoletti, who in turn must choose between military duty and moral salvation. The juxtaposition between Catholicism and Judaism is also fascinatingly explored as the Sisters struggle to comprehend the facets of a different faith.
Universally well-performed by the ensemble, as usual its the supporting performances that stand out - Yvonne Mitchell was a power-house actress and at the peak of her film career (shockingly she is all but forgotten now), and her transformation from angry doubter to selfless devotee is totally believable. In addition, Ralph Thomas coaxes extraordinary performances from his juvenile cast - Rebecca Dignam and Joseph Cuby are beautifully moving without being cutesy or maudlin (Hollywood child actors take note!). At the heart, Palmer creates a depiction of quiet strength, dignity and humour even if we could have coped with a little less lipstick and mascara!
The Tamarind Seed (1974)
Omar The Charmer
When a British civil servant strikes up a relationship with a member of the Russian intelligence she meets on holiday, the authorities on both sides grow increasingly alarmed. From the James Bond style opening credits to John Barry's gorgeous score, this is wonderful 70s spy territory. Who can be trusted? Is everyone who they seem or claim to be? Flitting between Paris and London, Granadas and Mercedes aplenty, Sharif is deliciously charming, relaxed and believable as Feodor Sverdlov. Each time we think we know what he's up to, he does or says something to make us doubt again. As a bitter and scheming diplomatic wife caught up in the subterfuge, Sylvia Syms steals every scene she's in, and well deserved the BAFTA nomination that year. Only Andrews looks uneasy, and whilst we believe Sharif's romantic intentions, she is so subdued throughout that we wonder whether it's meant or just wooden acting. Still, it's a great yarn, and worth a look.
Straightheads (2007)
Quandary
An unpleasant woman and an equally unpleasant man are violently and horribly assaulted by a group of two-dimensional psycho thugs during a night-time encounter on a forest road in Shropshire, England. The man and woman who were assaulted plan and carry out a revenge attack on their attackers...
Utterly repellent piece of voyeuristic trash, somehow masquerading as 'thought-provoking' drama, whilst actually coming across as sub-Michael Winner cr*p (you just know that Oliver Reed and Susan George would have been cast had it so easily have been made in the 1970s). What happens to Alice (Gillian Anderson) and Adam (Danny Dyer) is appalling and devastating, yet Dan Reed somehow manages to rub the viewer's nose in every last glob of its sexual nastiness. His camera lingers hungrily on Anderson's naked body both during and after the assault, whilst the script leaves almost all the characters floundering in a turgid sea of two dimensional cliché. His script forces his characters to behave in such a way as to alienate the viewer further from the 'victims' by shoving more ghastly situations into their faces (Adams's attempted post-incident assaults on both Sophie and Alice; Alice's assault on Heffer AFTER his suicide-attempt confession).
The quandary comes from the central protagonists' performances - Dyer is a horrible actor, incapable of light and shade as the young male victim of the initial assault (he'll end up in Eastenders, mark my words), but Anderson is extraordinary. Even as the atrocious script forces her character to behave in depraved and ludicrous ways, she somehow delivers an extraordinarily compelling and complicated characterisation as a self-indulgent, arrogant hedonist who encounters such horrors and needs to retaliate.
A vile and pointless film then, almost but not quite rescued by a compelling central female performance.