Review Of 2019 Pt 5 - Small Screen Stuff - And So It Ends

There’s been plenty of talk of big screen sagas coming to ending points with Avengers Endgame and The Rise Of Skywalker dominating the big screen but 2019 was also the year that a number of small screen shows which I’d been watching for some time came to an end. Here’s the roundup.

You’re The Worst
It was an anti-romcom about a truly dreadful couple, along with their equally dreadful friends, doing their best not to fall into any sort of traditional relationship. It was rude and funny and filthy. It maybe pushed the concept a little too far - the fourth season felt like a little bit of a struggle as it’s hard to keep going with two core characters whose whole point is that they resist growth - but the last season pulled it all together for a fitting and satisfying conclusion to the whole thing, feeling like a true way to conclude the story of these two awful characters.

Silicon Valley
Silicon Valley is one of those programmes that has quietly chugged away being consistently very good without drawing big attention to itself. I hadn’t realised how much I enjoyed it until I found out it was coming to an end and I suddenly realised that I was going to miss it. Again, like You’re The Worst, they put together a final hurrah that felt true to the characters and was absolutely the only way to go out. This is a show that I feel hasn’t had enough attention and is definitely worth six seasons of your time (it’s on HBO so they’re quite short). 

The Good Place
Alright, technically this one hasn’t quite ended yet as it’s still in the midst of its final season with the last five episodes airing in January but I love this show so any excuse to mention it. Created by Michael Schur, former producer on The US Office and creator of Parks And Recreation and Brooklyn Nine-Nine, it shares something in common with the latter two shows he created - heart. The characters genuinely care for each other and that always comes through in his work. Plus what other American network sitcom tackles genuine philosophical theory on a weekly basis? Also, Ted Danson is, as you would expect, brilliant in it.

Game Of Thrones
I think this one has been pored over enough, really. Here’s my two penneth on it from earlier in the year.

Review Of 2019 Pt 4 - Small Screen Stuff

I’ve already talked about some of the female-led TV comedy that graced our screens this year but there were a number of other shows that were worth some attention this year.

The Mandolorian
Look, I wasn’t going to let the year go by without writing something about this (which, of course, I haven’t seen as it’s not available in the UK yet but if I had seen it, this is what I might write about it - phew, I think that’s covered that). I’ll probably write something in more detail about it  in the New Year but, for now, I have to say that it is absolutely worth the watch. Being the first live action Star Wars series, there was a lot riding on it but Jon Favreau has wisely used the familiar elements of the Star Wars universe to craft something new and separate from the main Skywalker saga. This is the direction that Star Wars needs to move in.

The Magicians
I just discovered this series this year and binge watched all four series. It’s gets the “Harry Potter but a bit more grown up” comparison a lot (which isn’t wildly off the mark) but is much weirder, ruder and filthier than that sounds. It’s a good fun series - not perfect as it does have some issues in the way that it treats and characterises characters who suffer abuse but still enjoyable overall. One of those series that seems to be flying under the radar.

Watchmen
This was a real surprise. I genuinely wasn’t expecting much from this - after the film adaptation, I wasn't convinced that the world needed another version of something that doesn’t necessarily translate from its original medium. After all, the original comic was a deconstruction of superhero comics at the time. Wisely, though, the series steered away from being a straight adaptation, using the comic as the backstory and crafting its own storyline set in modern times and being as much a commentary on racism as on current superhero pop culture. Surprisingly enjoyable, weird and stylish.

The Boys
Given that the superhero film had been dominating the box office (and the small screen with the Arrow-verse series and the various Marvel efforts) for the best part of a decade, we’re now at a point where there’s enough of a common language that we can start picking it apart. While Watchmen may have been gently pulling at those threads, The Boys lobs a stick of dynamite at them and revels in the destruction. I enjoyed this far more that I thought I would and it’s one of those adaptations that actually improves on the original - while still fairly extreme, the series feels a little more nuanced than the comic version. I’m definitely on board for season 2.

This Time With Alan Partridge
It’s been a while since he’s graced terrestrial television but it was good to have Steve Coogan’s back again and in a format that was perfectly suited to him. Being a One Show style host in a pure Partridge place to be and I thoroughly enjoyed seeing back on the small screen again.

Succession
Even though it’s on its second season, I only discovered this one this year. I’m still watching my way through season 2 but I’m confident enough in what I’ve seen so far that I'm happy to put this on here as one of the shows, if not the show, of the year. Following the backstabbing and various machinations of a Murdoch-style media dynasty, it’s utterly compelling. Every member of this family is dreadful in their own way yet they each have enough of a shred of humanity to keep you watching. It's an impressive achievement from Peep Show co-creator Jesse Armstrong and I’m looking forward to finishing off the rest of the season.

Review Of 2019 Pt 3 - Funny In Person

2019 was a year where I went to see a lot of live comedy. It wasn’t particularly a conscious decision but, as the endless witterings about comedy on here have more than proven, I’m nothing if not a comedy junkie so it makes sense that I should go and see live stuff. It was a bumper year with some comedian’s comedians, a few long-standing favourites and a definite new favourite.

Daniel Kitson (x2)
I wrote about seeing his new full length show Keep earlier in the year (which I thoroughly enjoyed) but I also managed to snag tickets to see him doing some work in progress stuff over the summer at the Bill Murray comedy pub in Islington. It shows what a master of the craft he is (as he will ironically-ish tell you himself) that even Kitson just working off a few rough notes and riffing off the audience is still a great show.

David Baddiel - Trolls: Not The Dolls (Work In Progress)
I was a huge Mary Whitehouse Experience fan back in the day (in the late 80s / early 90s when comedy first started filling stadiums - which was Newman And Baddiel - and was touted as the new rock and roll) but have never seen David Baddiel live before so was delighted when the Brother got tickets for my birthday for this one. Even as a work in progress, it was a funny show, focussing on how social media works as well as Baddiel’s inability to leave things alone on Twittter. I’d like to go again and see the “finished”* show to see how it compares.

Harry Hill
I think it’s fair to say that I was properly obsessed with Harry Hill in the days of his initial Channel 4 show (and also with TV Burp). I’d seen him do a brief set live before at The Chuckle Club (formerly a club at the London School Of Economics many years back) but this is the first time I’d seen a full length show. Absolutely loved it, he was on excellent form and it was also in the weirdest place I’ve been to see comedy - underneath the hull of The Cutty Sark in Greenwich. Very odd.

Stewart Lee - Snowflake / Tornado
Much like Kitson, Stewart Lee is renowned for his craft and, while I can see it might be to everyone’s taste, I’m a big fan of his stand up. This was a double bill of two hour long shows and he was on excellent form (if maybe seeming a little more relaxed than in previous shows). Like Kitson, it shows that Lee does nothing but gig and hone his craft as he was able to turn the limited audience interactions not quite going his way into comedy gold.

Spencer Jones - The Things We Leave Behind
Here’s a new favourite. The Brother introduced me to Jones through his short series on the BBC iPlayer, The Mind Of Herbert Clunderdunk which is a silly, surreal, song-and-prop-based comedy series. I was a little concerned about how those short shows would translate into something an hour long but needn’t have worried as the show was an absolute delight. I highly recommend checking him out if you like comedy daft. The gig was also lifted up by the fact that, as the audience left, he stood outside and shook everyone’s hand while thanking them for coming. Class act!

*I realise that all stand up shows are constantly being worked on but you get what I mean.

Review Of 2019 Pt 2 - Funny Women

I think that I (and pretty much anyone else who is into comedy in any way) have banged on enough about Fleabag (from me, you can read about it here and here). There are, however, plenty of other funny women out there producing good comedy. Here are some of 2019’s highlights for me…

This Way Up - Series 1
Mental health is a difficult subject to tackle in comedy but, in her debut sitcom, Aisling Bea manages to balance treating the subject with sensitivity with being genuinely funny about it. It’s a confident first sitcom - I particularly the real feel to the character relationships in that they were capable of being pissed off with each other one minute and joking again the next (as can often be the case in real life). There's some great casting involved too as Sharon Horgan makes a believable older sister for Bea and, even though she only features in one episode, Sorcha Cusack makes a strong impression as their mother. I’m hoping this one is coming back for season two.

GameFace - Series 2
I really enjoyed the first series of this. The silly side of Roisin Conaty’s character definitely carried across from Man Down (I’m always amused by someone who is unfraid to make themselves look utterly ridiculous for the agag) but is rounded out with more emotional depth here. There’s an innate likeability to Conaty that makes it hard not to be charmed by her.

Russian Doll - Season 1
More of a comedic drama than an out and out comedy, this was a string debut series from Natasha Lyonne. Before I started watching it, I was initially sceptical as to how well the Groundhog Day style premise would hold up over the course of the series but was pleasantly surprised that it did, introducing a new element part way through that kept the intrigue going. I thought it was a nicely contained one-off series but apparently they’re making a second one. I’ll wait to see how well it keeps itself going for more than just the one series.

Review Of 2019 Pt 1 - How Original...

Way back in the dim and distant recesses of January, I made a selection of Resolutions That Were Not Resolutions Because No One Sticks To Those. One of those was to write a blog post every weekday. I didn't quite stick to that (the last month has been a bit sparse and the summer months were a little thin on the ground too) but I have managed 170 posts this year (quantity over quality as always) which has more than doubled last year’s efforts so I’m going to qualify that as achieved.

Why bring that up in the intro? Well, it’s a long-winded way of justifying what is frankly a lazily-themed selection of upcoming posts in which I use our arbitrary method of delineating the passage of time as an excuse to rehash items that I’ve probably already discussed. Yes, it’s the End Of Year Review!

It’s definitely been a year of consumption for me. In addition to the whole “Write More” unresolution, I also decided to read more (books, that is, as opposed to comics and magazines which I already read more than enough of). As of writing, I’ve made my way through 54 books this year (just over one a week this year). “Ah, I just don’t have the time for that,” I hear you say. There is an answer - make time. It sounds facetious but it can be done. Coming in from work and just flicking channels to see what;s on with no real watching agenda? Don’t do that, pick up your book and read a bit more instead. Commuting? Put down the brightly coloured sweet-based gaming app and pick up your book. Hey, you can even read them on your phone if you want to. Look, I know it sounds a bit patronising and simplistic but, if you want to read, you can read. It honestly is that simple.

It wasn’t in the resolution but I also decided to myself some way through the year that I would try and watch as many of the major and acclaimed film releases (alongside my usual technique of “that sounds a bit odd, I’ll give it a go”) of the year. As a result, not only have I watched 130 films this year (which does admittedly include films that I’ve rewatched) but 77 of those were released this very year. Of those 77, I’ve written about 43 of them so there’s still a fair few I’ve viewed that haven’t been mentioned.* Not entirely a rehash of old content then.

(Those of you looking at that Unresolutions post may be thinking, “Wasn’t there something about exercising more on there as well?” Let us not speak of that bit. Look  you’ve got to have to something to improve on in the next year otherwise you’d be all Mary Poppins - practically perfect in every way.)

So given that this blog is basically a guide to pop culture what I do like, let’s take a look at the TV, films, general live events and any other assorted stuff that have made 2019 for me, shall we? (As always, rhetorical question - you have no real say in this. Other than just not reading, of course.) Come back next time for the first part...


* Come on, everyone loves a good stat. 

A Very Henson Christmas - The Muppet Christmas Carol

“Light the lamp, not the rat! Light the lamp, not the rat!”

Come on, we all knew it was going to be building up to this.

Like many films which have since gone to become cult classics and even get trotted out every December for a brief cinema showing at repertory cinemas (and with a singalong version no less), The Muppet Christmas Carol was not a hug critical success at the time. Critics found it to be so-so and it’s only on its subsequent home release that it's managed to find a dedicated fanbase.

The Muppet Christmas Carol (1992)
In A Nutshell:- Michael Caine plays Scrooge as if he were working for the RSC (his words apparently) surrounded by a cast of familiar Muppety faces in unfamiliar roles.

The Background:- This was a tricky film for the Henson Company. It was the first theatrical Muppet film to be released following the death of Jim Henson and was a departure from previous films in that the Muppets themselves would be playing characters within the story. It was originally proposed as a TV special for ABC but execs at Walt Disney Pictures offered to bump it up to a theatrical feature (their first for 8 years).

Muppetrivia:- There are a couple of versions of the film. The song “When Love Is Gone” was deemed too sad for children and removed prior to theatrical release (which does make the reprise at the end “When Love Is Found” less resonant). It was subsequently reinstated on some VHS and Laserdisc (remember those??) releases of the film but, in the currently available versions of the film, has been removed again.
This is the first time that Gonzo (as narrator Charles Dickens) and Rizzo (as, well, Rizzo) are a major pairing and it pays off big time.
The mouse family from Mr Willowby's Christmas Tree first appear in a couple of the songs here.

Is It Any Good? Oh absolutely. It’s a strong blend of humour and emotion with Caine’s decision to play it absolutely straight being the correct one. It also has what the subsequent It’s A Very Merry Muppet Christmas Movie is sorely lacking - heart. I realise that seems like a very vague thing to say but I can illustrate with one example - at one point in the film, Rizzo offers Gonzo some jellybeans, Gonzo is exasperated with him, there is a small beat while they look at each other and then Rizzo kisses him on the nose. It’s the little loving character interactions that make this film work in the broader sense. So if you’re going to watch one Christmas themed film this year, you could do a lot worse than sticking on The Muppet Christmas Carol.

I could have popped in a few more here - there's The Christmas Toy, John Denver And The Muppets: A Christmas Together, Emmet Otter's Jugband Christmas and the Fraggle Rock episode "The Bells Of Fraggle Rock" - but I reckon that’s enough holiday cheer for one year. Go eat, drink and be merry and we’ll reconvene back here on the other side of Christmas. Off you pop.

A Very Henson Christmas - It’s A Very Merry Muppet Christmas Movie

I was in two minds about whether to actually to include this one. On the one hand, it’s maybe a little less celebratory than some of the other posts. On the other hand, it’s probably going to grate a bit to have five soldi days of unremitting cheer so let’s go with it. Plus I said I would do this one yesterday so I’ve kind of made my own bed on that one.

It’s A Very Merry Muppet Christmas Movie (2002)
In A Nutshell:- It’s effectively a Muppet retelling of "It’s A Wonderful Life", showing Kermit what would happen if he had never existed, but what people tend to forget about "It’s A Wonderful Life" is that it’s quite miserable for much of its running time…

The Background:- We’re on a bit of a wilderness period for the Muppets here, sitting a few years on from their last big screen outing which was not the success that was hoped (Muppets from Space) but still nine years away from their resurgence on the big screen with The Muppets. It’s also a transition in another sense - this TV movie marks the first time that Fozzie, Miss Piggy, Animal and any other Frank Oz characters are not performed by him as Oz had decided it was time for him to retire as a Muppet performer - Eric Jacobson takes them over for the first time (with Elmo performer Kevin Clash taking over for Sam The Eagle).

Muppetrivia:- There are a couple of nice nods to The Muppet Movie - a statue of Kermit has lyrics from Rainbow Connection inscribed on it and, in the dystopian Kermit-less world, Doc Hopper’s French-Fried Frog Legs are a popular fast food (selling a “frogleg burger on a fried green bun” as described in Doc’s ad in The Muppet Movie).
It’s got the least music of any Muppet film with only the Moulin Scrooge parody and the song “Everyone Matters” (which isn’t very good), reprised at the end.

Is It Any Good? There are moments of humour and the occasional nice touch but the whole thing falls a little flat (with occasional dips into just outright depressing) with not even star power managing to save it. For every Whoopi Goldberg, Joan Cusack and even the voice of Mel Brooks, there are US-centric celebs that don’t really mean anything outside the confines of a US TV special (I had to look up who Kelly Ripa and Triumph The Insult Dog were). Even the sequence with the cast of Scrubs feels joyless and done purely because the show was at the time also on NBC. It’s not terrible but it doesn’t live up to the quality standards set by previous productions and so suffers by comparison. A rare misfire in the world of Henson Christmas specials.

(Side Note:- There are a number of similarities between this TV movie and the next big screen outing, The Muppets - struggling to save the theatre, Kermit losing his faith in the gang, having to put on a show to get the money in time. What this highlights is that it’s not the elements that you have but how you put them together that counts. What’s really missing here is heart which is what The Muppets has by the bucketful - plus great songs too, another thing missing here.)

Next Time:- Let’s close off our week with… well, gosh, I wonder what it could be…

A Very Henson Christmas - Mr Willowby’s Christmas Tree

Another one-off special, this time clocking in at a nice crisp 22 minutes and featuring a pre-rehab Robert Downey Jr, Leslie Nielsen, Stockard Channing and a selection of Muppety mice.

Mr Willowby’s Christmas Tree (1995)
In A Nutshell:- A family of mice go on an unexpected odyssey for the perfect Christmas tree while Mr Willowby prepares for his Christmas party.

The Background:- This special follows a fine Muppet tradition of adapting existing tales (for example, the Tales From Muppetland series which adapted Cinderella, The Frog Prince and The Musicians Of Bremen) with this one being based on a 1963 book by Robert Barry. It follows a mouse family as they attempt to cut down the perfect tree for Christmas and are thrown around from Mr Willowby's to a family of bears then owls and so on...
To give it that Muppety feel (and also in keeping with other holiday specials), Kermit intros and appears throughout to narrate. It’s an unusual ensemble cast - there aren’t many productions I’d expect to see Downey Jr, Neilsen and Channing acting in.

Muppetrivia:- The mouse family (Father, Mother, Ned, Beverly and Grandfather) are here recycled from The Muppet Christmas Carol (hmm, I don't seem to have talked about that one so far, curious…). 
Thus could just be a personal view but Downey Jr looks particularly jittery given that this was pretty close to his most prolonged stint in rehab.
The bear puppet which would later become Bobo in Muppets Tonight and many subsequent Muppet productions was originally built for the film The Muppets Take Manhattan.
The writer of the special, Mitchell Kriegman, would later go on to create Bear In The Big Blue House for the Henson Company (more bears…).

Is It Any Good? I’m in serious danger of overusing the word “charm” throughout this series but, in the animal sequences, this special definitely has it. It’s lacking a little in the human scenes (and that’s not an uncommon occurrence in Muppet stuff - let’s face it, we’re here for the puppets) but, at 22 minutes, it’s short enough to not outstay its welcome.

Next Time:- A TV movie whose title is really somewhat misleading...

A Very Henson Christmas - A Muppet Family Christmas

Everyone loves a good crossover. Given that this year’s biggest blockbuster was essentially the cinematic equivalent of the annual “big punch up” crossover that the comics companies put out, it’s safe to say that this statement is true. So what does that have to with today’s Muppet-themed festive entry? Well, if you replace “big punch up” with Christmas carols and “massively powerful superheroes” with cute puppets then you have today’s subject of discussion (sort of - look, just go with me on this one).

A Muppet Family Christmas (1987)
In A Nutshell:- The casts of the Muppet Show, Sesame Street and Fraggle Rock (with a hint of Muppet Babies) gather at Fozzie’s mum’s house for Christmas.

The Background:- It’s a one-off TV special aired by ABC in the States (and also shown in the UK). It is, however, rarely repeated due to the complex rights mess of a lot of the songs used throughout, most of which were only licenced for its original US transmission. It’s a simple story - the Muppet crew (minus Miss Piggy who spends the special trying to get there) make their to spend Christmas with Fozzie’s mum… who is planning to go on holiday and has rented her house to Doc and Sprocket from Fraggle Rock*. Throughout the course of the special, more and more Muppets arrive filling the house…

Muppetrivia:- It’s unusual in that, other than Doc (who is a character from one of the shows), it doesn’t feature any human celebrity guests, just a parade of familiar Muppety faces.
The show is only available commercially in an edited form due to the thorny issue of song rights relating to the various Christmas-themed tunes scattered throughout the ep. Some enterprising fans have managed to piece together a near enough replication of the broadcast version using a combination of off-air and commercial sources (if you know where to look for those sort of things, that is…)
There are a few odd continuity moments in the show - the main one being that Fozzie introduces Kermit to his mum… who then later on appears to have an old film of them in her house all together as babies. 
The special ends with Jim Henson watching them all from kitchen, saying how much he enjoys seeing them all have fun and heading off to do the washing up...

Is It Any Good? If you’re a fan of the Muppets then this is the heart-warming Christmas megamix of Muppety goodness that you’re looking for. Where else are you going to see the Swedish Chef eyeing up Big Bird as a replacement for a Christmas turkey or Kermit and his nephew Robin singing with the Fraggles? If that doesn’t bring a little Christmas cheer into your heart then you might be too far gone…

Next Time:- Robert Downey Jr, Leslie Nielsen, mice and a Christmas tree


*”Doc?” say UK Fraggle Rock viewers. “Wasn’t the human in Fraggle Rock a lighthouse owner called The Captain played by Fulton Mackay?” Yes, he was in the UK. Fraggle Rock is unusual in that, while it followed the Sesame Street model of refilming framing sequences with local actors, the UK was included in that and had UK specific sequences for both the lighthouse and Uncle Travelling Matt. So now you know.

A Very Henson Christmas - The Great Santa Claus Switch

Christmas looms large over the pop culture landscape. The majority of TV shows are expected to have some sort of themed episode devoted to it at some point in their run and that's not counting the shows that are specifically just to be shown as Christmas specials. There’s something about the non-stop need for televisual good cheer that very much provokes my inner Grinch. When it comes to Christmas films, there are few that I would watch repeatedly* and certainly not many that I want to put on every year. 

There is one main exception to that (even though I don’t actually watch it every year, I would happily do so) and I’ll come on to that later on… although given and theme to these posts, it really should come as no real surprise. That set me thinking that, when it comes to Christmas stuff, there is one creator whose Christmas themed output I’ll always give a chance to and that is Mr Jim Henson.

Again, no big surprises here as I’ve banged on about Muppets and Muppet-related stuff before. I was briefly tempted to go in the other direction and cover some of the more terrifying Christmas-themed stuff out there (Box Of Delights, anyone?) but decided that I would allow my heart to grow three sizes instead and go with the heartwarming option. Because, let’s face it, it’s always the right time of year for the Muppets.

Let’s kick off with one of the very first Christmassy Muppet specials and one which very few people will have seen (and certainly very few in the UK).

The Great Santa Claus Switch (1970)
In A Nutshell:- Evil wizard Cosmo Scam, assisted by the Frackles, hatches a plot to kidnap and replace Santa Claus and his elves and it’s up to Fred The Elf to save the day.

The Background:- Jim Henson had appeared on the Ed Sullivan show numerous times in the late 60s; as a thank you, Sullivan offered him this prime time special (which he hosts/narrates). It’s only been shown a few times in the States and never over here (as far as I’m aware) so it;s one of the least known Muppet specials.

Muppetrivia:- This special features the first appearance of a long-nosed puppet which is referred to as Snarl here but would later go on to be more well known as Gonzo The Great (not performed by his regular puppeteer Dave Goelz at this point).Also is the special is a big blue full-body puppet called Thog who go on to appear in more specials with stars such as Julie Andrews and Nancy Sinatra before finally settling into a regular spot as one of the monsters in the opening titles for the Muppet Show.

Is It Any Good? It’s got a certain sense of charm (as all Henson productions do), particularly in a nicely silly sequence where the elves are gradually replaced by the Frackles, but it’s probably more interesting nowadays as a historical piece, showing the evolution of Henson’s puppeteering and offering a glimpse at some formative Muppet favourites.

Next Time:- It’s the Muppet Christmas equivalent of Avengers Endgame...


*I realise that will have me branded as a heretic in some circles but I’m just not that fond of Elf. It’s a film with some funny moments and a certain amount of charm but it is certainly not a film that I would want to watch every year. Will Ferrell can be funny but sometimes he’s just shouty. There, I’ve said it. Judge as you will.

WatchSeeLookView At The LFF 2019 Roundup - What Have We Learned?

So the film festival is over (two months ago admittedly, yes, but when you watch a lot of films, it takes a while to get through them!). What have we learned from this seemingly never-ending stream of film reviews?

• Watching 28 films in 11 days while still working for 5.5 of those days is slightly insane. I would definitely take the whole festival as leave next time and feel less frazzled.
• I’d definitely watch more films at the Vue and the Odeon in Leicester Square; slightly pricier, yes, but I absolutely love the recliners. Sold.
• It’s sad to single out a cinema but the ICA was the least enjoyable. It’s just not a very comfortable experience.
• 40% of films at the festival were directed by women; 25% of the ones I went to see were by female directors. I wonder if this is genre related - the genre strands that (unsurprisingly) made up over half oy viewing between them were the Cult and Laugh strands. Does this mean that those areas are still largely male-dominated and there are still advances to be made in genre and comedy filmmaking?
• My travel timings between venues didn't really account for any Q&A time and I was forced to cut it short a few times. It's not always going to be possible but I'd try to leave enough of a gap so that I could get the full experience.
• In terms of Hollywood blockbusters, it’s only really worth booking the first screenings of those as those are the ones with the appearances / intros / Q&As. They’re going to be widely available soon enough so, unless you’re getting an appearance, save the time for some other indie stuff.
• Booking things that just sound kind of interesting has pretty much paid off. Keep doing that one!
• Definitely book the Surprise Film - it might end up being something not to your taste or it might end up being a preview of a film you think is great. Worth a punt.

The big question:- would I do this again? You’re kidding, right? Expect this blog to be dominated by festivally reviews same time next year.

Now, on to your usual selection of guff, toot and gubbins...

WatchSeeLookView At The LFF 2019 - A Beautiful Day In The Neighborhood

Yup, it’s been a quiet couple of weeks on here and it’s over two months since the festival ended now but this is the last one (I can hear the collective sigh of relief) so let’s finish this bad boy off and we can get back to your regularly scheduled service (yeah, I’ve got no idea what that is either).

A Beautiful Day In The Neighborhood
Dir. Marielle Heller / Dur. 107 mins / Country. USA
Festival Strand:- BFI Patrons’ Gala
In A Nutshell:- A national treasure in the States but relatively unknown over here, Tom Hanks portrays children’s entertainer Mr Rogers in a slightly different take on the biopic.

The Good:- It’s quite possibly the film that is needed in these times of doubt, fear and uncertainty. Fred Rogers was an optimistic figure whose cuddly image belied a willingness to tackle complex issues for children (during his time, he referenced news events like Kennedy’s assassination in a way that children would be able to relate to). He was a beloved figure by millions so who better to convey that sense of innate trust to viewers than Tom Hanks? The film wisely eschews the more traditional biopic route, choosing instead to focus on the impact that Mr Rogers has on a journalist assigned to report on him. It’s an unashamedly feelgood film but it hits the right note.

The Bad:- There is one moment (I don’t want to say too much as it’s best to go into it cold) where I can see what the director was trying to achieve but I’m not sure that it was one hundred percent successful but that’s really a minor niggle.

The Verdict:- An uncynical feelgood film is not usually something that would score highly on my list but you would have to possessed of a heart made of absolute flint not to be charmed by this. It’s the sort of role that Tom Hanks is perfectly designed for and I defy you not to feel warm and fuzzy by the end of it.

The Venue / Intro / Q&A:- The Embankment Garden Cinema for the last time*. Director Marielle Heller was on hand for the post-film Q&A. She talked about not wanting to cover the standard biopic ground given that recent documentary Won't You Be My Neighbor? Had covered it so well; she sees this filmas a companion piece to the documentary (I’d agree - I watched the documentary first and am glad that I did so that I had some context). The puppets were created and performed by henson puppeteers (but of course). One scene in the film has a number of the real life people from Fred Rogers’ life in the background which is a nice little touch.


*Alright, technically the penultimate time but, as I've switched the order on the last two reviews, this is the last time.

WatchSeeLookView At The LFF 2019 - Judy And Punch

OK, slight cheat here - more on that later...

Judy And Punch
Dir. Mirrah Foulkes / Dur. 105 mins / Country. Australia
Festival Strand:- Dare Gala
In A Nutshell:- The traditional story of Punch and Judy is reinvented as a darkly comic revenge fantasy in which Judy strikes back in order to give Mr Punch his comeuppance...

The Good:- It’s very timely - taking an old British tradition and shining the glare of MeToo upon it feels very now. Damon Herriman makes for a suitably villainous Punch, by turns arrogant, cowardly, drunken and angry. Dodgy Irish-style accent aside, Mia Wasikowska is convincing enough as the victim turned warrior Judy.

The Bad:- I really struggled to fill up anything in the “Good” section. I just didn't like this film. I expected to (obviously, otherwise I wouldn't have bought a ticket, I guess) as it looked it ticked the kind of genre-blending and stylised filmmaking that I normally enjoy. There was something about the uneven tone of this film that just didn't click for me, however, and sadly I found myself waiting for it to end. Do I think it’s a bad film? No, but it was definitely a film that just didn't click for me. A lot of elements on paper look like something I’d enjoy but combined they just didn't work for some reason (and the blending of different UK accents in one town - Irish, Scottish, Welsh, Cornish, etc., while was clearly a conscious style choice, was something that I just found jarring)

The Verdict:- A rare disappointment from the festival - I absolutely see what the filmmaker was doing with this one but it just wildly missed the mark for me.

The Venue / Intro / Q&A:- Director Mirrah Foulkes and star Mia Wasikowska were on hand for the intro and Q&A. Foulkes talked about casting someone that she felt could be villainous and sympathetic at the same time for Punch (to be honest, I didn't get that from the film; I just found Punch to be utterly unpleasant). She also had some nervousness about how the UK would react to her taking a traditional and very British piece of popular culture and putting her own spin on it.

The Cheat:- OK, in all honesty, this was the last film I saw at the festival and, after about six weeks of posting these, I didn't want to bow out on a downer. So I've cheated slightly and swapped this and the last one so that I can end on a higher note...

WatchSeeLookView At The LFF 2019 - Rocks

Just three more to go and that’s the entire festival covered...

Rocks
Dir. Sarah Gavron / Dur. 90 mins / Country. UK
Festival Strand:- Special Presentation
In A Nutshell:- A young girl tries to cope with looking after herself and her young brother after their mother leaves them.

The Good:- Given the heavy subject matter, it’s a film that does its best to highlight the joy and fun in the lives of the protagonists. That’s not to say that it shies away from the heavier aspects, just that it isn;t defined by the more serious moments. The young cast are uniformly strong - all the more impressive given that they are largely first time actors. I’m not the biggest fan of child actors but I have to say that D’Angelou Osei Kissiedu playing little brother Emmanuel definitely managed to steal every scene he was in. Bukky Bakray as the titular Rocks definitely marks and-coming talent to watch out for, holding the film together, but Kosar Ali as best friend Sumaya has definite screen presence too. While it’s not afraid to fully embrace the sadness of the situation that Rocks and Emmanuel find themselves in, it manages to do so with a vibrant energy that is lacking from a lot of social-realist cinema. In some ways, it reminded me a little of Eighth Grade which felt like it was a film about teenagers but from a teenager’s perspective.

The Bad:- I thoroughly enjoyed this one and can't think of anything about it that was particularly lacking or needed improvement.

The Verdict:- A vibrant but occasionally heartbreaking slice of teenage life that manages to feel like it appropriately represents the age group it’s looking at without being patronising. 

The Venue / Intro / Q&A:- At the Embankment Garden Cinema again as all of them were for the last day. An intro and Q&A from the director and screenwriters plus the key members of the cast. The development process was highly collaborative with the cast working for a long time with the screenwriters to craft an authentic feel to the dialogue as well as utilising a lot of improvisation throughout the shoot as well. Around 150 hours of footage were shot for them to edit down into the final film. For the actors, the food fight scene in the school was among their highlights from the filming process - less so for the wardrobe and make-up departments who had to reset afterwards…

WatchSeeLookView At The LFF 2019 - Ema

We’re in to the homestretch now - it’s the last day and one last blitz; I managed to pack in four screenings on the last day to finish.

Ema
Dir. Pablo Larraín / Dur. 102 mins / Country. Chile
Festival Strand:- Festival Gala
In A Nutshell:- A dancer and her choreographer husband struggle with the fallout of their failed adoption attempt.

The Good:- It’s a fascinating film dealing with a complex web of relationships spun by main character Ema (Mariana Di Girolamo) as she attempts to find a way to deal with and come back into contact with the adopted son that was taken away from her. She’s a screwed up character and this film would also fit into the bracket of unconventional romances given the tangled set of relationships she navigates and manipulates. The film very much belongs to Mariana Di Girolamo who owns the screen throughout - she is never less than fascinating to watch. The film is elevated as well by the brightness and liveliness of the dance sequences weaved throughout, adding a vibrant and colourful feel to the film.

The Bad:- I was unconvinced by some of the characters reaction to revelations towards the end of the film and am not 100% sure about the ending but it’s a minor gripe.

The Verdict:- A fascinating and tangled character study of damaged personalities with a bright and vibrant dance element that lifts it up.

The Venue / Intro / Q&A:- At the Embankment Garden Cinema for this and all the remaining films. A very brief introduction from Mariana Di Girolamo, looking almost unrecognisable without the bleach blonde hair of Ema.

WatchSeeLookView At The LFF 2019 - Deerskin

Let’s keep it weird.

Deerskin
Dir. Quentin Dupieux / Dur. 77 mins / Country. France
Festival Strand:- Cult
In A Nutshell:- One man’s murderous love affair with his jacket.

The Good:- It’s weird, it’s stylish and very, very deadpan, it’s short and doesn’t outstay its welcome - all things that are definite bonuses when it comes to high concept cult films. Jean Dujardin plays the newly single married man who blows all of his cash on a deerskin and begins a Christine/Shining-style relationship with it. Dujardin is great and delivers some very funny moments - audience reaction was strongly positive throughout on this one. It maintains the humor levels even when events take a darker turn with some nicely deadpan black comedy moments. The ending also manages to subvert expectations while still tying back to previous events in a pleasing way.

The Bad:- There wasn’t really anything I didn't enjoy about this one.

The Verdict:- Another highlight and again the sort of thing that I love to find at the festival 

The Venue / Intro / Q&A:- At the actual BFI for this one. No intro or Q&A for this one but the screening was delayed by a Q&A session with Robert DeNiro beforehand (which did explain the huge numbers of autograph hunters hanging around…)
Side note:- the director is also known as Mr Oiseau and is responsible for the old Flat Eric music video (an internet meme in the days before internet memes…)

WatchSeeLookView At The LFF 2019 - Vivarium

Let’s get weird.

Vivarium
Dir. Lorcan Finnegan / Dur. 98 mins / Country. Ireland
Festival Strand:- Cult
In A Nutshell:- A couple get stranded at a property viewing in a nightmarish identikit neighbourhood with no way out...

The Good:- This was playing in the Cult strand (the strand from which I have unsurprisingly seen the most films) and it very much fits the bill. Jesse Eisenberg and Imogen Poots play the house-hunting couple who find themselves trapped in a Milton-Keynes-style new build community which won't let them leave. Things then take a turn for the even stranger - it’s one of those films, though, that I think it’s best not to know too much about. It’s definitely my kind of strange. Director and writer Lorcan Finnegan has worked for Charlie Brooker’s production company and it definitely feels like it has a similar sensibility to something like Black Mirror. Of the cast, Imogen Poots is probably the standout although the two actors portraying “The Boy” also deserve a mention for their suitably “off” performances.

The Bad:- Personally, I find Jesse Eisenberg a little bit one note - he’s not one of my favourite actors. He’s fine here but I always feel like he’s playing Jesse Eisenberg as a character.

The Verdict:- Definitely a winner at the fest for me - just the sort of odd, strange little number that I like to see.

The Venue / Intro / Q&A:- Odeon Tottenham Court Road (the only one I saw at this venue this year) but no intro or Q&A for this one.

WatchSeeLookView At The LFF 2019 - Rare Beasts

Time for a directorial debut...

Rare Beasts
Dir. Billie Piper / Dur. 87 mins / Country. UK
Festival Strand:- Laugh
In A Nutshell:- What would happen if, instead of ditching the terrible first date at the start of a romantic comedy, you went out with that one instead?

The Good:- Another in this year’s theme “anti-romantic” films (along with Dogs Don’t Wear Pants and Heart) and a string first showing for a first time writer-director. There’s a distinctive feel to the film and it’s got some funny lines and dialogue, right from the off. One of the advantages of writing and directing is that Piper clearly knows exactly how she wants to play main character Mandy in this - she’s unafraid to go all out and show a character in all their complex, contradictory and slightly unhinged glory. Leo Bill has a fascinating screen presence as the honest but unpleasant Pete and Kerry Fox and David Thewlis provide strong support as Piper’s parents (with their own unconventional relationship).

The Bad:- It maybe throws in a few too many directorial tics in an effort to create something distinctive and one scene change in particular from what seems to be a foreign wedding to a pub in Camden felt a little too choppy. There was also an element of Pete being so unpleasant at times that it was difficult to understand why they were even in a relationship- which I get is the point but it felt a little too much like there was nothing to recommend him at times.

The Verdict:- A promising first film from Piper with some pleasing directorial style and genuinely funny moments. I’d definitely be interested in seeing what she comes up with next.

The Venue / Intro / Q&A:- Curzon Mayfair for this one. Billie Piper, Kerry Fox, Lily James and Henry Woolf were all in attendance with Piper and Fox coming back out after the screening for the Q&A. Piper talked a little bit about the difficulty of starring while writing and directing and said that it was something that she would think twice about before doing again. Unfortunately, I had to leave to get to me next screening so didn't get the full Q&A.
Side note - the Curzon Mayfair is quite small so the press area was just in the bar. I arrived a bit early so sat in the bar and was ridiculously excited when Billie Piper stood next to me a couple of times before the auditorium opened. What? I’m a lifelong Doctor Who fan, of course I’m going to be excited about being sat next to Rose Tyler!

WatchSeeLookView At The LFF 2019 - Heart

More quirky comedic stylings from South Korea.

Heart
Dir. Ga-young Jeong / Dur. 70 mins / Country. South Korea
Festival Strand:- Love
In A Nutshell:- A young woman having difficulty with a married man she’s having an affair with visits a previous married lover for advice.

The Good:- It’s a pleasingly quirky concept - Ga-young (named after the writer, director and star) visits her previous lover - a married man - for advice about the married man she’s currently seeing. The film was compared to Fleabag and I get the comparison; like Phoebe Waller-Bridge’s play/series, this film follows a woman struggling her way through personal relationships in a messy and chaotic fashion. It had some enjoyable moments of humour and the lo-fi, almost play-like staging work in its favour. Jeong makes for an engaging and likeable lead and it’s very much her film.

The Bad:- It loses its way in the last section when it becomes about her making a film about the events that form the beginning of the film. It’s a little too meta and makes the film feel as if it ran out of ideas az to where to go. Given that it’s got a very short running time anyway, it’s a little disappointing that it feels like it doesn't have enough to sustain even that.

The Verdict:- An engaging pair of leads and sokme funny dialogue keeps the interest in this off-kilter romantic comedy even if it does run out of steam some time before the end.

The Venue / Intro / Q&A:- Back in the uncomfortable ICA for this one and no intro or Q&A this time round.

WatchSeeLookView At The LFF 2019 - Greed

The latest in a long line of collaborations between Steve Coogan and director Michael Winterbottom (24 Hour Party People, A Cock And Bull Story, The Trip) and probably the most narratively straight-forward of their films.

Greed
Dir. Michael Winterbottom  / Dur. 100 mins / Country. UK
Festival Strand:- Headline Gala
In A Nutshell:- An extremely thinly-veiled Sir Philip Green analogue celebrates his sixtieth birthday in the style and excess in which he has lived his life.

The Good:- It really is a very thinly veiled critique of high street mogul Sir Philip Green - Coogan plays a wheeler-dealer who builds an empire based on buying and stripping companies of their assets to further his own wealth. In much the same vein as films like The Big Short, Greed does a good job of explaining tricky financial concepts without them seeming to be dry and boring. There’s a strong selection of current comedic talent on display with David Mitchell, Tim Key and Shirley Henderson all clearly enjoying their roles. There are also some very funny lines and sequences and the whole thing moves along ata strong pace.

The Bad:- Coogan’s performance feels a little Coogan-by-numbers - it’s the sort of performance we’ve seen from before and is beginning to feel a little worn at this point. Overall, the film doesn’t particularly feel like it’s saying anything new about the nature of greed and the sort of people who are motivated by it. Also, the closing scenes and montage about exploitation of workers don't quite feel earned - they feel somewhat like they’ve been included to justify revelling in the excess beforehand.

The Verdict:- It’s an entertaining and funny film with a barely disguised caricature of Sir Philip Green on offer but beyond the laughs, it feels like it’s struggling and ultimately not massively succeeding to make any deeper points.

The Venue / Intro / Q&A:- The Embankment Garden Cinema again but, given this was a morning screening, no one on hand for any intro or Q&A.

WatchSeeLookView At The LFF 2019 - The Surprise Film:- Uncut Gems

It’s one of the hottest tickets of the festival and this is the first time I’ve been to it. Every year, they pick out a film to be screened which won't be announced until you sit down in the cinema to watch it. Previously screened Surprise Films include Green Book, Lady Bird, Birdman and No Country For Old Men amongst others so it's often a good way to see something that may well end up heavily nominated come awards season. Judging by the response on Twitter, this year’s choice was somewhat divisive. Given that one of the heavily rumoured possibilities was an adaptation of Little Women, I have to say that I’m pleased with the way it did go.

Uncut Gems
Dir. Josh & Benny Safdie / Dur. 134 mins / Country. USA
Festival Strand:- Events
In A Nutshell:- A jewellery store owner races against time in an escalating series of bets and gambles in order to pay off a debt due for collection.

The Good:- I really enjoyed the Safdie Brothers’ previous film, Good Time, which had a similar gritty 70s crime drama feel to it (it’ll be all the rage these days thanks to Joker but they did get there first). This time, though, there is a strong element of black humour running throughout. Adam Sandler plays it straight here and proves as he did in Punch Drunk Love that he can pull off an affecting performance when not making, shall we say, less than hilarious comedy films; I’d happily watch him in other serious roles. It’s genuinely one of the most tense and stressful films that I’ve watched, ratcheting up the tension to almost unbearable points at times. It’s also one of the first films that has genuinely managed to convey to me, Mr Non-Sporty, the tension and excitement of needing to see a desired result in a sporting match - no mean feat! Also, being non-sporty, I didn't realise that Kevin Garnett was a genuine basketball player - playing yourself is often a tough thing to pull off on screen and he does a great job.

The Bad:- It is a very male-dominated film and that feels like something of a backwards step - it’s probably one of the themes of 70s films that it would be best not to replicate.

The Verdict:- I was completely absorbed by this film and thoroughly enjoyed it. Sandler is fascinating to watch when playing it straight and the Safdie Brothers have a style and energy to their filmmaking that sweeps you up. Definitely one to go and see.

The Venue / Intro / Q&A:- Back on the extra super recliners at The Odeon Luxe in Leicester Square (so very comfy). No live intro or Q&A but we did get a specially filmed intro from Sandler and the Safdies who couldn’t be there in person as it was Yom Kippur.

WatchSeeLookView At The LFF 2019 - Dogs Don’t Wear Pants

I had an unexpected gap between films on Day 8. The advantage of the festival is that there are 345 films playing so the likelihood is that you’ll be able to find one from your wishlist to fill up any unexpected downtime.

If there seemed to be an unintentional theme to this year’s festival, it would probably be weirdly twisted anti-romances. Like this one...

Dogs Don't Wear Pants
Dir. J-P Valkeapää / Dur. 105 mins / Country. Finland
Festival Strand:- Dare
In A Nutshell:- A widowed man with a young daughter attempts to find a connection to his dead wife by indulging in auto-erotic asphyxiation with a dominatrix.

The Good:- You can probably guess by the “nutshell” description that we’re firmly into non-conventional territory here. The film is anchored by strong central performances by Pekka Strang as the grieving Juha and Krista Kosonden as Mona. It’s a tricky subject - the intermingling of sex, pain, love and grief - and there is a murkiness to the characters motivations and desires that makes it fascinating to see how it will unfold. The black humour laced throughout helps to keep it moving and offsets some of the more squeamish moments - for those of without strong stomachs, there are a couple of moments that wouldn't be out of place within a horror film (the Japanese horror film Audition sprung to mind at one particular point). The film also has a pleasingly ambiguous ending - for a film that very much plows its own path, it feels like a suitably fitting way to leave the characters.

The Bad:- I thoroughly enjoyed this one - I can’t think of anything that was particularly bad about it.

The Verdict:- Definitely not for everyone - if you like your romantic comedies to be advertised by a white poster with the two main leads on it then this is not going to be your cup of tea. However, if you like your romance with a dark, twisted and blackly funny edge then this will right up your alley (so to speak).

The Venue / Intro / Q&A:- Back on the recliners at the Vue West End for this one. Director and co-writer J-P Valkeapää along with star Krista Kosonen were on hand for a Q&A after the fim. It hadn’t originally occurred to the director to refer to the film as a romantic comedy but he now (only half-jokingly) does so. There was a period of research undertaken with a dominatrix - the most surprising thing about that being the number of people who were quite happy to let a prospective film crew watch what was going on! In terms of performance, there wasn’t a lot of improvisation - given the potentially painful nature of the BDSM scenes, a lot of choreography was needed which limited their ability to throw new stuff in.