The point, surely, that not all of Til Death Us Do Part can be classed as laughing at a bigot as opposed to indulging his horrific viewpoints on anyone not white British.
Even for the 70s trend of film spin-offs, this is execrable stuff. Warren Mitchell gamely tries to replicate Alf Garnett on the big screen but there’s barely any semblance of a coherent plot, beyond the weak hook of the family now living in a tower block. Plus, why…
Though as dated now as the sitcom it spawned from, Please Sir! is a proficient translation to the big screen.
It uses a tried and tested staple of this era of movie versions - taking in this case the Fenn Street ‘children’ (all of whom look old enough to be well into parenthood age) away from school on a trip where shenanigans and hijinks can ensure amidst the traditional cultural clash that comes between John Alderton’s middle class idealist teacher…
You probably already have an opinion on Amy Winehouse. I know I did. Fuelled by the tabloids and the endless interviews and footage of her gigs and appearances. You probably know how her story ends. Amy, the latest painstaking documentary piece from Asif Kapadia--following the critically acclaimed Senna--assumes that knowledge yet also projects a timeline, a chronology, from the birth of an edgy North London Jewish jazz singer to the decline of a global music icon. It's a story you…
For many years, Wes Anderson has been celebrated as an offbeat American auteur, with a narrative and visual style all his own - a colourful, melancholic whimsy riven with a biting, black comedic undercurrent. At times it's worked well, others it misses the mark, but with The Grand Budapest Hotel he has created something truly wonderful. Inspired by the writings of Stefan Zweig, Anderson's film is light, fun, thoughtful, cheeky, rude, farcical and emotional all in one rip roaring stew,…
