Showing posts with label TV. Show all posts
Showing posts with label TV. Show all posts

Dec 15, 2013

Christmas TV Guide: Part 1

It's CHRISTMAAAAASSSS! And you know what that means, for once there are movies to be found on TV (I swear there were more films, despite there being fewer channels, shown free to air when I was a kid, but I digress).  The old standbys are on, of course, but in this article I'm going to try to pick out some free to air films that you may not have noticed are on over the festive period, but should really try not to miss.

By the way, apologies to international readers, but this one's for the UK audience.  If anyone from the US, Australia or further afield wants to write something similar for their area, send it to me and I'll see about posting it (with proper credit of course).

For this article I'll be using the double length Christmas issue of the Radio Times, which runs from December 21st to January 3rd.  

DECEMBER

22nd
1am  BBC 2  Wake Wood
Wake Wood
The first new film to have come out of the resurrection of British horror brand Hammer is still the best, and one of the more interesting and underrated British horror films of the last few years.  Wake Wood's story filters personal tragedy through Wicker Man style pagan magic.  The film boasts a strong mix of chills and gore, with solid performances and a striking ending, it's not very festive but well worth seeing.

10:25pm  Channel 4  Never Let Me Go
Appropriately chilly, if hardly seasonal, this adaptation of Kazuo Ishiguro's down to earth dystopian sci-fi asks a lot of complex moral questions (especially for me, having had a liver transplant) and was the first place that both Carey Mulligan and Andrew Garfield made an impression on me.  They excel, along with Keira Knightley as characters first discovering, then coming to terms with, the disturbing purpose of their lives.  The sci-fi concept, happily, takes a backseat to an affecting emotional drama.


23rd
12:15am  BBC 1  The Magdalene Sisters
I really do seem to be looking to the darker side of the films on offer over the festive season.  Peter Mullan's Venice winner is pretty difficult to watch; an upsetting fact-based drama about the Magdalene laundries where Irish girls who had 'sinned' and embarrassed their families (often by getting pregnant, but sometimes for much lesser 'offences') could be sent to live.  Mullan doesn't blink from the harsh conditions, and gets outstanding performances from a cast including the always brilliant Anne-Marie Duff.  For the most part the direction is understated, but Mullan has a few moments where he plays things up stylistically to great effect, most notably in a shot of Geraldine McEwan's eye in one of the film's toughest scenes.  A difficult film, but a rewarding and important one.

1pm  Channel 5  Harvey
Christmas is a time for tradition, and that's often reflected in the movies that offered up in the TV schedules.  James Stewart is just the kind of company you want at Christmas as a movie viewer; a warm, familliar presence that seems always to have been there but is still always a delight.  Harvey is one of his most effortlessly charming films and one of his best and most physically deft performances, as he effortlessly convinces us that, at least for his character Elwood P. Dowd, the six foot rabbit named Harvey that nobody else can see really is there and really is his best friend.  It's a sweet, funny movie and a great way to introduce kids to some older cinema.

8:30pm  BBC 2  Jane Eyre [2011]
Cary Fukunaga's take on this frequently told story (it came barely a year after a new BBC version) has a dark, spare, windswept beauty to its visuals, but it is made interesting more by its fine cast, with two fine leads on the cusp of real stardom when the film was released.  Mia Waskowska, beautiful as she is, is dressed down enough to pass as a plain Jane, but it's the intense performances from her and Michael Fassbender as Rochester that really distinguish this version.


24th
12:35am  BBC 2  Witchfinder General
Witchfinder General
The third, and tragically last, feature from young British horror director Michael Reeves is one of the best horror films ever produced in the UK, full stop.  Based very loosely on the real life, self-appointed, 'Witchfinder' Matthew Hopkins, the film relates a fictional account of his last witch hunt.  The film was dogged with problems throughout; a fractious production that saw Reeves and his star, Vincent Price, at each others throats (mostly because Reeves was always trying stop Price overacting) and censorship problems that saw three minutes of the film cut, before its release to often disgusted reviews.  In the event Price is brilliant, chillingly restrained as Hopkins, and the film's bracing violence and relation to history still shocks 45 years on.  Essential viewing for horror fans.

1:10pm  Channel 4  It's A Wonderful Life
Well, it's just not Christmas without this, is it?  It's A Wonderful Life didn't do well on its initial release, but its status as a beloved classic has long been assured, and is much deserved.  A much darker film than it's often credited as (it's about a man in the grip of suicidal depression... Merry Christmas) it earns every bit of its climactic sentiment, and if it doesn't make you cry then you may wish to make arrangements to find out whether you actually have a soul.  James Stewart is brilliant in what has become one of his signature roles, and Frank Capra tugs the heartstrings while never letting you forget the driving force behind the story.

3pm  Channel 5  Dirty Rotten Scoundrels
Dirty Rotten Scoundrels
Remember when Steve Martin was funny?  For me this is among his finest hours; a well plotted and eventually surprising farce with three great leading performances from Martin, Michael Caine and Glenne Headley.  Caine is all slimy smoothness as the practiced long con artist forced to take on, train and then compete with the more abrasive operator played by Martin and their different comic setting play wonderfully off each other.  The film features some inspired routines, especially the sequence with Martin's character Ruprecht, conceived as Caine's 'special' brother, but it's a joy from start to finish, one of those movies I'll almost always find myself watching if I stumble on it on TV.

11:25pm  BBC 2  The Awakening
For the last 12 years or so I've felt that ghost stories on screen have largely been going through the motions and found them very samey and almost completely unfrightening.  The Awakening doesn't break the mould, but for me it's the best of the recent crop, thanks to the always watchable Rebecca Hall, a few really solid fright sequences, and a story that ties back in an effective way to the Great War.  Even if, like me, you're a bit tired of these movies, this one is worth a look.


25th
8:50am  BBC 2  The Red Shoes
The Red Shoes
This is a silly timeslot, but if you don't already own it set your digibox to record the HD broadcast of this, a sure finalist if there were ever a contest to find the most beautiful film ever made.  The story of a young dancer torn between love for a man and for dance is a little hokey these days, but Moira Shearer proves as capable an actress as she is a ballerina and makes it play.  

The real stars are choreographers Robert Helpmann and Leonide Massine, DP Jack Cardiff and director Michael Powell, who render the story so beautifully through movement, light, design and camerawork that it hardly needs dialogue.  The 15 minute sequence of the ballet of The Red Shoes, which falls almost exactly at the midpoint of the film, is one my favourite sequences in all cinema.  I insist that you see this if you've, so far, managed not to.

3:20pm  BBC 1  Toy Story 3
It seemed, when the first film came out, that making a sequel to Toy Story would be a fool's errand, but then Toy Story 2 came along and not only did it not disgrace the original, many people felt it was better.  Having caught lightning in a bottle twice Pixar really seemed to be tempting fate by trying to do it a third time but not only does Toy Story 3 deliver, it's by far the best of the series.  This film takes all our familiarity with these characters, all our affection for them, and uses that to raise the emotional stakes.  It's an extremely funny film, with some inspired gags, but there is also a tinge of melancholy tat becomes ever more prevalent and ever more affecting as the film goes on, with the third act being enough to reduce this grown man to a blubbing mess.  It delivers on every level you could hope for.

3:20pm  ITV 1  Tangled
For a while, especially in the late 90's and early 2000's, it had seemed that Disney was struggling to reinvent itself, to find relevance in a changing landscape of kids entertainment.  Over the last few years it really seems to have found a groove again, and for my money Tangled is the studio's best non-Pixar animated effort in twenty years.  Based on Rapunzel, it both adheres to and messes with the traditional fairytale formula, injecting a sharp, snarky wit, but never neglecting what is an effectively told love story.  It also has, in Donna Murphy's brilliantly performed Mother Gothel, Disney's scariest and nastiest villain for some time.  I get the feeling that Tangled never quite found its audience (certainly I don't see it talked about much), so this is the perfect opportunity to discover it.


26th
3:05am  Channel 4  A  Matter Of Life And Death
A Matter Of Life And Death
Powell and Pressburger are a rare commodity in film; a writing and directing team you can't go wrong with, one timeless masterpiece would be enough for most people, but they churned them out as a matter of course.  A Matter of Life and Death may be their most moving film, with its relationship story straddling both Earth and Heaven, powered by brilliant performances from David Niven and Kim Hunter.  The images, which capture Heaven in black and white and Earth in vivid colour, are absolutely stunning, some of the best work Jack Cardiff ever did.  I'm mystified as to why this great film has been shunted to a 3:05am slot, but at least you'll be able to record it in HD.

11pm  ITV 3  Fierce Creatures
Okay, yes I am recommending this, stick with me here.  No, it's not A Fish Called Wanda, but Fierce Creatures is far from the disaster you might have been primed to expect it to be.  The comic chemistry between the cast still works well, and it's perhaps the last film John Cleese appeared in before his terminal case of not giving a shit kicked in.  The film runs off the rails a bit as it goes on, but the premise of a zoo with no fierce animals being taken over by an abrasive billionaire who wants to bring in vicious animals to bring in the crowds is a lot of fun, and there are some great set pieces.  Give it a chance.


27th
2am  Channel 4  Legend
War And Peace
It's unfortunate that Channel 4 will likely be showing the original theatrical cut of Ridley Scott's much maligned fairytale, which has many of its undoubted problems solved by the director's cut.  That said, it's not as though the theatrical cut of Legend is without great strengths, especially in its look.  The forest set, the creature design and the realm of darkness all look incredible, but it's Tim Curry, in an astounding full body Rob Bottin make up, who steals the film as Darkness, a striking villain who might make this movie a bit too scary for little kids who may otherwise like a good fairytale film.  A compromised version then, but with flashes of great things.

11:30am  BBC 2  War and Peace
Of all the films on this list this is the one I know least about, having, like the philistine I am, never got around to reading the book nor to watching my VHS copy of the film.  This is a good opportunity to get hold of a film that remains a VHS exclusive in the UK, and to record the magnificent sight that is a 26 year old Audrey Hepburn, who stars as Natasha.  I'll be honest, that's more than incentive enough for me.  I'll get back to you on whether the film is actually any good.

Jul 16, 2011

DVD Review: The Kingdom II [18]

This review is by Contributing editor and E-Film Blog head honcho Michael Ewins

As an example of what to expect, The Kingdom II has a scene where Udo Kier, playing a deformed baby (easily approaching 10-ft, his elongated arms and legs grotesquely juxtapose with his bulging torso) attempts to strangle his real-life previous self. I should make things clearer: this previous Kier is actually a spirit, a reincarnation of Åge Krüger (I can't say who he is, it'll spoil Series One), who later sprouts devil horns. Is he Satan? Who knows, but hopefully I've painted a picture of The Kingdom II which fairly represents how utterly off-the-boil it is. Yes, Lars von Trier's cult series has gone completely mad, and turns out to be all the better for it...

There's a markedly different tone to The Kingdom II which fans of the first series might find disappointing. Series One was a full-on ghost story, dedicated to the eerie and occult, and it took time to build up an atmosphere of dread. It was basically four hours of character development, and I actually found the experience quite depressing. But those who found the first series overly sincere and boring (which, in fairness, will be many) will find a lot to embrace in Kingdom II, which develops the subtle streak of dark humour present in Series One and brings it to the forefront; indeed, against all expectations, Series Two is hilarious.

It's hard to talk about this change in tone without ruining any of the surprises, of which there are many, so let me give you some sample dialogue: "their pubic hair was dramatic", and, "I desire to become a duck, only a duck, nothing but a duck." Yes, and those are two of the saner moments, as we also have Dr. Moesgaard (Holger Juul Hansen) joining an alternative psychotherapy group hiding in The Kingdom's basement, whose leader seems to be as mad as anyone else. Hansen is hysterical in the part, kind of like the Danish Leslie Nielsen, dryly reacting to all the silliness occurring around him, seemingly a normal man suffering a deadpan breakdown in the midst of supernatural insanity.

Ernst-Hugo Järegård also returns as Dr. Helmer, still desperately trying to recover the information of the Mona case and also dealing with Hook's (Søren Pilmark) zombification, which leads to all sorts of comic evil (this isn't a spoiler by the way, it happens very early on). His stone-faced frustration and blunt hatred is still dramatically complex and oddly funny, and certainly in this series his character is played more for laughs, put into increasingly baffling situations, and his final hours - involving a mad-dash attempt to cover his tracks once and for all - is a real treat. I can't emphasize enough how welcome the humour is here; it also helps pick up the pace, which is a good thing for this terminally protracted series.

The Kingdom II feels much more confident than its predecessor and its audacity, while sometimes infuriating, makes for compellingly strange viewing. von Trier's tongue is firmer in cheek than ever, turning up as he does for a speech at each episode's end to slyly dig at the audience's expectations - at the end of the third episode he turns up holding a liver, and I'm again allowed to question how seriously anyone is taking the events of The Kingdom Hospital, which seems to be falling (literally) into the bowels of Hell itself.

A third series of The Kingdom was planned but sadly Järegård passed away in 1998 before production could begin. von Trier subsequently pursued his film career and during that time Kirsten Rolffes (who played Mrs. Drusse) and Morten Rotne Leffers (who played the male Down's Syndrome dishwasher) have also died, making the possibility of a third series now, fourteen years on, almost certainly impossible. It's a shame too, because the series' cliffhanger is one of its funniest and most thrilling moments, and a pure example of von Trier's individual genius, bound to antagonize but never to be forgotten...

The Disc/Extras
I discussed the muddy, sepia-inflected aesthetic in my Series One review, and that's back here, so it's hard to really subjectively comment on the transfer, which perfectly translates how von Trier and co. wanted the series to look, even if it that does mean it’s quite ugly. The visuals match the tone of the series perfectly though, and I know the aesthetic won't be for everyone, but the series has been handled with care, and it looks exactly how it should.

Extras are pretty solid actually, and about as quirky as you'd expect from The Kingdom. There's selected scene commentary, which is always fun, but most impressive are the featurettes, including your basic Making Of, 'In Lars von Trier's Kingdom', but most enjoyable is a 52-minute documentary called 'Tranceformer - A Portrait Of Lars von Trier', which even has the director providing commentary on his earliest experimental films, made when he was 10-years-old. A solid package.

If you'd like to buy the complete boxset of Series 1 and 2 of The Kingdom, and help 24FPS out at the same time, please use the link below. Thanks.

Jul 13, 2011

DVD Review: The Kingdom: Series 1 [18]

This review is by Contributing editor and E-Film Blog head honcho Michael Ewins

Have you ever wondered what happens to the patients in TV hospitals? If shows like Casualty, Scrubs and E.R. are to be believed then hospitals are places where doctors, surgeons and nurses hang out for quirky meet-cutes and primetime melodramatics, and patients are merely a day-to-day obstacle. I doubt that these are fair representations of hospital life, or are even trying to be, but those wondering about the patients in The Kingdom, Lars von Trier's cult series which ran for two seasons between 1994 - 1997, will find enough bloody mayhem to wish they'd never asked...

Right off the bat I'll make one thing clear: it's a difficult watch. Not just because the series is terminally protracted, thoroughly complex and deeply depressing, but also because of the muddied, sepia-inflected aesthetic which looks like it's been dug up from an Argentinean archive (bonus points if you get the reference). Fans of von Trier will be instantly at home with the look of the series, as it falls somewhere between The Element Of Crime (1984) and Idioterne (1998), recalling Tarkovsky as much as it does a series of home videos created by the characters in Harmony Korine's Trash Humpers (2009). The aesthetic does serve a specific purpose though, in that it adds a level of realism to the increasingly disturbing events, and enhances the dread-soaked atmosphere. For those unacquainted with the Danish provocateur, however, it may just feel like drudging through deathly treacle, and its ugliness will be off-putting.

Each episode opens on a wooden plaque reading 'THE KINGDOM', before a torrent of blood breaks through and gushes toward the screen, recalling that classic elevator scene in Kubrick's The Shining (1980). From here we explode into a none-more-90's title sequence which is about as tongue-in-cheek as the epilogue to each episode, delivered by a suited von Trier who can't decide whether to be devilishly sly or annoyingly condescending. Either way these moments always end with von Trier asking us to return to The Kingdom, where we'll need to take "the Good with the Evil", and instantly we question how seriously anyone is taking this story.

Ah, the story. It's far too complicated to fully synopsize here, but I'll give it a go. Each episode begins with a beautiful prologue detailing how The Kingdom hospital came to be built on the site of "bleaching ponds" - we always end on the same shot of hands rising from the damp ground, as if to suggest the reawakening of dead souls. Head neurosurgeon Stig Helmer (Ernst-Hugo Järegård) has recently been re-appointed to The Kingdom from a position he held in Sweden, and his plot arc follows the repercussions of a failed operation on a girl named Mona, who has become disabled from a mysterious error which he wants to keep hidden. While he clashes with the hospital staff and is inducted into the hospital's mysterious cult, The Brotherhood, a spiritual woman named Sigrid Drusse (Kirsten Rolffes) is admitted to the ward. She's not really ill, but senses the spirit of a restless young girl in the hospital, whose fate may have been murderous. Perhaps the best way of summarizing the show is to describe it as the Danish Twin Peaks, for there are great tonal similarities.

If you invest in The Kingdom from the beginning then you'll be richly rewarded. Series One consists of four episodes, totalling 300 minutes, and three-quarters of that time is dedicated to character development. The pace is incredibly slow but I appreciated the time von Trier allowed us with each character, and you'll be glad for it too by the time the final half hour rolls around, which is absolutely off-the-rails bonkers and demands a certain level of sacrifice by the viewer. What allows you to make this sacrifice is the quality of the writing and acting. Every character is fully rounded and given an engaging mystery, and you'll always be questioning their motives, which gives every scene a certain level of unpredictability. There's also a great deal of variety to each episode as it flits between austere drama and full-on horror, with the majority of time spent in dank corridors, misty locales and elevator shafts.

But what I loved most of all, perhaps, was the show's sense of humour. von Trier has always been an antic-loving provocateur, as proven by the orgy scene in Idioterne and the talking fox in Antichrist (2009). The Kingdom has an incredibly subtle streak of dark humour, which is best personified by an on-going gag about a missing head, and certainly its owner is warped to the point of uncomfortable hilarity. von Trier also makes a peculiar leap into full-on sitcom for the show's finale, as a tour of the hospital turns into a demented set-piece which has to be seen to be believed, and could only involve Udo Kier. I don't quite know what to make of it, but I know I can't wait for Series Two.

All extras will be reviewed along with Series Two.

If you'd like to buy the complete boxset of Series 1 and 2 of The Kingdom, and help 24FPS out at the same time, please use the link below. Thanks.