Alec Secareanu scorches in The Bike Thief, the moodily effective debut film from Matt Chambers
“No bike, no job. No job, no money. No money, no flat.”
Using Vittorio De Sica’s 1948 neorealist classic The Bicycle Thieves as a starting point, debut writer/director Matt Chambers really makes his mark with the slow-burning The Bike Thief. Anchored by a scorchingly good performance from God’s Own Country‘s Alec Secareanu, it lays bare just some of the realities of working class life in modern-day Britain and just how close to the edge it forces people to live.
Secareanu’s nameless rider is a Romanian father of two, living cheek by jowl with each other in a London tower block. Their physical closeness might be enforced but emotionally they’re tight too. So when his moped is nicked, the ride on which he delivers pizzas, takes his teenager to school and his wife to her cleaning jobs, the precarious balance of their lives is seriously threatened. Continue reading “Film Review: The Bike Thief (2020)”
Helen McCrory and Maxine Peake help elevate Messiah – The Harrowing to arguably the series’ devastatingly effective high point
“See beyond the victim, see the killer”
The first series of Messiah is certainly one of the best, setting the wheels in motion for an effective crime series, but I’d argue that it is the fourth instalment Messiah – The Harrowing that is the best of them all. The arrival of a new writer – Terry Cafolla – releases the show from the baggage of its legacy which seemed to weigh the last series one and produces something that is really, well, harrowing.
Harking back to that first series and its connecting device of people being killed in the style of the Apostles, the murderous connection here ends up being Dante’s The Divine Comedy and its descent into hell. And weighted around the death by suicide of the daughter of one of their colleagues, Red and his team (with Maxine Peake’s DS Clarke now in for a retired Kate) find themselves once again up against the darkest parts of human nature. Continue reading “TV Review: Messiah – The Harrowing (2005)”
Full of shocks that actually mean something, Series 5 of Spooks is one of its absolute best
“The British people will accept anything if you serve it up with a picture of Will Young in the shower”
A cracking series of Spooks that starts off with a series of bangs, robbing Colin of his life and Juliet Shaw of her ability to walk, the introduction of Ros Myers to the team is an invigorating success, particularly as she inspires Jo to become more badass too. This incarnation of the team really does click well, responding smoothly to the enforced changes in personnel, though newly single father Adam’s mental health crisis too often feels like a plot device rather than a genuine exploration of PTSD.
Subject-wise, the relevance level remains high, particularly pertinent when it comes to national crises with panic buying and over-stuffed hospitals feeling all too real. The role of fundamentalist zealots is shared equally between Christian and Islamic believers over the series and even if the finale underwhelms somewhat, the eco-terrorism theme hasn’t become any less significant.
I’m still not over it, the defenestration of Ruth Evershed. Having finally made it to a date with Harry, which went about as well as could be expected, she runs up against a murderous Oliver Mace conspiracy and ends up having to fake her own death to protect Harry and ends up fleeing the country. An ignominious end for the heart of the team. Continue reading “Lockdown TV Review: Spooks Series 5”
I succumb easily to the charms of Paddington 2 and Hugh Grant having the time of his life
“Exit bear, pursued by an actor”
In a year when sequels have outperformed expectations (at least mine anyway), I should have heeded the signs that Paddington 2 heralded back last winter that sequels were ‘in’. Paul King’s follow-up to his 2014 warm-hearted original, reintroducing us to our ursine Peruvian hero, occupies a similar space of resolutely British family films that are a cut above.
Written by King and Simon Farnaby, the film is unafraid to take its audience seriously and for every adorably sweet sequence, there’s genuine peril and even darkness in there too. Hugh Grant is the main antagonist, an actor called Phoenix Buchanan who has been reduced to making dog-food adverts and his ne’er-d-well ways see Paddington framed for a crime he did not commit. Continue reading “Review: Paddington 2 (2017)”
“Time will tell, it always does”
Phew, the Doctor Who rewatch comes to an end with the most recent series, another that I hadn’t seen any of since it originally aired. And again it was one of highs and lows, a frustrating sense of pick and mix that never settles. So from the astonishing bravura of the (practically) solo performance in Heaven Sent to kid-friendly quirks of the sonic sunglasses and guitar playing, Capaldi took us from the sublime to the silly. Fortunately there was more of the former than the latter (although it is interesting that my memory had it the other way round).
Part of it comes down to knowing in advance how the hybrid arc plays out (disappointingly) and a little perspective makes Clara’s departure(s) a little less galling. This way, one can just enjoy the episodes for what they are, free from the weight of the attempted mythologising. The Doctor raging against the futility of war, the wisdom (or otherwise) of forgiveness, the repercussions of diving in to help others without thinking through the consequences…it is often excellent stuff. It’s also nice to see Who employ its first openly transgender actor (Bethany Black) and a deaf actor playing a deaf character (Sophie Stone). Continue reading “Countdown to new Who: Doctor Who Series 9”
“You wouldn’t see Harold Pinter pushing vans down the street”
It is more than 15 years since Maggie Smith starred in Alan Bennett’s The Lady in the Van in the West End but one can only imagine that the intervening years have deepened and enriched her performance as in this cinematic version, directed by Nicholas Hytner, she is just fantastic. The titular lady is Miss Shepherd, a cantankerous homeless woman who sets up shop on a Camden street in her junk-filled camper van and strikes up an unlikely friendship with Bennett, in whose driveway she eventually convinces him to let her park.
This happened in real life to Bennett, she spent 15 or so years there in the end, and amping up the realism, the film was shot on location in the real street but it is also a highly theatrical version of events. Alex Jennings plays two iterations of Bennett, one the somewhat timid man, the other the acutely observational writer inside, and they often argue with each other, disagreeing on whether things happened a certain way, and debating his various reasons for letting Miss Shepherd so totally into his life. Continue reading “Film Review: The Lady in the Van”
“They weren’t lies, they were well researched stories that later turned out not to be true”
Just a quickie for this unexpected revisit to Great Britain. I hadn’t intended to go back to this Richard Bean play, which made a rapid transfer from the National Theatre to the Theatre Royal Haymarket after its up-to-the-minute emergence on the schedule after the culmination of a certain trial involving a certain Eastender-star-bashing redhead. But the offer of a good ticket and the chance to see Lucy Punch – of whom I’ve heard much but never seen on stage – tempted me once again into this murky world of tabloid junkies.
My original review can be read here and if anything, I think I might have been a little kind to it. The play hasn’t aged well, even in the six months since it opened as the fast-moving world of political, institutional and journalistic scandal moves on so quickly IRL that this fictional version already seems quaint. Add in that its bite has been evidently neutered by legal threats and its intelligence barely scrapes the surface of the ethical issues at hand, and it’s a bit of a damn squib for me. Punch was good though.
“That’s what we do, we destroy lives…but it’s on your behalf, because you like to read about it”
It’s not quite Beyoncé releasing her latest album without prior notice but it’s not far off. Richard Bean’s new play for the National was something of an open secret even if its specifics were unknown but still, announcing it with five days’ notice and no previews is a pretty bold move. What Great Britain has going for it though is a right-up-to-the-minute immediacy as Bean responds with speed to the scandals that have engulfed certain sections of the tabloid media in recent times and a court case that may or may not have just reached a verdict…
We’re in a satirical, pseudo-recognisable world – a ratings-hungry red-top (called The Free Press) is owned by a foreign-born media mogul who wants to buy a television station (an Irishman called Paschal O’Leary if you will) and has a fiercely ambitious news editor at its helm (a blonde woman called Paige Britain, she didn’t say she was “vindicated” so I have no idea who she was meant to be…). Manipulating their way to a position of huge influence with both Police and Parliament under their thumb, it seems nothing could go wrong. That is, until a little thing called phone hacking breaks into the national consciousness. Continue reading “Review: Great Britain, National Theatre”