Bill_Bones Reviews

Drop Dead Gorgeous (2006– )

The most entertaining drama on the BBC in years.

[15 October 2007]

Personally I'd given up on the beeb ever producing a solid working class drama again. So when I glimpsed Drop Dead Gorgeous' first series when it repeated on BBC1 I thought it must be a British film that had previously passed me by but to my surprise it was a series.

And what a series it is. Cracking along at a pace more in line with Channel Four's output, yet grounded with a definite representation of real life, it manages more in its hour slot than some movies. It's so good to see the beeb producing TV that is consistently funny, exciting and moving whilst feeling highly contemporary. Seeing as the people behind the show are credited with the likes of Shameless it's not hard to see where this bold style of drama is coming from.

With only one episode currently remaining it's obvious that, with the right exposure, the first two series of Drop Dead Gorgeous will be regarded as TV gold.

Driving Lessons (2006)

Utterly Predictable

[24 August 2007]

I knew that this film wasn't going to be a work of genius before watching it but I hadn't counted on it being so incredibly average. With plenty of talented performers and an interesting premise it's an incredible shame that Driving Lessons only ever hits one note.

Grint's Ben is neither funny or particularly sympathetic. The potential layers and emotional depth to this shy character are completely bypassed for repetitions of his simplicity and niceness. One of the most frustratingly unmotivated characters in recent cinema history, Ben's unconvincing drippiness is most emphasised in a four minute romance that tells us nothing about his character other than, you guessed it, he's a bit shy and nice.

Throughout we're aware of Grint's talent hiding somewhere, trying to get out but the stalled script simply won't let him. Such a shame. Walters actually has very little to do, her character equally one dimensional. Where's the wit? The aim is for an intelligent woman yet we get no sense of that and instead we just get a bit sweary and nice.

The film's biggest fault is that it feels totally under directed, no choices seem to have been made. There's no edge to dialogues, no genuine meaning or subtext resulting in a pic with all the depth of a puddle.

Why do British films keep giving us dated portrayals of, supposedly, contemporary middle England? Christian community in outer London? Hmmm.... I don't think most people here know anyone like Linney's character. Which would be fine were she not a one note monster. I want to know how Ben feels about his religious belief in the wake of her actions but I came away from the movie having learnt nothing about him.

Words fail me in the face of a film with as much potential as this being so unremittingly crap. For a teen, coming of age comedy this is a very bland, unadventurous pic. A very badly made one too. Such a shame.

The New World (2005)

Malick's wonderful visual poetry with unsatisfying script

[5 November 2006]

Reading the reviews describing this movie clearly reveals that it was badly marketed. Perhaps it needed to be. However it is intriguing how far people's expectations differed from the actual film. I would have assumed that Malick was enough of an auteur for most people to know what they were expecting. Evidently not; his name doesn't seem to appear on the cover of my DVD...

Badlands, Days of Heaven and The Thin Red Line are amongst the most important cinematic treats out there, so why is this only an 8 out of 10 film? Well, strangely, The New World appears as both his most compromised and his most meandering work. Not a good mix, especially for the *ahem* "average" cinema goer. The seemingly compromised element, in my opinion, lies in the rating. Malick's magic rawness is just a little too timid here. The film simply isn't as terrifying in its depiction of violence and deprivation as it needs to be. Also the softly-softly-she's-underage approach to the central love affair doesn't have very far to go after the initial electrifying encounters.

The meandering is not a problem for anyone with half a brain. It's just not quite as satisfying a narrative as it could have been. The way Malick has explored themes in previous films is what makes him a genuine artist. Here that approach starts slowly and doesn't quite hit his previous highwater mark.

Malick's use of editing, almost as prose uses tenses, was first really started in Days of Heaven. By The Thin Red Line the juxtapositions this effect created made for stunning, eloquent cinema. Here, though, they serve to muddle character motivations. You could blame Colin Farrell for not giving enough but I think he does a very solid job. No, I think this is just a plain script issue. A script that might have been well served by a touch more intention.

However, there are moments in this film that, unless you're braindead or have no soul, will catch your breath at their beauty. This isn't some wry, overly intellectual piece of art; no this is straight to the gut, sobbing like a baby art. The genuinely magical interaction between light, sound, music and performance is as haunting as ever. Q'Oriaanka Kilcher delivers something amazing here; fresh with amazing innocence and deep, knowing sorrow. Farrell conveys a similar depth of joy and sadness that really makes their love believable.

Malick's The New World is that rare cinema treat: art made at a Hollywood budget and it deserves to be seen for that alone, even though it is not his most satisfying work. The story simply muddles character motivation instead of complicating it. If you're willing to exchange that for a sensitive collection of poetic moments you'll be happy. If not do not see it. Simple as.

It is sad that so many people hate it, quite what they expected I don't know. An action epic with goodies and baddies? Surely not... No one's that stupid... Are they?

The Football Factory (2004)

Yet another Brit flick that is like watching a first draft script

[22 August 2006]

You can't make a good film from a bad script as is the case here. The script is just underdeveloped, come the end of the film you just don't get that "satisfaction" feeling that you're supposed to, that you need to. Why? Because the themes are badly explored, plot trails go nowhere and, most of all, we can't really get a hook into any of these characters. Even with hard-nosed content like this we should still be able to care about someone. Here the opposite it is true and in the film's final moments we even find ourselves cheering a character we've only briefly glimpsed.

A good example is the Bill character overhearing a plot by the other head guys to keep him out for being unreliable. This dramatic moment of undoing for the character should signal later events but nothing comes of it. There are lots of these unpaid moments which amounts to poor scripting.

The British representation is very true to life. It looks so much like the Britain we all know yet never rises above it enough to become a proper movie. Obviously the budget is less than an episode of EastEnders and the fact it looks to be shot on video doesn't help. You can't really have dream moments in a film like this, it's just not "magical" enough. The grandad subplot is also completely at odds with the rest of the film's unrepentant hooligan theme leaving really messy results.

The dialogue in this film is too pedestrian, lacking comedy or sparkle. The narration is of the most intrusive and expository type. The "action" scenes weren't a patch on Gangs of New York. The unrepentant themes are jarred badly by the closing moments and there is no real exploration of why these normal people need to do this.

If the Football Factory had been funnier and less afraid of the tragedy it might have been a great film. As is you're just left with one of those messy, mismatched genre films that is evidence of the British Film Industry's consistent mistake of filming too raw and unsatisfying a script.

Suburban Shootout (2006–2007)

There's only one joke in this awful sitcom

[19 June 2006]

Suburban Shooutout only has one joke and you guessed it it's the one in the title. If you find it hilarious that middle England housewives are in fact gun slinging gangsters and feel like having that gag rammed down your throat in various different ways for half an hour then this might be the show for you. Most will hate it. Or just not notice it.

The worst aspect is the characterisation. It's non existent. Everyone is one dimensional and there are no motivations based in reality. The relationship between the main dippy woman and her husband, the copper played by Ralph "Finchy" Inneson, is the most stupidly unbelievable thing going.

Basically it's kids' TV. Bad kids' TV at that. Awful and unfunny. Could have been good if there was anything beyond the "hilarious" premise but there's not. Avoid.

The Village (2004)

Lots of Good, Some Bad

[19 June 2006]

The Village is an interesting film, in so much as it was still surprising after the signature "twist". Instead it remains in the illusion and sat watching the credits was a strangely emotional feeling as a result. Bravo for a subtle sized resolution, it really hit the spot for me. Also the score is gorgeous.

The bad? Well the exposition and set-ups of the plot were just a little too clumsy for me. The plot could have been built on much more solid foundations in my opinion. Also Adrian Brody's character could have done with a bit more depth to explain what he does. Flashbacks in this case stifle the pace but do keep you intrigued; to the point of frustration. The dialogue worked sometimes but not others, perhaps it should have cracked a bit in the elders?

Overall though this is very worthwhile movie. The note it finishes on for its theme of innocence, I found quite striking. DO NOT expect any real horror movie conventions though, you've got the wrong film for that. Oh and that score in DTS is worth the rental even if you have doubts. Watch. Make your own mind up.

Top Buzzer (2004– )

Better than "Ideal"

[30 June 2005]

Top Buzzer is an MTV sitcom about young people in a flat share, weed selling world. It's all quite light hearted and fun. The episode plots keep you watching and the humour is classic character based stuff as opposed to the Cheech and Chong element that the premise suggests. Stephen Graham is engaging as the main character, James Lance is James Lance and slightly grating in his middle class-ness, but it's well mocked in an episode with his parents visiting. Daniel Mays has a great turn as the idiot character Carlton. Surely the star though is the gruff, gay Scottish dealer (whose name I can't find...) He really sets the tense, daft tone of this series and ensures it's very solid comedy. It's not quite a classic, it can (surprisingly) get quite sugary and feels a tad sentimental in that episodes often end with a cosy everyone-laughing-on-the-sofa-together moment. So yea not award winning comedy but definitely worth watching.

This came on at the same time as "Ideal" on BBC3, both share pretty much the same premise and I have to say that this is better by a considerable margin. Ideal is fun in a darker way but Top Buzzer is both fun and funny. I doesn't seem to have been seen by many people which is a shame. Try and catch repeats, it's definitely worth it.

Game-On (1995–1998)

Definitive 90's Brit sitcom.

[30 June 2005]

"Game On" stands the test of time and really feels like a little turning point into the twentysomething sitcoms that pretty much dominate these days. I must confess to basing the vast majority of my opinion on Series One alone. Ben Chaplin, I feel, gave the show a bit more of an edge in that he was actually a very convincing bully and there was darkness in his issues that made the show really buzz. Equal credit should go to Matt Cottle and Samantha Janus. All of them nail the lines perfectly. The comedy from just the audio delivery of words like "shag" is fantastic on a simple level but the character depth boils on a consistent level as well. Game On was dark stuff and rarely resolved cheerfully, but in terms of biting character stuff it's as good as the format got.

My knowledge of the later series is a bit sketchy but I seem to remember it feeling slightly less relevant and slightly more daft. However the show was always visually convincing despite being studio audience based (everything was in 1994). I think that the show has aged really well, I have fond memories of watching it at the age of 14 and it being brilliant and it still is.

Rushmore (1998)

THE intelligent feel good movie.

[2 May 2005]

What I would've done to see this on the big screen.

How well Anderson holds the line of gentle mockery of this school boy's over dramatics is the genius of this film, you really feel for the character. Juxtaposed with Bill Murray's sensitive steel millionaire Jason Scwartzman fills Max Fishcer with huge energy. This film is such a brilliant reflection of the vibrancy of being 15 and in a beautiful school that you can so happily exist in it for those 90 minutes time and time again.

I could go on and on... This is the only film I know that manages to cheer you up without feeling trite.

Wes Anderson's keen relationship with sorrow and sentimentality makes him far and away the most watchable contemporary American auteur.

Love Actually (2003)

The worst British film in living memory.

[12 February 2005]

This film is as bad as cinema gets, I left the screen in utter disbelief at just how terrible it was.

This is a film made for people who don't go to the cinema. People who don't want to be surprised by a movie, people who want it to be EXACTLY as it lays it out in the trailer. It's the most contrived product of the British film industry that I can remember. Every character is derivative of the actors' previous roles and actually damages them as a result. Watch the trailer - there's very little more in the finished film.

Might the film be too mushy? Heck let's throw in some of the usual Dickie Curtis toffee English swearing stuff to give it a bit of credibility. The use of the intertwined stories is pathetic as they are barely tied together by anything solid. Taken alone each individual strand is worthless - recognise the geeky guy off My Family? In his story he can't get a girlfriend in England so goes to America where chicks love the accent, he pulls there - end of story (although the word story barely counts.) The British/American integration perhaps represents the most contrived aspect especially the oh so very convincing World Leaders.

Hey Hugh Grant does a funny dance!! Fantastic stuff!! Honest!! This is with a doubt the worst cinema going experience I've ever had. It took me six months before I could face going back.

I enjoyed Four Weddings and was fond of Notting Hill and there's no denying the acting talent trying to make something, anything of this awful unfunny mess but it just feels like you're watching a first draft script of a really pointless idea. The attempts at the cultural context of 9/11 are so toe curlingly embarrassing it hurts. Curtis is a bad director by any standard. This is TV on the big screen, a film made for people to stick on at Christmas in the "background" - it was made to be bland and meaningless.

The worst thing though is that Richard Curtis knows that this is a bad film. He chooses Bill Nighy's ageing rock star as his "vehicle" - the character is releasing a cover of "Love is All Around" which is a rehash of Curtis' Four Weddings soundtrack song (much as this film is a rehash) At one point Nighy's character admits that the song is awful - but who cares it Christmas? It is obvious that this directly represents Curtis' own view on the film... It's rubbish but hey it's Christmas.

Curtis is laughing all the way to the bank, laughing at everyone buying into his "rubbish" product.

My Summer of Love (2004)

Good looking but completely unsatisfying.

[9 February 2005]

This could have been really good.

My Summer of Love is a film that I felt certain I would adore but in the end I was completely let down. The visual style is initially very engaging and the cinematography of Northern England is gorgeous, however the themes are ambiguous and never really go anywhere. Apparently writer/director Pawel Pawlikowski "threw out" the script and worked with the improvisations of the two lead actresses (Nathalie Press and Emily Blunt) It certainly shows - dialogue lines that feel as though they should have meaning don't and certain scenes feel pointless. As the film progresses it doesn't really take you any where surprising. There is something very outdated and sort of Miss Marple like about the working class Mona's meeting with beautiful public school girl Tamsin, who is home for the summer. It's all very dreamy, which I was looking forward to, but so unfocused dramatically that you can't help but feel bored.

One of the biggest problems, though, is that the characters are dull, pretentious and generally unpleasant without any real exploration or turn around. Nothing is learnt by the end of the film. No concise theme has been explored and resolved. A plot twist comes in at the end that was very easy to spot by about 40 minutes. All in all it's a very unsatisfying experience. Only the underused Paddy Considine comes away with some credibility.

I really wanted to like this film. I love similar British stuff (Lynne Ramsay's Ratcatcher and Morvern Callar spring to mind as classics) so it was a real disappointment. I fear that the director, like his characters, may be a tad pretentious explaining why he'd get booted off "Sylvia". Pawlikowski could have made something fantastic had the script been developed into solid story. This film is a real testament to why feature scripts need to be well thought out and structured and not just chucked in the bin because without a good story you leave the cinema with that horrible, bitter taste of having lost 2 hours.