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Lonely Planet England
Lonely Planet, Neil Wilson, Fionn Davenport and Oliver Berry
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Lonely Planet: The world's leading travel guide publisher Lonely Planet England is your passport to...
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Lonely Planet, Marc Di Duca, Neil Wilson and Oliver Berry
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Lonely Planet: The world's leading travel guide publisher Lonely Planet Great Britain is your...
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Cherry Red Records is delighted announce the long-awaited newly remastered and expanded deluxe...
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Movie Metropolis (309 KP) rated Dad's Army (2016) in Movies
Jun 11, 2019
Full of wasted British talent
I may be fairly young in years, but I grew up around comedies like Only Fools & Horses, One Foot in the Grave and of course Dad’s Army. I remember many evenings sitting at home with my dad as he cried with laughter at all three, though it was the latter’s influence that stuck with me the most.
Now, Dad’s Army like so many classic TV shows is getting the silver screen treatment, but does this modern-day reimagining, with an all-star British cast live up to the series that delighted so many for so long?
The movie adaptation of Dad’s Army follows on from the TV series, taking place just before the Second World War comes to an end. In Walmington-On-Sea, the Home Guard, led by Captain Mainwaring must track down a German spy, who is intent on swaying the war in their favour.
A whole host of British talent, young and old, star and each and every one of them slots perfectly into the well-worn shoes of classic characters. From Michael Gambon’s effervescent performance as Godfrey and Toby Jones’ faithful portrayal of Mainwaring to Inbetweeners star Blake Harrison taking on the role of Pike, it feels as though the casting team really put a lot of thought into getting the characteristics right.
It doesn’t stop there, Welsh beauty Catherine Zeta Jones, TV favourite Sarah Lancashire and Victor Meldrew’s long-suffering wife Margaret (Annette Crosbie) all make appearances for the fairer sex, with each bringing something to the table.
The scenery is beautiful, filmed just a couple of hours up the road in Bridlington, East Yorkshire, the normally vibrant seaside town is transformed into 1940s Walmington with an enviable amount of detail. Elsewhere, the White Cliffs of Dover are replicated exceptionally at Flamborough on the east coast.
Unfortunately, the story is a little on the light side, barely managing to stretch to the film’s slightly overlong running time. This is an issue that blights many TV to film projects and it feels like this unbelievably talented cast is somewhat wasted with a fairly run-of-the-mill plot.
It also feels like the comedy is on rations. Yes, it’s nostalgic with constant references to its small-screen counterpart, but it comes across like the producers were too busy trying to shoehorn as many elements of the TV series into the film, without concentrating on what Dad’s Army was all about – laughs.
Nevertheless, there is plenty to enjoy despite a lack of giggles. The acting is, as said previously, remarkable with fans of the series and newcomers alike being able to enjoy the warm, typically British feeling these thespians bring to the film.
Overall, Dad’s Army is a decent, albeit slightly underwhelming, effort in bringing one of the most popular TV shows of all time to the big screen. Its talent and casting are undeniable and the filming style is very impressive, but a lack of attention to the plot and a comedy drought stop it short of achieving what it clearly set out to do.
https://moviemetropolis.net/2016/02/07/full-of-wasted-british-talent-dads-army-review/
Now, Dad’s Army like so many classic TV shows is getting the silver screen treatment, but does this modern-day reimagining, with an all-star British cast live up to the series that delighted so many for so long?
The movie adaptation of Dad’s Army follows on from the TV series, taking place just before the Second World War comes to an end. In Walmington-On-Sea, the Home Guard, led by Captain Mainwaring must track down a German spy, who is intent on swaying the war in their favour.
A whole host of British talent, young and old, star and each and every one of them slots perfectly into the well-worn shoes of classic characters. From Michael Gambon’s effervescent performance as Godfrey and Toby Jones’ faithful portrayal of Mainwaring to Inbetweeners star Blake Harrison taking on the role of Pike, it feels as though the casting team really put a lot of thought into getting the characteristics right.
It doesn’t stop there, Welsh beauty Catherine Zeta Jones, TV favourite Sarah Lancashire and Victor Meldrew’s long-suffering wife Margaret (Annette Crosbie) all make appearances for the fairer sex, with each bringing something to the table.
The scenery is beautiful, filmed just a couple of hours up the road in Bridlington, East Yorkshire, the normally vibrant seaside town is transformed into 1940s Walmington with an enviable amount of detail. Elsewhere, the White Cliffs of Dover are replicated exceptionally at Flamborough on the east coast.
Unfortunately, the story is a little on the light side, barely managing to stretch to the film’s slightly overlong running time. This is an issue that blights many TV to film projects and it feels like this unbelievably talented cast is somewhat wasted with a fairly run-of-the-mill plot.
It also feels like the comedy is on rations. Yes, it’s nostalgic with constant references to its small-screen counterpart, but it comes across like the producers were too busy trying to shoehorn as many elements of the TV series into the film, without concentrating on what Dad’s Army was all about – laughs.
Nevertheless, there is plenty to enjoy despite a lack of giggles. The acting is, as said previously, remarkable with fans of the series and newcomers alike being able to enjoy the warm, typically British feeling these thespians bring to the film.
Overall, Dad’s Army is a decent, albeit slightly underwhelming, effort in bringing one of the most popular TV shows of all time to the big screen. Its talent and casting are undeniable and the filming style is very impressive, but a lack of attention to the plot and a comedy drought stop it short of achieving what it clearly set out to do.
https://moviemetropolis.net/2016/02/07/full-of-wasted-british-talent-dads-army-review/
Lee (2222 KP) rated Wolfwalkers (2020) in Movies
Oct 12, 2020
Wolfwalkers is the latest animated offering from Irish based studio, Cartoon Saloon. I’m actually ashamed to say that before watching Wolfwalkers, I was pretty unfamiliar with their previous Irish folklore offerings - The Secret of Kells (2009) and Song of the Sea (2014) - but having seen this latest animated feature, it’s a mistake that I will be looking to correct as quickly as possible.
Wolfwalkers is set in Kilkenny, Ireland (which is also the home of Cartoon Saloon!) during the 17th century. Robyn (Honor Kneafsey) has moved from Yorkshire with her father, Bill (Sean Bean) to the walled town, where Bill has been tasked by the rather menacing Lord Protector (Simon McBurney) to clear the surrounding forest of wolves. Once the forest is clear, the woodsmen can fell the trees and the farmers can start working the land.
There are signs everywhere, throughout the town and pinned to trees in the forest, showing a snarling wolf with a red cross drawn over it. A wolf attack on some woodsmen early on shows us just how dangerous the wolves are, and also introduces us to the Wolfwalkers that walk among them. With blazing eyes and fiery red hair, the Wolfwalkers are able to communicate with and control the wolves, calling them off their attacks on the humans. They also appear to possess magical healing abilities, using them to heal a wolf scratch on the chest of one of the men.
Robyn has dreams of following in her father’s footsteps and becoming a hunter as she practices her crossbow skills. So rather than work all day in the scullery, she decides to slip past the guards at the outer gate (no children are allowed beyond the town walls) and secretly follow her father out into the forest, watching him as he sets traps for the wolves. When she comes face to face with a wolf, it’s much smaller and a lot cuter than the ones we’ve seen before, and Robyn learns that it is, in fact, a young Wolfwalker named Mebh.
Robyn forms a bond with Mebh and discovers that when the Wolfwalkers sleep, they assume the body of a wolf, leaving their human body to sleep until they return in order to wake it up. Mebh is worried because her mother has been asleep for some time and her wolf form has not yet returned. Robyn learns that the Wolfwalkers are simply trying to defend the animals from the modern world that is encroaching on their forest and Robyn vows to help find her mother. A difficult task when the Lord Protector has given her father 2 days to clear the forest of wolves, and he isn’t listening to his daughter as she pleads with him to stop.
I found Wolfwalkers to be simply wonderful, with a captivating story full of twist and turns for both kids and adults to enjoy. It’s beautiful to look at too, utilising a watercolour style with rough pencil sketches visible in most of the characters and scenery only adding to its visual appeal. I was completely taken by surprise and just couldn’t fault it.
Wolfwalkers is set in Kilkenny, Ireland (which is also the home of Cartoon Saloon!) during the 17th century. Robyn (Honor Kneafsey) has moved from Yorkshire with her father, Bill (Sean Bean) to the walled town, where Bill has been tasked by the rather menacing Lord Protector (Simon McBurney) to clear the surrounding forest of wolves. Once the forest is clear, the woodsmen can fell the trees and the farmers can start working the land.
There are signs everywhere, throughout the town and pinned to trees in the forest, showing a snarling wolf with a red cross drawn over it. A wolf attack on some woodsmen early on shows us just how dangerous the wolves are, and also introduces us to the Wolfwalkers that walk among them. With blazing eyes and fiery red hair, the Wolfwalkers are able to communicate with and control the wolves, calling them off their attacks on the humans. They also appear to possess magical healing abilities, using them to heal a wolf scratch on the chest of one of the men.
Robyn has dreams of following in her father’s footsteps and becoming a hunter as she practices her crossbow skills. So rather than work all day in the scullery, she decides to slip past the guards at the outer gate (no children are allowed beyond the town walls) and secretly follow her father out into the forest, watching him as he sets traps for the wolves. When she comes face to face with a wolf, it’s much smaller and a lot cuter than the ones we’ve seen before, and Robyn learns that it is, in fact, a young Wolfwalker named Mebh.
Robyn forms a bond with Mebh and discovers that when the Wolfwalkers sleep, they assume the body of a wolf, leaving their human body to sleep until they return in order to wake it up. Mebh is worried because her mother has been asleep for some time and her wolf form has not yet returned. Robyn learns that the Wolfwalkers are simply trying to defend the animals from the modern world that is encroaching on their forest and Robyn vows to help find her mother. A difficult task when the Lord Protector has given her father 2 days to clear the forest of wolves, and he isn’t listening to his daughter as she pleads with him to stop.
I found Wolfwalkers to be simply wonderful, with a captivating story full of twist and turns for both kids and adults to enjoy. It’s beautiful to look at too, utilising a watercolour style with rough pencil sketches visible in most of the characters and scenery only adding to its visual appeal. I was completely taken by surprise and just couldn’t fault it.
The Art of Losing by The Anchoress
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AWARD-WINNING WELSH MULTI-INSTRUMENTALIST THE ANCHORESS RETURNS WITH HER CRITICALLY ACCLAIMED SECOND...
Bob Mann (459 KP) rated The Death Of Stalin (2017) in Movies
Sep 29, 2021
Death…. Torture…. Child Abuse…. LOL??
Armando Iannucci is most familiar to TV audiences on both sides of the pond for his cutting political satire of the likes of “Veep” and “The Thick of It”, with his only previous foray into directing movies being “In the Loop”: a spin-off of the latter series. Lovers of his work will know that he sails very close to the wind on many occasions, such that watching can be more of a squirm-fest than enjoyment.
Rupert Friend (centre) tries to deliver a eulogy to his father against winged opposition. With (from left to right) Michael Palin, Jeffrey Tambor, Steve Buscemi and Simon Russell Beale.
It should come as no surprise then that his new film – “The Death of Stalin” – follows that same pattern, but transposed into the anarchic and violent world of 1950’s Russia. Based on a French comic strip, the film tells the farcical goings on surrounding the last days of the great dictator in 1953. Stalin keeps distributing his “lists” of undesirables, most of who will meet unpleasant ends before the end of the night. But as Stalin suddenly shuffles off his mortal coil, the race is on among his fellow commissariat members as to who will ultimately succeed him.
Stalin…. Going… but not forgotten.
The constitution dictates that Georgy Malenkov (an excellently vacillating Jeffrey Tambor) secedes but, as a weak man, the job is clearly soon going to become vacant again and spy-chief Lavrentiy Beria (Simon Russell Beale) and Nikita Khrushchev (Steve Buscemi) are jostling for position. (No spoilers, but you’ll never guess who wins!). Colleagues including Molotov (Michael Palin) and Mikoyan (Paul Whitehouse) need to decide who to side with as the machinations around Stalin’s funeral become more and more desperate.
The film starts extremely strongly with the ever-excellent Paddy Considine (“Pride”) playing a Radio Russia producer tasked with recording a classical concert, featuring piano virtuoso Maria Yudina (Olga Kurylenko, “Quantum of Solace”). A definition of paranoia in action!
Great fingering. Olga Kurylenko as Yudina, with more than a hand in the way the evening’s events will unfold.
We then descend into the chaos of Stalin’s Russia, with mass torture and execution colouring the comedy from dark-grey to charcoal-black in turns. There is definitely comedy gold in there: Khrushchev’s translation of his drunken scribblings from the night before (of things that Stalin found funny and – more importantly – things he didn’t) being a high point for me. Stalin’s children Svetlana (Andrea Riseborough, “Nocturnal Animals”) and Vasily (Rupert Friend, “Homeland”) add knockabout humour to offset the darker elements, and army chief Georgy Zhukov (Jason Isaacs, “Harry Potter”) is a riot with a no-nonsense North-of-England accent.
Brass Eye: Jason Isaacs as the army chief from somewhere just north of Wigan.
Production values are universally excellent, with great locations, great sets and a screen populated with enough extras to make the crowd scenes all appear realistic.
Another broad Yorkshire accent: (the almost unknown) Adrian McLoughlin delivers an hysterical speaking voice as Stalin.
The film absolutely held my interest and was thorougly entertaining, but the comedy is just so dark in places it leaves you on edge throughout. The writing is also patchy at times, with some of the lines falling to the ground as heavily as the dispatched Gulag residents.
It’s not going to be for everyone, with significant violence and gruesome scenes, but go along with the black comic theme and this is a film that delivers rewards.
Rupert Friend (centre) tries to deliver a eulogy to his father against winged opposition. With (from left to right) Michael Palin, Jeffrey Tambor, Steve Buscemi and Simon Russell Beale.
It should come as no surprise then that his new film – “The Death of Stalin” – follows that same pattern, but transposed into the anarchic and violent world of 1950’s Russia. Based on a French comic strip, the film tells the farcical goings on surrounding the last days of the great dictator in 1953. Stalin keeps distributing his “lists” of undesirables, most of who will meet unpleasant ends before the end of the night. But as Stalin suddenly shuffles off his mortal coil, the race is on among his fellow commissariat members as to who will ultimately succeed him.
Stalin…. Going… but not forgotten.
The constitution dictates that Georgy Malenkov (an excellently vacillating Jeffrey Tambor) secedes but, as a weak man, the job is clearly soon going to become vacant again and spy-chief Lavrentiy Beria (Simon Russell Beale) and Nikita Khrushchev (Steve Buscemi) are jostling for position. (No spoilers, but you’ll never guess who wins!). Colleagues including Molotov (Michael Palin) and Mikoyan (Paul Whitehouse) need to decide who to side with as the machinations around Stalin’s funeral become more and more desperate.
The film starts extremely strongly with the ever-excellent Paddy Considine (“Pride”) playing a Radio Russia producer tasked with recording a classical concert, featuring piano virtuoso Maria Yudina (Olga Kurylenko, “Quantum of Solace”). A definition of paranoia in action!
Great fingering. Olga Kurylenko as Yudina, with more than a hand in the way the evening’s events will unfold.
We then descend into the chaos of Stalin’s Russia, with mass torture and execution colouring the comedy from dark-grey to charcoal-black in turns. There is definitely comedy gold in there: Khrushchev’s translation of his drunken scribblings from the night before (of things that Stalin found funny and – more importantly – things he didn’t) being a high point for me. Stalin’s children Svetlana (Andrea Riseborough, “Nocturnal Animals”) and Vasily (Rupert Friend, “Homeland”) add knockabout humour to offset the darker elements, and army chief Georgy Zhukov (Jason Isaacs, “Harry Potter”) is a riot with a no-nonsense North-of-England accent.
Brass Eye: Jason Isaacs as the army chief from somewhere just north of Wigan.
Production values are universally excellent, with great locations, great sets and a screen populated with enough extras to make the crowd scenes all appear realistic.
Another broad Yorkshire accent: (the almost unknown) Adrian McLoughlin delivers an hysterical speaking voice as Stalin.
The film absolutely held my interest and was thorougly entertaining, but the comedy is just so dark in places it leaves you on edge throughout. The writing is also patchy at times, with some of the lines falling to the ground as heavily as the dispatched Gulag residents.
It’s not going to be for everyone, with significant violence and gruesome scenes, but go along with the black comic theme and this is a film that delivers rewards.
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Modern Walking Guides in the Palm of Your Hand "Great app - been looking for a good walking route...