Joe's Palace, dreadful acting, dreadful dialogue, dreadful people, dreadful music.
It thinks it's really deep and moving but it isn't.
Boring boring boring.
And often utterly ridiculous - an old man in his 70s returns to a castle, and a canoe in which he sailed around the castle with his father, when he was still a child, is still in exactly the same place and in rowable condition. Yeh, right.
Gambon says the word 'Joe' in practically every sentence he utters. Yes, we know what the lad's name is, thank you.
Gambon's character whining on self-indulgently.
A clandestine affair that is only here for the vapid sex scenes. Despicable people.
The revelation towards the end is obviously truly horrible and disgusting - and genuinely upsetting - but even here the unnecessary dialogue nearly kills its power.
It's like Poliakoff doesn't trust his audience to know what his characters are thinking and feeling - they have to verbalise absolutely everything.
So much for the old dictum "Don't tell, show".
The self-indulgent suicide attempt evokes no empathy - if you're that sorry give all your money back to Jewish Holocaust organisations.
Additionally there is an incredibly irritating special feature interview with Poliakoff who says "um" all the time, has an unwarranted unshakeable confidence in his work and talks the usual guff that people do in these interviews.
It thinks it's really deep and moving but it isn't.
Boring boring boring.
And often utterly ridiculous - an old man in his 70s returns to a castle, and a canoe in which he sailed around the castle with his father, when he was still a child, is still in exactly the same place and in rowable condition. Yeh, right.
Gambon says the word 'Joe' in practically every sentence he utters. Yes, we know what the lad's name is, thank you.
Gambon's character whining on self-indulgently.
A clandestine affair that is only here for the vapid sex scenes. Despicable people.
The revelation towards the end is obviously truly horrible and disgusting - and genuinely upsetting - but even here the unnecessary dialogue nearly kills its power.
It's like Poliakoff doesn't trust his audience to know what his characters are thinking and feeling - they have to verbalise absolutely everything.
So much for the old dictum "Don't tell, show".
The self-indulgent suicide attempt evokes no empathy - if you're that sorry give all your money back to Jewish Holocaust organisations.
Additionally there is an incredibly irritating special feature interview with Poliakoff who says "um" all the time, has an unwarranted unshakeable confidence in his work and talks the usual guff that people do in these interviews.