BryanRW Reviews

Dracula (2020)

Total brilliance

[9/10 · 13 April 2024]

Almost every review rates the third episode as 'bad' for various reasons. I must admit that when I originally saw the series on the BBC I was blown away by the first 2 episodes. So much so that I really didn't get excited by the third and final installment. Yes, I was confused and disappointed. Then I bought it on Blu-ray and watched it all again. This time, the 3rd episode made much more sense and in the context of the overall story, I 'got it'. In fact more so, I loved what they'd done! If you're a Dracula 'purist' I suggest you avoid most modern day takes on the story. Instead, visit Whitby and read the original book by torchlight on one of the 199 steps up to the abbey. Failing that, tune in (again?) and open your mind - you'll be glad that you did.

By the way, Mark Gatiss really has proven himself to be more than a casual horror fan, he's an excellent visionary and writer of modern day horror that's steeped in the ancient traditions of eerie storytelling.

Brighton (II) (2019)

Please don't judge this book by its cover

[7/10 · 3 February 2024]

A lot of reviews centre of the negative aspects of the main characters' 'archaic' attitudes, beliefs, actions and language. Do they display attitudes of narrow-mindedness? Yes. Sexism? Yes. Racism? Yes. Misogyny? Yes. Homophobia? Yes. Sizeism? Yep. It's all in here folks, you won't be disappointed! But if you fail to drop into the world of these older generation 'East Enders' due to perceptions of the use of 'isms' in modern day drama, then you're missing an opportunity to peek into the world of people who did and still do exist. Not all of the 4 main characters are 'stuck in the nasty past'. Doreen (Lesley Sharp) shows that she's been willing to break free from the restrictive social structure that she and her husband/friends were brought up in. She indicates that people can and do change their perceptions and attitudes, despite their upbringing. The assumption is that her life experiences have subtly moved her in a different direction. And the film's events also show that through exposure, interaction and willingness, people can change their attitudes at any stage in life. And surely that's a good thing? At the end, we hope that these people aren't monstrous dinosaurs beyond redemption. Perhaps their weekend in Brighton gave them more than cold burgers, achy ankles and a fractured pinky finger?

Sometimes, just sometimes, it's a good thing not to see a piece of drama through the lens of tropes, micro-aggressions, 'isms' etc and simply go along with the flow. I did and I had a good laugh, not just at the absurdity of the attitudes displayed, but at the truly amazing acting and line delivery. These actors aren't idiots. They didn't do this in order to simply earn a few quid. They understood the main message, and the nuances underpinning the writing. They got it. I hope that you do to.

Rita, Sue and Bob Too (1987)

It's lost none of its power

[10/10 · 8 November 2023]

People seem to either love or hate this film (thankfully, most love it). Personally, being born into a poor British family in the 1960s, it resonates with me simply because I knew people that lived the lives of Rita, Sue and their respective families. But at the same time, I look on in saddened horror that not only was what's depicted completely authentic, life really hasn't improved that much for many 'working class' British people in the intervening years. Such poverty still exist; kids are still dragged through a failing education system and youngsters are still exploited by unscrupulous men like Bob - "make no mistake about that!" as Sue would say.

So. Is this film worth a watch? Absolutely. Should you take it with a pinch of salt? Well, to do so would undermine the inherent truths contained within (what on the surface seems like) the unlikely premise. What needs to be remembered is that this piece of 'fiction' was written by a young woman who's gritty, unapologetic drive and indeed, talent, was to take what she knew to be true and present it in a format that 'the masses' could consume. She knew it was based on truth, and the reason that it resonated with theatre (and later movie) goers was that we knew that too.

If you're truly intrigued by this movie and the central issues presented, I can highly recommend the film "The Arbor" which intertwines documentary and fictional elements to tell the story of playwright Andrea Dunbar's achingly sad and cruelly short life. I can attest that it's slightly harder to both dismiss and/or laugh at the characters set within "Rita, Sue and Bob too" afterwards, such is its power.

Margery and Gladys (2003 TV Movie)

A real gem of British comedy

[8/10 · 21 August 2023]

Britain has had a long history of mainly 'gentle' if somewhat bawdy comedies committed to celluloid. Think St. Trinians, of course the many Carry Ons and the numerous TV series' movie outings from the 1970s onwards.

This little beauty is very much in the vein of that type of comedy. A bit slapstick, a bit naughty, a bit far fetched but above all, led by protagonists that you can actually relate to. We've all met a lady of the house who thinks she a bit above everyone else (Penelope Keith excels in those roles) and the 'Mrs Mop' types that always seem to get the upper hand in the end.

If you enjoy the genre of the 'classic' British comedy that this movie definitely belongs to, you won't be disappointed.

However.

This seems to be rarely shown on TV and as far as I'm aware, it's only ever been released commercially on an Australian region 4 DVD, and it's not easy to track down.

The Owners (2020)

A familiar trope that runs out of steam

[6/10 · 7 August 2023]

This take in the (now) classic 'invasion' trope has its moments of tension. However, the 'invader' characters are mainly stereotypical in their presentation: hapless, desperate, clueless and just plain mean. You've seen these types all before and you know exactly what their fate will be. After a slow start, the pace picks up after 'the owners' return to their abode, driven mainly by a very convincing performance from Sylvester McCoy. Just as the story begins to rattle along, it seems to simply run out of steam. Characters' back stories seem to suddenly be at the heart of the plot, at a time when we really should be on the edges of our seats. That info is actually necessary to the plot, but placed where it is, it simply grinds the action down. The picture ratio suddenly, and irritatingly, changes towards the end making it to difficult to engage in the action (then changes back again...). It's as if they needed 'something' to flesh out the time period for a movie. Special mention to Tushingham who, after a less than impressive beginning, really shows what she can do as the fine actress she's always been. Watch by all means, but just don't expect too much innovation here.

Fall (I) (2022)

I NEVER want to see this film again!

[9/10 · 9 July 2023]

Not because it's bad - it isn't. Just the sheer anxiety, nausea and downright fear it produced in me simply cannot be repeated. It's an acrophobic's utter nightmare. Yeah, I know how they filmed it but seriously, it's so well done that no amount of 'self talk' in the realm of "it's JUST a movie" were enough to quell my state. The two leads are superb, totally believable and incredibly brave (even if they were 'only' 100ft off the ground in reality - you try it!).

Reading the 'goofs' section, most are really nit-picking and really don't give this amazing movie the credit that it really deserves. Top notch, a 'must see' but in my case, only once!

I Care a Lot (2020)

Unbelievably, this film is based on fact.

[8/10 · 2 July 2023]

Before warching this, please visit the YouTube video of Rosamund Pike being interviewed by Graham Norton on British TV. She explains the background to the story - it's based on absolutely factual legal elements to the US 'care' system. Then, ignore the reviews claiming that the basic premise is implausible. It isn't. Then there are the reviews that complain that the female characters are misogynistically constructed stereotypes that play up to the worst of male loathing and need for 'revenge' against the female sex (not to mention the almost compulsory inclusion of 'lesbians' pandering to male titillation). Complete rubbish! You can't win with script writing or indeed casting anymore, so I don't even try to examine the absurdities of most of the arguments. All you need to do is accept the underlying legal 'truth' and get set for a complete roller coaster ride of emotion and complete disbelief that people can be so callous - but they can be and they are! By the way, I hated Pike's character not because she's a woman, but because as a human being, she deserves such loathing.

Peterloo (2018)

Mike Leigh attempts historical tableau - and fails

[2/10 · 28 June 2023]

As a Manchurian (person from Manchester, UK), I was really upset about this film. It should have been a wonderful, emotion stirring document, but instead, it's overlong, poorly acted, poorly scripted and self indulgent. Even the usually watchable Maxine Peake looks, sounds and acts embarrassed to be involved in this; and with good reason. The myriad faces of all too familiar English B grade actors manage to turn this epic tale into second rate 'am dram'. It's truly toe curling stuff. During (yet another) monologue from a female character, she complains that she cannot understand what's being said. That's possibly the most authentic opinion offered in this quagmired mess. As I've said, I'm angry about this film. It should have been the definitive depiction of one of Manchester's, and British social history's, darkest moments. Instead, it's barely fit to be shown to (very bored) year ten schoolkids. 2 stars for obviously heartfelt impetus.

Blonde Fist (1991)

Margi is a gem and so is this film

[9/10 · 30 April 2023]

So many polarised reviews here. You'll probably be put off watching, which is a real shame because it's definitely not as bad as people make out.

Firstly, this is uniquely British humour so it has to be seen in that context. And it's from 1991 when the 'politics' of what is, and isn't, acceptable to say were vastly different to now. But what isn't different (sadly) is that mothers like Ronnie still have to 'go on the rob' to feed their kids and end up on the wrong side of the law as a consequence. Anyway, enough politics but it's important to understand the context of Ronnie's background and life struggles in order to appreciate the woman for who and what she is - a downtrodden Kirkby girl who has more chances winning a boxing match than she does scoring a decent job in an office.

Most people agree that the story takes a bit of an, hmm, awkward turn when she goes to New York (London or even Dublin would have been more believable). And that's not helped by the inclusion from then on of Carroll Baker who is inexplicably quite poor in this - she came across quite amateurish as if she was a newbie relying on queue cards most of the time. I agree with others' opinions here that the film becomes somewhat mired from now on and it simply 'feels' too different in style from the earlier sequences. For instance, Ronnie's short time in the prison is an absolute highlight of the film; there's some cracking oneliners and the inclusion of the marvelous Angela Clarke (Margi and wetter/director Frank's sister). She's HILARIOUS and a superb actress in her own right - extremely natural and innately funny. Another star performance comes from Ronnie's best friend Mary, acted by Sharon Power. I don't know much about Sharon, but based on this performance I'm shocked she wasn't snapped up by one of the leading British soaps, such is her acting skill and presence. Her scene where she accosts and 'warns' Tony's girlfriend outside the court is both awesome and terrifying - that's top class acting right there.

This is definitely a female led and female fed movie, the male of the species takes second bill. And judging by the actions of the two main male characters, you can see why - unreliable, controlling and deadbeat are some words that come to mind. This was and is life in many so-called working class British societies. That's why this film can't be so easily dismissed. Margi and Frank know this life. They know how hard it was and still is to survive in such communities. And that's why films like this shouldn't be ignored or judged on a purely superficial level. There's a lot more going on here than meets the eye.

Incidentally, and somewhat curiously, Margi refers to the actor who played her father in this as being Pete Postlethwaite in her book "Now you see me...". Of course, it was Ken Hutchison. Funny how time can dull the memory - or maybe she took too many punches!

Terrifier (2016)

Welcome back to the bad old 80's

[2/10 · 27 February 2023]

If you're old enough, you'll recall those evening visits to the video rental stores that every high street had at least one of. You'd scan the shelves that were heavy with hundreds of VHS boxes in order to find a hidden gem that was worth the traversal fee. But previous bitter experience informed you that the chances of striking gold were probably less than 1-100. Due to the boom in home rentals, low budget, poorly produced movies were churned out in their thousands, purely intended for 'straight to video' consumption. They were cleverly packaged to temp the unsuspecting to think that the contents of that box would deliver the 'gold' that they promised. The best majority never did. Some titles such as "Driller Killer" and "I Spit on Your Grave" actually managed to buck the trend. "Terrifier" sits squarely in the former category. Is it scary? No. In fact, I actually laughed at the pure camp of it all. The plot is so formulaic and predicable that I'm still wondering if it was in fact meant to be a huge p*ss take of the so-called 'video nasty' genre. If you don't guess the ending at the very start of this then you really haven't been paying attention to every episode of "Halloween" "...Elm Street" or the myriad Freddie flicks. Is it gory? Yes in parts, but not in an 'OMG!' way, more of a 'really??' way - you've seen this all before, before, before - only better. The acting varies greatly from the performers. Why did I give two stars? Well, the prosthetics were generally better than the truly crap ones of the early 1980s that this 'homage' so massively draws from, and the lead actor (David Howard Thornton) is at once as convincing as he is deliciously campy. He clearly relished this role and his enthusiasm is palpable and almost makes this worth watching. Almost.

The Whisperers (1967)

A grim view of life for the UK's elderly in the 1960s

[9/10 · 17 January 2023]

Mrs Ross wasn't unique in 1960s England. More specifically, the Northern part of England where the film is authentically set; a place which as well as kick starting the lucrative Industrial Revolution also suffered from the kinds of human depravation that even this grim portrayal can't fully convey.

Margaret Ross is poor. Really poor. Her shoes have holes in and they let in the rain. The term 'cold water flat' describes Mrs Ross' existence perfectly, for it's doubtful that beyond warming water to make tea that she ever has the luxury of feeling it on her skin - she simply can't afford it. Are the voices she hears real or imagined? What are they saying and can she trust them? Why do they torment her so?

That the desperately lonely Mrs Ross descends into manufacturing fantasies of grandeur and a past 'better life', not only for herself but conveyed to those around her, is as understandable as it is completely pitiful.

I defy anyone not to feel compassion towards the lonely, dispossessed and chilly elderly people as they queue to be admitted to the warmth of the public library. And how can you not feel sad as once inside, a nervous Margaret Ross quietly slips her foot from her shoe in order to secretly place the sole onto a warm pipe? And not feel outrage and even anger as a puffed-up public servant publicly admonishes and shames her for this 'heinous' act. Regularly visiting the church mission to 'sing for her supper' provides at least one chance to eat. Waiting in line at 'the public assistance' office in order to plead her case for just a little money to ease her meager existence not only fulfills her bodily needs, but offers her a tiny glimpse of respect from 'a gentleman' in the form of Mr Conrad, the man who decides whether she receives the requested funds - or not. Mrs Ross is proud of her status as a woman of refinement and Mr Conrad does nothing to challenge this illusion. In fact, he's rather fond of the deluded elderly client and later on in the film proves his kindness and deep desire to genuinely help her.

Can her indignity, her abject misery get any worse? Oh yes, oh yes... Enter the morally vile, unscrupulous Mrs Noonan, exquisitely played by Manchester born Avis Bunnage, to horribly dupe and defile this harmless, defenceless old lady. I defy anyone witnessing what plays out not to feel pity, revulsion and deep, deep anger.

Can things get even WORSE for Margaret following her unlucky run in with Noonan? Again, yes. Enter Charlie Ross, Margaret's errant and ne'er-do-well husband who's only real kindness towards his wife was abandoning her years before. Add in the dubious attention from her crooked son, and really, nothing looks in the least bit easy in Margaret's so-called life. What affects do the Ross men have on Margaret? In order to find out, I urge you to track down and experience this deeply emotive and challenging film.

Did people like Mrs Ross really exist? Do they still?