The fifth series of BBC comedy series Cuckoo absolutely confirms its status as the, so-called, “Doctor Who of comedy”.
This statement was made by Shane Allen, BBC Controller of Comedy Commissioning, when discussing the latest cast change of Kieron Quirke & Robin French’s BBC2 comedy series, as Twilight series co-star Taylor Lautner makes way for Andie MacDowell as the central American star alongside Greg Davies and Helen Baxendale in what has steadily evolved into one of the jewels in the BBC’s modern comedy crown. Lautner himself replaced Andy Samberg after one season, at which point the actor made his name on the popular and successful Brooklyn Nine-Nine.
By all rights, Cuckoo shouldn’t have survived his departure, and yet it endures.
Life Itself is a story about stories. It aspires to be a deconstruction of narrative and narration and, ultimately, fails at both.
A warning sign for any newly released film these days is if you can either simultaneously stream it and view it in cinemas, or even worse it goes straight to Netflix or Amazon or Sky Cinema. You only have to recall that calamity that was The Cloverfield Paradox last year as an example of the latter. Life Itself, written and directed by Dan Fogelman, falls into the former bracket, at least in the UK. It has been released both in cinemas and on Sky Cinema on the same weekend. This suggests Sony Pictures internationally cut a deal to maximise engagement after some dire critical responses in the United States.
This is the second picture as director by Fogelman after 2015’s Al Pacino-starring Danny Collins but by no means his first foray into screenwriting. Fogelman wrote Disney’s Cars, Cars 2 and Tangled, not to mention the surprisingly strong Crazy, Stupid, Love. Sadly, he is also responsible for dead on arrival comedy The Guilt Trip starring Barbra Streisand and Seth Rogen, plus OAP comedy Last Vegas. Historically, this suggests Fogelman is roughly a fifty-fifty talent – sometimes he scores, sometimes he misses, and badly. If this is *his* story, it’s the story of most creatives in Hollywood.
Life Itself is, demonstrably, a sizeable miss.
After two pictures that fused deliberately acerbic British filmmaking with Hollywood stardom, Ben Wheatley returns to his roots with Happy New Year, Colin Burstead.
You only have to consider what the original working title was for Wheatley’s film: ‘Colin, You Anus’. When it was announced that Wheatley was producing a brand new picture to be shot over eleven days in a stately home, critics wondered if the director was exploring Shakespeare or the historical period he had so impressed viewers by with A Field in England. Rather than continuing the one-two punch of J G. Ballard adaptation High Rise or the pulpy, Tarantino-baiting Free Fire, Colin sees a return for Wheatley back to stripped down, near documentarian theatrics, the likes of which we haven’t seen him tap for some years.
Where his previous two pictures saw Wheatley rope in Hollywood stars such as Tom Hiddleston, Armie Hammer or Brie Larson, the director here once again recruits the services of Neil Maskell, the lead in Wheatley’s dark, uncompromising and powerfully weird Kill List. Maskell is a prolific British character actor who straddles both TV and cinema but a traditional leading man he is not, and that makes him perfect for the eponymous Colin Burstead. Wheatley’s film is intentionally short, sharp, darkly acerbic and filmed with even more of a televisual, tele-play lens than even Kill List was. This is a director cutting loose and having fun.
Film music has long been a passion of mine, but I’ve realised I don’t really talk about it on Cultural Conversation as much as I would like. 2019 I plan to remedy this, partly with a monthly cluster of recommendations.
The aim will be, similar to my end of year lists, recommend five albums by highlighting a track from them each. The idea will be for this list to drop at the start of the month and concern films to be released in UK cinemas that month, accompanied by a Spotify playlist which goes into a bit more depth about each album.
January 2019 to start, then, featuring tracks from composers including Alan Silvestri, Max Richter and Rob Simonsen…
2019 is now upon us which means another year of pictures that are likely to thrill, spill and disappoint in equal measure. Some we know a lot about, some we know little, but I thought I’d pick out 12 for 12 of those I’m the most intrigued to see.
These aren’t one film per month or anything, but are probably in order of my excitement. Let’s explore some of what’s to come…
As I stated in the first group of five in my Top 10 listing of films, 2018 has been a slim year for me in what I’ve been able to see. While I imagine some of these would still end up on a best of list, would they be top 5? I’m not sure. It’ll be an ever-evolving list.
I’d love to hear your Top 5’s though. I have a litany of recommended pictures I’ll work through in time but there could well be pictures I haven’t seen that are worth recommendation, so do point me in the direction of them.
Okay then, for better or worse, here are my Top 5 Films of 2018…
This was an exceedingly hard list to put together, harder than either the main TV or movie selections. 2018 has an absolute cavalcade of great film music to choose from, so selecting a top 5 was hugely subjective. There are plenty of other albums that could have made it.
As a result, I’ve added below a Spotify link to 40 different film tracks from 40 different movies, many of which didn’t make my personal top 5. Hopefully you may pick out some more film music treats from that expanded list.
Anyway, here we go with my Top 5 film score tracks of 2018…