Album Review: Moonrise Kingdom (Original Soundtrack)

'Moonrise Kingdom (Original Soundtrack)' (UK Release: 21 May '12) // Words: Alicia McBride

Much as 'Moonrise Kingdom' is everything that defines Wes Anderson distilled into a palate pleasing shot of sugary whimsy and quirk, the soundtrack is a classic Anderson compilation of 50s rock and roll and classical music with a trademark French track nestled in for extra flavour.

Film Review: The Hunger Games (2012)

'The Hunger Games' (UK Release: 23 March '12) // Words: Alicia McBride

On the 23rd of March the world will be watching and what they'll be watching is 'The Hunger Games', a chilling look at a post-apocalyptic future that satirises our current love of reality television and decreasing sensitivity to violent images in society. Fronted by a trio of young, hot talent and featuring plenty of gruesome action and more than one weepy moment, it's the sort of intelligent blockbuster the world has been waiting for.

Top Twenty Films Of 2011

Words: Saam Das

A selection of FG writers submitted their favourite films of 2011. Each was released in UK cinemas during the calendar year. I totted the votes up and added some patented editorial magic to present this list of our top 20 films of 2011. With contributions from: Ced Yuen, Lauren Johnson-Ginn, Raman Kamboh, Alicia McBride, Paul Dean and Gabriella Shimeld-Fenn.

Film Review: Drive (2011)

'Drive' (UK Release: 23 Sept '11) // Words: Alicia McBride

'Drive' is continuously being hailed as the "coolest film of the year", an accolade that’s being banded around frequently due to its quotability and universal appeal - who doesn’t like ‘cool’ things? – but for once here’s a film that lives up to its ubiquitous trademark status. It is effortlessly stylish, ultra-violent and soundtracked by synth-heavy electropop from the likes of Kavinsky and Chromatics. Cool barely begins to cover it.

Film Review: The Guard (2011)

'The Guard' (UK Release: 19 August '11) // Words: Alicia McBride

'The Guard' is the film that a lot of people are referring to as "In Bruges 2". Partly because they both star Brendan Gleeson, partly because the director of 'The Guard' is the brother of the director of 'In Bruges' but mostly because it is very similar in tone and feel. Both are billed as comedies and while highly comedic in places, both have far darker happenings at the heart of the story.

Buried Treasures: Dear Wendy (2005)

Buried Treasures is a column dedicated to things we feel have gone underappreciated, often both critically and commercially. We encourage you to seek these treasures out and hope you enjoy them as much as we do.

Words: Alicia McBride

Director: Thomas Vinterberg
Cast: Jamie Bell, Alison Pill, Bill Pullman and Chris Owen

When I bring 'Dear Wendy' up in conversation I am usually greeted by a blank look. Nobody seems to have heard of it, which is a shame because many films have tried to tackle the issue of gun crime in America but none in such a unique way as 'Dear Wendy' - but then the screenplay was written by Lars Von Trier so chances are it was always going to be a little bit mental.

The film centres around a group of teenagers in a small, non-descript American town who, for various reasons, all feel bored, lonely or discontented until the founding of The Dandies. Dreamt up by their leader, Jamie Bell's Dick Dandelion, it is a club where everyone must own a gun. Evenings are spent memorising facts about firearms, studying gunshot wounds and practicing firing their weapons.

Film Review: 127 Hours (2011)

Words: Alicia McBride

'127 Hours' (UK Release: 5 Jan '11)

Director: Danny Boyle
Cast: James Franco, Clemence Poesy, Kate Mara, Amber Tamblyn

After the incredible success of 'Slumdog Millionaire' all eyes were on Danny Boyle to see what he would do next. Always one to take a turn into the unexpected, Boyle chose to adapt Aron Ralston’s fantastically titled biography 'Between A Rock And A Hard Place' for the big screen. For the uninitiated, this is a tale about a man (James Franco) who falls into a canyon, trapping his arm between the canyon wall and a boulder. The film brings to life the 127 hours Ralston spent down there and the gory lengths he went to to survive and finally escape.

Unfortunately, the film does not trust Ralston’s time in the canyon to make an engaging enough story on its own. Instead, Boyle has employed gimmicky camerawork - reminiscent of amateur surf or skate videos - and some very questionable flashbacks/premonitions to try and pique the audience’s interest. Ultimately, these break the tension and detract from Ralston’s experience.

BBC iPlayer: Doctor Who (2010) A Christmas Carol

Words: Alicia McBride

'Doctor Who' (2010) Christmas Special: 'A Christmas Carol'

SYNOPSIS: "Festive edition of the time-travelling drama. The Doctor has one hour to save a crashing spaceship and a miser's soul - but what lurks in the fog?" (bbc.co.uk)

After what felt like an interminably long wait the TARDIS came crashing back into our lives on Christmas Day, delivering (for me, anyway) the greatest present of all. It’s true that absence makes the heart grow fonder and this may have contributed to the dialogue seeming funnier, the delivery faster and the emotion more affecting than ever but it is just as likely that Steven Moffat and Matt Smith were on top form.

At a time of year when allusions to Dickens’ 'A Christmas Carol' are rife, 'Doctor Who' managed to do something a little more interesting and unique with the story. The Scrooge-like figure, Kazran (the impressive Michael Gambon), refuses to let a spaceship containing the honeymooning Amy (Karen Gillan) and Rory (Arthur Darvill) land, meaning that they’ll all die. In a bid to save them the Doctor has to try and change his mind but realising he can’t, decides to change his whole personality instead.

Film Review: Gainsbourg (2010)

Words: Alicia McBride

'Gainsbourg'//'Vie héroïque' (2010)

Director: Joann Sfar
Cast: Eric Elmosnino, Lucy Gordon, Laetitia Casta, Doug Jones

In typical French fashion, 'Gainsbourg' is all about sex and cigarettes. If your idea of a good film is watching a man chain smoke his way to decrepitude alongside a bevy of beautiful and frequently naked women then 'Gainsbourg' has endless appeal. If you like a bit of substance with your clichés than sadly this film is lacking.

BBC iPlayer: Sherlock Episode 1 - 'A Study In Pink'

Words: Alicia McBride

'Sherlock' Episode 1: A Study In Pink' (2010)

SYNOPSIS: "A war hero, invalided home from Afghanistan, meets a strange but charismatic genius who is looking for a flatmate; it is London, 2010, and Dr Watson and Sherlock Holmes are meeting for the first time. A string of impossible suicides has Scotland Yard baffled - and only one man can help."

Let me start by saying that I do not welcome the comparisons between Sherlock (Holmes) and Doctor Who. Admittedly, I was excited to be getting a replacement (albeit for a brief three weeks) to fill the hole that Doctor Who and that hulking great TARDIS left, but that's as far as it goes. You really think the two figures are comparable? Apparently they are both brilliant and maddening. No no, you're wrong. You see, what has made the Doctor so popular is that he's charming, funny, likeable, kind, pretty and has even pulled off wearing a fez....I’d say the only thing that’s maddening about him is that he is unavailable for dates and marriage and stuff. As for this contemporary re-imagining of Conan Doyle's Sherlock Holmes? Primarily, he is BLOODY SCARY.

Film Review: Toy Story 3 (2010)

Words: Alicia McBride

'Toy Story 3' (2010)


Director: Lee Unkrich
Cast: Tom Hanks, Tim Allen, Joan Cusack, Ned Beatty, Michael Keaton

A quick perusal of legendary film site Rotten Tomatoes will tell you that currently 'Toy Story 3' has a well-deserved 99% success rate, with only three ‘rotten’ ratings. I’ll let you in on a secret, those three bad reviews are from self-important twats who in their desperation to seem cool and controversial have criticised the film just to be different. They are wrong. And more to the point, their criticisms have little to no substantiation whatsoever.

Film Review: The Twilight Saga Eclipse

Words: Alicia McBride

'The Twilight Saga: Eclipse' (2010)


Director: David Slade
Cast: Robert Pattinson (OMGZ!!!111), Kristen Stewart, Taylor Lautner

That time of year is upon us again. Out comes the summer sun and along with it a horde of sparkly vampires and topless werewolves, ready to fight to save one girl who seemingly has done nothing whatsoever to merit this level of adoration and protection. In the name of research I have kindly sat through 'Eclipse' for you so that you never need to feel left out of this pop culture phenomenon.

BBC iPlayer: Doctor Who (2010 Series Finale)

Words: Alicia McBride


Following 'The Big Bang', Matt Smith and Steven Moffat have just completed their first run together at the helm of the TARDIS and I would deem it a success overall. For the most part anyway. The finale was a perfect blend of complicated time travel, scientific theory and human interest. I wonder how many pairs of eyes across the country teared up a bit at the end? I know mine did. However, before getting into the good bits I am going to get my negative feelings about the finale out of the way first because, to my surprise, I seem to be harbouring quite a lot. While the two-parter was an engaging, fast-paced, fitting end to the series it was not without its faults.

Album Review: The Drums - The Drums

Words: Alicia McBride

The Drums - 'The Drums'


Oh, The Drums, you poor Drums. The band have constantly been compared to the English C86 bands of the late 80s, whose rebellion against the Thatcherite era imbued the music with passion and intelligence. Yet The Drums have come under fire for perfecting the style, but losing the substance. All I can say is, who cares? When music is this fun, I don’t need substance.

Film Review: Greenberg (2010)

Words: Alicia McBride

'Greenberg' (2010)

Director: Noah Baumbach
Cast: Ben Stiller, Greta Gerwig, Rhys Ifans, Jennifer Jason Leigh


"Tender, charming, insightful and very funny"

BBC iPlayer: Doctor Who (2010 Series Premiere)

[Watch] (until 3rd July, 6.24pm)

8 million people tuned in yesterday to see the opening episode of the new series of Doctor Who. Alicia was one of them. Read what she thinks about the new Doctor, his new assistant and what lies next....

Film Review: The Crazies (2010)

Words: Alicia McBride

'The Crazies' (2010)

Director: Breck Eisner
Cast: Timothy Olyphant, Radha Mitchell, Joe Andersen, Danielle Panabaker

Following the highly successful remake of George Romero’s 'Dawn Of The Dead' I was expecting big things from this remake of 'The Crazies', yet the overall feel of them film is uneven. The story follows the sheriff (Olyphant) of a small town in Iowa who has to deal with his neighbours developing a predilection for gruesome murders and bleeding from facial orifices. The town is evacuated and anyone running a temperature is assumed to be crazy and separated. Of course, "shit gets real" when the sheriff’s pregnant wife (Mitchell) is taken and they must try to escape the crazies, the evacuation team and the town itself.

There are moments of the film that are genuinely tense and terrifying – lots of "crazies" appearing in the background, slightly out of focus, like 'The Strangers' – but unfortunately the atmosphere is not sustained. A standout scene involves one of the old style car washes that you drive on to and then the car is guided through all manner of soap and big buffers. Like any good horror film, the terror here comes from the knowledge that something’s "gonna get ya" but you have no idea what it looks like or where it’s coming from. Scenes like this simply heighten the overall disappointment of the film, as they display the craft that Eisner can employ when he chooses to. The film is not bad, just a little clunky in some places.

You need to decide if it’s worth sitting through the more boring parts of 'The Crazies' for some horrifically entertaining deaths and true moments of suspense.

'The Crazies' is out in cinemas now.

Oscars: 2010 Analysis

Words: Saam Das // Paul Dean // Alicia McBride

The 82nd annual Academy Awards (or Oscars to us plebs) are done and dusted. It was all about Cameron vs Bigelow (vs Predator) and there was one decisive winner in that battle. A relatively surprise free Oscars, as you can tell from my successful predictions below but I decided to get Alicia and Paul to wade in with their thoughts anyway. No comments on best or worst dressed and red carpet fun (un)fortunately.

BEST PICTURE
Winner: The Hurt Locker
Prediction: Avatar

Saam: Billed as a David and Goliath story and ultimately proving to be just that, the highest grossing film of all time lost to the lowest grossing Best Picture winner ever.

Alicia: This was always a two-horse race, although it was assumed that Avatar had the lead. I am surprised The Hurt Locker took the award in the end but glad, definitely more substance than Avatar, which has a truly awful script.

Paul: To be honest, I don't really have anything to say here as I think this is a tautology. The Hurt Locker *IS* the Best Picture. This is hardly news.


BEST DIRECTOR
Winner: Kathryn Bigelow (The Hurt Locker)
Prediction: Kathryn Bigelow

A: Not only a triumph for Bigelow but for all woman kind! I’m not going to go off on a feminist rant but it is nice to see a female director getting recognition. Kind of wanted Tarantino to get it though.

P: Okay, I have an inherent bias here for a couple of reasons: I've always thought Bigelow was underrated and my undergraduate dissertation was on feminism and gender equality. It takes 82 years for a woman to win Best Director, whilst only a handful have ever been nominated anyway? That's hardly fair. Oh yeah, it's an amazing film too.

S: Plus, she's really attractive.....wait, I mean...and it's International Women's Day - co-incidence? You decide. Also, it makes no sense to have ten Best Picture nominations when you have five Best Director noms.


BEST ACTOR
Winner: Jeff Bridges (Crazy Heart)
Prediction: Jeff Bridges

S: Seemingly more of a reward for a fruitful career than truly a reward for his acting performance in Crazy Heart, "The Dude" was nonetheless a popular choice.

A: I don’t know if it’s British loyalty or that I have recently developed a crush on Colin Firth but I was hoping he would get it. Plus his performance was incredible. I haven’t seen Crazy Heart so I don’t really feel it’s fair to comment on how deserved the award was.

P: From all the buzz I was reading beforehand, plus the previous awards Bridges won, I think this was a given. Firth didn't make enough of an impact outside of Britain to really challenge, whilst nobody else seemed to have the strength of support that Bridges did. I'm not sure he was the best nominee, but he was the most visible.


BEST ACTRESS
Winner: Sandra Bullock (The Blind Side)
Prediction: Sandra Bullock

A: Unfair to comment on a film I haven't seen but top marks for the acceptance speech and the good grace to accept an Oscar and Razzie in the same weekend with equal dignity and humour. She’s a super laydee. I do wish it had gone to Gabourey Sidibe though, she’s just fab and so lovable and completely at odds with the character Precious, which makes her performance even better.

S: Another example of the Academy's reluctance to give one of the big awards to a newcomer. I like Sandra Bullock though and genuinely believe she has charm and screen presence.

P: Last night I went to bed in the very midst of the witching hour. I thought I heard strange noises outside, but I took no notice. After fitful, Kafkaesque dreams, I have woken in some strange and twisted alternate reality where Sandra Bullock has an Oscar. Is there any way back?


BEST SUPPORTING ACTOR
Winner: Christoph Waltz (Inglourious Basterds)
Prediction: Christoph Waltz

S: Disappointingly, this was Inglourious Basterds' only win of the night but it was much deserved. If only for Waltz's skill in maintaining his smarmy performance in three different languages.

A: HELL YES! Backed Waltz from the start and couldn’t be happier about this. Inglourious Basterds was probably my favourite film of 2009 and his was the standout performance. So deserved.

P: Basterds was going to win for something or other. Writing seemed more likely to me, but I guess the world is an unpredictable place, which probably explains all the strange places I find myself waking up in. Naked.


BEST SUPPORTING ACTRESS
Winner: Mo'Nique (Precious)
Prediction: Mo'Nique

A: Everyone said she was going to get it and she did, therefore it’s slightly boring in its predictability but, again, well-deserved. Especially as she was playing against type and she was outstanding.

P: For God's sake, why is the title ("PRECIOUS: BASED ON THE NOVEL 'PUSH' BY SAPPHIRE") of this film so long? Why is Mo'Nique's name so short *AND ALSO* in possession of an apostrophe? Honestly, what kind of a person has an apostrophe in their name?

S: I hear it's an Irish thing. An expected win but at least Mo'Nique brought a sense of refreshing novelty to the Awards with her unshaven legs and an unconventional approach to the post-Oscar press conference.


BEST FOREIGN LANGUAGE FILM
Winner: El Secreto de Sus Ojos (The Secret In Their Eyes)
Prediction: Das Weisse Band (The White Ribbon)

P: I wanted either A Prophet or The White Ribbon to win as I feel they're a little more unusual and interesting, but all of the films in this category were strong contenders and, to be frank, also good enough to stand in many of the other Oscar categories that they're inevitably overlooked for, simply because they're foreign.

S: To call this a leftfield win would be an insult to understatements all over the world. Good news for Argentinian cinema though.

A: Wow, this was a genuine surprise, which was nice in such a staid year. I thought ‘he White Ribbon had it in the bag and if not then definitely A Prophet but no!


BEST ANIMATED FEATURE
Winner: Up
Prediction: Up

A: Hurrah! There hasn’t been a children’s film that has come even close to rivalling it this year so it’s no surprise it won. I remember being impressed by the emotional scope of the film when I first saw it and how affecting and enjoyable it is for adults – quite an achievement.

S: Third successive Animated Feature award for Pixar. Even with five films in the category this year, it seemed almost certain for glory.

P: I think there were some other films in this category. Can you remember what they were? I can't.


BEST ORIGINAL SCREENPLAY
Winner: The Hurt Locker
Prediction: Inglourious Basterds

P: For me, this was the closest category of them all and I really had no idea which way it might swing. I figured it would go to one of the more humorous nominees, so I'm a little surprised.

A: Personally I wanted it to go to A Serious Man - what a funny, clever, insightful film. And if not, then Inglourious Basterds for being so damn cool and entertaining. I feel that The Hurt Locker rams its message (war is bad, we get it) with no subtlety whatsoever. I wonder if given the political climate it seemed a good choice to back. Hmmm.

S: I crossed everything for the Academy to reward Tarantino's excellent screenplay but alas, they awarded Mark Boal for his work towards The Hurt Locker, despite the screenplay being its weakest component. I didn't feel it was overt with its message though.


BEST ADAPTED SCREENPLAY
Winner: Precious
Prediction: Up In The Air

A: I am glad Precious got something beyond Mo’nique’s performance. I haven’t read the book so I couldn’t say how good an adaptation it was but the film was so engaging and moving so it must have been brought to life well.

S: I really thought Up In The Air had this sewn up but was secretly hoping for In The Loop. In the end, Geoffrey Fletcher's screenplay won out. *shrugs shoulders*

P: I think the impact this film has had pretty much guaranteed it a win in this category. I'm a tiny little bit disappointed that In the Loop didn't win, but I guess 100-odd minutes of Caledonian cursing has a rather more limited appeal outside of the UK.

+++

'Avatar' would go onto win three technical awards but then so would 'The Hurt Locker'. OH SNAP. I'm not sure how 'Avatar' lost the sound effects awards though, as they constructed some kind of super new sound stage technologies but anyway. With the other categories, it was pretty much expected and I'm still hurting over the snub for Clint Mansell's 'Moon' soundtrack....

Overall, it was nice to see a strong showing for science fiction films (and 'Star Trek' even managed to win the award for Best Make Up) although I am somewhat glad 'Avatar' didn't become the first science fiction Best Picture. There is some disappointment for 'Inglourious Basterds' and 'Up In The Air', both of which could have been decent Best Picture shouts but ultimately, it was all about 'The Hurt Locker'.

Full list of winners and nominees here.

BBC iPlayer: Eastenders Live Episode

Eastenders celebrated its 25th anniversary with its first ever live episode. Who killed Archie Mitchell? Alicia's on hand to guide you through it. Expect SPOILERS and perhaps employ split screen (i.e two windows side by side) technology.

Words: Alicia McBride

Watch (available until 22.59, 26/02/10)

"Another chance to see tonight's live episode of EastEnders in which the Walford residents enjoy Ricky and Bianca's wedding reception and the identity of Archie's killer is revealed."


Hello and welcome to 25 years of Eastenders. I haven’t watched this programme for several years and have no idea what’s going on. Let’s begin.

00.38 – did Bradley and Stacey get back together?
00.58 – who is that girl with awful hair? Good lord, it’s Ian Beale’s daughter! When did she start dressing like a slut? And why is Phil Mitchell shouting at her?
01.08 – Bianca and Ricky are back in it? They just got married? Janine’s back?!
01.55 – Jack has forgotten his lines and is just shouting incoherently. This is actually quite brilliant.
02.25 – Stacey is pregnant by a mystery someone. Ooh.


03.16 – "you did this to me". Did what? There’s nothing on your face, love.
04.30 – Peggy hasn’t even aged! Incredible.
04.35 - POKERFACE.
05.31 – oh Dot, are you still banging on about Nick?
05.56 – June’s daughter is the other bride? Stacey and Bradley got married too?! And she’s pregnant?! The scandal never stops round ‘ere.
06.05 – ‘Sip, flip or strip’ with the cast of Eastenders. I am struggling to think of anything that would be more horrific right now. Especially as Minty is playing.
06.26 – a black girl who isn’t that loudmouthed, pretty one. What was her name? Chelsea? Oh yeah. Did she leave and need to be replaced so that Eastenders could maintain their ethnicity quota? Anyway, this one seems mute.
08.40 – Peggy threatening Janine followed straightaway by Phil slapping around Ian. I see the Mitchells haven’t lost their touch.
10.13 – Stacey seems obsessed by some red handprints on a piece of paper, could this be a clue? Is someone concerned about having blood on their hands?
11.17 – who is the father? I am quite confused.
11.50 – I wonder just how many times Phil has threatened to kill Ian now.
13.13 – Max and Stacey seemed a bit close there, hmmm.
13.45 – Mute Girl is doing her famous Aqua Marina impression, once again.


14.25 – Minty has no shirt on. Oh dear.
15.16 – was that supposed to be blood? Because it looks like poster paint.
16.52 – oh god, they’ve got a home video from 1985. I guess this where the ’25 years of Eastenders’ part comes into play then.
18.24 – trying to make a stealthy get away in stilettos wasn’t exactly a good idea now was it?
19.11 – it’s those two blonde sisters who live in the pub and squawk a lot. Why would the one with the fascinator think her sister would lie about being raped by her dad? She’s clearly quite dense.
21.35 – alright Bradley, so you’ve forgotten the passports. Go into hiding in England then, you don’t have to go abroad! JUST DON'T GO BACK!!
23.13 – the sisters (Ronnie and Roxy?) are fighting! Of course it’s going to take a seasoned matriarch like Peggy to sort them out.
23.41 - PEGGY KNOWS THE TRUTH ABOUT ARCHIE’S DEATH *DRAMATIC PAUSE*
25.03 – turns out she just found him lying on the floor and decided to leave him there...........boring.


25.16 – oh god, all these old clips are awful. And because they’re taken from old episodes, not at all believable as a home video.
26.13 – oh no, the tape’s broken. What a shame.
27.29 – "you got away with it". So Shirley, are you saying Phil is responsible?


ENTERING HEAVY SPOILER TERRITORY. SPOILERSPOILERSPOILERS.


29.05 – get chased by the police, climb a roof. Of course it’s logical!
29.50 – lots of terrified faces. Mute Girl is back. Did she love Bradley or something? Also, she hasn’t been on screen for 16 minutes, was she just stood in the square the entire time?
30.16 – probably the most comical falling off a building committed to screen. One minute Bradley is fine, then realises he has to fall so stumbles a bit and off he goes.
30.29 – everyone else is screaming and crying, Mute girl remains mute.
31.02 – oh lovely Max, that’s really pleasant. Thank god they cut away from your ghastly attempts at being sick.
31.08 – a supposedly dead Bradley just moved a bit, haha.
31.50 – so it was YOU! And now your husband is dead. And you are pregnant by someone else. Unfortunate.
31.55 – here come the drums......that was a bit rubbish.

Film Review: A Single Man

Words: Alicia McBride

'A Single Man'

Director: Tom Ford
Cast: Colin Firth, Julianne Moore, Matthew Goode, Nicholas Hoult

To say I was filled with excitement and anticipation at the release of this film would be an understatement. I wholeheartedly believe that the UK trailer (embedded above / the American one is a bit pants) is one of the greatest trailers ever made. If you need proof, here is an excerpt of me waxing lyrical on my own blog: "The juxtaposition of Matthew Goode's character lying dead on the snow surrounded by blood, with Colin Firth in bed surrounded by black ink is one of the most spectacular things ever committed to screen. Plus it has Julianne Moore! JULIANNE MOORE! The woman is a goddess." You get the gist. The film is about expat professor, George (Firth), who is still struggling to come to terms with the death of his partner (Goode) eight months previously. The narrative takes place within one day, with flashbacks to their life together filling in the blanks.


The film has Tom Ford at the helm – the man who single-handedly saved Gucci and made it the label it is today. He now has his own fashion line and has modelled in the past. His background seems incongruent with this emotionally intelligent and heartbreaking film, yet he has created a masterpiece. Clearly he is more than aware of the power of a strong visual and it is his visionary crafting that makes the film so special. Every shot is beautiful. There is no other way to say it. The Times reviewed the film as a "thing of heart-stopping beauty" and they were not wrong. George’s every day existence is leached of colour, at times the film almost feels as though it has been shot in greyscale, yet whenever he has a significant meeting with someone or an emotional connection the screen is flooded with colour. Admittedly, this effect started to grate after a while. It is striking and used very effectively in a conversation between George and Kenny (Hoult) but it does become predictable and sometimes is so saturated with colour it feels like Dorothy first entering Oz all over again.


The real power of this film comes from the emotion of the story. The end is poignant and bittersweet and incredibly sad. The exploration of isolation and loneliness is poetic in its form, yet still accessible. George’s life may be beautifully tragic (or tragically beautiful?) but it is still possible to relate to him and understand his pain. Often films with such artistry and emotional scope can alienate the audience but this remains engaging. The Oscar nomination for Firth’s performance is well-deserved. In fact, I am surprised the film was not nominated for more. I cannot recommend it enough.