Posts Tagged film recommendations

Culture Vulture 24th to the 30th of May 2025

May 24, 2025 at 7:45 am · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , , , ,

Curated by Pat Harrington • Original music on our video version by Tim Bragg

This week, we step into the refined yet radical world of Jane Austen. Her work, far from being simply romantic escapism, offers sharp observations of society and gender politics. Austen’s legacy looms large over our listings, with three outstanding productions: Jane Austen: Rise of a Genius, Joe Wright’s Pride and Prejudice, and a thoughtful BBC Four adaptation of Sense and Sensibility. These aren’t just stories about courtship—they’re critiques of class, power, and human frailty. Through their wit and restraint, they give voice to social tensions that still resonate.

🌟 Highlights

  • Jane Austen: Rise of a Genius: BBC Two, Monday, 9:00 PM
  • Pride and Prejudice (2005): BBC Two, Monday, 10:00 PM
  • Sense and Sensibility: BBC Four, Wednesday, from 10:00 PM

📅 Saturday, 24th May

Mon Oncle (1958) – Talking Pictures, 3:00 PM
Jacques Tati’s Mon Oncle is a masterclass in visual storytelling. Monsieur Hulot, with his pipe and awkward gait, finds himself adrift in a hyper-modern house full of absurd gadgets. The film gently mocks the soullessness of consumerism while celebrating the warmth of traditional life.
What makes Tati’s work so enduring is his patience. Scenes unfold with the rhythm of real life—no quick cuts, no explanatory dialogue. He trusts the audience to find humour in the mundane, and that trust pays off.
Though set in a comedic register, the critique of post-war modernisation is clear. The contrast between Hulot’s charmingly disordered neighbourhood and the antiseptic home of his sister’s family is striking. There’s affection here, but also a wistful note—what do we lose in the march of progress?

Doctor Who – Wishworld – BBC One, 6:15 PM
In this week’s Doctor Who, the crew are thrown into a surreal world shaped entirely by wishes. At first enchanting, the realm soon reveals its darker underbelly, as unchecked desires bring unintended consequences.
This episode sees the Doctor confronting not just external threats but their own doubts. The writing strikes a fine balance between whimsy and warning, reflecting on the difference between dreams and delusions.
Russell T Davies uses this episode to nudge viewers gently toward introspection. What do our wishes reveal about us? And what happens if they come true without constraint? There are no easy answers, only intriguing questions.

Apocalypse Stalin – PBS America, 7:25 PM
Uncompromising and chilling, this three-part documentary traces the life of one of history’s most ruthless leaders. This episode focuses on how Stalin consolidated power through propaganda, fear, and purges.
The archival footage is disturbing in its familiarity, echoing authoritarian patterns that still linger in the world. By humanising the victims and documenting the regime’s machinery, the programme honours the past while warning the present.
A stark and necessary viewing experience.

Liza: A Truly Terrific Absolutely True Story – BBC Two, 9:00 PM
This affectionate yet honest portrait of Liza Minnelli balances showbiz dazzle with raw insight. The documentary traces her life from Hollywood royalty to queer icon, capturing the triumphs and trials with sensitivity.
Rare footage and intimate interviews show a performer who burned brightly, and sometimes too close to the flame. But it’s never mawkish. Liza is seen here as complex, brave, and utterly compelling.
A tribute worthy of its subject—and essential for anyone interested in the intersections of fame, resilience, and identity.

The Running Man (1988) – Channel 4, 11:10 PM
Arnold Schwarzenegger’s The Running Man might seem like pure 80s action at first glance—muscular heroes, explosions, and a neon-drenched aesthetic—but beneath its bombastic surface lies a darkly prescient satire of media manipulation, authoritarianism, and the spectacle of violence as entertainment.

Set in a dystopian future where the government controls the masses through rigged reality TV, the film critiques a system where the truth is malleable, dissent is silenced, and the public is pacified with bloodsport. Ben Richards, falsely accused of mass murder, becomes a pawn in this brutal game—a gladiator forced to battle for survival while the audience cheers, unaware they are complicit in their own oppression.

The parallels to modern media are striking. The way the Running Man show twists reality, framing Richards as a villain, echoes the distortion of truth in our own era of misinformation and curated narratives. Whether through government propaganda, biased news outlets, or social media echo chambers, the film warns of a world where facts can be shaped to suit the ruling powers.

Then there’s the critique of commercialised violence. The Running Man shows a society addicted to spectacle—where suffering is entertainment and morality is secondary to ratings. It’s not far removed from real-world reality TV, where personal humiliation, cruelty, and manufactured drama keep audiences engaged. The difference? In the film’s universe, losing means death.

Despite its exaggerated, campy tone, The Running Man remains eerily relevant. It highlights the dangers of state-controlled narratives, unchecked corporate power, and public apathy in the face of exploitation. And like all great dystopian stories, it asks a chilling question: how far are we, really, from this future?

📅 Sunday, 25th May

From Russia with Love (1963) – ITV1, 4:20 PM
Bond’s second cinematic outing is a tightly coiled Cold War espionage tale. There’s less bombast, more brains—spycraft over spectacle. Sean Connery’s Bond is suave, cynical, and at his most lethal.
The Istanbul setting is rich and moody, full of alleyways and shadows. The train sequence is a classic, building tension with every turn. Lotte Lenya’s Rosa Klebb is unforgettable—a villain equal to Bond in menace and cunning.
A refined Bond adventure with elegance, grit, and real stakes.

3,000 Years of Longing (2022) – Channel 4, 10:55 PM
A lonely narratologist (Tilda Swinton) meets a Djinn (Idris Elba) in a Turkish hotel and must decide whether to use three wishes. What follows is a lavish, layered meditation on storytelling, loneliness, and desire.
George Miller’s film isn’t in a rush. It draws you into its spell with vivid tales, philosophical musings, and sumptuous imagery. The fables the Djinn recounts are touching and strange, filled with longing and regret.
A film that speaks softly but with great depth—a rare cinematic gem that rewards attention and reflection.

📅 Monday, 26th May

Apocalypse Stalin – PBS America, 7:25 PM
Part two of this searing series examines the regime’s descent into paranoia and purging. As Stalin reshapes Soviet society into a monolith of fear, personal stories of loss and defiance emerge.
It’s heavy, yes, but necessary. The programme never lets statistics eclipse individuals. Each victim has a name, a face, a context.
An unflinching examination of how ideology corrodes and consumes. Watch with care.

Jane Austen: Rise of a Genius – BBC Two, 9:00 PM
This documentary upends the tea-and-bonnets stereotype. Austen is revealed as a social critic, a feminist voice in corseted disguise. Her sharpness is celebrated, not softened.
Dramatisations are effective but never overused. Experts speak to Austen’s literary courage—writing women as thinkers, challengers, creators.
An absorbing, nuanced tribute that refreshes and reclaims Austen’s radical legacy.

Pride and Prejudice (2005) BBC2 10pm

Joe Wright’s Pride and Prejudice (2005) breathes new life into Austen’s classic, capturing both its sweeping romance and sharp social critique. Keira Knightley’s Elizabeth Bennet is fiery and independent, challenging the rigid expectations placed upon women in Regency England. Matthew Macfadyen’s Darcy, with his brooding intensity and hesitant vulnerability, embodies the struggle between personal pride and societal pressure.

Beyond the love story, the film highlights the suffocating constraints of class and gender. Elizabeth’s refusal to marry for security rather than love is a radical act in a world where women’s futures are dictated by wealth and status. Charlotte Lucas’s pragmatic decision to wed the insufferable Mr. Collins serves as a stark contrast—an unsettling reminder of the limited choices available to women. The Bennet family’s precarious financial situation underscores the brutal reality of inheritance laws that left daughters dependent on advantageous marriages.

The cinematography amplifies these themes, with sweeping shots of grand estates juxtaposed against the modest Bennet home, reinforcing the divide between privilege and struggle. The candlelit interiors and misty landscapes evoke a sense of longing—not just romantic, but for freedom, dignity, and self-determination.

Wright’s adaptation doesn’t just retell Austen’s story; it makes it resonate anew. The tension between tradition and change, duty and desire, remains as relevant today as it was in Austen’s time. This is a Pride and Prejudice that pulses with life, reminding us that love is not just about attraction, but about defiance, choice, and the courage to demand more.

📅 Tuesday, 27th May

The Good, the Bad and the Ugly (1966) – ITV4, 9:00 PM
Sergio Leone’s spaghetti western is a slow-burn masterpiece of cinema, rich in tension and iconic in style. Clint Eastwood, Eli Wallach, and Lee Van Cleef form an uneasy triangle of greed, pragmatism, and ruthlessness as they hunt for a cache of hidden gold during the chaos of the American Civil War.

Storyville: White Man Walking is a deeply unsettling yet necessary documentary that examines the journey of a man who once embraced white supremacist ideology but later rejected it, dedicating his life to de-radicalisation. The film follows Rob Bliss, a white filmmaker who embarks on a 1,500-mile walk through America’s southern states wearing a Black Lives Matter T-shirt, confronting hostility, armed Trump supporters, and moments of unexpected connection.

This documentary is not just about one man’s personal reckoning—it’s about the broader social and political forces that shape radicalisation and the difficulty of breaking free from them. It explores the deep racial and ideological divide in America, asking why advocating for Black lives provokes such visceral anger, particularly in poor, rural white communities. The film does not offer easy answers but instead forces viewers to sit with discomfort, reflecting on the systems that sustain racism and the silence that allows it to persist.

The documentary also highlights the power of human connection. While Bliss encounters hostility, he also finds moments of solidarity—people willing to walk beside him, listen, and engage in difficult conversations. These interactions underscore the possibility of change, however slow and painful it may be.

By marking the fifth anniversary of George Floyd’s murder, White Man Walking serves as both a personal journey and a broader call for empathy and understanding. It challenges viewers to consider what it truly means to be an ally and how deeply ingrained prejudices can be confronted—not just in theory, but face to face, in the streets.

📅 Wednesday, 28th May

The Hate U Give (2018) – Film4, 11:25 PM
Adapted from Angie Thomas’s acclaimed novel, this is a raw, emotionally charged film about a teenager grappling with police violence, activism, and identity. Amandla Stenberg stars as Starr Carter, who moves between two worlds—her poor, Black neighbourhood and a privileged, mostly white private school.

Sense and Sensibility (Episodes 1–3) – BBC Four, from 10:00 PM
This Austen adaptation takes its time, allowing each emotional shift to unfold gradually. Episode one introduces the Dashwood sisters and their sudden reversal of fortune. Episode two brings romantic possibility and quiet heartbreak. Episode three deepens the conflict between duty and desire.

📅 Thursday, 29th May

The Remains of the Day (1993) – Film4, 6:05 PM
Merchant Ivory’s The Remains of the Day (1993) is a masterclass in restraint, a film that unfolds with quiet devastation, exploring dignity, repression, and the weight of missed opportunities. Anthony Hopkins delivers a haunting performance as Stevens, a butler whose unwavering loyalty to duty has left him emotionally stunted, unable to grasp the depth of his own sacrifices. Emma Thompson’s Miss Kenton, warm and perceptive, offers him a glimpse of something more—a life beyond service, beyond rigid decorum—but Stevens, bound by his own sense of propriety, cannot reach for it.

Beneath its elegant surface, the film is a profound meditation on class, power, and the cost of unquestioning loyalty. Stevens’ devotion to Lord Darlington, a man whose political sympathies veer dangerously toward appeasement, reflects the broader theme of misplaced faith—how adherence to hierarchy and tradition can blind individuals to moral failings. The film subtly critiques the British class system, showing how servitude, even when performed with dignity, can become a form of self-erasure.

The historical backdrop—the years leading up to World War II—adds another layer of tragedy. Stevens, so consumed by his role, fails to see the shifting tides of history, just as he fails to acknowledge his own emotions. His journey, framed as a road trip to reconnect with Miss Kenton, is less about rekindling romance and more about reckoning with regret. The film asks: What happens when a life is spent in service to others, at the expense of one’s own desires? Can dignity exist without personal fulfillment?

Visually, The Remains of the Day is stunning in its subtlety. The grandeur of Darlington Hall contrasts with the quiet melancholy of its inhabitants. The cinematography lingers on small gestures—a glance, a hesitation, a hand hovering near another—capturing the unspoken emotions that define the film. The final scene, with Stevens watching Miss Kenton disappear into the night, is a gut punch, a moment of realization too late.

This is not just a story of lost love; it is a story of self-denial, of the dangers of living entirely for duty. It remains one of the most poignant explorations of class, history, and human frailty ever put to screen. A film that lingers, much like the regrets it so delicately portrays.

L.A. Confidential (1997) – Legend, 9:00 PM
Curtis Hanson’s L.A. Confidential (1997) is a neo-noir masterpiece that peels back the glossy veneer of 1950s Los Angeles to reveal a city steeped in corruption, deception, and moral compromise. Adapted from James Ellroy’s novel, the film follows three very different cops—each with their own approach to justice—as they navigate a world where crime, politics, and Hollywood glamour are dangerously intertwined.

At its core, L.A. Confidential is a scathing critique of institutional corruption. The LAPD, presented as both protector and predator, operates more like a syndicate than a force for good. The film exposes the ways in which power is wielded—not to uphold justice, but to control narratives, silence dissent, and maintain the illusion of order. The media plays a crucial role in this deception, with tabloid journalist Sid Hudgens manufacturing scandals to serve the interests of those in power. The film’s portrayal of police brutality, cover-ups, and manipulation feels eerily relevant, reflecting ongoing conversations about law enforcement and accountability.

The three central detectives—Ed Exley (Guy Pearce), Bud White (Russell Crowe), and Jack Vincennes (Kevin Spacey)—embody different facets of the system. Exley, ambitious and idealistic, believes in justice but struggles with the compromises required to achieve it. White, driven by personal trauma, is a violent enforcer who sees himself as a protector of the vulnerable. Vincennes, slick and self-serving, is caught between his role as a cop and his desire for celebrity. Their arcs highlight the moral ambiguity of law enforcement—how personal motivations, rather than principles, often dictate actions.

The film also critiques the myth of Hollywood glamour. Beneath the dazzling lights and star-studded façades lies exploitation, secrecy, and the commodification of human lives. Kim Basinger’s Lynn Bracken, a Veronica Lake lookalike trapped in a world of manufactured fantasies, represents the cost of this illusion. Her character underscores the film’s theme of identity—how people are shaped, manipulated, and sometimes destroyed by the roles they are forced to play.

Visually, L.A. Confidential is stunning. Hanson and cinematographer Dante Spinotti craft a world that feels both nostalgic and unsettlingly modern. The film’s rich color palette, sharp contrasts, and meticulous framing evoke classic noir while maintaining a contemporary edge. The violence is brutal but never gratuitous, serving as a stark reminder of the consequences of unchecked power.

L.A. Confidential is a meditation on truth, power, and the cost of integrity in a world built on deception. Its themes remain as relevant today as they were in the 1950s. A gripping, intelligent, and beautifully crafted piece of cinema that refuses to offer easy answers.

Kelly’s Heroes (1970) – BBC Four, 10:30 PM
Kelly’s Heroes (1970) is a war film that defies traditional narratives, embracing a cynical, satirical view of military bureaucracy, heroism, and war’s underlying motivations. Unlike conventional World War II films, it presents soldiers driven not by duty but by personal gain, turning the battlefield into a gold heist rather than a noble struggle. Authority figures are depicted as incompetent or oblivious, reinforcing the idea that war is often mismanaged by those in power while individual soldiers must navigate its chaos for survival. The film also critiques the economic dimensions of war, framing it as an enterprise of profit rather than ideological conflict. Oddball, played by Donald Sutherland, embodies the countercultural spirit of the late 1960s, rejecting traditional military discipline in favour of a free-spirited, almost hippie-like philosophy that contrasts with standard war-film protagonists. By presenting combat as absurd and greed-driven, Kelly’s Heroes dismantles wartime heroism, portraying war not as a patriotic duty but as an opportunistic, often farcical endeavor. Beneath its comedic surface lies a sharp critique of warfare’s futility, making it one of the most subversive films in the genre.

📅 Friday, 30th May

Fire Island (2022) – Channel 4, 12:10 AM
Andrew Ahn’s Fire Island (2022) is a vibrant, unapologetically queer reimagining of Pride and Prejudice, set against the backdrop of the legendary Fire Island Pines. It’s a film that blends sharp social commentary with heartfelt romance, capturing both the joy and complexity of modern queer life.

Fire Island is a story about friendship, love, and the unspoken hierarchies within the LGBTQ+ community. Joel Kim Booster’s Noah, a witty and self-assured protagonist, takes on the Elizabeth Bennet role, navigating class divisions, romantic entanglements, and the pressures of queer social spaces. Bowen Yang’s Howie, more reserved and yearning for connection, mirrors Jane Bennet, while Conrad Ricamora’s Will, initially aloof and guarded, embodies the Darcy archetype. Their relationships unfold within the intoxicating chaos of Fire Island’s party scene, where status, attraction, and self-worth are constantly negotiated.

The film doesn’t shy away from exploring the intersection of class and privilege within queer spaces. Fire Island, long a haven for gay men, is also a place where wealth and exclusivity shape social dynamics. The tension between Noah’s working-class background and the affluence of Will and his friends echoes Austen’s critique of rigid class structures. The film asks: Who gets to belong? Who is deemed desirable? And how do these unspoken rules affect the way queer people see themselves and each other?

Beyond its social themes, Fire Island is a celebration. It revels in the freedom of chosen family, the thrill of summer romance, and the power of community. The humour is sharp, the chemistry electric, and the emotional beats deeply resonant. It’s a film that understands the importance of representation—not just in its diverse cast, but in its refusal to put pain over happiness.

The film is stunning, capturing the sun-soaked beauty of Fire Island while contrasting its idyllic setting with moments of vulnerability and introspection. The soundtrack pulses with energy, mirroring the highs and lows of the characters’ journeys. And at its heart, Fire Island remains true to Austen’s themes—love, self-discovery, and the courage to challenge societal expectations.

This is more than just a rom-com; it’s a statement. A film that embraces the messiness, beauty, and complexity of life while reminding us that, sometimes, love is found in the most unexpected places. Smart, funny, and full of heart, Fire Island is a modern classic in its own right.

Shadow in the Cloud (2020) – BBC One, 12:30 AM
Shadow in the Cloud (2020) is a genre-bending thrill ride that fuses WWII aerial combat with supernatural horror, feminist themes, and pulpy action. Chloë Grace Moretz delivers a fierce performance as Maude Garrett, a flight officer carrying a top-secret package aboard a B-17 bomber. As she battles sexism from the all-male crew, she soon faces an even greater threat—a monstrous gremlin lurking on the aircraft.

The film’s feminist undercurrent is unmistakable. Garrett’s struggle for respect mirrors the historical reality of women in male-dominated fields, particularly in wartime. The crew’s dismissive attitude toward her reflects ingrained misogyny, making her fight for survival not just against the creature but against systemic prejudice. Her resilience and tactical brilliance challenge the notion that heroism is reserved for men, reinforcing the film’s subversive edge.

Beyond its feminist themes, Shadow in the Cloud critiques wartime propaganda and the glorification of military heroism. The exaggerated action sequences—where Garrett defies gravity and logic—play into the myth-making often associated with war stories. The film knowingly embraces its absurdity, using it to highlight the way narratives of heroism are shaped and distorted.

The film is striking, with claustrophobic cinematography that heightens tension. The confined space of the bomber’s ball turret becomes a pressure cooker, forcing Garrett into a relentless battle against both human and supernatural threats. The gremlin itself, a nod to WWII folklore, symbolizes the unseen dangers of war—whether mechanical failures, enemy attacks, or internal sabotage.

While the film’s tonal shifts can be jarring, its audacity is part of its charm. It refuses to be boxed into a single genre, blending horror, action, and feminist commentary into a chaotic but compelling spectacle. Shadow in the Cloud is bold, bonkers, and undeniably entertaining—a film that takes risks and revels in its own madness.

📡and finally, Streaming Choices

Surviving the Tunisia Beach Attack – Prime Video, from Sunday 25 May

This documentary offers a deeply personal and harrowing account of the 2015 Tunisia beach massacre, where a lone gunman killed 38 people, including 30 British tourists. Told through the voices of survivors, it reconstructs the attack moment by moment, exploring the fight-or-flight responses that saved lives and the extraordinary acts of courage in the face of terror.

Beyond its immediate tragedy, the documentary examines the long-term psychological impact of such violence. Survivors reflect on grief, trauma, and the struggle to rebuild their lives, highlighting the resilience of the human spirit. It also raises broader ethical and political questions about terrorism, security failures, and the responsibility of governments in protecting citizens abroad.

The attack, linked to Islamic extremism, underscores the ongoing global challenge of radicalisation and the devastating consequences of ideological violence. The documentary does not just recount events—it forces viewers to confront the fragility of safety, the unpredictability of terror, and the ways in which societies respond to such atrocities. It is a vital piece of storytelling that honours the victims while prompting reflection on the world’s ongoing battle against extremism.

Department Q – Netflix, from Thursday, 29th May

This Danish crime series, based on Jussi Adler-Olsen’s bestselling novels, delves into the dark underbelly of Nordic noir, blending psychological depth with slow-burning intrigue. The story follows Carl Mørck, a brilliant but emotionally scarred detective, assigned to a cold case unit after a traumatic incident leaves his partner paralysed and another officer dead.

Department Q is an exploration of guilt, redemption, and the institutional failures within law enforcement. Mørck’s exile to the basement of the police department reflects the way bureaucracies often sideline those who challenge the system. His relentless pursuit of justice, despite personal demons, speaks to the moral complexities of policing—how trauma, corruption, and political pressures shape investigations.

The series also critiques the justice system’s handling of cold cases, questioning how many crimes remain unsolved due to negligence, lack of resources, or deliberate cover-ups. As Mørck and his team uncover buried truths, the show forces viewers to consider the ethical dilemmas of law enforcement: What happens when justice is delayed? How do victims and their families cope with unresolved crimes?

With its bleak Scandinavian landscapes and intricate storytelling, Department Q is a gripping addition to the Nordic noir genre, offering both suspense and a thought-provoking look at the human cost of crime and justice.

Picture credits

Mon Oncle (1958)
Fair use, https://en.wikipedia.org/w/index.php?curid=14855843
Doctor Who
By https://www.instagram.com/bbcdoctorwho/p/DHyBku8OAtV/, Fair use, https://en.wikipedia.org/w/index.php?curid=79334790
Apocalypse Stalin
By James Abbe – Immediate source: [1]Initial publication: The New York Times, 8 May 1932 (image of first page available at [2]), as attested in Shooting Stalin: The Wonderful Years of James Abbe (2005), ISBN 9783865210432, Public Domain, https://commons.wikimedia.org/w/index.php?curid=163452326
Liza: A Truly Terrific Absolutely True Story
By Unknown author – ebay, Public Domain, https://commons.wikimedia.org/w/index.php?curid=28341206
The Running Man (1987) (Note: often listed as 1987)
By http://www.impawards.com/1987/running_man.html, Fair use, https://en.wikipedia.org/w/index.php?curid=34215915
From Russia with Love (1963)
By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=37428191
Three Thousand Years of Longing (2022)
By http://www.impawards.com/2022/three_thousand_years_of_longing_xxlg.html, Fair use, https://en.wikipedia.org/w/index.php?curid=70822455
Jane Austen
Fair use.
Pride and Prejudice (2005)
The poster art can or could be obtained from Focus Features., Fair use, https://en.wikipedia.org/w/index.php?curid=30525992
The Good, the Bad and the Ugly (1966)
Derived from a scan of the poster (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the film company or the artist. Claimed as fair use regardless., Fair use, https://en.wikipedia.org/w/index.php?curid=5714576
The Hate U Give (2018)
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=58853244
Sense and Sensibility (TV adaptation – BBC) (2008)
By http://elegance-of-fashion.blogspot.com/2011/03/review-sense-and-sensibility-2008.html, Fair use, https://en.wikipedia.org/w/index.php?curid=24033034
The Remains of the Day (1993)
By http://www.impawards.com/1993/remains_of_the_day.html, Fair use, https://en.wikipedia.org/w/index.php?curid=6745078
L.A. Confidential (1997)
By http://www.impawards.com/1997/la_confidential.html, Fair use, https://en.wikipedia.org/w/index.php?curid=6898645
Kelly’s Heroes (1970)
By Metro-Goldwyn-Mayer (MGM) – IMPawards, Fair use, https://en.wikipedia.org/w/index.php?curid=38329896
Fire Island (2022)
By Searchlight Pictures – https://twitter.com/searchlightpics/status/1518589402305507329?s=20&t=z98t5jxp96X-UEKqWN4Jfg, Fair use, https://en.wikipedia.org/w/index.php?curid=70626655
Shadow in the Cloud (2020)
By http://www.impawards.com/2020/shadow_in_the_cloud_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=66402981

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Culture Vulture 10th to the 16th of May 2025

May 10, 2025 at 7:22 am · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , ,


3,278 words, 17 minutes read time.

Curated by Pat Harrington. Music on the video version is by Tim Bragg.
High Society offers crystalline grace. Bodies Bodies Bodies presents a disorienting descent. It’s a week of layered narratives and compelling portraits. On Saturday, a stirring new Doctor Who episode airs. There is also a haunting music documentary. On Thursday, the UK terrestrial premiere of She Said airs. It’s a landmark in modern journalism cinema. Streaming highlight: Bet, a razor-sharp adaptation of the acclaimed manga Kakegurui,

🗓️ Saturday, 10th May

Believe (2013): BBC Two, 10:00 AM ★★★★☆
Believe is set in 1980s Manchester. Loosely inspired by real events, it presents the story of football legend Sir Matt Busby. He unexpectedly mentors a young tearaway with raw talent. Brian Cox plays Busby with tenderness and quiet gravitas. He brings a warmth to the role. This anchors the film’s sentimental core. The story unfolds with charm and low-stakes humour. The pair navigate personal loss. They face team dynamics. They confront the shadows of Busby’s past.

The film resists over-dramatisation, focusing instead on the healing potential of sport and human connection. It captures the texture of working-class northern life with an affectionate eye, without tipping into caricature. The young cast deliver natural, unforced performances, particularly Jack Smith as Georgie, the boy who reluctantly discovers the value of guidance and community.

Though it treads familiar underdog territory, Believe succeeds on the strength of its sincerity. Director David Scheinmann crafts a film that is modest in scale. It is rich in feeling. It reminds viewers that redemption and legacy often come in small, unexpected moments. It’s a gentle and affirming way to start your Saturday.

High Society (1956): BBC Two, 2:50 PM ★★★★☆
This sparkling musical remake of The Philadelphia Story boasts a glittering cast. It features Cole Porter’s finest tunes. Grace Kelly, in her final film role before becoming Princess of Monaco, plays the haughty heiress. She is caught between past and future lovers. Frank Sinatra and Bing Crosby are the competing suitors. They trade witty barbs and smooth vocals. Their story unfolds in a tale of mistaken intentions and reawakening hearts. It’s a sumptuous production, full of pastel glamour and high-society satire.

Despite the predictability of the plot, the charm lies in the performances and music. Crosby exudes laid-back charisma, while Sinatra brings a sharper, more worldly edge to his role as a tabloid reporter. The standout moment, however, belongs to the duet “Well, Did You Evah!”—a sequence that crackles with humour and rhythm. Meanwhile, Kelly navigates her character’s emotional thaw with understated precision. Her transformation feels believable even within the constraints of the genre.

If High Society doesn’t quite match the sophistication of its predecessor, it compensates with grace, melody, and a whimsical spirit. The film is a reminder of the golden era of Hollywood musicals. Artifice became artistry. Even the most jaded character could be redeemed by the right note at the right moment.

Doctor Who: “The Story & The Engine” (Series 15, Episode 5): BBC One, 7:10 PM

In this richly layered episode, the Doctor (Ncuti Gatwa) and companion Belinda Chandra (Varada Sethu) arrive in Lagos, Nigeria. They meet a world where stories hold tangible power. The narrative focuses on a mysterious figure known as the Barber. This figure reigns supreme in a community trapped by a deadly web of revenge. This web is spun by the enigmatic Spider.

Rebecca (1940): Talking Pictures, 9:05 PM ★★★★★
Hitchcock’s first Hollywood film, and still one of his most haunting, Rebecca adapts Daphne du Maurier’s gothic novel into a psychological thriller thick with atmosphere and ambiguity. Joan Fontaine plays the unnamed heroine, swept into a whirlwind marriage with the brooding Maxim de Winter, only to find herself eclipsed by the memory of his late wife. The estate of Manderley becomes a maze of secrets, where the dead exert more power than the living.

What elevates Rebecca is not just its suspense but its study of identity, insecurity, and social isolation. Fontaine is exquisite as the timid second Mrs de Winter. She struggles to assert herself in a world shaped by wealth, grief, and manipulation. Judith Anderson’s performance as Mrs Danvers is chilling. She is the housekeeper obsessed with Rebecca’s memory. Her portrayal remains one of cinema’s most iconic portraits of unspoken menace.

Hitchcock later claimed it wasn’t “a Hitchcock picture.” Still, the film is suffused with his signature control over tone and tension. Its shadowy visuals create an intense atmosphere. Emotional claustrophobia grips the audience. Undercurrents of repressed longing guarantee that Rebecca endures as both a ghost story and a psychological drama. A timeless, elegant descent into obsession.

🗓️ Sunday, 11th May

Unforgotten: The Bradford City Fire: BBC Two, 9:00 PM

This harrowing and deeply moving documentary revisits the tragic events of May 11, 1985. On this day, a fire engulfed the main stand at Bradford City’s Valley Parade stadium during a match against Lincoln City. It claimed 56 lives. The film airs on the 40th anniversary of the disaster. It offers a poignant exploration of a catastrophe. This tragedy has often been overshadowed in the annals of British football history.

The documentary features compelling personal testimonies. Survivors, bereaved families, and first responders share their stories. These accounts paint a vivid picture of the day’s events and their enduring impact. The inclusion of archival footage and interviews provides a comprehensive narrative. It honors the memories of those lost and highlights the resilience of the Bradford community.

Executive Producer Jaimie D’Cruz and Director Andy R. Worboys handle the subject matter with sensitivity and respect, ensuring that the voices of those affected are at the forefront. The film commemorates the victims. It also examines the broader implications of the disaster. This includes its influence on stadium safety regulations and the importance of collective memory.

“Unforgotten: The Bradford City Fire” stands as a testament to the strength of a community facing unimaginable loss. It serves as a crucial reminder of the need to remember and learn from past tragedies.

Brooklyn (2015): BBC Two, 10:30 PM ★★★★★
Brooklyn is a film about leaving home—and learning what “home” really means. Saoirse Ronan stars as Eilis, a young Irish woman. She emigrates to New York in the 1950s. She is in search of work and opportunity. The story begins with culture shock and personal growth. It deepens into something far more moving. It becomes a meditation on longing, belonging, and the fragile duality of identity. Ronan’s performance is radiant, filled with grace and restraint.

The film is directed by John Crowley. Nick Hornby adapted it from Colm Tóibín’s novel. It is visually lush with warm period detail. The evocative cinematography enhances the experience. The contrast between the muted tones of Enniscorthy and the vibrant hues of Brooklyn reflects Eilis’s shifting internal world. Her romance with the open-hearted Tony is delicately handled, offering emotional security without idealisation. Yet the return to Ireland complicates everything, and Ronan captures Eilis’s emotional conflict with aching subtlety.

Brooklyn avoids melodrama in favour of emotional authenticity. It’s a story built on small, significant choices. A letter, a glance, or a missed ferry carries the weight of a life’s direction. By the end, what lingers is the quiet strength of a woman. She is carving her own path through the push and pull of two homes. It’s a story many will find intimately familiar

🗓️ Monday, 12th May

Greggs vs McDonald’s: The Fast Feud (Channel 4, 8:00 PM)
This quirky documentary unpacks a battle of British fast-food titans. On one side, the humble northern bakery with sausage rolls and steak bakes; on the other, the American giant serving Big Macs and fries. But it’s about more than meat and pastry—this is a story of branding, regional identity, and changing appetites.

The programme delves into how each company adapts to shifting cultural trends and economic pressures. It also looks at the way they communicate class, convenience, and comfort food, sometimes in surprisingly political ways.

Entertaining and unexpectedly insightful, it frames the feud as symbolic of broader societal change. Fans of business strategy and British quirks alike will find something to savour.

Inside Our Minds: ADHD (BBC Two, 9:00 PM)
This documentary series starts by empathetically exploring ADHD in adults. It also dives into the perspectives of children. The first episode focuses on diagnosis, daily challenges, and the invisible barriers those with ADHD navigate. It offers not only medical perspectives but also deeply personal insights.

Participants speak candidly about stigma, misunderstanding, and the emotional toll of being labelled “difficult” or “lazy.” The episode excels in capturing both frustration and resilience. It highlights the need for more inclusive environments at school and work.

With thoughtful pacing and clear-eyed narration, the show goes beyond pathology to tackle lived experience. A valuable watch for educators, employers, and anyone interested in mental health.

True Things (BBC Two, 11:40 PM, 2021) ★★★★☆
Ruth Wilson is riveting in this psychological drama about a woman caught in the gravitational pull of a dangerous affair. Her character, Kate, begins a volatile relationship with a mysterious stranger (Tom Burke), and her life starts to unravel.

The film doesn’t sensationalise the spiral; instead, it hones in on the emotional fog and disorientation that often accompany destructive intimacy. Wilson gives a performance full of nuance, letting us feel every moment of hope, confusion, and desperation.

With naturalistic direction and a script rooted in emotional truth, True Things avoids moralising. It’s a challenging, intimate portrayal of a woman losing and slowly reclaiming herself.

🗓️ Tuesday, 13th May

Kind Hearts and Coronets (Film4, 12:35 PM, 1949) ★★★★★
This is a classic of British black comedy. This Ealing Studios gem shows a disinherited aristocrat eliminating eight relatives. He does so to inherit a dukedom. Alec Guinness famously plays all eight doomed relatives with glee and elegance.

Dennis Price’s suave narrator brings a chilling detachment to the tale of social climbing and revenge. His droll delivery and the film’s crisp script guarantee the murders stay darkly funny rather than gruesome.

Beneath the humour lies a sharp satire of class and entitlement, making it as culturally relevant now as ever. A true masterclass in tone and restraint.

Convicting My Ex (BBC Three, 9:00 PM)
This true-crime documentary focuses on a woman’s pursuit of justice. She seeks justice against an abusive ex-partner. It chronicles her decision to bring the case to court and the exhausting legal and emotional process that follows.

What sets it apart is its raw honesty and refusal to simplify complex emotional territory. The programme examines trauma and memory. It also investigates credibility and the strain on victims. These victims are forced to relive their ordeals in public.

It’s a sobering but essential watch that handles its topic with sensitivity and care. A crucial reminder of how much support and reform is still needed within the justice system.

🗓️ Wednesday, 14th May

Garbo: Where Did You Go? (Sky Arts, 9:00 PM)
This documentary is a haunting meditation on the disappearance of Greta Garbo from public life. It is less biography than elegy. It tries to understand why one of Hollywood’s most luminous stars chose to vanish at the height of her fame.

It uses archive footage, photography, and letters. These elements build a complex portrait of a woman. She defied convention both onscreen and off. Garbo’s retreat becomes a symbol for privacy in a time of celebrity overexposure.

The film is a thoughtful, poetic reflection on fame, solitude, and the right to vanish. A quietly mesmerising experience.

Carol (Film4, 11:20 PM, 2015) ★★★★★
This film is a masterful adaptation of Patricia Highsmith’s novel The Price of Salt. It follows a forbidden romance between two women in 1950s America. Cate Blanchett plays Carol with regal poise and aching sadness, while Rooney Mara’s Therese evolves from uncertainty to quiet strength.

The cinematography showcases muted palettes and delicate framing. It reflects the repression of the era. It also captures the emotional intensity of the characters. Every glance and touch feels monumental.

Todd Haynes crafts a film of rare beauty and emotional precision. It’s not just a love story—it’s an act of defiance in a world built to suppress such truths.

🗓️ Thursday, 15th May

Classic Movies: The Story of The Dam Busters (Sky Arts, 8:00 PM)
This documentary revisits one of Britain’s most iconic war films and its legacy. It provides context around the real-life mission, the cinematic innovation of the film, and its enduring place in national myth.

The programme doesn’t shy away from critiquing the film’s dated elements, even as it honours its craft. Viewers learn how the use of miniature models, editing, and music helped shape a patriotic classic.

It’s both a celebration and a critical look at storytelling in wartime cinema. Fans of film history will find much to enjoy.

She Said (Film4, 9:00 PM, 2022). ★★★★★
This powerful dramatization of the Weinstein investigation stars Carey Mulligan and Zoe Kazan. They play the New York Times journalists who broke the story. It’s a film about courage, collaboration, and the often invisible work of holding power to account.

Rather than indulging in melodrama, the script focuses on journalistic rigour and solidarity. Scenes between survivors and reporters are handled with care, never sensationalising pain.

A vital entry in the canon of films about truth-telling, She Said shows how small decisions can change the world. An absolute must-watch.

The Drop (Film4, 11:35 PM, 2014) ★★★★☆
At first glance, The Drop might appear to be a straightforward crime thriller. Yet, beneath its gritty narrative lie profound social, ethical, and political themes. These themes elevate it beyond genre conventions. The film explores economic hardship and the forces that push people into morally gray survival tactics. Tom Hardy’s character plays a quiet bartender entangled in gang activity. His character illustrates the struggles of working-class communities. In these communities, financial instability can lead individuals down dangerous paths. The narrative critiques the cyclical nature of crime. It shows how desperation and power imbalances can shape lives beyond one’s control.

Moral dilemmas and redemption weave through the story, symbolized by an abandoned pit bull. More than just a subplot, the dog represents vulnerability, loyalty, and second chances. Hardy’s relationship with the animal mirrors his own internal conflict—a man searching for meaning and connection in an unforgiving environment. The themes of power and corruption become clear through James Gandolfini’s final role. He portrays the fading remnants of mob influence. The film subtly examines how old power structures weaken. New ones emerge in unexpected ways. The film raises questions about who truly holds authority. Is it those who enforce brute strength or those who quietly manipulate from the shadows?

Justice and survival are tightly connected. The slow-burn tension builds and forces the audience to confront the blurred lines between right and wrong. The film avoids easy answers, compelling viewers to reflect on the complexities of morality in an uncertain world. Atmospheric and absorbing, The Drop offers more than just crime. It is a meditation on human nature. The film explores resilience and the ethical challenges people face when caught between forces beyond their control. Whether one watches for Hardy’s unforgettable performance or its deeper themes, this is a film that you remember.

🗓️ Friday, 16th May

Kate Bush at the BBC (BBC Four, 10:00 PM)
A compilation of performances that chart Kate Bush’s singular artistic evolution. From wide-eyed theatricality to minimalist mysticism, the BBC archive offers a rare view of her stages of transformation.

Whether it’s “Wuthering Heights” or “Running Up That Hill,” Bush performs with total commitment and emotional intelligence. Her voice alone is an instrument of daring expression.

For fans and newcomers alike, this programme captures the spirit of an artist who has never played by the rules. Endlessly compelling.

Bodies Bodies Bodies (BBC One, 11:30 PM, 2022) ★★★★☆
Online personas are curated in this world. Here, self-awareness collides with self-obsession. Bodies Bodies Bodies offers a razor-sharp dissection of modern friendships and privilege. It explores the fragile trust that holds them together. Set against the chaotic backdrop of a raging hurricane, a group of affluent young friends gather in isolation. They are seeking thrills and validation through a party game. This game quickly unravels into something far more sinister.

Halina Reijn’s direction imbues the film with a neon-drenched aesthetic. This mirrors the performative nature of its characters. Every interaction is a performance. Every emotion is exaggerated for greatest effect. Paranoia is increasing, and alliances are fracturing. The film exposes how digital spaces shape real-life relationships. These spaces amplify insecurities and erode genuine connection. In their desperate attempts to define truth and assign blame, the characters inadvertently reveal the contradictions within their own self-perception. They are deeply vulnerable. They are also aggressively self-serving.

Darkly comedic yet eerily prescient, Bodies Bodies Bodies goes beyond the typical whodunnit structure. It weaves in biting commentary on the very culture its characters embody. It turns the lens inward. It forces the audience to confront their own complicity in the spectacle. What remains is something far more chilling than a traditional slasher. It’s the realization that trust, sincerity, and identity are increasingly blurred in an age of curated narratives. A perfect late-night watch for anyone willing to confront the reflections lurking in the shadows.

🌐 Streaming Picks

Bet (Netflix, from Thursday, 15th May) ★★★★★
A high-stakes thriller set in an elite boarding school where underground gambling dictates the social hierarchy, Bet follows the arrival of Yumeko, a mysterious transfer student whose fearless approach to risk-taking disrupts the status quo. As she challenges the powerful Student Council, her secret quest for revenge threatens to unravel the school’s carefully controlled system.

With a sharp script and electrifying performances, Bet combines psychological tension with dazzling games of chance. Fortunes rise and fall in an instant. The series captures the intoxicating thrill of high-stakes wagers, weaving in themes of power, manipulation, and obsession. Every gamble is more than just a game—it’s a battle for dominance, survival, and truth.

A gripping adaptation of the acclaimed manga Kakegurui, Bet delivers a stylish, adrenaline-fueled ride that keeps viewers on edge.

The writing is tight, the direction tense, and the performances haunting. There are no easy outs, only the heavy cost of denial and compulsive behaviour.

Bet is a dark mirror to modern anxieties about risk, control, and technology. One of the most gripping dramas of the year so far.

Sunset Grove (Walter Presents, Channel 4 Streaming, from Friday, 16th May) ★★★★☆
In a Finnish retirement community, a trio of elderly women find a suspicious death. They decide to investigate. What follows is part murder mystery, part black comedy, and entirely delightful.

The series has fun with genre tropes while never mocking its protagonists. The charm lies in the chemistry between the leads and the show’s surprisingly sharp social commentary.

If you liked Only Murders in the Building, this is your next fix—but with more knitting and less pretence.

Murderbot (Apple TV+, from Friday, 16th May) ★★★★★
Based on the acclaimed novellas by Martha Wells, this series follows a rogue android who hacks its own governing protocols. Equal parts security unit and soap opera addict, Murderbot is one of sci-fi’s freshest antiheroes.

The show blends action with philosophical questions about autonomy, humanity, and identity. And it’s funny—genuinely, dryly funny.

It’s rare for sci-fi to be this smart and this much fun. Murderbot could be Apple’s next breakout hit.

Culture Vulture is published weekly. Listings and commentary are by Pat Harrington. Music selections are by Tim Bragg. We aim to inspire cultural curiosity. We highlight the best of film and television. We offer thoughtful context for our changing times. Longer reviews of some of the films and programmes featured are often available on the Counter Culture website. Check some out, and till next week, stay curious!

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