Posts Tagged Film Reviews

Culture Vulture: Saturday 13 – Friday 19 December 2025

December 12, 2025 at 7:35 am · Filed under Culture Vulture, Netflix, TV Shows ·Tagged , , , , , , , ,

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This is a week that quietly rewards attention. Beneath the seasonal noise, the schedules offer a rich braid of post-war British cinema, American noir, European melancholy, pop-cultural memory and the long afterlife of myth — cinematic, musical and televisual. There’s a strong sense of looking back, but not nostalgically: instead, these programmes ask what endurance looks like, whether in communities, relationships, art forms or identities under pressure.

Three selections stand out. 🌟 Paris, 13th District brings contemporary intimacy and alienation into sharp monochrome focus. 🌟 Good Luck to You, Leo Grande proves how radical honesty can be when given space and respect. And 🌟 Strangers on a Train reminds us that cinema’s most elegant thrills often come from moral unease rather than spectacle.

What follows is a week that moves fluidly between eras and registers — from Ealing comedy to Bowie on tour, from The War Between Land and Sea’s mythic politics to Lucy Worsley’s festive archaeology — all bound by a fascination with how people behave when the structures around them start to fracture. Selections and reviews are by Pat Harrington.

Saturday 13 December 2025

Paris, 13th District (2021)
BBC Two, 12:45 AM 🌟
Jacques Audiard’s return to intimate, character-led storytelling is cool, lucid and quietly devastating. Shot in luminous black-and-white, the film captures a generation suspended between connection and detachment, where bodies meet more easily than lives. What might sound like a series of romantic encounters slowly reveals itself as a study of loneliness shaped by modern precarity — housing, work, image, desire all pressing in from the margins.

Audiard resists melodrama, letting silences do the work. The performances feel lived-in rather than performed, particularly as the film allows its characters to be contradictory without judgement. This is a portrait of urban life stripped of glamour but not tenderness, and it lingers because it never overstates its case.

Dead of Night (1945)
Film4, 1:55 AM
Few British films have aged as eerily well as this portmanteau classic. Its framing device — a man haunted by recurring dreams — opens into a series of stories that explore fear not as shock, but as inevitability. The famous ventriloquist segment still disturbs precisely because it understands repression and denial as horror engines.

What makes Dead of Night endure is its restraint. The supernatural is suggested rather than explained, and the film trusts the audience to feel unease without instruction. In the shadow of war, it captures a national psyche unsure whether the nightmare is truly over.

Whisky Galore! (2016)
BBC Two, 6:30 PM
This modern retelling of the Ealing classic is gentler and less subversive than its predecessor, but it retains the story’s essential charm: a community outwitting authority in the name of shared pleasure. It’s a film about solidarity disguised as comedy, where rules bend under the weight of human need.

What it lacks in bite, it makes up for in warmth. The island setting remains a character in itself, and the humour works best when it allows quiet absurdity to surface naturally rather than pushing for laughs.

David Bowie: A Reality Tour
Sky Arts, 7:40 PM
Captured during Bowie’s early-2000s renaissance, this concert film shows an artist at ease with his legacy but unwilling to be defined by it. There’s joy here, but also curiosity — a sense that Bowie was always moving forward, even when revisiting the past.

What stands out is the emotional range: the ease with which spectacle gives way to intimacy. This is Bowie as craftsman rather than icon, still interrogating what performance means late into a remarkable career.

The Batman (2022)
ITV1, 10:25 PM
Matt Reeves’ The Batman strips the superhero genre back to its noir foundations. This is not a power fantasy but a mood piece — rain-soaked, morally ambiguous, and obsessed with systems that fail the people they claim to protect. Robert Pattinson’s Batman is raw and unfinished, more vigilante than saviour.

The film’s length allows Gotham to feel like a lived-in ecosystem rather than a backdrop. It’s a crime story first, a comic-book adaptation second, and it succeeds because it understands corruption as cultural, not individual.

Chic & Nile Rodgers: Live at Jazz Vienna
Sky Arts, 10:50 PM
Rodgers remains one of pop’s great architects, and this performance is a reminder of how deeply his work is woven into modern music. The set is immaculate, but never sterile — groove as communal experience rather than nostalgia.

What elevates it is Rodgers’ generosity as a performer. This is music designed to be shared, its sophistication disguised as pleasure.

Sunday 14 December 2025

Local Hero (1983)
Film4, 1:30 PM
Bill Forsyth’s gentle classic remains one of British cinema’s most humane achievements. It’s a film about money, landscape and belonging, but its real subject is listening — to people, to place, to oneself.

The humour is soft, the emotions quieter still, and that’s precisely why it endures. Local Hero understands that progress doesn’t always mean improvement, and that some losses can’t be quantified.

The War Between the Land and the Sea– “The Deep”
BBC One, 8:30 PM
Episode 3 of 5,
This mid-series chapter leans into atmosphere and moral tension rather than spectacle. Isolation becomes political here, with the episode using its setting to explore power, sacrifice and the limits of negotiation.

Good Luck to You, Leo Grande (2022)
Film4, 9:00 PM 🌟
This is a film about sex that is really about self-knowledge. Emma Thompson delivers one of her most fearless performances as a woman confronting a lifetime of shame, politeness and deferred desire. The script is sharp without cruelty, compassionate without condescension.

The single-room setting becomes an arena for emotional excavation. What emerges is not liberation as fantasy, but honesty as practice — awkward, funny, painful and deeply human.

Donnie Brasco (1997)
Legend, 9:00 PM
Mike Newell’s undercover gangster drama remains one of the genre’s most psychologically convincing. Johnny Depp plays infiltration as erosion, while Al Pacino gives a heartbreaking performance as a man who mistakes loyalty for love.

The film’s power lies in its sadness. This is organised crime not as glamour but as terminal stagnation, where identity dissolves under the weight of performance.

Crazy Rich Asians (2018)
BBC Two, 10:35 PM
Often dismissed as glossy escapism, this romantic comedy is sharper than it first appears. Beneath the luxury lies a serious examination of class, diaspora and obligation, especially in the way it frames family as both anchor and constraint.

Its cultural significance shouldn’t be underestimated, but its emotional intelligence is what gives it staying power.

Minari (2020)
Film4, 1:15 AM
A quiet, autobiographical film that treats migration as process rather than event. Minari resists triumphal narratives, focusing instead on fragility, disappointment and stubborn hope.

The film’s tenderness is its strength. It understands that belonging is built slowly, often unevenly, and never without cost.

The Big Snow of ’47
5Select, 10:30 PM
A reminder of how quickly modern life collapses when infrastructure fails. This documentary captures resilience without romanticising hardship, showing how communities adapt when systems freeze.

Monday 15 December 2025

Richard III (1955)
BBC Two, 2:40 PM
Laurence Olivier’s stylised adaptation is theatrical by design, embracing artifice as a form of truth. The film’s bold visuals and heightened performances foreground power as performance — charisma weaponised.

While later versions emphasise realism, this remains a masterclass in control and clarity.

Civilizations: Rise and Fall – Japan
BBC Two, 9:00 PM
Episode 4 of 4
A fitting conclusion to a series that treats history as movement rather than monument. Japan’s story is framed through cycles of openness and withdrawal, innovation and restraint.

The episode resists simplification, allowing contradiction to stand — a strength often missing from popular history television.

Tuesday 16 December 2025

Laura (1944)
BBC Two, 3:50 PM
Otto Preminger’s noir classic is as much about obsession as investigation. The camera glides, the dialogue snaps, and Gene Tierney’s presence haunts even in absence.

Few films understand desire as something constructed rather than felt. Laura remains hypnotic precisely because it never resolves that tension.

James May’s Shedload of Ideas
Quest, 9:00 PM
May’s appeal lies in his seriousness about triviality. The programme celebrates curiosity without spectacle, reminding us that invention often begins with play. This episode looks at sound-proofing a room.

Wednesday 17 December 2025

Funeral in Berlin (1966)
BBC Two, 3:15 PM
Cold War cinema rarely felt as domesticated and as dangerous as Funeral in Berlin. The film treats espionage not as a parade of tuxedos and car chases but as a ledger: names, memos, phone calls, the quiet transfer of dossiers. Michael Caine’s Harry Palmer moves through that ledger with a kind of weary arithmetic — alert, bored, and always calculating the cost of a single truth.

Berlin itself is a city of margins and checkpoints, a place where geography enforces suspicion and architecture keeps secrets. The camera lingers on banal interiors and bureaucratic rituals, and those small, ordinary details become the film’s real currency. The result is a mood that feels less like spectacle and more like a slow, inevitable tightening.

Palmer is not glamorous; he is practical, sardonic and stubbornly human. Caine gives him a face that registers irritation before heroics, a man who understands that survival often depends on paperwork as much as on courage. He reads the room and then reads the fine print, and that combination makes him quietly formidable. In a genre that usually rewards myth, Palmer’s ordinariness is the film’s moral engine.

Think less of cloak-and-dagger theatrics and more of a chessboard where pawns are memos and bishops are briefings. Moves are made in offices, over cups of bad coffee, in the exchange of coded phrases that sound like small talk. Loyalty is transactional; allegiances shift with the arrival of a new file. The film’s tension comes from the knowledge that a single misplaced signature can topple careers and lives.

Information in Funeral in Berlin functions like money: it buys safety, leverage and betrayal. Characters trade confidences the way merchants trade goods, always calculating margins and risk. The moral landscape is deliberately muddy — there are no clean victories, only compromises that look like necessities. That ambiguity is the film’s clearest statement: in a world run by intelligence, ethics are negotiable.

It’s espionage without glamour, and all the better for it. The film asks us to admire craft over charisma, patience over bravado, and to notice how power often hides in the most administrative of acts. Michael Caine’s Palmer doesn’t save the day with a flourish; he survives it with a ledger and a look, and that, in this cold, bureaucratic chess game, is victory enough.

Mozart’s Sister
Sky Arts, 9:00 PM
A necessary corrective to genius mythology, restoring Maria Anna Mozart to the story not as footnote but as artist. The programme interrogates how talent is recognised — or erased — by structures of gender and inheritance.

Travel Man: 96 Hours in Rio
Channel 4, 11:05 PM
Ayoade’s dry detachment works best when paired with cities of excess. Rio’s contradictions — beauty, inequality, performance — provide ample material.

Thursday 18 December 2025

Mrs. Harris Goes to Paris (2022)
Film4, 9:00 PM
Mrs. Harris Goes to Paris arrives like a small, insistent kindness: unshowy at first, then quietly impossible to forget. On the surface it trades in the pleasures of costume and color, in the tactile joy of fabric and the ritual of fittings, but those pleasures are never mere ornament. They are the language the film uses to talk about worth — who is allowed to be seen, who is taught to shrink, and what it takes to insist on a place at the table.

The film’s lightness is deliberate; it disarms you so that its sharper questions can slip in unnoticed. Dignity here is not a headline moment but a series of small refusals: to accept a diminished role, to let someone else define your limits, to believe that aspiration is a private indulgence rather than a public claim. Those refusals accumulate until they become a kind of moral architecture, and the couture that frames them is less about fashion than about recognition — the recognition that a life, however ordinary, deserves to be dressed with care.

There’s a tenderness to the way the story treats its characters. They are not caricatures of longing but people who have learned to measure their desires against what the world will tolerate. The film rewards patience: gestures of generosity, the slow unpeeling of embarrassment, the awkwardness of hope. When aspiration finally meets opportunity, it feels earned rather than miraculous, and that earned quality is what gives the film its emotional weight.

Beneath the sequins and silk, the film asks a political question in the softest possible voice: who gets to dream? It’s a question about class and visibility, about the small economies that decide which ambitions are respectable and which are frivolous. By staging its answer in the language of couture, the film insists that beauty and aspiration are not frivolities to be hoarded by the privileged; they are forms of recognition that restore a person’s claim on the world.

The movie’s pleasures are modest but precise: a well-timed joke, a look that lingers, a seam that finally sits right. Those details matter because they are the proof that care can be taught and received. The film doesn’t pretend that transformation is easy or total; it knows that dignity is often a matter of incremental repair rather than sudden revelation. That realism keeps the sentiment from tipping into mawkishness and makes the final moments feel like a quiet, hard-won justice.

In the end, Mrs. Harris Goes to Paris is less a fairy tale than a civics lesson in empathy. It asks us to notice who we allow to aspire and to consider how small acts of recognition — a compliment, a commission, a seat at a table — can change the shape of a life. It’s a deceptively light film because it trusts gentleness to do the heavy lifting: to make dignity visible, and to remind us that aspiration, when taken seriously, is a public good.

Zola (2020)
Channel 4, 1:40 AM
Zola arrives like a live wire: loud, jagged and impossible to ignore. The film takes the fevered energy of a viral Twitter thread and refuses to domesticate it, translating the platform’s breathless immediacy into cinema that feels raw at the edges. That rawness is not a flaw but a method — the movie insists on discomfort because the story it tells is discomforting by nature.

Visually and rhythmically, the film is restless. Cuts snap, frames tilt, and the soundtrack pushes forward as if to outrun the next notification; the formal choices mimic the way attention fractures online. This kinetic style keeps you off-balance in a way that’s purposeful: it’s harder to settle into complacent spectatorship when the film keeps yanking you back to the mechanics of spectacle.

Tonally, Zola is confrontational rather than explanatory. It doesn’t offer tidy moral summaries or easy condemnations; instead it stages scenes that force you to sit with ambiguity. The characters are vivid and often unlikable, and the film refuses to soften them into archetypes. That refusal is a political gesture — a reminder that real people, not neat narratives, are at the centre of viral fame.

The movie also interrogates authorship and ownership. Who controls a story once it’s been amplified? Whose version becomes the “truth”? By dramatizing the gap between lived experience and its online retelling, the film exposes how narrative authority can be bought, sold, and distorted in real time. That collapse of authority is not merely thematic; it’s structural, embedded in how the film itself assembles and disassembles perspective.

Watching Zola is tiring in the way that scrolling can be tiring: there’s a cumulative effect, an exhaustion that’s part of the point. The film makes you complicit in the circulation it critiques — you are entertained, outraged, fascinated, and then asked to reckon with the fact that your gaze participates in the very dynamics on display. That moral friction is what gives the film its teeth.

Ultimately, Zola is less about delivering answers than about provoking attention. It refuses the consolations of neat meaning and instead leaves you with a sharper question: how do we live ethically in an economy that monetizes spectacle and flattens nuance? The film’s instability is its honesty — messy, urgent, and unwilling to let the viewer look away.

Friday 19 December 2025

The Lavender Hill Mob (1951)
Film4, 3:30 PM
The Lavender Hill Mob moves with the quiet confidence of a well-oiled mechanism: precise, economical and slyly subversive. On the surface it is a neat comic caper — a plan hatched, a team assembled, a bullion shipment rerouted — but the film’s pleasures come from the way that neatness is used to expose something messier beneath. Ealing’s humour here is surgical; it cuts through civility to reveal the small, simmering resentments that make ordinary people capable of extraordinary mischief.

Alec Guinness’s performance is the film’s moral pivot. His Henry Holland is the very picture of English reserve — mild-mannered, polite, almost apologetic — and that exterior is what makes his capacity for menace so deliciously unsettling. Guinness lets you like the man before he reveals the stubborn, almost righteous impatience that propels the plot; the comedy depends on that slow, accumulating dissonance between manner and motive.

The film’s comedy is political without being preachy. It treats class not as a sociological lecture but as a lived economy of slights and small humiliations: the petty indignities of office life, the invisible ceilings, the ways respect is rationed. The heist becomes a form of reparation, a ludicrously elegant answer to the everyday arithmetic of deference. That the scheme is absurd only sharpens its moral logic — if the system won’t recognise you, you’ll outwit it.

Ealing’s visual style supports the satire. The camera delights in the ordinary: suburban streets, drab offices, the modest domestic interiors where plans are whispered and loyalties tested. Those settings make the theft feel less like a crime and more like a corrective: the world is too tidy, too complacent, and the film’s small rebellion restores a sense of balance, however mischievously.

Tonally, the movie balances warmth and bite. It invites sympathy for its conspirators without excusing them; the laughs come with a sting. That mixture is what keeps the film from becoming merely charming nostalgia — it remains alert to the social pressures that produce its characters’ choices, and it refuses to let sentiment obscure consequence.

The Lavender Hill Mob is a comedy of manners that doubles as a critique of manners. It’s Ealing at its sharpest because it understands that farce can be a form of truth-telling: by making us laugh at the lengths people will go to be seen and respected, it forces us to notice the small violences that make such lengths imaginable.

Strangers on a Train (1951)
BBC Two, 3:30 PM 🌟
Strangers on a Train arrives with the slow, corrosive logic of a thought experiment gone wrong. Hitchcock sets the scene with an almost sociological calm — two strangers, a chance encounter, a proposition offered as if it were a casual observation — and then lets that casualness metastasize. The film’s elegance is not decorative; it’s the trap. The premise is simple enough to be plausible, and that plausibility is what makes the unraveling feel inevitable.

The movie trades in manners and small talk until those very civilities become instruments of menace. Bruno’s charm is a social lubricant that hides a corrosive will; Guy’s polite bewilderment is the thin skin through which contagion slips. Hitchcock stages their exchanges like a contagion study: ideas pass, attitudes shift, and what begins as a hypothetical conversation acquires the force of a plan. The terror is not sudden spectacle but the gradual recognition that ordinary interactions can be weaponised.

Visually, the film is a masterclass in suggestion. Shadows, reflections and the geometry of public spaces do the heavy lifting; violence is implied more often than shown, and that restraint sharpens the dread. The famous carousel sequence, the tennis match, the suburban facades — each set piece refracts the central idea: proximity breeds possibility. Hitchcock’s camera watches civility as if it were a crime scene, and in doing so it teaches us to read the everyday for danger.

Morally, the film is ruthless because it refuses tidy motives. Bruno’s violence needs no elaborate justification; it requires only an opening and a refusal to acknowledge responsibility. The film’s darker insight is that evil can be banal — a whim given form, a grievance turned into action. That makes the viewer complicit in a new way: we are invited to admire the cleverness of the plot even as we recoil from its consequences, and that split feeling is precisely Hitchcock’s point.

There’s also a corrosive psychology at work: denial as a social lubricant. Characters smooth over contradictions, rationalise small betrayals, and in doing so they create the conditions for larger ones. The film shows how polite evasions and bureaucratic neatness can become moral cover, and how the refusal to see a problem is often the first step toward catastrophe.

Strangers on a Train is less a thriller about action than a study of moral transmission. Its cruelty is intellectual: it demonstrates how an idea, once voiced, can escape containment and remake lives. The film’s elegance and ruthlessness are inseparable — the cleaner the premise, the fouler the fallout — and Hitchcock leaves you with the uncomfortable lesson that the most dangerous things are often the ones we treat as conversation.

Oh What a Lovely War (1969)
Sky Arts, 3:20 PM
Joan Littlewood’s Oh What a Lovely War lands like a theatrical grenade: bright, noisy, and designed to shatter the comfortable narratives that cushion national memory. The film borrows the language of music hall and revue — choruses, comic routines, jaunty tunes — and then uses that very language to puncture itself. Songs that should be consolations become instruments of exposure; spectacle is turned inside out until the laughter tastes of ash.

The staging is deliberately artificial, which is its moral point. By refusing naturalism, the piece keeps us at a distance that is also a mirror: we watch performance and are forced to recognise performance in the stories we tell about sacrifice and glory. Costumes and choreography become a kind of forensic evidence, showing how ritual and pageantry have been enlisted to sanitise violence. That theatrical artifice makes the film’s anger precise rather than merely loud.

There is a cruelty to the humour that never quite lets you off the hook. Jokes land and then are immediately undercut by a cutaway, a caption, a newsreel insert that reclaims the moment for history’s harder facts. The bitterness is not gratuitous; it is a corrective. Where patriotic myth smooths edges and names, Littlewood’s satire sharpens them, insisting that the human cost cannot be folded into tidy rhetoric.

The film’s collective voice is another of its weapons. Rather than privileging a single hero, it disperses attention across ranks and roles, making the viewer feel the scale of ordinary loss. That democratic chorus refuses the consolations of exceptionalism: the tragedy is not a failure of a few but a system that manufactures casualties as if they were inevitable byproducts of ceremony. In that sense the film is less about blame than about the structures that make blame unnecessary.

Visually and rhythmically the work is restless: montage and music collide, and the editing itself becomes an argument. Moments of comic choreography sit beside archival textures and stark tableaux, and the resulting dissonance keeps the audience off balance. This is not entertainment that soothes; it is entertainment that interrogates the appetite for entertainment in the face of atrocity.

Oh What a Lovely War is a lesson in moral clarity disguised as a revue. Its anger remains bracing because it is disciplined; its humour remains bitter because it refuses to let sentiment obscure responsibility. The film asks us to recognise the rituals that make violence tolerable and then to refuse them — not with a sermon, but with a song that will not let you sing along without thinking.

Mozart’s Women
Sky Arts, 7:30 PM
A thematic continuation that broadens the frame, examining how genius is supported, exploited and constrained.

Kirsty MacColl at the BBC
BBC Four, 10:45 PM

Kirsty MacColl: The Box Set
BBC Four, 11:45 PM

The Story of “Fairytale of New York”
BBC Four, 12:30 AM
A moving late-night trilogy celebrating MacColl’s voice, wit and defiance. The final documentary rightly frames the song not as seasonal novelty, but as a portrait of love under pressure.

STREAMING CHOICE

Netflix
Breakdown: 1975 — available from Friday 19 December

Breakdown: 1975 is explicitly about how films such as One Flew Over the Cuckoo’s Nest and Network are products of social upheaval, not merely responses to it. It reads the mid‑1970s as a moment when institutions—hospitals, corporations, media—were under strain, and shows how that strain reshaped cinematic form: sharper editing, exposed performances, and narratives that treat institutional routine as evidence. Rather than depicting collapse as spectacle, the film argues that these landmark movies emerged from real political and cultural ruptures, and that their formal choices—pointed satire, clinical observation, fractured viewpoint—are themselves symptoms of the crises that produced them. In short, Breakdown insists that art in turbulent times is both made by upheaval and a way of diagnosing it.

Channel 4 Streaming / Walter Presents
Stranded — all eight episodes available from Friday 19 December

Stranded on Channel 4 Streaming via Walter Presents lands as a compact, eight‑episode pressure cooker: set on Christmas Eve when an avalanche severs the Vanoi Valley ski resort, the community is left without power or help from the outside world. The series uses that enforced isolation to turn small choices into moral tests — supplies run low, alliances shift, and the claustrophobia of the resort becomes a social microscope.

At the centre is Giovani Lo Bianco, stranded and forced to confront a double life that begins to fray under scrutiny. Bingeing the eight episodes lets the show treat unraveling as a process: secrets surface, loyalties calcify, and the slow accumulation of compromises becomes the story’s engine. Walter Presents’ taste for texture means the drama trades spectacle for detail, making the collapse feel lived‑in and morally urgent.

Book cover for 'Better Than the Beatles!' by Anthony C. Green featuring bold text and a colorful abstract design. Includes a 'Buy Now' call to action.

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Culture Vulture: 22nd to 28th March 2025

March 21, 2025 at 6:17 pm · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , ,

5,735 words, 30 minutes read time.

Welcome to this week’s Culture Vulture. We curate the most thought-provoking and culturally significant films, documentaries, and television programmes. They are airing from the 22nd to the 28th of March 2025. This edition offers an eclectic mix of classic cinema, in-depth historical investigations, and powerful contemporary storytelling. With a progressive lens, we highlight themes of justice, identity, resistance, and human psychology across various genres. From the enduring appeal of noir and Westerns, this week’s selections explore music, politics, and social change. They promise to both entertain and challenge perspectives.

Let’s dive into what’s on offer.

Saturday 22nd March 2025

The Big Sleep (1946)

BBC Two, 14:40
Howard Hawks’ The Big Sleep is a quintessential film noir. It is brimming with the genre’s signature cynicism. The film also embodies moral ambiguity and sharp-tongued dialogue. The film is adapted from Raymond Chandler’s novel. It follows private detective Philip Marlowe (Humphrey Bogart). He becomes entangled in a labyrinth of crime, blackmail, and deception. Lauren Bacall’s commanding presence adds depth to the film, crafting a world where power and corruption intertwine seamlessly. The plot is famously intricate. It can be difficult to untangle. However, the film’s atmospheric tension and rapid-fire exchanges solidify its place as a cinematic classic. Yet beneath its stylish veneer, The Big Sleep serves as a searing critique of post-war American society. In this society, justice is elusive, and morality is subjective.

One of the film’s most striking social critiques is its portrayal of a society teetering on the edge of lawlessness. In this society, criminality infects even the wealthiest circles. The Sternwood family seems respectable. However, they are riddled with corruption and moral decay. This family mirrors a post-war America where power does not equate to virtue. The narrative reveals that privilege and wealth do not shield individuals from scandal. Instead, they enable their vices to flourish behind closed doors. Marlowe is caught in the midst of their tangled affairs. He must navigate a world where justice is not a clear-cut ideal. It is a flexible concept dictated by those with influence.

Politically, The Big Sleep reflects a growing distrust in institutional authority, a common theme in noir films of the 1940s. The police are either absent or ineffective, and the legal system appears incapable of maintaining order. The real power lies in the hands of gangsters, blackmailers, and private investigators like Marlowe. These individuals operate in the murky spaces between the law and outright criminality. The film’s cynicism reflects a society disillusioned by war and economic upheaval. In this world, ethical compromises are necessary for survival. In this morally compromised world, Marlowe may be the closest thing to an honest man. However, he bends the rules to serve his own version of justice.

The film also grapples with ethical dilemmas surrounding truth and deception. It questions whether integrity can exist in a society built on lies. Nearly every character Marlowe encounters is engaged in some form of manipulation, whether for financial gain, self-preservation, or sheer amusement. Even Bacall’s Vivian, ostensibly the film’s romantic lead, conceals critical information and operates with an agenda of her own. This pervasive dishonesty forces Marlowe to constantly reassess his allegiances. It ultimately reinforces the film’s central question: is survival more important than virtue? The Big Sleep suggests that in a world dictated by power and greed, idealism is a luxury few can afford.

Ethically, the film blurs the lines between right and wrong. It presents a protagonist who is neither a paragon of virtue nor a hardened criminal. Marlowe is a relic of a bygone era of chivalry. He holds fast to his own moral code. Yet, he is willing to engage in deceit, violence, and intimidation when necessary. His code of ethics is not aligned with the law. It operates within a framework of personal honor. This is a stark contrast to the outright amorality of the criminals he faces. This creates tension between personal morality and legal justice. It gives The Big Sleep its lasting resonance. The film questions whether righteousness is defined by one’s actions or merely by the intentions behind them.

The Big Sleep is more than a stylish detective story. It is a meditation on the corrupting forces of wealth and power. It also reflects the disillusionment of a post-war generation. Additionally, it explores the ethical compromises required to navigate an unjust world. It presents a vision of society where the pursuit of truth is not only dangerous but often futile. This vision leaves its characters—and its audience—questioning whether justice is even possible. In this way, the film stands as one of noir’s most enduring works. It reflects a world where the only certainty is uncertainty itself.

One Fine Morning (2022)

BBC Four, 21:00
Mia Hansen-Løve’s introspective drama is a moving meditation on love, loss, and familial responsibility. Léa Seydoux stars as a woman caring for her ailing father while experiencing a burgeoning romance. The film delicately captures the emotional weight of navigating personal transitions. The understated performances add depth. The thoughtful direction makes One Fine Morning resonate. It serves as an exploration of life’s inevitable shifts. It also highlights the quiet strength found in resilience.

Sunday 23rd March 2025

The Man Who Shot Liberty Valance (1962)

GREAT! action, 16:00
The Man Who Shot Liberty Valance (1962), directed by John Ford, is a masterful Western. It transcends its genre to offer a profound exploration of justice. It examines memory and the shaping of history. The film follows Ransom Stoddard, played by James Stewart. He is an idealistic lawyer who arrives in the town of Shinbone. He has dreams of bringing law and order to the untamed West. His ideals face the brutal reality of Liberty Valance. Lee Marvin portrays Valance as a ruthless outlaw with menacing charisma. The clash between these two characters sets the stage. The narrative questions the nature of heroism. It also ponders the cost of progress.

Ford’s direction is meticulous, using the stark black-and-white cinematography to emphasize the moral and physical contrasts of the Old West. The film’s central theme is the tension between myth and reality. This theme is encapsulated in its famous line, “When the legend becomes fact, print the legend.” Through this lens, Ford examines how history is often shaped by narratives. These narratives often take precedence over the truth. They serve to uphold societal ideals. The film recounts the events that led to Stoddard’s rise to prominence. The story unfolds in flashback. Stoddard, now an aging senator, shares his experiences. This structure helps the film explore the complexities of memory. It examines how individuals and societies construct their pasts.

The performances are exceptional. Stewart embodies the earnestness and vulnerability of a man striving to uphold his principles. This is in a world that often rewards violence over reason. Lee Marvin’s Liberty Valance is a chilling representation of unchecked power. John Wayne’s Tom Doniphon, a rugged rancher, ultimately saves Stoddard. Doniphon serves as a poignant counterpoint to the lawyer’s idealism. Wayne’s portrayal of Doniphon is layered, revealing a man whose sacrifices are overshadowed by the myths that elevate others. Vera Miles adds depth as Hallie. She is a woman caught between two worlds and two men. Her character symbolizes the personal and societal choices that define the era.

The Man Who Shot Liberty Valance is is a meditation on the complexities of human nature. It also reflects on the forces that shape history. It challenges viewers to consider the cost of progress. They are prompted to think about how truth is often sacrificed for the sake of legend. Ford’s film remains a timeless commentary on the interplay between justice, memory, and the power of storytelling. The film is solidified as one of the most thought-provoking works in American cinema.

Paranormal: Britain’s Last Witch

BBC Three, 21:00
Exploring the tragic case of Helen Duncan, Paranormal: Britain’s Last Witch examines the 1944 trial that led to her conviction under the Witchcraft Act. The documentary sheds light on the superstitions and political paranoia that fueled this bizarre legal case, drawing parallels to contemporary debates on state control and freedom of belief.

Ian Dury and the Blockheads: Hold Onto Your Structure

Sky Arts, 21:45
This documentary dives into the punk-era icon, exploring Ian Dury’s unique fusion of rock, poetry, and social critique. It celebrates his rebellious spirit and the way his music challenged societal norms, providing insight into both his artistry and personal struggles.

The Fog of War (2003)

Sky Documentaries, 23:00
Errol Morris’ The Fog of War (2003) is a compelling and thought-provoking documentary that delves into the life and career of Robert McNamara, the former U.S. Secretary of Defense. Through a series of candid interviews, archival footage, and an evocative score by Philip Glass, the film explores McNamara’s reflections on the complexities of modern warfare and the moral dilemmas faced by those in positions of power.

Structured around eleven lessons derived from McNamara’s experiences, the documentary provides a unique lens into pivotal moments in 20th-century history, including the Cuban Missile Crisis and the Vietnam War. McNamara’s introspective narration offers a rare glimpse into the decision-making processes behind some of the most consequential events of his tenure, revealing both his triumphs and regrets.

The film’s exploration of themes such as the ethics of war, the fallibility of human judgment, and the unintended consequences of political and military actions remains profoundly relevant. It challenges viewers to consider the moral responsibilities of leaders and the often ambiguous nature of historical narratives. Morris’ meticulous direction and McNamara’s candidness combine to create a powerful meditation on the human cost of conflict and the lessons that can be drawn from history.

The Fog of War is a deeply human story that resonates with contemporary issues of power, accountability, and the pursuit of peace. Its chilling relevance lies in its ability to provoke reflection on the complexities of leadership and the enduring impact of decisions made in the “fog” of uncertainty.

Monday 24th March 2025

Ramses the Great: King of Ancient Egypt

Sky History, 21:00
A deep dive into the legacy of Ramses II, this documentary presents new archaeological discoveries that reshape our understanding of his rule. It explores the intersection of mythology and statecraft, questioning how much of his enduring legend is fact or propaganda.

My Friend Dahmer (2017)

Film4, 23:40
Based on the graphic memoir by Derf Backderf, this unsettling film traces the teenage years of Jeffrey Dahmer before his infamous crimes. Rather than sensationalising his actions, it offers an eerie portrait of isolation, mental illness, and the warning signs that were ignored.

Tuesday 25th March 2025

Miyazaki: Spirit of Nature

Sky Arts, 21:15
A fascinating look at Hayao Miyazaki’s deep environmental themes, this documentary examines how nature, spirituality, and human impact shape his storytelling. With insights into Princess Mononoke, My Neighbor Totoro, and more, it’s a must-watch for animation enthusiasts.

Lucy Worsley Investigates: The Witch Hunts

BBC Four, 21:00
Lucy Worsley Investigates (BBC Four, 21:00) offers a fascinating and thought-provoking exploration of the 16th-century witch hunts, a dark chapter in British history that saw thousands of people, predominantly women, accused of witchcraft and executed. Historian Lucy Worsley brings her signature blend of meticulous research and engaging storytelling to uncover the cultural, political, and social forces that fueled these persecutions. By focusing on specific cases, such as that of Agnes Sampson, a midwife and healer accused of witchcraft in Scotland, Worsley sheds light on the human cost of these events and the broader implications for society at the time.

The episode delves into the intersection of religion, politics, and fear that created the perfect storm for the witch hunts. The rise of Protestantism and the accompanying religious reforms played a significant role, as hardline reformers sought to root out perceived threats to their vision of a devout society. King James VI of Scotland, later James I of England, emerges as a central figure in this narrative. His personal involvement in witch trials, driven by his belief in the Devil’s active recruitment of witches, highlights how political leaders exploited these fears to consolidate power and assert their authority. The program examines how these trials were not merely about superstition but were deeply entwined with the political and religious upheavals of the time.

Worsley also explores the gendered nature of the witch hunts, emphasizing how societal attitudes toward women made them particularly vulnerable to accusations. Women who defied traditional roles—whether as healers, midwives, or simply outspoken individuals—were often targeted, reflecting broader anxieties about female autonomy and power. The use of torture to extract confessions and the subsequent executions reveal the brutal methods employed to enforce conformity and suppress dissent. By examining these dynamics, the episode provides a nuanced understanding of how the witch hunts were a manifestation of deeply ingrained misogyny and fear of the “other.”

This episode of Lucy Worsley Investigates invites viewers to reflect on the enduring relevance of the witch hunts. It draws parallels between the scapegoating and moral panics of the past and similar phenomena in contemporary society, urging us to consider how fear and prejudice can lead to the persecution of marginalized groups. Through her insightful analysis, Worsley not only brings history to life but also challenges us to learn from it, making this a must-watch for anyone interested in the complexities of human behavior and the forces that shape our world.

Rocketman (2019)

Film4, 21:00
Rocketman (2019) is more than a vibrant musical biopic—it’s a kaleidoscope of social, political, ethical, and psychological themes, intertwining Elton John’s life story with universal struggles and triumphs. The film provides a poignant exploration of identity and self-acceptance, shedding light on the societal challenges faced by LGBTQ+ individuals. Elton John’s journey through his sexuality highlights the importance of embracing one’s true self amidst societal stigmatization. It also reflects the changing attitudes towards LGBTQ+ rights, contrasting the oppressive environments of the past with the increasing acceptance seen in more recent times. Additionally, the isolating effects of fame and wealth are explored as the narrative critiques how celebrity culture often exploits individuals, exposing the loneliness behind the glamour of stardom.

The backdrop of Elton John’s rise—beginning in the conservative social climates of mid-20th-century Britain—serves as a commentary on the intersection of art, politics, and personal expression. The lack of space for LGBTQ+ individuals in the entertainment industry during that period emphasizes the courage required to confront these barriers. The film also critiques societal systems that overlook mental health issues and addiction, underscoring the need for greater institutional support.

Elton John’s struggles with addiction introduce questions about personal responsibility versus societal and environmental factors. The enabling behavior of those around him—both personally and professionally—raises ethical concerns about prioritizing profit or convenience over someone’s well-being. Forgiveness and redemption play central roles, as Elton’s eventual reconciliation with himself and his past illustrates the complexities of healing and the importance of accountability.

Rocketman is a profound psychological exploration of identity, self-worth, and personal growth. It delves into Elton’s strained relationships with his parents, revealing how their lack of emotional support influenced his sense of inadequacy and longing for validation. These experiences shaped his reliance on external affirmation, addiction, and his ultimate journey toward self-love. The psychological toll of suppressed emotions and the weight of public expectations are vividly illustrated through the fantastical musical sequences, serving as visual metaphors for his inner turmoil.

This multi-layered narrative offers more than just a glimpse into Elton John’s life—it becomes a universal story about the human need for acceptance, the pitfalls of success, and the resilience required to overcome life’s challenges. The film is a celebration of individuality, artistry, and the transformative power of authenticity.

Selma (2014)

BBC Two, 23:05
Ava DuVernay’s Selma is a powerful and deeply affecting civil rights drama that chronicles Martin Luther King Jr.’s historic 1965 march from Selma to Montgomery, a pivotal moment in the struggle for voting rights. Rather than serving as a broad biopic of King’s life, the film focuses on this crucial chapter, immersing viewers in the tensions, courage, and sacrifices that defined the movement. With a careful balance of historical accuracy and emotional depth, Selma offers an intimate portrayal of the figures who risked everything to challenge systemic oppression.

At the heart of the film is David Oyelowo’s commanding performance as Dr. King. He captures the civil rights leader’s charisma, strategic brilliance, and moments of private vulnerability with remarkable nuance. His depiction avoids hagiography, instead presenting King as a man burdened by responsibility, plagued by doubt, yet unwavering in his commitment to justice. The supporting cast, including Carmen Ejogo as Coretta Scott King and Tom Wilkinson as President Lyndon B. Johnson, adds further depth to the narrative, illustrating the complex political and personal stakes of the movement.

DuVernay’s direction brings an urgent and immersive quality to the film. The scenes of protest, particularly the infamous “Bloody Sunday” attack on the Edmund Pettus Bridge, are harrowing and visceral, placing the audience in the midst of the brutality faced by activists. The cinematography and score heighten the emotional weight, making the violence and resistance feel immediate rather than a distant historical event. Every shot is infused with purpose, reflecting both the collective struggle and individual sacrifices of those involved.

Beyond its historical significance, Selma remains profoundly relevant to contemporary discussions on racial justice, voter suppression, and activism. The film draws undeniable parallels between the past and present, emphasizing that the fight for equality is ongoing. King’s speeches, reimagined for the film due to copyright restrictions on his actual words, still resonate with striking authenticity, demonstrating the continued necessity of grassroots movements and political engagement in the face of systemic injustice.

One of the film’s greatest strengths is its refusal to simplify history into neat narratives of good versus evil. It acknowledges the tensions within the movement, the strategic disagreements, and the personal costs borne by its leaders. This complexity allows Selma to transcend mere historical reenactment, instead offering a meditation on leadership, sacrifice, and the price of progress. By giving space to both the well-known figures and lesser-sung heroes of the movement, the film underscores the collective nature of change.

Selma is a film about the present and future not just history. DuVernay crafts a gripping, deeply human story that both educates and inspires, urging audiences to reflect on the ongoing struggles for civil rights. With its masterful performances, evocative storytelling, and poignant themes, Selma stands as an essential watch, reminding us that the march toward justice is far from over.

Wednesday 26th March 2025

A Cruel Love: The Ruth Ellis Story (four of four)

ITV1, 21:00
The final episode of A Cruel Love: The Ruth Ellis Story is a harrowing and poignant portrayal of the last hours of Ruth Ellis, the last woman to be executed in Britain. Lucy Boynton delivers a powerful performance as Ruth Ellis, capturing her vulnerability and resilience as she faces the inevitability of her fate. The episode unfolds with her lawyer, John Bickford, played with quiet determination by Toby Jones, racing against time to secure a reprieve. With only 24 hours left, Bickford’s efforts highlight the systemic biases and societal indifference that sealed Ruth’s tragic destiny.

Through a series of flashbacks, the episode delves into the tumultuous weeks leading up to the murder of David Blakely, portrayed by Laurie Davidson. These scenes shed light on the toxic and abusive nature of their relationship, with Davidson embodying Blakely’s charm and cruelty in equal measure. The narrative does not shy away from depicting the physical and emotional abuse Ruth endured, offering a stark commentary on the lack of support for victims of domestic violence during that era.

Mark Stanley’s portrayal of Desmond Cussen, Ruth’s loyal yet conflicted friend, adds another layer of complexity to the story. His quiet devotion to Ruth contrasts sharply with Blakely’s volatile behavior, raising questions about the choices and sacrifices made in the name of love and loyalty. The flashbacks also explore Ruth’s struggles as a single mother and nightclub hostess, painting a vivid picture of the societal pressures and personal demons that shaped her actions.

The episode masterfully intertwines the past and present, using the flashbacks to provide context for Ruth’s final moments. The courtroom scenes, where Ruth’s stoic demeanor and refusal to present herself as a victim are brought to life, underscore the legal and societal prejudices that contributed to her conviction. Nigel Havers, portraying his real-life grandfather Justice Cecil Havers, delivers a chilling performance as the judge who sentenced Ruth to death, embodying the rigid and unforgiving nature of the justice system at the time.

As the clock ticks down, the emotional weight of the episode intensifies. Boynton’s portrayal of Ruth’s quiet acceptance of her fate is both heartbreaking and thought-provoking, leaving viewers to grapple with the ethical and moral questions surrounding her execution. The episode does not offer easy answers but instead invites reflection on the broader themes of justice, gender, and societal change.

By re-examining Ruth Ellis’s story through a modern lens, A Cruel Love: The Ruth Ellis Story challenges viewers to consider how far society has come—and how far it still has to go—in addressing issues of domestic abuse, legal bias, and gender inequality. The final episode is a fitting and powerful conclusion to a series that is as much about the systemic failures of the past as it is about the enduring need for compassion and justice.

Triple 9 (2016)

Legend, 22:55
Triple 9 (2016) is a relentless and gritty crime thriller that plunges viewers into a world of corruption, desperation, and moral ambiguity. Directed by John Hillcoat, the film is set in the seedy underbelly of Atlanta, where the lines between law enforcement and criminality blur to devastating effect. With a stellar ensemble cast, including Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Kate Winslet, and Woody Harrelson, the film delivers a high-octane narrative that explores the fragility of trust and the devastating consequences of betrayal.

The story revolves around a group of corrupt cops and ex-military operatives who are coerced by the Russian mafia, led by the ruthless Irina Vlaslov (played with chilling precision by Kate Winslet), into executing a series of heists. The crew’s desperation reaches a boiling point when they devise a plan to stage a “999”—the police code for “officer down”—as a diversion for their final, high-stakes robbery. This plan sets the stage for a tense and morally complex showdown, as loyalties are tested and the characters’ true natures are revealed.

Casey Affleck shines as Chris Allen, a principled rookie cop who becomes an unwitting pawn in the crew’s deadly scheme. His portrayal of a man navigating a corrupt system adds a layer of vulnerability and integrity to the film. Chiwetel Ejiofor delivers a powerful performance as Michael Atwood, the crew’s leader, whose personal ties to the mafia complicate his already precarious situation. Anthony Mackie brings depth to his role as Marcus Belmont, a conflicted cop torn between his loyalty to his partners and his own moral compass.

The film’s visual style is as unflinching as its narrative, with Hillcoat and cinematographer Nicolas Karakatsanis capturing the stark contrasts of Atlanta’s urban landscape. The gritty, dimly lit streets and dilapidated housing projects serve as a backdrop for the characters’ descent into chaos, while the sleek, sterile interiors of corporate safe houses underscore the systemic corruption that permeates every level of society.

Triple 9 is not just a tale of crime and betrayal; it is a commentary on the corrosive effects of power and greed. The film delves into the psychological toll of living a double life, as the characters grapple with their own guilt and the ever-present threat of exposure. It also raises questions about the nature of justice and the extent to which individuals are willing to compromise their principles in the face of desperation.

With its intense action sequences, complex characters, and thought-provoking themes, Triple 9 offers a gripping exploration of the darker aspects of human nature. It is a film that challenges viewers to confront the uncomfortable realities of a world where morality is often a matter of perspective, and survival comes at a steep cost.

Late Night (2019)

BBC Two, 23:35
Late Night (2019) is a witty and incisive comedy-drama that deftly explores themes of media, diversity, and personal reinvention. Directed by Nisha Ganatra and written by Mindy Kaling, the film stars Emma Thompson as Katherine Newbury, a legendary late-night talk-show host whose career is on the brink of collapse. Thompson delivers a tour-de-force performance, portraying Katherine as a complex blend of arrogance, vulnerability, and biting humor. Her character is a paradox—a trailblazer in a male-dominated industry who struggles to adapt to the changing landscape of modern entertainment.

Mindy Kaling, who also stars as Molly Patel, brings warmth and relatability to the film. Molly is an ambitious and idealistic newcomer hired as a diversity hire to Katherine’s all-male writing team. Kaling’s portrayal of Molly is both charming and grounded, serving as a counterpoint to Katherine’s jaded cynicism. The dynamic between the two characters drives the narrative, as Molly’s fresh perspective challenges Katherine to confront her own biases and insecurities.

The film’s sharp satire takes aim at the entertainment industry, highlighting its resistance to change and its often superficial approach to diversity. Through Katherine’s struggles to remain relevant, Late Night critiques the industry’s obsession with youth and social media, as well as its tendency to overlook talented women and people of color. The writing is both clever and poignant, balancing laugh-out-loud moments with heartfelt introspection.

John Lithgow delivers a touching performance as Walter, Katherine’s supportive husband who is battling Parkinson’s disease. His relationship with Katherine adds emotional depth to the story, revealing a softer side to her otherwise abrasive personality. The supporting cast, including Hugh Dancy as a smarmy writer and Amy Ryan as the network president, adds layers of complexity to the film’s exploration of workplace dynamics and power struggles.

Visually, the film captures the frenetic energy of a late-night talk-show environment, with its fast-paced editing and vibrant set design. The cinematography complements the narrative, emphasizing the stark contrast between Katherine’s glamorous on-screen persona and her private moments of self-doubt.

Late Night is a celebration of resilience and reinvention. It champions the idea that growth often comes from embracing discomfort and challenging the status quo. Emma Thompson and Mindy Kaling’s performances anchor the film, making it both entertaining and thought-provoking. With its sharp humour and timely themes,

Thursday 27th March 2025

Douglas Adams: The Man Who Imagined Our Future

Sky Arts, 20:00
Douglas Adams’ imaginative ideas in The Hitchhiker’s Guide to the Galaxy have remarkably foreshadowed modern technology. For example:

  • The titular “Hitchhiker’s Guide” predicted e-books and digital assistants like Kindle or Siri with its portable electronic book full of information.
  • His vision of seamless information access mirrors the internet and cloud computing.
  • The Babel Fish, which instantly translates languages, resembles today’s translation apps and devices.

Adams’ influence even extends to innovators like Elon Musk. Musk has called The Hitchhiker’s Guide to the Galaxy a “philosophy book disguised as humour,” shaping his worldview. Musk’s ventures, such as exploring artificial intelligence and aiming for humanity to become multi-planetary, echo Adams’ themes of curiosity and exploration.

Adams’ work inspires thinkers and dreamers to push boundaries and reimagine what’s possible.

Discovering Sci-Fi

Sky Arts, 21:30
This compelling documentary delves into the transformative power of science fiction, exploring how the genre shapes our vision of the future while offering profound social commentary. By blending creativity with critique, science fiction has consistently challenged societal norms, anticipated technological breakthroughs, and reimagined humanity’s potential.

Through thought-provoking interviews with authors, filmmakers, and scholars, Discovering Sci-Fi traces the genre’s evolution, examining its influence on technology, ethics, and culture. The program uncovers how iconic works have inspired real-world innovations, from space exploration to artificial intelligence.

Friday 28th March 2025

When Patsy Cline Was… Crazy

PBS America, 22:50
When Patsy Cline Was… Crazy is a compelling exploration of the life and legacy of one of country music’s most iconic voices. The documentary delves into Patsy Cline’s meteoric rise to fame, her groundbreaking contributions to the genre, and the personal struggles that shaped her artistry. Through archival footage, interviews, and performances, the film paints a vivid portrait of a woman who defied the odds to become a trailblazer in a male-dominated industry. Her powerful voice and emotional depth revolutionized country music, leaving an indelible mark on the hearts of fans and the music world alike.

The documentary also examines the societal and cultural challenges Patsy faced during her career. It highlights the pressures of navigating fame as a woman in the 1950s and 1960s, a time when traditional gender roles often stifled female ambition. Patsy’s determination to assert her independence and artistic vision, even in the face of industry resistance, underscores her resilience and pioneering spirit. The film doesn’t shy away from exploring the personal sacrifices and hardships she endured, offering a nuanced perspective on the cost of success.

When Patsy Cline Was… Crazy is a celebration of Patsy’s enduring influence and the timeless quality of her music. It captures the emotional resonance of her songs, which continue to connect with audiences across generations. By blending her personal story with her professional achievements, the documentary provides a heartfelt tribute to a woman whose legacy transcends the boundaries of country music.

Get Out (2017)

BBC One, 23:40
Get Out (2017), Jordan Peele’s groundbreaking directorial debut, is a masterful blend of horror and social commentary that unpacks the complexities of race relations in contemporary America. The film follows Chris Washington, played with remarkable nuance by Daniel Kaluuya, as he visits the family of his white girlfriend, Rose Armitage (Allison Williams). What begins as an awkward weekend with her seemingly progressive parents, Dean and Missy Armitage (Bradley Whitford and Catherine Keener), spirals into a chilling nightmare that exposes the sinister undercurrents of performative allyship and racial exploitation.

Peele’s script is razor-sharp, using microaggressions and unsettling interactions to build an atmosphere of creeping dread. The Armitages’ overly accommodating behavior—such as Dean’s infamous claim that he would have voted for Obama a third time—initially seems like clumsy attempts at inclusivity but soon reveals a far more disturbing agenda. The film’s brilliance lies in its ability to make the audience feel the weight of these interactions, capturing the discomfort and paranoia that often accompany racial dynamics in predominantly white spaces.

The horror elements are both visceral and psychological, with Peele employing genre tropes to amplify the film’s social critique. The “Sunken Place,” a haunting metaphor for the silencing and marginalization of Black voices, is one of the film’s most striking visual and thematic devices. Catherine Keener’s portrayal of Missy, whose hypnosis traps Chris in this state of helplessness, is both chilling and emblematic of the insidious ways power can be wielded under the guise of benevolence.

The supporting cast, including Lakeith Stanfield and Betty Gabriel, delivers unforgettable performances that add depth to the film’s exploration of identity and autonomy. Their characters, who appear to be living under the Armitages’ control, embody the loss of agency that lies at the heart of the story. The film’s climactic revelations about the Armitages’ true intentions serve as a scathing indictment of cultural appropriation and the commodification of Black bodies.

Peele’s direction is meticulous, with every shot and line of dialogue serving a purpose. The film’s pacing keeps viewers on edge, while its dark humor provides moments of levity without undermining its serious themes. The use of music, from the eerie opening track “Redbone” by Childish Gambino to the unsettling score by Michael Abels, enhances the film’s tension and emotional resonance.

Get Out is a cultural phenomenon that forces audiences to confront uncomfortable truths about privilege, systemic racism, and the facade of progressivism. By blending entertainment with incisive social critique, Peele has created a work that is as thought-provoking as it is terrifying, cementing his place as a visionary filmmaker. The film’s impact continues to resonate, making it a must-watch for anyone seeking to understand the intersection of race and power in modern society.

And finally, Streaming Releases

Harlan Coben’s Caught (Netflix, 26th March)

This tense thriller explores the devastating consequences of lies and the relentless pursuit of redemption. Following a journalist entangled in a missing child case, it examines the role of the media in shaping narratives and the impact of perception on justice. The story unveils the fragility of trust and the emotional toll exacted on individuals navigating a morally fraught world.

See No Evil (Netflix, 27th March)

This unsettling series revisits the horrific crimes of Myra Hindley and Ian Brady, whose actions shocked a nation. It explores the factors that led to their gruesome acts, the societal reactions to their atrocities, and the enduring trauma inflicted on victims’ families. By confronting the darkest aspects of human behavior, it prompts a reflection on accountability, memory, and the pursuit of justice.

Number One On The Call Sheet (Apple TV+, 28th March)

Celebrating Black actors who have made remarkable strides in Hollywood, this documentary reflects on the barriers they have overcome and the impact of their achievements. It highlights the importance of representation in challenging outdated norms, while showcasing the resilience and innovation required to redefine an industry. Their stories are a testament to the transformative power of perseverance and creativity.

Walter Presents: Deception (Channel 4, 28th March)

Set in the captivating city of Helsinki, this drama weaves a tale of manipulation, ambition, and the consequences of hidden truths. Against a backdrop of urban sophistication, the series navigates the intricacies of fractured relationships and secret agendas, providing a fascinating examination of human behavior and the costs of deceit.

Deadwax (ITVX, 20th March)

Blending psychological tension with supernatural horror, this series revolves around a cursed vinyl record that unravels the lives of those who encounter it. It delves into the darker sides of obsession and the lengths people will go to obtain the unattainable. The eerie narrative explores the fine line between passion and madness, drawing viewers into a haunting tale of human vulnerability.

Royal Favourites: George Villiers and James I (History Hit, 27th March)

This historical documentary offers a detailed look at the relationship between King James I and George Villiers, Duke of Buckingham, revealing how personal alliances shaped political outcomes. By examining their connection, it sheds light on the complexities of ambition, loyalty, and influence within the royal court, offering a nuanced perspective on history’s interwoven personal and public spheres.

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Trust and Deception in Black Bag: A Deep Dive by Pat Harrington

March 16, 2025 at 8:20 am · Filed under Film & DVD Reviews ·Tagged , , , , , , , , ,

2,755 words, 15 minutes read time.

Black Bag is a glossy espionage thriller directed by Steven Soderbergh, centering on a high-stakes mole hunt within British intelligence. The story follows strait-laced agent George Woodhouse (Michael Fassbender), a legendary operative tasked with unmasking a traitor who has stolen dangerous technology . In a world where deception comes as easily as breathing, George’s commitment to truth is tested when evidence points to his own wife, Kathryn (Cate Blanchett), a high-ranking agent, as a prime suspect . With their marriage on the line, George must quietly investigate Kathryn and their colleagues – including the agency’s insightful psychiatrist Dr. Zoe Vaughan (Naomie Harris), a charmingly reckless field agent Freddie Smalls (Tom Burke), and an eager junior operative Clarissa Dubose (Marisa Abela) – all while keeping up appearances. The film’s premise sets up an intriguing blend of marital drama and spy mystery without tipping off any major twists. Soderbergh wastes no time plunging the audience into a paranoid atmosphere of secret meetings, surveillance, and double lives, establishing the stakes and conflicts early on in a spoiler-free manner.

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Themes of Espionage, Deception, and Trust

At its core, Black Bag uses the spy genre to explore deeper themes of trust and betrayal. The film asks what it’s like to build a marriage on secrets and lies, when both partners are trained to deceive as part of their profession. The central tension revolves around espionage bleeding into domestic life – can George and Kathryn truly trust each other when each is skilled in subterfuge? Soderbergh and screenwriter David Koepp play with the idea that romance can feel a lot like spycraft when suspicion creeps in; every affectionate gesture or offhand remark might mask an ulterior motive. This dynamic gives the film an emotional undercurrent: the characters grapple not only with catching a mole, but also with the erosion of intimacy and certainty in their personal relationships. As Mark Kermode observed, the film functions as a “seductive spy comedy” about “married spooks trying to trace a leak whilst navigating a relationship that must have secrets” . Indeed, Black Bag balances its cloak-and-dagger intrigue with witty commentary on the impossible dilemma of total honesty between spies. The theme of deception is handled with a light touch at times – there are playful moments when characters test each other’s trust – but the emotional stakes remain relatable. Even without revealing any outcomes, it’s clear that the question of trust (who can believe whom, and to what extent) drives the suspense as much as the actual spy plot.

Performances and Characters

The film boasts a stellar cast who elevate the material with nuanced performances. Michael Fassbender brings a steely gravitas to George Woodhouse, portraying him as a methodical agent torn between duty and devotion. Fassbender’s intensity sells George’s internal conflict; with just a tightened jaw or a flicker of doubt in his eyes behind thick-framed glasses, he conveys the weight of suspecting the person he loves . Opposite him, Cate Blanchett is effortlessly compelling as Kathryn, imbuing the character with an air of elegant mystery. Blanchett plays Kathryn as both caring partner and enigmatic operative – her cool composure keeps us guessing about Kathryn’s true intentions. The chemistry between Fassbender and Blanchett is a highlight: their cat-and-mouse exchanges and subtle shifts in tone make the central husband-wife relationship believable and intriguing. Critics have noted that the charged relationship between these two stars is what makes the film so alluring, as their scenes crackle with tension and restrained emotion .

The supporting cast provides strong backup. Naomie Harris shines in a smaller role as Dr. Zoe, the agency psychologist who perhaps knows more than she lets on; Harris delivers warmth and shrewdness, often serving as the story’s moral compass. Tom Burke is memorable as Freddie Smalls, bringing roguish charm and a touch of vulnerability to the “alcoholic maverick” agent who injects some unpredictability into the team . Marisa Abela plays the junior tech expert Clarissa with earnestness, and her scenes often add a youthful, modern perspective on the old-school spy game. Notably, former James Bond star Pierce Brosnan makes a brief but delightful appearance as the silver-haired agency boss overseeing the mole hunt – a casting choice that serves as a sly wink to the genre’s legacy . Each actor mentions their character by name in dialogue naturally, making it easy to keep track of who’s who. Overall, the performances ground the film’s twisty plot in genuine emotion. Even as the story’s deceptions multiply, the cast ensures that the audience remains invested in the characters’ fates.

Direction and Cinematography

Director Steven Soderbergh imprint is unmistakable in Black Bag. Known for his versatility and stylish visuals, Soderbergh here indulges his love for the classic British spy thriller ethos while giving it a contemporary polish. He not only directs but, true to form, reportedly handles the cinematography and editing himself under pseudonyms – a rare one-man technical show that gives the film a cohesive, auteur vision. The cinematography is sleek and controlled: Soderbergh frames the scenes with a cool, modern elegance. From the hushed corridors of London offices to the lavish interiors of the Woodhouse home, every setting is filmed with crisp precision and atmospheric lighting. The camera often lingers on fabulously chic interiors and impeccable tailoring, creating a sumptuous visual palette that distracts (in a good way) from the potentially convoluted plot . There’s a memorable visual contrast between the polished veneer of the spy world and the ugliness of betrayal lurking underneath. Soderbergh uses subtle camera movements – a slow pan here, a steady long take there – instead of shaky action, to ratchet up tension. One standout sequence involves all the suspects gathered in a single location; the way Soderbergh’s camera glides around the room builds suspense through staging and glance, rather than explosions. It’s a restrained approach that favors slow-burn suspense over bombastic action.

This refined visual style has drawn mixed reactions. Some viewers will appreciate the “hyper-polished” and coolly elegant look of the film, which the Financial Times aptly described as a “coolly cerebral take on British espionage” . The subdued color palette and meticulous shot composition give Black Bag a sophisticated sheen, more John le Carré than James Bond. However, others might find the visuals almost too slick, contributing to a tone that is emotionally distant at times. While undeniably beautiful to look at, the film’s style can feel icy. Still, Soderbergh’s direction keeps the storytelling clear despite multiple characters and clues. Even without high-octane chases, he maintains a taut pace through editing – cross-cutting between characters’ perspectives to reveal lies and truths incrementally. The result is a film that is visually confident and consistently engaging, if not overtly flashy. Soderbergh proves once again that a thriller can be tense and cinematic without relying on CGI or rapid-fire action; his focus on mood and detail in each frame invites the audience to live in the intrigue alongside the characters.

Screenplay and Tone

The screenplay, written by veteran screenwriter David Koepp, is packed with intrigue, sharp dialogue, and the occasional dash of dark humor. Koepp sets up a classic whodunit structure within the spy framework – every main character has secrets, alibis, and motives that slowly come to light as George conducts his clandestine investigation. The script smartly balances spy jargon and personal drama. Conversations oscillate between mission briefings and intimate husband-wife banter, emphasizing how the professional and personal are intertwined for the Woodhouses. Many critics have highlighted the film’s witty, verbal sparring. Much of Black Bag is “relegated to dinner tables and office rooms as stages for rapid-fire, gleefully barbed verbal exchanges,” one reviewer noted, pointing out that the thrills often come from words more than gunplay . Indeed, the tension builds through mind games and probing conversations, giving the film a cerebral quality. This lighter, talkier tone – even verging on a social comedy of manners in some scenes – has led Mark Kermode and others to label the film a sly spy comedy as much as a thriller . There are flashes of humor (often bone-dry British wit) that relieve the tension and remind us that Soderbergh is having fun subverting genre expectations.

That said, the screenplay has faced some criticism. The Guardian’s reviewer argued that the script is the film’s “main problem,” suggesting that after all the elaborate setup, Koepp’s screenplay doesn’t quite deliver a satisfying payoff . Without spoiling details, it’s fair to say the third act resolution has proven divisive – some feel it wraps up too conveniently or lacks the punch one might expect after such a careful build-up. Additionally, a few character motivations remain somewhat baffling or under-explained , which can leave parts of the story feeling convoluted if you stop to question them. The film asks the audience to go along with its twists even if not every detail fully adds up. For viewers accustomed to the gritty realism and complexity of modern spy series like Slow Horses, Black Bag may come off as inauthentic or superficial beneath its glossy surface . The Guardian quipped that, compared to the grubby, hard-edged world of Mick Herron’s spies, this film “feels about as authentic as a set of dental veneers” – a pointed critique that it’s style over substance. However, other voices found Koepp’s script clever in how it turns a spy caper into a relationship drama. There is praise for how the screenplay uses the espionage plot as a lens to examine marriage and trust, with one outlet calling it “smart [and] titillating” in that regard . In tone, Black Bag walks a fine line: it’s suspenseful but not overly grim, sophisticated but not afraid to wink at the audience. Depending on your expectations, you’ll either enjoy the dialog-driven approach as a fresh twist on the genre or wish the film had a bit more bite and clarity in its narrative bite.

Critical Reception

Upon release, Black Bag garnered a generally positive but somewhat mixed critical reception, with many praising its style and performances while noting some shortcomings in substance. The Guardian’s Wendy Ide gave the film a middling 3 out of 5 stars, commending its “fabulously chic” aesthetic and the pleasure of watching Blanchett and Fassbender on screen, but ultimately finding it a slick experience that lacks the gritty authenticity of the best spy tales . The Guardian review highlighted that while the film is polished and entertaining, it doesn’t fully resonate on an emotional level, owing largely to a script that sacrifices plausibility for panache . Over at the Financial Times, the critic also remarked on Soderbergh’s hyper-polished approach. The FT described Black Bag as a “coolly cerebral take on British espionage” with an abundance of suave style . This assessment aligns with many reviewers who admired the movie’s intelligence and measured pacing – it’s a thriller that “luxuriates in its own cerebral suaveness,” focusing on psychological chess matches rather than explosive action (a quality the FT noted with both appreciation and a hint of reservation). In other words, the film’s methodical, brainy nature was seen as a double-edged sword: it set Black Bag apart from run-of-the-mill spy flicks, but also made it a touch too cool and arm’s-length for some tastes.

Renowned film critic Mark Kermode also weighed in with his perspective. On his film review podcast, Kermode characterized Black Bag as seductive and stylish, emphasizing the unique blend of marital drama and espionage comedy . He lauded Soderbergh’s technical artistry – noting it’s “a rare situation where one person is in charge of the entire visual treatment” of a film – and suggested that viewers who enjoy sleek direction and subtle details would find much to admire. Kermode appreciated the film’s witty script and retro spy vibes, comparing its tone favorably to classic genre pieces. However, he also hinted that the film might not be for everyone, acknowledging that its deliberate pacing and talky nature could test the patience of those expecting a high-octane thriller. In summary, critics from The Guardian, Financial Times, and Mark Kermode’s camp all agree on the strong performances and high-gloss direction, even as they diverge on whether the film’s cerebral, slow-burn approach is a brilliant subversion or a missed opportunity. The overall critical consensus tilts positive: Black Bag is frequently described as “sleek” and “spiked with dry wit,” an espionage tale that succeeds more in atmosphere and character interplay than in white-knuckle thrills . It currently enjoys a high approval rating on review aggregators, indicating that most critics were intrigued and entertained, if not outright blown away.

Strengths and Weaknesses

Black Bag stands out for its strengths in style, acting, and thematic ambition. The combination of Steven Soderbergh’s assured direction and the magnetic star power of Michael Fassbender and Cate Blanchett results in a film that is immensely watchable. Its espionage-meets-marriage concept feels fresh, and the theme of trust is woven thoughtfully into the narrative. Many viewers will enjoy the film’s dry humor and classy visual flair – it’s the kind of thriller that opts for tête-à-tête confrontations over shootouts, which can be a refreshing change of pace. Technically, the film is top-notch: from the cinematography and production design to a jazzy, percussive score by David Holmes (reminiscent of his work on Soderbergh’s Ocean’s series), Black Bag oozes a confident, upscale vibe. Among its greatest strengths is the palpable chemistry between the leads and the way the dialogue crackles when they face off. There are moments of real tension and sly excitement as layers of deception are peeled back. In short, Black Bag excels as a sophisticated spy drama that doubles as an intimate character study. It’s likely to please fans of slow-burn thrillers and those who appreciate witty, literate screenplays.

On the flip side, the film does have weaknesses that prevent it from reaching true classic status. The most cited issue is the screenplay’s third act, which some found underwhelming after such a meticulous build-up . The revelations and resolution can come across as a bit pat – lacking the knockout punch or clarity one might hope for. While the movie is consistently engaging, it seldom reaches a boiling point; for some, the understated approach may verge on anticlimax. Additionally, the heavy emphasis on style sometimes comes at the expense of substance. Black Bag is so immaculate in its look and tone that it risks feeling clinical and distant, and as The Guardian noted, there’s an air of superficiality in how neatly everything (and everyone) is groomed in this spy world . The emotional core between George and Kathryn, while compelling, could have been explored even more deeply – a few more raw moments of vulnerability might have added heft. Viewers expecting a heart-pounding thriller might also be let down by the film’s restrained pace and talkiness; the cerebral plotting demands close attention, and a few mid-section scenes do drag slightly as characters trade barbs in well-furnished rooms. Lastly, the film juggles multiple supporting characters, and not all of them get satisfying development. Some of the intriguing side players (like Harris’s and Abela’s characters) feel underused, leaving one wishing for more payoff to their subplots.

Verdict

In the end, Black Bag is a smart, stylish espionage drama that offers a nuanced take on a spy hunt by filtering it through the lens of a marriage built on secrets. Its spoiler-free premise of two married agents caught in a web of suspicion is handled with enough skill and charm to hook the audience, even if the film doesn’t revolutionize the genre. The central themes of espionage, deception, and trust are well-realized – especially the notion that in love as in espionage, knowing whom to trust is the ultimate challenge. With first-rate performances (Fassbender’s stoicism and Blanchett’s inscrutability make for a riveting pair) and slick direction, Black Bag delivers plenty of pleasures: it’s tense but not terrifying, witty but not silly, and above all, consistently engaging. Its weaknesses, notably a somewhat safe finale and a sheen of implausibility, keep it just shy of greatness. But taken on its own terms, the film succeeds as a “sleek, sexy take on marital espionage” that entertains and intrigues in equal measure . In a year filled with bombastic action movies, Black Bag feels like a throwback to more elegant, character-driven thrillers, and it earns a recommendation for those who enjoy their spy films with a side of sophistication. Without spoiling any surprises, one can say that Black Bag ultimately packs its punch not in explosive twists, but in the subtle knife’s edge it draws between love and betrayal,

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Starring: Michael Fassbender, Cate Blanchett
Directed by: Steven Soderbergh

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Culture Vulture 15th to the 21st of February 2025

February 15, 2025 at 11:09 am · Filed under Culture Vulture, Film & DVD Reviews ·Tagged , , , , , ,

Welcome to Culture Vulture

Your weekly entertainment guide, written from an alternative viewpoint. Here, we explore film, TV, and streaming with a focus on fresh perspectives, overlooked gems, and stories that challenge the mainstream. Culture Vulture isn’t just about what’s on—it’s about why it matters.

All selections and writing are by Pat Harrington. Music is from Tim Bragg.

This Week’s Highlights

Quo Vadis, Aida? – BBC2 1.25am, Saturday
A devastating look at one woman’s struggle to save her family as history’s cruel machinery grinds forward.

Zero Day – Streaming from Thursday
A high-stakes political thriller where secrets aren’t just power—they are survival.

The Quiet Girl – C4 12.10am, Monday
A beautifully restrained story of a child discovering kindness for the first time.

Stay tuned for in-depth reviews, critical takes, and a perspective you won’t find anywhere else.

Saturday 15th February 2025

Songs Inspired By The Movies At The BBC – BBC2 8.35pm

This programme brings together a mix of performances from the BBC archives. The selection spans decades.. Some choices, like Bananarama’s Robert De Niro’s Waiting and Deep Blue Something’s Breakfast at Tiffany’s, make clear connections to cinema. Others are more tenuous—Shania Twain’s That Don’t Impress Me Much is included seemingly for name-dropping Brad Pitt rather than any deeper film link.

An T-Eilean (The Island) – BBC4 9pm

“An T-Eilean” (The Island) is a gripping Scottish Gaelic-language crime drama set in the picturesque Outer Hebrides. The series follows Kat Crichton (played by Sorcha Groundsell), a family liaison officer who returns to her island home after a decade to investigate the murder of Lady Mary, the wife of a wealthy tycoon2. As Kat delves into the case, she uncovers deep-seated family secrets and confronts her own troubled past.

The show’s stunning landscapes and authentic portrayal of island life add to its atmospheric tension, while the blend of Gaelic and English dialogue enriches the storytelling. With a talented cast including Sagar Radia as DCI Ahmed Halim and Iain Macrae as Sir Douglas Maclean, “An T-Eilean” stands out as a landmark in Gaelic-language television, offering a unique and captivating viewing experience.

A Quiet Place (2018) – Film4 11.20pm

Silence is survival. In this world, sound brings death, so a family learns to live in near-complete quiet. Every movement is careful, every word unspoken. Even the smallest mistake can cost a life.

The tension never fades. The father, protective but powerless, builds barriers that cannot last. The mother, expecting a child, knows the risk she takes. The children, forced to grow up too fast, carry burdens they never chose.

There is love here, even in the fear. The film is as much about family as it is about horror. In the end, survival is not just about silence—it’s about sacrifice.

Quo Vadis, Aida? (2020) – BBC2 1.25am

Aida is a translator, caught between duty and desperation. She works for the UN, believing she can keep her family safe. But the promises made to her are empty, and the walls close in.

She moves through crowded rooms, pleading with those in power. Some listen, some turn away. No one tells the truth. Outside, families wait, uncertain of their fate. Inside, decisions are made, final and cold.

There is no justice here, no hero to save the day. Only the choices of one woman, trying to hold onto hope when all is lost.

Sunday 16th February 2025

Notorious (1946) – Talking Pictures 6pm

In this classic Alfred Hitchcock thriller, spies, betrayal, and a love tangled in lies take center stage. Alicia Huberman (Ingrid Bergman), the daughter of a convicted Nazi spy, is recruited by government agent T.R. Devlin (Cary Grant) to infiltrate a group of Nazi sympathizers in South America. Her mission: to seduce Alex Sebastian (Claude Rains), a high-ranking member of the group.

As Alicia delves deeper into her role, her loyalty and love are tested at every turn. She plays her part well, but at what cost? The camera lingers on her face, the weight of her choices visible in every glance. Devlin, torn between his duty and his feelings for Alicia, watches from a distance, caught between trust and suspicion.

Shadows stretch long across the screen, secrets hiding in every corner. The tension between Alicia and Alex, and Alicia and Devlin, drives the film forward, making every interaction charged with suspense. Some films age, others sharpen with time. This one remains as sharp as ever, its tensions still cutting deep.

Nixon In The Den – PBS America 8.35pm

A man at the peak of power, yet always afraid. Nixon’s world was built on paranoia, on enemies real and imagined. This documentary takes us inside that world, showing the mind behind the man.

The footage is stark. Private conversations reveal a leader whose victories brought no peace. The need to control, to silence opposition, grew stronger the higher he climbed. He had power but never security.

History has judged him, but this film lets him speak.

Escaping Utopia (one of three) – BBC2 9pm

Some individuals are born into environments where control is paramount. They are instructed on what to believe, whom to fear, and what to love. For those who manage to break free, the concept of freedom can be both unfamiliar and daunting.

“Escaping Utopia” is a poignant documentary that delves into the lives of individuals who have left behind strict, closed communities, such as the Gloriavale Christian Community in New Zealand. The film chronicles their journeys as they step into a world vastly different from the one they were conditioned to accept. Through candid interviews and personal stories, viewers gain insight into the psychological toll of escaping a controlled environment.

Gloriavale, founded in 1969 by Neville Cooper (also known as “Hopeful Christian”), is a small and isolated cult located on the West Coast of New Zealand’s South Island. The community is known for its fundamentalist Christian beliefs, large families, and strict gender roles. Members wear distinctive uniforms, and the community has faced numerous allegations of abuse and exploitation over the years.

Many participants speak with a sense of relief, having finally found the courage to seek a new life. However, others share their experiences with palpable pain, as the past continues to cast long shadows over their present. Even after leaving, the memories and scars of their previous lives remain deeply etched.

This documentary not only tells a story of survival but also highlights the profound sense of loss that comes with leaving behind everything they once knew. It explores the challenges of adapting to a new reality, the fear of the unknown, and the resilience required to rebuild one’s identity. Through their voices, “Escaping Utopia” offers a moving narrative of courage, transformation, and the enduring quest for freedom.

Words On Bathroom Walls (2020) – BBC3 10.30pm

A teenager struggles with a mind that won’t stay quiet. He sees things others don’t, hears voices no one else hears. His world is fractured, shifting, always uncertain.

The film does not romanticise his experience. The fear is real, but so is his humour. He clings to love, to the idea of normality, even when it feels out of reach.

It’s not just about illness. It’s about understanding, about how people see those who are different. He wants to be more than his diagnosis. But will the world let him?

Monday 17th February 2025

Gaza: How To Survive A Warzone – BBC2 9pm

Survival is not just about staying alive. It is about finding food, keeping loved ones safe, and making choices no one should have to make. For those living in a warzone, danger is constant, but life must go on.

The documentary follows people navigating destruction in Gaza, a place where the conflict between Israel and Hamas has left deep scars. A mother, shielding her children from the chaos; a doctor, working tirelessly without supplies; a boy, too young to understand but old enough to feel fear. Their days are filled with waiting—waiting for aid, for news, for the next attack.

There is no easy answer here. The film does not give solutions, only stories. And stories matter. They remind us that behind the headlines, there are people. Through the lens of three children and a young woman with a newborn, the documentary captures the harrowing reality of life in Gaza, where even the youngest are forced to confront unimaginable horrors.

There is no easy answer here. The film does not give solutions, only stories. And stories matter. They remind us that behind the headlines, there are people.

The Real Stonehouse – ITV1 10.45pm

John Stonehouse was a British politician who built his life on deception. A charismatic and ambitious man, he climbed the ranks of the Labour Party, gaining power and enjoying the rewards that came with it. However, lies and deceit can only hold for so long, and eventually, the truth catches up with him.

The documentary unfolds the riveting tale of Stonehouse’s audacious plan to fake his own death. In 1974, facing financial ruin and the possibility of his fraudulent activities being exposed, Stonehouse staged his own disappearance in Miami, leaving behind a neatly folded pile of clothes on the beach. He hoped to start afresh in Australia under a new identity, away from his mounting troubles. However, he underestimated the complexity of the world around him and his ability to outsmart the authorities.

As the story progresses, Stonehouse’s carefully crafted facade begins to crumble. His plans unravel when a combination of errors, including his conspicuous behavior and the astuteness of law enforcement, leads to his arrest in Melbourne, Australia. Despite his initial success in evading capture, the flaws in his scheme become evident, and his downfall is inevitable.

“The Real Stonehouse” does not paint him as a straightforward villain or a tragic victim. Instead, it presents a nuanced portrait of a man whose ambition and hubris outweighed his abilities. The documentary explores the intricacies of his deception, his motivations, and the eventual consequences of his actions. Through interviews, archival footage, and expert analysis, viewers are given an in-depth look at the life and times of John Stonehouse, a politician whose legacy is forever marked by his infamous attempt to escape his past.

The Quiet Girl (2022) – C4 12.10am

A child sent away, silent and watchful. She has learned not to expect much. But in a new home, she finds something unfamiliar: kindness.

The film moves slowly, allowing glances and gestures to speak. No grand events, no dramatic revelations—just a girl realising she is valued. The sadness lingers, but so does the warmth.

It’s a story of care, of understanding what love looks like when words are few. And it’s a reminder that some things, once given, cannot be taken away.

Tuesday 18th February 2025

Georgia Harrison, Porn, Power, Profit (Part One) – ITV4 9pm

A woman fights to reclaim what was stolen. Private moments turned into public spectacle. A violation excused as entertainment.

Her voice is clear, unwavering. She refuses to let others define her. The legal battles are long, but the personal cost is greater. This is not just about her—it is about a system that allows such things to happen.

Speaking out comes with risks. But silence would mean accepting defeat. And she is not willing to do that.

Snowpiercer (2013) – ITV4 10pm

A train circles a frozen Earth. Inside, life is divided. The rich live in luxury, the poor fight for scraps. Order is kept through force, and rebellion simmers below the surface.

The film moves fast, each carriage revealing something new. Violence is sudden, brutal. The cost of change is high, but the alternative is worse. The train cannot run forever.

It asks, without ever saying it directly: who deserves comfort, and who is left to suffer? And who decides?

Wednesday 19th February 2025

Georgia Harrison, Porn, Power, Profit (Part Two) – ITV4 9pm

Georgia Harrison returns to ITV2 and ITVX with a two-part series exploring the lucrative world of the online porn business following on from her previous documentary, Revenge Porn: Georgia vs Bear.

Georgia explains:-

“What we really wanted to do was get to the bottom of who is behind the posting of image-based sexual abuse that’s still out there. The first part involves me having to really look into where my video still is which is obviously a really tough thing to do, but by doing that we could then decipher how many different sites it was on. Then this gave us a way of following the video,  figuring out who is actually behind the money and who is advertising next to this image-based sexual abuse.

“When it comes to DeepFake pornography, I have so many women now messaging me through my inbox for help. That’s usually all forms of abuse, so image-based sexual abuse, DeepFake pornography, domestic abuse, anything to do with a struggling relationship or another person involved, people tend to reach out.

“I was just seeing more and more issues around DeepFakes, a lot from mothers and it was affecting their children in school and I just thought, ‘this is the same sort of feeling as image-based sexual abuse’. It is the same feeling of humiliation, a violation of literally being de-clothed without your consent. It’s unconsented image-based abuse. Just because it’s fake, doesn’t mean it doesn’t evoke the same emotion within the victim it affects.” 

With the global porn industry worth an estimated $1 billion globally, Georgia takes a deep dive look into how this hugely profitable industry works and seeks to uncover just how far her own illegal video has spread, and who might be profiting from it.

Georgia says:-

“Overall, the purpose of doing both documentaries is to do two things; give the power back to the victims and look into how the porn industry works and how it makes its money.  I’ve been very open about what’s happened to me, been to Downing Street, won my court case…I very publicly made it obvious that my video is unconsented, yet it’s still on so many websites. 

“It’s raising awareness of that, because hopefully, we can evoke change within the internet, so in the future, not just me, but any person who has been a victim of revenge porn won’t have to wake up every day wondering if it’s still out there.  If you can stop the people higher up from investing into the advertisement at the bottom, then the people at the bottom won’t keep putting up unconsented footage because they won’t be making any money off it. It’s just exposing the ecosystem. 

“And with DeepFakes, it’s exposing the issue because so many people aren’t aware of it and I’m telling you, I had heard of it and I had friends who were affected by it, but until really looking into it and immersing myself into the world of it, I had no idea how damaging it is to society. How much it’s catching us all up, how much it’s ruining young people’s lives. It’s affecting parents and teachers who are dealing with this issue in schools, it’s a really horrible thing to do.  Recently it was announced that the creation of deepfakes will be made illegal so the more awareness I can raise around it, the more likely it will be implemented.” 

Here at Culture Vulture we agree that the battle is not over. The system protects those who exploit. She keeps speaking, keeps pushing. Justice is slow, but silence would mean giving up.

Others come forward. Similar stories, the same fight. The problem is bigger than one case. It is built into the way power works.

It is a hard watch, but an important one. The cost of speaking out is high, but the cost of staying silent is higher.

The Father (2020) – Film4 9pm

In “The Father,” Anthony Hopkins delivers an extraordinary performance as an elderly man grappling with the disorienting effects of dementia. As his mind betrays him, time loses its coherence, certainty becomes elusive, and familiar faces morph into strangers. Rooms shift, and memories vanish like smoke, leaving both Anthony and the audience in a labyrinth of confusion and doubt.

The film places us inside Anthony’s fragmented perception of reality. We experience his bewilderment firsthand, seeing through his eyes and feeling the same disorientation he endures. Olivia Colman portrays Anne, Anthony’s devoted daughter, who is both patient and exhausted, struggling to care for a father who is gradually slipping away. Her unwavering commitment to him serves as an emotional anchor amidst the chaos.

“The Father” is a deeply affecting exploration of the devastating impact of dementia on individuals and their families. There is no relief, no easy resolution—only the harsh, quiet truth that some battles cannot be won. The film’s brilliance lies in its ability to evoke empathy and understanding for those facing this relentless condition, leaving a lasting impression on all who watch.

Shayda (2023) – Film4 1.35am

A mother and daughter seek refuge, but safety is fragile. They are not free, not really. The past is close, the threat never far.

The film is filled with small moments. A child laughing, a mother braiding hair. But underneath, the fear remains. How long can they stay hidden?

It does not promise a happy ending, only a chance to keep going. And sometimes, that is enough.

Thursday 20th February 2025

Vesper (2022) – Film4 9pm

In a world that is dying and struggling to survive, young Vesper is a beacon of hope and resilience. The 13-year-old girl, armed with exceptional bio-hacking skills, navigates a post-apocalyptic landscape where resources are scarce and survival is a daily battle. Clever and resourceful, Vesper faces overwhelming odds, but her determination never wavers.

The bleakness of the landscape is starkly contrasted by Vesper’s indomitable spirit. She does not wait for salvation; instead, she fights for it with every ounce of her being. Along her journey, she encounters a diverse cast of characters—some cruel and opportunistic, others kind and supportive. Each person she meets shapes her path and challenges her resolve, forcing her to confront difficult truths and make impossible choices.

“Vesper” presents a vision of the future that feels all too relevant to our present-day concerns. The film raises urgent questions about who controls the resources, who gets to live, and who is left behind. Through its captivating narrative and stunning visuals, the film invites viewers to ponder the ethical implications of genetic technology and the power dynamics at play in a world on the brink of collapse.

The story takes a poignant turn when Vesper rescues Camellia, a young woman from a citadel, promising to take Vesper and her father to a place of safety. As they search for another survivor, Elias, the bond between Vesper and Camellia deepens, adding layers of emotional complexity to the narrative.

“Vesper” is a beautifully crafted film that combines science fiction with a deeply human story of survival, resilience, and hope. It is a hauntingly evocative portrayal of a world where the line between savior and survivor is blurred, and where the fight for a better future is both a personal and collective struggle.

It is a vision of the future, but its questions are for now. Who controls the resources? Who gets to live? And who is left behind?

Stan & Ollie (2018) – BBC4 11.45pm

“Stan & Ollie” is a heartfelt biographical film that explores the final years of the legendary comedy duo, Stan Laurel and Oliver Hardy. Laughter made them famous, but fame, like all things, fades with time. The once adored pair, who brought joy to millions with their slapstick humor, now find themselves struggling to fill theatres during their post-war tour of Britain in 1953.

The film captures the poignant reality of their later years, as the inseparable friends face diminishing audiences and the physical toll of age. Stan Laurel (Steve Coogan) and Oliver Hardy (John C. Reilly) deliver masterful performances, portraying the deep bond and unwavering friendship that define their relationship. Despite the challenges they face, their camaraderie and mutual respect never truly break.

“Stan & Ollie” is a gentle film, filled with nostalgia and a deep sense of affection for its subjects. It does not seek to shock or dramatize but instead offers a tender remembrance of two icons of comedy. Their final years were not easy, marked by health struggles and financial difficulties, but they had each other to lean on.

The film beautifully illustrates the evolution of comedy and the shifting tastes of audiences. While comedy changes and new stars emerge, the work of Laurel and Hardy remains timeless. Their influence on the genre is undeniable, and their routines continue to evoke laughter even now. “Stan & Ollie” serves as a touching tribute to their legacy, reminding us that behind the laughter were two men who shared an unbreakable bond and a passion for making people smile.

Friday 21st February 2025

Red Eye (2005) – GREAT!movies 9pm

“Red Eye,” directed by Wes Craven, is a taut and gripping thriller that keeps viewers on the edge of their seats from start to finish. The story revolves around Lisa Reisert (Rachel McAdams), a hotel manager who boards a late-night flight from Dallas to Miami. Expecting a routine trip, Lisa soon finds herself trapped in a nightmare when she meets Jackson Rippner (Cillian Murphy), a charming yet menacing stranger.

As the plane ascends, the tension escalates minute by minute. Jackson reveals his true intentions, coercing Lisa into assisting with a high-stakes assassination plot targeting a high-profile guest at her hotel. The confined space of the airplane amplifies the claustrophobic atmosphere, leaving Lisa with few options for escape.

Despite being clever and resourceful, Lisa faces a formidable adversary in Jackson, who is always one step ahead. The battle between them is as much psychological as it is physical, with mind games and threats intensifying the stakes. The film masterfully plays on the primal fear of being trapped and powerless, creating a relentless sense of suspense.

“Red Eye” excels in its simplicity and effectiveness. The plot unfolds with precision, building tension through expertly crafted scenes and sharp dialogue. Wes Craven’s direction ensures that every moment counts, making even the smallest details contribute to the overall sense of dread. Sometimes, fear needs no ghosts or monsters—just a locked door and no way out.

The performances by Rachel McAdams and Cillian Murphy are outstanding, with McAdams portraying Lisa’s vulnerability and determination, while Murphy’s chilling portrayal of Jackson adds to the film’s menacing aura. “Red Eye” is a testament to the power of a well-executed thriller, proving that sometimes the most terrifying scenarios are grounded in reality.

Lindisfarne’s Geordie Genius: The Alan Hull Story – BBC4 9pm

Alan Hull, the heart and soul of the folk-rock band Lindisfarne, was a musician who never chased fame but found it nonetheless. His songs resonated with the struggles and joys of ordinary lives, painting vivid pictures through poetic, political, and deeply personal lyrics. Hull’s music spoke to the hearts of many, capturing the essence of life in the North East of England.

“Lindisfarne’s Geordie Genius: The Alan Hull Story” is a heartfelt documentary that delves into the life and legacy of this remarkable artist. The film lets Hull’s music tell his story, showcasing the depth and authenticity of his songwriting. Through a blend of archival footage, interviews, and performances, viewers are taken on a journey through Hull’s career, from his early days with Lindisfarne to his solo work.

The documentary does not seek to sensationalize or dramatize Hull’s life. Instead, it offers a gentle and nostalgic reflection on his contributions to music and his impact on those around him. Hull’s words, whether addressing social issues or personal experiences, remain as relevant and powerful today as they were when first penned.

Hull was not a star in the traditional sense—he was a man who stayed true to his roots and his craft. His songs, filled with wit, warmth, and wisdom, continue to resonate with audiences, ensuring his legacy endures. The documentary serves as a reminder of the enduring power of music and the remarkable talent of Alan Hull.

Rock Goes To College BBC4 10pm

“Rock Goes to College” was a BBC series that showcased various rock bands performing live at university venues. Lindisfarne’s episode, first aired on November 17, 1978. It captures the band’s raw energy and charm in an intimate setting2. The performance highlights their unique blend of folk and rock, with Alan Hull’s distinctive voice and songwriting taking centre stage. The stripped-down, acoustic feel of the show allows the audience to experience Lindisfarne’s music in a personal and authentic way. This episode remains a cherished memory for fans, showcasing the band’s enduring appeal and musical talent.

And finally, Streaming

The Chief: All four episodes available from Thursday, 20th February 2025. Scot Squad comedy spin-off following pompous and out of touch Cameron Miekelson (Jack Docherty).

Zero Day: All six episodes available from Thursday, 20th February 2025. A political thriller set against a US under cyber attack where morality is less important than results.

Walter Presents: Evilside: All six episodes available from Friday, 21st February 2025 A bullied outcast on a remote island becomes the prime suspect in the ritualistic murder of her friend.

Video Picture Credits

Songs Inspired By The Movies At The BBC
An T-Eilean (The Island) – Sorcha Groundsell
By MTV UK – Sorcha Groundsell & Percelle Ascott Talk Sex Scenes – Netflix’s The Innocents – MTV Movies, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=116162815
A Quiet Place (2018)
By http://popcornhorror.com/5-horror-movies-whose-atmosphere-will-scare-hell/, Fair use, https://en.wikipedia.org/w/index.php?curid=56965271
Quo Vadis, Aida? (2020)
By http://www.impawards.com/intl/misc/2021/quo_vadis_aida.html, Fair use, https://en.wikipedia.org/w/index.php?curid=65554033
Notorious (1946)
By “Copyright 1946 RKO Radio Pictures Inc.” – Scan via Heritage Auctions. Cropped from the original image., Public Domain, https://commons.wikimedia.org/w/index.php?curid=87339746
Nixon In The Den
By Department of Defense. Department of the Army. Office of the Deputy Chief of Staff for Operations. U.S. Army Audiovisual Center. (ca. 1974 – 05/15/1984) – This file was derived from: Richard M. Nixon, ca. 1935 – 1982 – NARA – 530679.jpg:, Public Domain, https://commons.wikimedia.org/w/index.php?curid=92980570
Escaping Utopia
Protest against the cult – By Schwede66 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=94977675
Words On Bathroom Walls (2020)
By Studio and or Graphic Artist – Can be obtained from film’s distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=64561738
Gaza: How To Survive A Warzone
The Real Stonehouse
John Stonehouse – By André Cros – This photograph is part of the Fonds André Cros, preserved by the city archives of Toulouse and released under CC BY-SA 4.0 license by the deliberation n°27.3 of June 23rd, 2017 of the Town Council of the City of Toulouse., CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=119124824
The Quiet Girl (2022)
By Inscéal – IMDB, Fair use, https://en.wikipedia.org/w/index.php?curid=70151764
Georgia Harrison, Porn, Power, Profit (Part One)
Shutterstock under license
Vesper
By kinopoisk.ru, Fair use, https://en.wikipedia.org/w/index.php?curid=7187855071878550
Snowpiercer (2013)
By http://www.impawards.com/2013/snowpiercer_ver27_xlg.html, Fair use, https://en.wikipedia.org/w/index.php?curid=40911316
Georgia Harrison, Porn, Power, Profit (Part Two)
The Father (2020)
By IMP Awards / Intl > UK > 2020 Movie Poster Gallery / The Father Poster (#2 of 3), Fair use, https://en.wikipedia.org/w/index.php?curid=63838973
Shayda (2023)
By IMDb, Fair use, https://en.wikipedia.org/w/index.php?curid=74709056
James May’s Great Explorers (Part Two)
Vesper (2022)
Stan & Ollie (2018)
By https://www.imdb.com/title/tt3385524/, Fair use, https://en.wikipedia.org/w/index.php?curid=58029929
Red Eye (2005)
By http://www.impawards.com/2005/red_eye_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=1958423
Lindisfarne’s Geordie Genius: The Alan Hull Story
By Rodhullandemu – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=4380270
Rock Goes To College
The Godfather (1972)
By http://www.movieposterdb.com/poster/ff7638bd, Fair use, https://en.wikipedia.org/w/index.php?curid=6703024
Additional artwork from KollectivFutur

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Culture Vulture 8th to the 14th of February 2025

February 8, 2025 at 7:18 am · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , ,

Welcome to Culture Vulture your entertainment guide offering an alternative viewpoint on film, television, and music. Whether you’re drawn to thought-provoking film, you’ll find something intriguing here. If you enjoy compelling documentaries or crave the most striking performances, we have something to challenge and inspire you. Writing is by Pat Harrington, with music selections from Tim Bragg.

This week’s highlights include:

  • Blue Velvet (1986) – David Lynch’s eerie and surreal masterpiece delves into the hidden darkness beneath small-town America’s surface. It features unforgettable performances from Isabella Rossellini and Dennis Hopper.
  • The Rise and Fall of the American Rust Belt (PBS America) – A gripping documentary. It examines the economic decline and resilience of America’s industrial heartland. The film gives voice to those affected by deindustrialisation and corporate greed.
  • The Square (2017) – Ruben Östlund’s film is darkly satirical. It takes a sharp look at the hypocrisy of the contemporary art world. It examines these issues with precision.

Now, let’s dive into the full listings for the week ahead.

Saturday 8th of February 2025

Doctor Zhivago (1965) BBC2 1.15pm

Doctor Zhivago is a sweeping romantic epic set against the turbulence of the Russian Revolution. The film tells the life story of Yuri Zhivago (Omar Sharif). He is a doctor and poet. Yuri is torn between his love for two women—his devoted wife, Tonya (Geraldine Chaplin), and the enigmatic Lara (Julie Christie). As political upheaval engulfs the country, his personal struggles mirror the larger chaos of a collapsing empire. David Lean’s masterful direction and Maurice Jarre’s haunting score make this a visually stunning and emotionally poignant classic.

Sunday 9th of February 2025

Military Masterminds PBS America

2.45pm Rapid Dominance

This episode explores the theory of “shock and awe.” This is a military strategy designed to overwhelm an enemy with swift and overpowering force. The documentary analyses historical examples and modern applications. It shows how speed, precision, and psychological tactics can decide the outcome of war. This can happen before a battle has truly begun.

3.50pm Combat Power

This episode looks at the raw strength of armed forces. It examines advancements in weaponry, technology, and manpower. These advancements have shaped the world’s most formidable militaries. Featuring interviews with strategists and veterans, it highlights how brute force is balanced with strategy.

5.00pm Deception

Misdirection has always been a key element of warfare, from the Trojan Horse to modern cyber tactics. This episode explores the role of deception in military history. It shows how illusion and misinformation can be just as powerful as physical combat.

6.05pm Guerrilla Warfare

When direct confrontation is not an option, smaller forces resort to unconventional tactics. This episode showcases examples from the Vietnam War to modern insurgencies. It highlights how outnumbered and outgunned fighters have used terrain, surprise, and endurance to reshape conflicts.

An Evening With Nat King Cole BBC4 from 9pm

Includes Johnny Mathis: Tribute To Nat King Cole and Natalie Cole In Concert.

Few voices match the timeless appeal of Nat King Cole. His smooth baritone and effortless delivery made him one of the most beloved vocalists of all time. This special evening celebrates his legacy. It features performances from artists inspired by his work. These include Johnny Mathis and his own daughter, Natalie Cole. Classic songs like Unforgettable and Mona Lisa remain as captivating today as when they were first recorded.

Blue Velvet (1986) BBC2 10pm

One of my all-time favourites, Blue Velvet is a dark, hypnotic thriller from David Lynch. It peels back the seemingly idyllic surface of small-town America. It exposes something much more sinister. Kyle MacLachlan plays Jeffrey Beaumont. He is a college student who stumbles upon a severed ear. He is drawn into a twisted world of crime, violence, and obsession. His investigation leads him to nightclub singer Dorothy Vallens (Isabella Rossellini). Her life is controlled by the brutal and sadistic Frank Booth. Dennis Hopper gives an unforgettable performance as Frank Booth. The film masterfully blends dreamlike imagery with nightmarish intensity, capturing a world where innocence is devoured by corruption. Rossellini delivers a raw, heartbreaking performance, while Hopper’s Frank Booth remains one of the most terrifying villains in cinema history. Blue Velvet contains an unsettling atmosphere. It features a haunting score. Its surreal visuals create a masterpiece.

The Elephant Man (1980) BBC2 11.55pm

This deeply moving film is directed by David Lynch. It tells the true story of John Merrick (John Hurt). Merrick was a man suffering from severe physical deformities. He is mistreated and exploited in Victorian England. Rescued by the compassionate Dr. Treves (Anthony Hopkins), Merrick finds dignity and kindness in a world that initially only sees him as a sideshow curiosity. Hurt’s performance is both heartbreaking and dignified, capturing Merrick’s gentle soul and intelligence beneath his outward appearance. Shot in stunning black and white, The Elephant Man is a powerful meditation on humanity, cruelty, and acceptance. Lynch abandons his usual surrealism for a more restrained approach. The experience remains haunting. This makes it one of the most affecting and beautifully crafted biographical films ever made.

Monday 10th of February 2025

The Quiet Man (1952) Film4 4.05pm

John Ford’s The Quiet Man is a lyrical, beautifully shot romance. It stars John Wayne as an American boxer. He returns to his ancestral home in Ireland, hoping for a peaceful life. However, he falls in love with the spirited Mary Kate (Maureen O’Hara). This love leads to conflict with her hot-tempered brother. The result is one of the most famous brawls in cinema history. Full of warmth, humour, and stunning Irish landscapes, this film celebrates love. It also celebrates tradition and the power of home.

The Rise And Fall Of The American Rust Belt PBS America 8.35pm

The Rust Belt was once the backbone of American industry. It was a region where steel mills, automobile factories, and manufacturing plants provided stable jobs. They ensured economic security for millions. This documentary explores how a thriving blue-collar workforce was transformed. It became a landscape of abandoned factories, unemployment, and urban decline. Globalisation, automation, and outsourcing reshaped the economy. With powerful first-hand accounts from workers, industry leaders, and economic experts, the film traces the trajectory of these once-prosperous cities. It covers areas from Detroit to Pittsburgh. The film examines the consequences for communities left struggling in the aftermath. The documentary also highlights the resilience of those who have sought to rebuild. It focuses on revitalisation efforts, new industries, and grassroots movements. These are aimed at reclaiming the region’s identity in a post-industrial world.

Tuesday 11th of February 2025

The Black Phone (2021) Film4 9pm

A tense and gripping horror-thriller, The Black Phone follows Finney (Mason Thames). He is a young boy kidnapped by a sadistic killer called The Grabber (Ethan Hawke). Locked in a soundproof basement, Finney begins receiving calls from the spirits of the killer’s past victims. They guide him in his fight for survival. A chilling mix of supernatural horror and psychological suspense, this film delivers both scares and heart.

Storyville BBC4 10pm

A deep-dive documentary series exploring extraordinary real-life stories from around the world. This episode investigates a gripping, true crime mystery. It blends interviews, archival footage, and investigative journalism. These elements reveal shocking twists and hidden truths. This episode explores the story of the San Quentin’s jail running club. The inmates train all year round for a prison marathon.

Wednesday 12th of February 2025

Locke (2013) Film4 2.05am

Tom Hardy delivers a powerhouse solo performance. This real-time drama follows construction manager Ivan Locke. He takes a fateful drive that will change his life forever. He juggles phone calls involving his job. He also manages those about his family and a personal crisis. We witness a man desperately trying to keep control of his life. Locke is a minimalist film, but it is deeply compelling. It proves that sometimes, all you need is a great actor and a gripping script.

Thursday 13th of February 2025

The Square (2017) Film4 12.35am

A razor-sharp satire of the contemporary art world, The Square follows Christian (Claes Bang), a prestigious museum curator. His latest installation—a conceptual piece meant to promote trust and altruism—sets off a chain of events. These events spiral out of control. As his carefully constructed life begins to unravel, the film exposes the contradictions of elite artistic circles and modern morality. The film presents moments of absurdity and dark humour. It also includes social critique. Ruben Östlund’s Palme d’Or-winning film challenges audiences to examine their own ethical boundaries.

Friday 14th of February 2025

Are You Being Served? Secrets And Scandals Channel 5 9pm

Behind the scenes of the classic British sticom starring John Inman, Molie Sugden and Frank Thornton. The programme describes the battle to keep it on screen and the personal tragedies that hit some of the staff.

Long Shot (2019) BBC1 11.30pm

A sharp and refreshingly modern political rom-com, Long Shot stars Charlize Theron as Charlotte Field. She is a powerful and ambitious Secretary of State. Charlotte is preparing a run for the presidency. Her career is carefully managed, her public image meticulously crafted, and her ambitions are set sky-high. In an unexpected twist, she reconnects with her former childhood neighbor, Fred Flarsky (Seth Rogen). He is an eccentric, socially awkward, and idealistic journalist. Fred has just quit his job in protest. Despite their vastly different worlds, sparks begin to fly between them in a way neither could have predicted.

The heart of the film lies in its odd-couple chemistry. Theron and Rogen make an unlikely but endearing duo. Theron brings grace, intelligence, and emotional depth to her role. Rogen adds his trademark scruffy charm and self-deprecating humor. Their relationship is filled with hilarious clashes. Fred struggles to fit into Charlotte’s polished, high-society world. Meanwhile, Charlotte finds herself in absurdly compromising situations due to Fred’s lack of political finesse. The film mines these contrasts for comedy. It also manages to ground their romance in genuine affection and mutual respect. This makes their growing relationship feel surprisingly authentic.

Beyond the romance, Long Shot offers sharp political satire. It pokes fun at the often-ridiculous demands of public office. It highlights the pressures of maintaining an idealized public image. The film reveals the compromises politicians must make to survive in the modern media landscape. The film addresses issues of sexism and media scrutiny. It also examines the absurd expectations placed on women in power. However, it keeps its message light and accessible. It never feels preachy. Instead, it highlights the absurdities of the system through clever dialogue and biting humor.

What sets Long Shot apart from other rom-coms is its balance of humor and heartfelt sincerity. It embraces laugh-out-loud moments, which include some signature Rogen-style crudeness. Yet, it also takes the time to explore deeper themes of integrity and self-doubt. The film looks into the sacrifices required for success. Theron’s character, in particular, experiences moments of vulnerability. These moments reveal the loneliness and pressure that come with a life in the public eye. Meanwhile, Rogen’s Fred brings a refreshing sense of idealism. He forces Charlotte to confront what she’s willing to compromise for political gain.

Long Shot is a charming romantic comedy. It is surprisingly insightful. The film delivers both sharp laughs and a touching love story. Theron and Rogen deliver excellent performances. The witty script and clever critique of modern politics also shine. The film offers far more depth than its premise might initially suggest. Stay up to watch this film if you want a heartfelt romance. Stay up if you want political satire or just a good laugh.

And finally, Streaming

Walter Presents: R.I.P. Henry – all eight episodes available from Friday 14th February 2025.

Surgeon Henry learns that he has a brain tumor. He searches for a cure. Will he find one and can he come to terms with his feelings? This is a great Norwegian drama.

Bloodline Detectives – new episodes available from Friday 14th February 2025.

This true-crime American series explores how cutting-edge DNA technology is solving cold cases. It brings long-awaited justice to families. It reveals shocking truths hidden for decades.

Picture Credits

Doctor Zhivago
By http://www.thesandpebbles.com/terpning/terpning.htm, Fair use, https://en.wikipedia.org/w/index.php?curid=6628725
An Evening With Nat King Cole
By Capitol Records – eBay itemfrontback, Public Domain, https://commons.wikimedia.org/w/index.php?curid=29363855
Blue Velvet
By The poster art can or could be obtained from De Laurentiis Entertainment Group., Fair use, https://en.wikipedia.org/w/index.php?curid=56859916
The Elephant Man
By Paramount Pictures – impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=20132209
The Quiet Man
By May incorporate artwork by Clement Hurel – see Nollen, Scott Allen (2013) Three Bad Men: John Ford, John Wayne, Ward Bond, McFarland, p. 352 ISBN: 9780786458547. – http://www.doctormacro.com/Movie%20Summaries/Q/Quiet%20Man,%20The.htm, Public Domain, https://commons.wikimedia.org/w/index.php?curid=18565484
The Rise And Fall Of The American Rust Belt
The Black Phone
By https://www.cinematerial.com/movies/the-black-phone-i7144666/p/pvj7axaf, Fair use, https://en.wikipedia.org/w/index.php?curid=68817528
Storyville
Locke
By IMPAwards, Fair use, https://en.wikipedia.org/w/index.php?curid=42515981
The Square
By May be found at the following website: https://www.svenskabio.se/mb_rest/cineads_movieinfo.php?movid=2772, Fair use, https://en.wikipedia.org/w/index.php?curid=54728614
Are You Being Served? Secrets And Scandals Channel 5 9pm
By Self-made screenshot from BBC iPlayer, Fair use, https://en.wikipedia.org/w/index.php?curid=58265573
Long Shot
By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=60008594
PBS America logo
By ™/®Public Broadcasting Service – https://static.wikia.nocookie.net/logopedia/images/b/b4/PBS_America_%282022%29.svg/revision/latest?cb=20221028074122, Public Domain, https://commons.wikimedia.org/w/index.php?curid=157081058
San Quentin
By Frank Schulenburg – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=57200456

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Culture Vulture 1st to the 7th of February 2025

January 31, 2025 at 8:24 pm · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , , , ,

Welcome to Culture Vulture – Your Alternative Weekly Entertainment Guide. Writing is by Pat Harrington and music is by Tim Bragg.

Highlights this week include:

  • The Sisters Brothers (2018) – A revisionist Western that subverts genre conventions, following two bounty-hunting brothers on a journey of survival, greed, and self-discovery.
  • Belfast (2021) – A poignant coming-of-age drama set against the backdrop of 1960s Northern Ireland, capturing the innocence of youth amid political turmoil.
  • Respect (2021) – A powerful biopic of Aretha Franklin, showcasing her rise to fame, struggles, and enduring legacy through an unforgettable performance by Jennifer Hudson.

Now, onto this week’s full selection of films and programmes.

Saturday 1st February 2025

Women Who Rock – Sky Arts from 9pm
A celebration of women who reshaped the music industry. Their struggles and triumphs reflect wider changes in society. The show captures the energy and defiance of artists who refused to conform.
The documentary highlights how music became a form of resistance. Each performer carved a space in a male-dominated world. The interviews reveal personal sacrifices behind public success.
Viewers will see how these women changed perceptions. Their influence reaches beyond music into fashion and activism. The programme is a reminder of the power of creative expression.

Judgment at Nuremberg (1961) – BBC2 12.45pm
A courtroom drama that examines responsibility. The focus is not only on the accused but also on those who looked the other way. The film asks difficult questions about morality and justice.
Performances are powerful, particularly Spencer Tracy as the judge. The script avoids easy answers, forcing viewers to consider uncomfortable truths. The weight of history is felt in every scene.
Decades later, the questions remain relevant. The film warns against blind obedience and moral compromise. A stark reminder of how societies justify their worst actions.

Poly Styrene: I Am a Cliché – Sky Arts 2am
A raw and intimate portrait of an artist ahead of her time. Poly Styrene challenged conventions, both in punk music and in life. Her story is one of rebellion and self-discovery.
The film explores her impact on music and identity. Personal letters and interviews reveal a woman torn between ambition and expectation. Her mixed heritage shaped her outsider status.
More than a biography, this is a story about finding a voice. It resonates with anyone who has felt out of place. Her influence continues in today’s alternative music scene.

Sunday 2nd February 2025

The Straight Story (1999) – Film4 4.30pm
A slow and meditative film about an elderly man’s journey. He travels across America on a lawnmower, determined to reconnect with his brother. The simplicity of the story hides great emotional depth.
David Lynch directs with restraint, showing warmth rather than his usual darkness. The performances feel authentic, particularly from Richard Farnsworth. The film lingers on landscapes, emphasising time and memory.
It is a quiet reflection on aging and regret. The journey is physical, but also symbolic. The film asks whether old wounds can ever truly heal.

Harrods: The Rise and Fall of a British Institution – Channel 5 9pm
Once a symbol of luxury, Harrods represents changing economic tides. The documentary traces its history from family-run business to foreign ownership. Behind the glamour is a tale of power and shifting fortunes.
The programme exposes the conflicts between tradition and modernisation. It shows how consumer culture evolved alongside British society. The store’s rise mirrors imperial confidence, its sale reflects global shifts.
More than just a shop, Harrods embodies national identity. The film questions what is lost when heritage is sold. It is a case study in money and influence.

Dr Jekyll and Mr Hyde: The Read with Reece Shearsmith – BBC4 9pm
A chilling reading of a classic tale. Shearsmith brings the dual nature of man to life. His performance captures the fear and fascination of the original text.
The gothic horror remains unsettling today. The story explores hidden desires and suppressed instincts. It suggests that civilisation is only a thin veil.
This adaptation reminds us why the story endures. The duality within us all is both disturbing and compelling. A gripping interpretation of a timeless tale.

Ian Rankin Investigates: Dr Jekyll and Mr Hyde – BBC4 10.05pm
Rankin explores the real inspirations behind Stevenson’s novel. He delves into Victorian anxieties and the idea of the double life. The true history is as eerie as the fiction.
Interviews with experts reveal deeper meanings. The investigation links the story to crime, class, and repression. Stevenson’s world was one of contradictions and secrets.
A fascinating look at why the story still haunts us. The themes remain familiar, even in modern society. A perfect companion piece to the previous programme.

Belfast (2021) – BBC2 10pm
Kenneth Branagh’s semi-autobiographical film captures childhood in a divided city. The innocence of youth contrasts with the backdrop of violence. The black-and-white cinematography adds a nostalgic quality.
The story is told through a child’s eyes, softening but not erasing the pain. There are moments of humour and warmth, making the loss feel sharper. Family bonds provide strength amid uncertainty.
A love letter to a city and a past that can’t be reclaimed. The film reminds us that history is personal. A moving account of home and belonging.

The Sisters Brothers (2018) – BBC2 11.30pm

The Sisters Brothers is a revisionist Western that subverts the genre’s conventions. It follows two bounty-hunting brothers navigating a rapidly changing American frontier. Directed by Jacques Audiard, the film balances dark humour with moments of deep introspection. It explores themes of violence, greed, and fractured familial bonds.

Joaquin Phoenix and John C. Reilly deliver compelling performances as the titular brothers. Phoenix’s Charlie is impulsive and reckless, while Reilly’s Eli is burdened by a growing conscience. Their dynamic forms the film’s emotional core, as Eli questions their brutal way of life and dreams of something better. Jake Gyllenhaal and Riz Ahmed give strong supporting performances. They add depth to the film’s exploration of shifting loyalties. They also enhance the portrayal of evolving ideals.

The cinematography by Benoît Debie captures the stark beauty of the Western landscape. From sun-scorched plains to dimly lit saloons, every frame enhances the film’s melancholic tone. The film’s visual storytelling is meticulous, highlighting both the isolation and camaraderie of its characters.

The score, composed by Alexandre Desplat, blends traditional Western sounds with a haunting, modern sensibility. The music highlights the film’s tension. It strengthens the introspective moments. This reinforces the sense of an old world fading into a new one.

Thematically, The Sisters Brothers critiques the brutality of frontier justice and the corrosive nature of capitalism. The Gold Rush is depicted as a ruthless pursuit, where survival often comes at the cost of morality. Ethical dilemmas arise as the brothers encounter figures who challenge their worldview. These encounters force them to confront their past and consider the possibility of change.

Critics praised the film’s unique take on the Western genre. Its blend of dark comedy, action, and philosophical depth set it apart from more traditional entries. Some viewers found its pacing deliberate. Others appreciated its contemplative nature. They saw it as a meditation on brotherhood, ambition, and the price of violence.

The Sisters Brothers is a thought-provoking and visually stunning film. It offers a fresh perspective on the Western mythos, grounding its story in human emotion rather than spectacle.

Monday 3rd February 2025

Mr Jones (2019)
A journalist uncovers a famine that others choose to ignore. The film exposes how truth is manipulated. The protagonist risks everything to reveal reality.
The visuals shift between cold desolation and propaganda’s warmth. The contrast shows how suffering is hidden. The cost of truth is painfully high.
A film about courage and complicity. Silence enables cruelty, while speaking out invites danger. A reminder that stories shape history.

Fire Island (2022)
A reimagining of Pride and Prejudice set in a modern LGBTQ+ holiday retreat. The film mixes wit with social commentary. It celebrates community while exposing its flaws.
Romance is central, but so is friendship. The characters navigate love, status, and belonging. The humour makes deeper themes more accessible.
A joyful yet thoughtful film. It reminds us that acceptance isn’t always easy. A refreshing take on a classic tale.

Tuesday 4th February 2025

All The Money In The World (2017) – GREAT!movies 9pm
A thriller based on real events. The film follows the kidnapping of John Paul Getty III. His grandfather’s refusal to pay the ransom dominates the narrative.
The story highlights greed and power. The boy’s suffering is secondary to financial concerns. Family bonds are tested against corporate interests.
A tense and stylish drama. Christopher Plummer delivers a cold yet captivating performance. A study of how wealth distorts human relationships.

Mussolini: Son of the Century – Sky Arts 9pm
A documentary exploring the rise of a dictator. It traces his journey from socialism to totalitarianism. The programme pieces together rare footage and expert analysis.
It examines how ambition turns into authoritarian rule. The film shows how a leader’s early ideals can curdle into oppression. The dangers of political idolatry are evident.
A necessary history lesson. The past offers warnings for the present. The documentary challenges viewers to see patterns in modern politics.

Wednesday 5th February 2025

Respect (2021) – BBC1 11.15pm
The story of Aretha Franklin’s rise to fame. Jennifer Hudson delivers a commanding performance. The music carries the film, but so does its emotional weight.
It explores the pressures of success. Franklin’s voice made history, but her journey was fraught with struggle. The film does not shy away from personal hardships.
More than a biography, it is a tribute. A reminder of the resilience behind the legend. A powerful portrayal of an artist’s fight to be heard.

Mean Streets (1973) – Film4 11.35pm
Scorsese’s early masterpiece. A gritty look at loyalty and survival in Little Italy. The film’s raw energy and improvisational style make it feel real.
Harvey Keitel and Robert De Niro shine as young men caught between crime and conscience. The streets are their battleground. Violence is both a choice and a fate.
An essential watch for those who love character-driven films. It laid the foundation for Scorsese’s later classics. A look at ambition, failure, and redemption.

Thursday 6th February 2025

Oliver! (1968) – Film4 4.10pm
A musical that remains beloved. The story of an orphan in Victorian London. Songs and performances make it an enduring classic.
Beneath the charm is a tale of survival. The film does not ignore the harsh realities of poverty. Dickens’ world is softened but not erased.
A family favourite with dark undercurrents. The contrast between joy and hardship makes it compelling. A classic that still resonates.

Some Like It Hot (1959) – BBC4 8.20pm
A comedy masterpiece. Two musicians disguise themselves as women to escape the mob. The humour is sharp, and the performances iconic.
Jack Lemmon and Tony Curtis have perfect timing. Marilyn Monroe adds charm and melancholy. The film balances farce with genuine emotion.
Beneath the laughter is a look at identity and deception. A film ahead of its time. Endlessly rewatchable and still relevant.

Can Elon Musk Rule The World – Channel 4 9pm
A documentary examining one of the most controversial figures today. It explores his vision and influence. The programme asks whether one man should hold so much power.
Musk’s innovations have changed industries. But ambition comes with consequences. The film presents both his brilliance and his flaws.
An insightful investigation into modern leadership. Technology and capitalism intertwine. The future may rest in the hands of a few.

Pitch Black (2000) – ITV4 9pm
A sci-fi thriller with a cult following. A transport ship crashes on a dark planet. The survivors face both internal and external threats.
Vin Diesel’s anti-hero dominates the film. His character walks the line between saviour and predator. The darkness is both literal and symbolic.
Tense, atmospheric, and visually striking. A film that proves sci-fi can be both action-packed and thought-provoking.

Friday 7th February 2025

Ella Fitzgerald Live At Montreux – Sky Arts 8pm
A concert film capturing a jazz legend at her best. Fitzgerald’s voice remains unmatched. Her performance is effortless yet deeply moving.
The setlist is a journey through jazz history. The audience is spellbound. The film showcases her warmth and mastery.
A celebration of pure talent. A must-watch for music lovers. Her voice still enchants decades later.

Ella Fitzgerald: Just One Of Those Things – Sky Arts 9.30pm
A documentary exploring her life and career. The struggles behind the success are revealed. Her rise from hardship to global fame is inspiring.
Interviews and archival footage bring her story to life. The film highlights both her triumphs and personal sacrifices. She reshaped music forever.
A fitting tribute to a true pioneer. Her impact goes beyond jazz. Her legacy is one of perseverance and excellence.

Lynch/OZ – Film4 1.35am
A documentary about the connection between The Wizard of Oz and David Lynch’s films. It delves into cinematic influences and hidden meanings.
Lynch’s work is filled with references to Oz. The documentary explores these links in depth. Filmmakers and critics offer their insights.
A fascinating look at artistic inspiration. It shows how one story can shape another. A must-watch for cinephiles.

And finally, Streaming

On Channel 4 streaming – Walter Presents: The Sketch Artist (Season 3) – from Friday 7th February 2025
A detective series with a unique protagonist. A forensic sketch artist reconstructs faces and memories. The show blends mystery with human insight.
The new season deepens character backstories. It focuses on perception and how we interpret truth. Crime-solving is as much about psychology as evidence.
A gripping drama with an original premise. Fans of intelligent thrillers will be hooked.

On History Hit – Dogs: Their History (Episode One) – from Thursday 6th February 2025
A look at how dogs shaped human lives. From hunting partners to companions, their role has changed. The documentary explores this shared history.
Footage from different cultures highlights contrasts in treatment. The bond between humans and dogs is complex. Some are loved, others exploited.
More than a history lesson, this is a reflection on human nature. Our relationship with animals says much about us.

Picture credits

Judgment at Nuremberg
By “Copyright © 1961 by United Artists Corporation.” – Scan via Heritage Auctions. Cropped from the original image and lightly retouched; see upload history for unretouched original., Public Domain, https://commons.wikimedia.org/w/index.php?curid=88144188
The Straight Story (1999)
Fair use, https://en.wikipedia.org/w/index.php?curid=3573982
Belfast (2021)
By Studio and or Graphic Artist – [1], Fair use, https://en.wikipedia.org/w/index.php?curid=68638309
The Sisters Brothers
By https://thefilmstage.com/wp-content/uploads/2018/05/The-Sisters-Brothers-poster.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid57505137
Mr Jones (2019)
By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=59698104
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
All the Money in the World (2017)
By The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=55238236
Respect (2021)
By IMP Awards / 2021 Movie Poster Gallery / Respect Poster (#6 of 6), Fair use, https://en.wikipedia.org/w/index.php?curid=62643512
Mean Streets (1973)
By May be found at the following website: https://www.imdb.com/title/tt0070379/mediaindex?page=3&ref_=ttmi_mi_sm, Fair use, https://en.wikipedia.org/w/index.php?curid=63535900
Oliver! (1968)
By Oliver1968.co.uk – UK quad., Fair use, https://en.wikipedia.org/w/index.php?curid=6697563
Some Like It Hot (1959)
Designed by Macario Gómez Quibus. “Copyright 1959 – United Artists Corp.”. – Scan via LiveAbout. Cropped from original image., Public Domain, https://commons.wikimedia.org/w/index.php?curid=85794299
Pitch Black (2000)
By The poster art can or could be obtained from USA Films (USA theatrical)Universal Studios (all other rights)., Fair use, https://en.wikipedia.org/w/index.php?curid=1209558
Ella Fitzgerald: Just One of Those Things
Aber Bergen
Minx
By HBO Max – Screenshot from the premiere episode, “Not like a shvantz right in the face”, Public Domain, https://commons.wikimedia.org/w/index.php?curid=117713496
Reece Shearsmith
By PeterCarmichael51 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=151951308
Elon Musk
By The Royal Society, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=152333860
Harrods
By user: Sokkk y – Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=3600342
Polystyrene
By Poly_Styrene.png: Uroicaderivative work: Memphisto (talk) – Poly_Styrene.png, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=15033083
Ella Fitzgerald
By Lewin/Kaufman/Schwartz, Public Relations, Beverly Hills – eBay itemphoto frontphoto back, Public Domain, https://commons.wikimedia.org/w/index.php?curid=19129012
Ian Rankin
By TimDuncan – Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=3588034
Mussolini

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Strange Days: A Dystopian Vision of Technology and Identity by Pat Harrington

December 29, 2024 at 11:27 am · Filed under Film & DVD Reviews, Uncategorized ·Tagged , , , , , , ,

805 words, 4 minutes read time.

Released in 1995 and directed by Kathryn Bigelow, Strange Days is a film that defies easy categorization. Combining elements of science fiction, neo-noir, and gritty social commentary, it explores a dystopian Los Angeles on the brink of the new millennium. Despite its star-studded cast and ambitious vision, the film remains underappreciated, perhaps because of its raw depiction of race, violence, and identity in a society pushed to the edge. Yet, this very audacity makes it a film that feels prophetic and worth revisiting in today’s rapidly evolving technological landscape.

A Visionary Premise

At the heart of Strange Days is the concept of “playback” technology: illegal recordings of people’s memories and sensations that others can experience as if they were their own. Ralph Fiennes stars as Lenny Nero, a fallen ex-cop turned black-market dealer in these sensory experiences. The technology itself is both thrilling and disturbing, offering viewers a window into the ethical dilemmas of voyeurism, consent, and the commodification of human experience. As Lenny navigates a city embroiled in racial tensions and systemic corruption, the film questions what it means to consume someone else’s memories and how this alters one’s sense of self.

The brilliance of this premise lies in how it anticipates our current relationship with technology. While Strange Days presents a physical, tactile technology, the themes resonate with today’s social media landscape, where the curated lives of others are consumed incessantly. The idea that experiencing someone else’s memories could distort our own identity feels prescient in a world where personal narratives are shaped by what we see and share online.

Identity and the Consequences of Memory Sharing

One of the film’s most fascinating explorations is the impact of memory-sharing on personal identity. For Lenny, replaying his past relationship with Faith (Juliette Lewis) becomes a form of addiction, a refusal to move forward from a romanticized, idealized past. This echoes how individuals today often use digital memories—photos, videos, and posts—to construct a narrative of who they are or wish to be, sometimes at the expense of growth or reality.

The implications of such technology are vast. If memories could be shared indiscriminately, they might blur the boundaries between individual experiences and collective consciousness. Would we lose a sense of self, or would we gain a deeper understanding of others? Strange Days doesn’t offer easy answers but invites viewers to wrestle with these questions, making it a profoundly philosophical work masked as a thriller.

Rapid Technological Change and Its Reflection

One of the film’s most striking points is its warning about the pace of technological advancement. In Lenny’s world, the playback technology has outpaced society’s ability to reflect on its moral and ethical implications. This mirrors the real-world dilemma of our time: the explosion of AI, virtual reality, and social media has brought about transformative changes, but we often adopt these technologies without fully understanding their societal impacts.

By showcasing how this unchecked advancement exacerbates existing inequalities and feeds into voyeuristic, exploitative tendencies, Strange Days becomes a cautionary tale. It asks whether humanity can handle the tools it creates or if these tools will amplify our worst impulses.

The Shocking and the Underappreciated

Strange Days does not shy away from uncomfortable truths. Some of its scenes, particularly those depicting violence and exploitation, are shocking and hard to watch. These moments are not gratuitous but serve as a critique of a society desensitized to suffering and consumed by spectacle. However, the film’s uncompromising approach might also explain its limited reception.

Could the racial themes—depicting a city on the brink of racial warfare and the assassination of a Black activist—have been too edgy for mainstream audiences in the mid-90s? Or was it the visceral violence, combined with its unflinching commentary on police corruption, that alienated viewers? Perhaps the film’s hybrid genre and ambitious scope made it difficult for marketing teams to categorize and promote effectively.

Moreover, the film’s underwhelming box office performance may have contributed to its scarcity in home media and streaming platforms, leaving it a hidden gem for cinephiles rather than a celebrated classic.

Conclusion: A Moral Ground for an Era-Defining Film

Kathryn Bigelow’s Strange Days is not just a film but a cultural artifact. Its commentary on technology, race, and human nature feels more relevant today than it did upon release. The performances, particularly Angela Bassett as the fiercely loyal Mace, elevate the film beyond its genre trappings, grounding its speculative elements in emotional reality.

Strange Days is a film that deserves greater recognition, not just for its technical achievements and performances but for its bold willingness to confront the societal undercurrents many films shy away from. It stands as a stark reminder of the responsibilities that come with technological power and the need for reflection amid rapid change—a message that resonates even more profoundly in our modern world.

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Picture credit

By May be found at the following website: http://iluvcinema.com/2011/06/tuesdays-overlooked-film-strange-days/, Fair use, https://en.wikipedia.org/w/index.php?curid=4802513

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Culture Vulture (30th December 2023 to 5th January 2024)

December 30, 2023 at 2:31 pm · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , , ,

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative standpoint. Selections and writing is by Pat Harrington and music is by Tim Bragg. Highlights this week include the 2001 surrealist mystery film Mulholland Drive directed by David Lynch, Mr Bates vs The Post Office, a dramatic re-telling of the British Post Office scandal. and the biographical neo-noir 1967 crime film, Bonnie And Clyde.

Saturday 30th December 2023

Lawrence of Arabia (1962 film) 1.45pm C4

“Lawrence of Arabia” is a film that, while not explicitly exploring sexual themes, contains subtle hints and undertones that have led to discussions regarding T.E. Lawrence’s sexuality. The film delicately suggests Lawrence’s complex relationship with others, particularly his close bond with Sherif Ali (played by Omar Sharif). The dynamics between Lawrence and Ali, though not overtly romantic, carry undertones of intimacy, and the film’s nuanced portrayal leaves room for interpretation regarding the nature of their connection.

On the political and social front, the film delves into the complexities of British imperialism and the impact of Western intervention in the Arab world during World War I. T.E. Lawrence’s internal struggle with his identity and allegiance reflects broader themes of cultural clash and imperialism. The Arab Revolt against the Ottoman Empire, led by Lawrence, is depicted with a keen eye on the political intricacies and the uneasy alliances forged during the war.

“Lawrence of Arabia” also explores the psychological toll of warfare on individuals, examining the blurred lines between heroism and madness. Lawrence’s transformation from an initially reluctant participant to a charismatic and conflicted leader serves as a lens through which the film critiques the dehumanizing effects of war.

Moreover, the film touches on the clash between traditional and modern values, both within the Arab culture and between the Arab and Western worlds. The tension between Lawrence’s admiration for Arab customs and his British military background adds depth to the narrative, highlighting the cultural and ideological gaps prevalent during this historical period.

In essence, “Lawrence of Arabia” transcends its epic scope to offer a nuanced exploration of sexuality, politics, and society against the backdrop of a tumultuous historical era. The film invites viewers to contemplate the intricate layers of its characters and the broader geopolitical landscape, making it a rich and multi-faceted cinematic experience.

Free Your Mind: The Matrix Now 6.55pm BBC2

“Free Your Mind: The Matrix Now” is a live show that celebrates the opening of Aviva Studios, the new home of Factory International in Manchester. It is a dance and immersive design experience that takes you on a journey into the classic sci-fi film “The Matrix”. The show is presented throughout the building’s spaces and is a mind-expanding experience that will leave you thrilled. The show is directed by Danny Boyle and choreographed by Kenrick Sandy. The score is composed by Michael Asante and the words are by Sabrina Mahfouz. The costumes are designed by Gareth Pugh.

According to a review by The Guardian, the show is a 2023 take on the 1999 film “The Matrix”, which fits with the current 90s nostalgia but is also alarmingly prescient in its story of humans being usurped by intelligent machines as we enable the march of AI, ever more in thrall to the algorithm.

Sunday 31st December 2023 (New Year’s Eve)

Mulholland Drive (2001 film) 11.15pm Film4

“Mulholland Drive” (2001), directed by David Lynch, is a mesmerizing and enigmatic cinematic journey that defies conventional narrative expectations. The film unfolds like a surreal dream, inviting viewers into a labyrinthine narrative that blurs the lines between reality and fantasy.

The story revolves around an amnesiac woman, played by Naomi Watts, who stumbles upon a dark and mysterious Hollywood tale. As she navigates the twisted alleys of Mulholland Drive, the film weaves together a tapestry of interconnected characters and timelines. Lynch’s signature dreamlike atmosphere is palpable, with each scene dripping in both beauty and an underlying sense of dread.

Naomi Watts delivers a standout performance, showcasing her versatility as an actress. From wide-eyed innocence to the depths of despair, her portrayal adds emotional weight to the film. Laura Harring complements Watts with an enigmatic and alluring presence, contributing to the film’s aura of mystique.

Lynch’s masterful direction is evident in every frame, from the hauntingly beautiful cinematography to the unconventional narrative structure. The film is a puzzle that invites interpretation, and its layers of symbolism and surrealism have sparked countless debates among cinephiles.

The soundtrack, featuring Angelo Badalamenti’s haunting score and memorable use of Roy Orbison’s “Crying,” enhances the film’s emotional resonance. The sound and visuals work in tandem to create an immersive experience that lingers in the mind long after the credits roll.

“Mulholland Drive” is not a film for casual viewing; it demands attention and interpretation. It’s a cinematic enigma that rewards those willing to delve into its complexities. As a work of art, it stands as a testament to Lynch’s unique vision and storytelling prowess, leaving an indelible mark on the landscape of contemporary cinema. For those who appreciate films that challenge and provoke thought, “Mulholland Drive” is a haunting and unforgettable journey into the heart of Hollywood’s surreal underbelly.

Monday 1st January 2024 (New Year’s Day)

Butch Cassidy And The Sundance Kid (1969 film) 12.45pm BBC2

“Butch Cassidy and the Sundance Kid” (1969), directed by George Roy Hill, is a classic Western that blends humor, action, and camaraderie to create an enduring cinematic experience. Starring Paul Newman as Butch Cassidy and Robert Redford as the Sundance Kid, the film follows the exploits of two affable outlaws in the American West.

The chemistry between Newman and Redford is a highlight, infusing the film with charisma and wit. Their banter, camaraderie, and shared adventures elevate the characters beyond typical Western archetypes, making them relatable and endearing to audiences. The duo’s performances contribute significantly to the film’s timeless appeal.

The narrative follows Butch and Sundance as they navigate the changing landscape of the West, grappling with the encroachment of modernity and law enforcement. The film masterfully balances moments of levity with intense action sequences, creating a dynamic and engaging story. The famous bicycle-riding scene set to B.J. Thomas’s “Raindrops Keep Fallin’ on My Head” is a memorable example of the film’s playful approach to the Western genre.

Cinematographer Conrad L. Hall captures the expansive beauty of the American frontier, utilizing stunning landscapes to frame the characters’ journey. The film’s visual style, complemented by Burt Bacharach’s evocative score, contributes to the overall immersive experience.

“Butch Cassidy and the Sundance Kid” received widespread acclaim upon its release and won four Academy Awards, including Best Original Score and Best Cinematography. Its enduring popularity can be attributed to its unique blend of genres, memorable characters, and the timeless charm of Newman and Redford. For fans of Westerns and those seeking a classic film that transcends its genre, this iconic collaboration remains a must-watch, showcasing the magic that happens when great storytelling meets exceptional performances

Bonnie And Clyde (1967 film) 10pm BBC2

“Bonnie and Clyde” (1967), directed by Arthur Penn, is a groundbreaking film that revolutionized the crime genre and left an indelible mark on the landscape of American cinema. Starring Warren Beatty and Faye Dunaway as the titular outlaw couple, Clyde Barrow and Bonnie Parker, the film explores social and political themes against the backdrop of the Great Depression.

Set in the 1930s, the film captures the disillusionment and economic hardship of the era, portraying Bonnie and Clyde as antiheroes who, in the eyes of many, rebel against a system that has failed them. The film depicts the duo as charismatic symbols of defiance, challenging traditional notions of authority and the American Dream. The narrative portrays them as products of their time, driven to a life of crime by circumstances beyond their control.

The film’s violent and stylized portrayal of crime was a departure from traditional Hollywood conventions, reflecting the changing attitudes of the 1960s. The scenes of graphic violence were controversial at the time but became influential in shaping the depiction of crime in cinema.

“Bonnie and Clyde” also explores the media’s role in shaping public perception, as the outlaw couple becomes sensationalized and romanticized in newspapers and newsreels. This aspect of the film comments on the power of media to mythologize and distort the truth, influencing public opinion and complicating the distinction between reality and fiction.

From a political standpoint, the film can be seen as a commentary on societal unrest and the countercultural movements of the 1960s. The rebellious spirit of Bonnie and Clyde resonated with a generation questioning established norms and authority figures. The film’s impact extended beyond its entertainment value, sparking discussions about the nature of violence in American society and the portrayal of criminals in popular culture.

“Bonnie and Clyde” is a cinematic landmark that transcends its genre, offering a complex and nuanced exploration of social and political themes. Its influence can be seen in subsequent films that challenged cinematic conventions and narrative expectations, making it a key work in the evolution of American cinema.

Mr Bates versus The Post Office (one of four) 9pm ITV1

“Mr Bates versus The Post Office” is a four-part British television drama series. The show is directed by James Strong and written by Gwyneth Hughes. It stars an ensemble cast led by Toby Jones and features actors such as Monica Dolan, Julie Hesmondhalgh, Alex Jennings, and Ian Hart. The series is a dramatic re-telling of the British Post Office scandal, where a faulty IT system led to prosecutions of fraud, theft, and false accounting for postmasters across the UK. The show is based on the true story of Alan Bates, a subpostmaster from Wales who became an activist after he was accused of fraud by the Post Office. The drama is a moving account of the effect of these events on former postmasters and their families, highlighting once more the human costs of this scandal. According to a review by Radio Times, the show is a gripping and emotionally charged drama that not only entertains but also educates audiences about a dark chapter in British legal history.

The Big Snow of ’47 9pm Channel 5

“The Big Snow of ’47” it captures the memories of people who witnessed the snowstorm that hit the UK in 1947. The snowstorm saw temperatures of -21C and had a significant impact on the country, affecting farming, mass going, funerals, and people’s ability to survive. The documentary provides a fascinating insight into the lives of people who lived through the event and how they coped with the extreme weather conditions. The documentary features interviews with people who recall the big snow, providing a unique perspective on the event.

Peaky Blinders: The Redemption of Thomas Shelby 9.25pm BBC4

“Peaky Blinders: The Redemption of Thomas Shelby” is a dance show that premiered in Birmingham Hippodrome in September 2022. The show is a prequel to the popular BBC crime drama series “Peaky Blinders” and is choreographed by Benoit Swan Pouffer, the artistic director of Rambert Dance Company. The show follows the story of Thomas Shelby, the protagonist of the series, and his descent into opium-fueled despair after the loss of his love, Grace Burgess. The show captures the bleak, menacing mood of the TV series with its darkness, smoke, violence, and driving music by American composer Roman GianArthur, sprinkled with Radiohead, Anna Calvi, Black Rebel Motorcycle Club, and Nick Cave. The choreography has a commercial edge, drawing on street styles, and excels in blistering ensemble dances, punchy moves with bodies flying, flinging, and sliding across the stage. The dancers come out all guns blazing (and knives, and razor blades), in rollicking brawls where bodies stab and lurch, full of swagger and attitude. The show has been well-received by critics, with The Guardian calling it “an energetic, menacing prequel-style show”.

Tuesday 2nd January 2024

The Shallows (2016 film) 9pm GREAT!movies

“The Shallows” (2016), directed by Jaume Collet-Serra, is a tense and gripping survival thriller that takes the concept of a shark attack and turns it into a heart-pounding cinematic experience. Starring Blake Lively as Nancy Adams, the film follows her character as she becomes stranded on a small rock formation just 200 yards from shore, fighting for survival against a relentless great white shark.

At its core, “The Shallows” is a minimalist thriller that thrives on simplicity. The film’s strength lies in its ability to create maximum suspense with minimal resources. Lively delivers a compelling performance as a determined and resourceful protagonist, and her isolation in the vast ocean adds to the film’s overall sense of vulnerability.

The cinematography by Flavio Martínez Labiano captures both the beauty and terror of the open sea, while the tight editing and pacing keep the tension consistently high. The shark sequences are skillfully executed, building a palpable sense of dread as Nancy faces off against her aquatic adversary.

The film also explores themes of survival, resilience, and the indomitable human spirit. As Nancy battles not only the shark but also her own physical and emotional limitations, “The Shallows” becomes a story of triumph over adversity in the face of overwhelming odds.

While it falls within the survival thriller genre, “The Shallows” distinguishes itself with its sharp focus on one woman’s harrowing ordeal. The film successfully taps into primal fears of the unknown and the predatory nature of the deep sea, delivering a satisfying and intense cinematic experience for those who enjoy suspenseful, edge-of-your-seat thrillers.

Wednesday 3rd January 2024

Fighting With My Family (2019 film) 11.40pm Film4

“Fighting with My Family” (2019), directed by Stephen Merchant, is a heartwarming and entertaining sports biopic that transcends the wrestling ring to deliver a story of perseverance, family bonds, and the pursuit of one’s dreams. Based on the true story of WWE wrestler Paige (Saraya-Jade Bevis), the film follows her journey from a small-town wrestling family in England to the grand stage of World Wrestling Entertainment.

The film strikes a balance between humor and sincerity, thanks in part to Stephen Merchant’s directorial touch and a charismatic ensemble cast. Florence Pugh shines in the lead role as Paige, capturing the character’s passion for wrestling and the challenges she faces as she navigates the competitive world of professional sports entertainment. The supporting cast, including Nick Frost and Lena Headey as Paige’s parents, adds a delightful mix of humor and heart to the narrative.

“Fighting with My Family” explores universal themes of self-discovery and the importance of staying true to oneself, even in the face of adversity. The film delves into the sacrifices and dedication required to succeed in the demanding world of professional wrestling, while also addressing the stereotypes and preconceptions associated with the sport.

Beyond the wrestling spectacle, the movie emphasizes the tight-knit bonds within the Bevis family, showcasing the impact of familial support on an individual’s pursuit of their dreams. The film cleverly navigates the dynamics of sibling rivalry, sibling camaraderie, and the transformative power of pursuing one’s passion.

Visually dynamic wrestling sequences add an authentic touch, and the film’s overall energy mirrors the adrenaline-fueled excitement of the sport. While cantered around the world of wrestling, “Fighting with My Family” manages to be accessible to audiences beyond the realm of sports enthusiasts, offering a heartfelt and engaging narrative that celebrates the triumph of the underdog.

Thursday 4th January 2024

The 39 Steps (1935 film) 2.20pm BBC2

Alfred Hitchcock’s “The 39 Steps” (1935) is a classic thriller that masterfully weaves suspense, intrigue, and wit into a captivating cinematic experience. Based on John Buchan’s novel, the film follows Richard Hannay, played by Robert Donat, who becomes entangled in a web of espionage and intrigue after a mysterious woman is murdered in his apartment.

One of Hitchcock’s early masterpieces, “The 39 Steps” showcases the director’s flair for storytelling and his innovative approach to suspense. The film is a rollercoaster of tension and humour, with Hitchcock expertly blending elements of espionage, mistaken identity, and a cross-country pursuit.

Robert Donat’s charismatic performance as Hannay anchors the film, with his ability to convey a mix of charm and resourcefulness. Madeleine Carroll, as the leading lady, adds a layer of sophistication and chemistry to the narrative, creating a dynamic partnership as they evade both the authorities and sinister spies.

What sets “The 39 Steps” apart is Hitchcock’s use of visual storytelling and innovative techniques. The film features several memorable set pieces, including the iconic escape across the Scottish moors and a thrilling climax set at a political rally. Hitchcock’s signature touches, such as the use of MacGuffins and the incorporation of humour in tense situations, contribute to the film’s enduring appeal.

The film’s pacing is tight, with each scene propelling the narrative forward while maintaining an air of mystery. Hitchcock’s meticulous attention to detail is evident in the composition of shots and the overall visual aesthetic, creating an atmosphere of intrigue and danger.

“The 39 Steps” is a testament to Hitchcock’s ability to craft engaging narratives within the constraints of early cinema. As a precursor to many of his later works, this film remains a classic example of the director’s genius, blending suspense with a touch of humor to create a timeless thriller that continues to captivate audiences.

Friday 5th January 2024

Aliens (1986 film) 9pm ITV4

“Aliens” (1986), directed by James Cameron, is a sci-fi action masterpiece that expands upon the horror elements of its predecessor while introducing compelling themes of otherness, survival, and corporate interests. The film is a sequel to Ridley Scott’s “Alien” and takes the franchise in a new direction, transforming it from a haunted-house-in-space thriller to a pulse-pounding battle against extra-terrestrial forces.

The theme of otherness is central to “Aliens” as it explores the clash between humanity and the Xenomorphs, a relentless alien species. The film not only delves into the fear of the unknown but also examines the dehumanization of the enemy, as the soldiers and Ripley (played by Sigourney Weaver) confront a seemingly unstoppable and inscrutable adversary. This theme is heightened by the contrast between the soldiers’ military culture and the alien biology that defies human comprehension.

Social and political themes emerge in the depiction of the Weyland-Yutani Corporation’s greed-driven motives. The exploitation of the alien species for potential weapons and bioweapons underscores the film’s critique of corporate interests at the expense of human lives. The portrayal of the power-hungry corporate representative Burke (played by Paul Reiser) reflects a distrust of authority figures motivated solely by profit, even if it means sacrificing the lives of the crew.

The character of Ripley is a symbol of resilience and maternal strength, challenging traditional gender roles in the sci-fi genre. Sigourney Weaver’s portrayal of Ripley as a survivor and a protector adds depth to the narrative and contributes to the film’s feminist undertones.

Beyond the intense action sequences, “Aliens” is a reflection of the anxieties of the 1980s, touching upon themes of militarization, corporate greed, and the fear of the unknown. James Cameron’s direction and storytelling elevate the film, creating a tense and thought-provoking experience that combines sci-fi, horror, and social commentary. “Aliens” remains a landmark film in the genre, not only for its technical achievements but also for its exploration of deeper themes that resonate beyond the confines of the screen.

Picture Credits

Lawrence of Arabia (1962 film)
Incorporates artwork by Howard Terpning – http://www.impawards.com/1962/lawrence_of_arabia_ver3.html, Public Domain, https://commons.wikimedia.org/w/index.php?curid=25628293

Mulholland Drive (2001 film)
Fair use, https://en.wikipedia.org/w/index.php?curid=7728162

Butch Cassidy And The Sundance Kid (1969 film)
By Tom Beauvais – Movieposter.com, Fair use, https://en.wikipedia.org/w/index.php?curid=5714787

Bonnie And Clyde (1967 film)
Distributed by Warner Bros.-Seven Arts. – Scan via Heritage Auctions. Cropped from the original image and retouched by uploader; see upload history below for unretouched original., Public Domain, https://commons.wikimedia.org/w/index.php?curid=92401665

The Shallows
The poster art can or could be obtained from Columbia Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=49562440

Fighting With My Family (2019 film)
By CineMaterial, Fair use, https://en.wikipedia.org/w/index.php?curid=59374165

The 39 Steps (1935 film)
By Fox Film Corp. – The Hitchcock Zone – The Alfred Hitchcock Wiki, Public Domain, https://commons.wikimedia.org/w/index.php?curid=67064434

Aliens (1986 film)
By http://www.impawards.com/1986/aliens_ver1_xlg.html WebArchive Archive, Fair use, https://en.wikipedia.org/w/index.php?curid=897538

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Culture Vulture 23rd – 29th of December 2023 – Christmas Edition

December 23, 2023 at 10:34 am · Filed under Culture Vulture, Film & DVD Reviews, TV Shows ·Tagged , , , ,

Welcome to the Christmas edition of Culture Vulture, your guide to the week’s entertainment from an alternative perspective. Highlights this week include: the very unchristmassy documentary Tulsa Burning: The 1921 Race Massacre; more traditional Christmas fare like the 1951 film Scrooge: A Christmas Carol and Frank Sinatra night on BBC4. Selections and reviews are by Pat Harrington and music is by Tim Bragg.

Saturday 23 December 2023

The Big Sleep (1946 film) 1.05pm BBC2

“The Big Sleep,” directed by Howard Hawks in 1946, is a classic film noir masterpiece that delves into the murky underworld of crime and corruption, all set against the backdrop of post-World War II Los Angeles. Adapted from Raymond Chandler’s novel, the film stars Humphrey Bogart as the iconic private detective Philip Marlowe.

Socially, “The Big Sleep” reflects the post-war disillusionment and moral ambiguity that characterized the era. The narrative unfolds in a city tainted by greed, decadence, and hidden vices, mirroring the societal shifts occurring at the time. The film subtly critiques the societal norms and the facade of respectability, exposing the seedy underbelly that exists beneath the surface.

The darker themes of the film are intricately woven into the narrative, creating a labyrinthine plot filled with twists, turns, and moral ambiguity. The film doesn’t shy away from the complexities of human nature, as it explores the blurred lines between right and wrong. The characters, including Bogart’s Marlowe, navigate a morally ambiguous world where justice is elusive, and everyone has their own motives.

The shadowy cinematography and low-key lighting characteristic of film noir heighten the sense of mystery and suspense, casting a literal and metaphorical darkness over the narrative. The use of chiaroscuro lighting accentuates the moral shadows that envelop the characters, emphasizing the film’s noir aesthetic.

Bogart’s portrayal of Marlowe adds a layer of grit and world-weariness to the character, capturing the essence of a detective navigating a corrupt society. Lauren Bacall’s presence as Vivian Rutledge adds a femme fatale allure, contributing to the film’s intricate web of relationships and motivations.

“The Big Sleep” stands as a quintessential film noir that not only entertains with its gripping storyline but also serves as a commentary on the societal and moral complexities of its time. The exploration of social decay and the dark recesses of human nature cements its status as a timeless classic in the noir genre.

Tulsa Burning: The 1921 Race Massacre 9pm Sky History

“Tulsa Burning: The 1921 Race Massacre” is a powerful and haunting documentary that sheds light on one of the darkest chapters in American history. Directed by Stanley Nelson and Marco Williams, the film meticulously explores the events surrounding the 1921 Tulsa Race Massacre, a tragic episode that had long been obscured by silence and negligence.

The documentary employs a combination of archival footage, interviews, and historical accounts to unravel the deeply rooted racial tensions and the devastating acts of violence that unfolded in the Greenwood District of Tulsa, Oklahoma. Through firsthand testimonies from survivors, descendants, and historians, the film reconstructs the harrowing experiences of Black residents whose prosperous community was ruthlessly attacked and destroyed.

The filmmakers navigate the complexities of the massacre, contextualizing it within the broader history of systemic racism, white supremacy, and the ongoing struggle for racial justice in the United States. “Tulsa Burning” confronts the historical erasure of the massacre and challenges viewers to reckon with the profound and enduring impact of racial violence on Black communities.

The documentary is not just a historical account; it serves as a call to action for truth, reconciliation, and reparations. By amplifying the voices of survivors and descendants, the film underscores the importance of acknowledging past atrocities as a crucial step toward healing and understanding. It prompts a collective reflection on the role of racism in shaping the present-day disparities and inequalities that persist.

The visual storytelling and expertly crafted narrative structure make “Tulsa Burning” an emotionally resonant and thought-provoking piece. The filmmakers effectively balance historical documentation with a contemporary lens, ensuring that the documentary is not just a record of the past but a catalyst for conversations around racial injustice and its ongoing ramifications.

“Tulsa Burning: The 1921 Race Massacre” is a compelling and necessary documentary that confronts the painful truths of America’s racial history. Through its meticulous storytelling and a commitment to amplifying marginalized voices, the film stands as a testament to the importance of facing historical injustices with a clear-eyed determination to build a more just and equitable future.

Christmas Eve 24 December 2023

Scrooge: A Christmas Carol (1951 film) 11.30am C5

“Scrooge: A Christmas Carol,” directed by Brian Desmond Hurst in 1951, is a timeless cinematic adaptation of Charles Dickens’ classic novella that beautifully captures the spirit of Christmas and the transformative power of redemption.

At its core, the central theme of “Scrooge” is redemption. The film follows the miserly Ebenezer Scrooge, portrayed brilliantly by Alastair Sim, on a transformative journey that spans past, present, and future. Through haunting visits from the ghosts of Christmas Past, Present, and Yet to Come, Scrooge is confronted with the consequences of his miserly ways and is given the opportunity to change his path.

Redemption unfolds as a powerful and emotional narrative thread, illustrating the capacity for personal transformation and the potential for individuals to break free from the chains of their own vices. Scrooge’s journey is a testament to the belief that it is never too late to change, to rediscover compassion, and to make amends for past mistakes.

Alastair Sim’s portrayal of Scrooge is a tour de force, as he masterfully captures the character’s evolution from a cold-hearted miser to a man reborn with a newfound generosity of spirit. The film expertly balances moments of heart-warming sentimentality with a stern reminder of the harsh realities faced by those less fortunate during the Christmas season.

The cinematography and production design contribute to the film’s atmospheric charm, recreating Victorian London in all its festive splendour. The use of light and shadow emphasizes the transformative moments in Scrooge’s journey, from the bleakness of his isolated existence to the warmth of the Christmas celebrations that surround him.

“Scrooge: A Christmas Carol” remains a beloved classic not only for its faithful adaptation of Dickens’ timeless tale but also for its poignant exploration of redemption. It serves as a reminder of the power of love, kindness, and the potential for positive change that lies within each individual, making it a perennial favourite during the holiday season.

The Heist Before Christmas 8pm Sky Max/Showcase

The Heist Before Christmas is a festive comedy thriller on Sky Max that stars Timothy Spall and James Nesbitt as two very different Santas. The film follows the adventures of Mikey Collins, a 12-year-old boy who witnesses a bank robbery by a man dressed as Santa Claus and meets another man claiming to be the real Father Christmas in the woods. Mikey decides to pursue the bank robber’s cash, hoping to give his family a better Christmas, but he soon learns that there is more to the spirit of the season than money.

The film is a fun and heart-warming caper that balances humour and suspense with a touch of magic. Spall and Nesbitt deliver excellent performances as the contrasting Santas, one who is kind and generous, and the other who is greedy and cunning. The young actors who play Mikey and his brother Sean are also very convincing and likable, as they navigate their difficult circumstances with courage and optimism. The film also showcases the beautiful scenery of Northern Ireland, where it was filmed, and features a catchy soundtrack of Christmas songs.

The Heist Before Christmas is a perfect choice for a family movie night, as it offers entertainment and emotion for all ages.

If you are looking for a festive film that will make you laugh, cry, and believe in the magic of Christmas, then you should definitely watch The Heist Before Christmas. It is a delightful and uplifting story that celebrates the true meaning of the holiday season.

Once Upon A Time In Hollywood (2019 film) 10.50pm Film4

“Once Upon a Time in Hollywood,” directed by Quentin Tarantino in 2019, is a cinematic journey that blends reality and fiction, offering a nostalgic and sometimes satirical look at the entertainment industry in 1969 Los Angeles. Amidst the glamour of Hollywood’s golden age, the film subtly weaves in social, political, and moral themes that add depth to its narrative.

Socially, the film serves as a love letter to a bygone era in Hollywood, exploring the changing dynamics of the industry and the struggles of actors and filmmakers to remain relevant. Tarantino masterfully captures the atmosphere of the late ’60s, including the impact of counterculture movements and the evolving attitudes toward celebrity and fame.

Politically, “Once Upon a Time in Hollywood” is set against the backdrop of a turbulent period in American history, marked by the Manson Family murders. The film reimagines this dark chapter, offering an alternate history that provides a sense of catharsis and justice. It subtly comments on the vulnerability of Hollywood’s elite to external threats and the unpredictable nature of fame in a politically charged environment.

Moral themes are explored through the characters of Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt), whose friendship is at the heart of the story. Rick, struggling with his fading stardom, and Cliff, his loyal stunt double, navigate the moral complexities of an industry that can uplift or discard talent based on its whims. Their individual journeys touch upon themes of loyalty, self-worth, and the pursuit of personal integrity in a morally ambiguous world.

Tarantino’s signature style infuses the film with a mix of humour, violence, and homage to classic cinema. The meticulous attention to period detail and the soundtrack contribute to the film’s immersive experience, transporting audiences to a specific moment in time.

“Once Upon a Time in Hollywood” is a rich tapestry of social, political, and moral themes woven into the fabric of a captivating story. With its stellar cast, nostalgic aesthetic, and Tarantino’s unique storytelling, the film offers a multi-layered exploration of an era marked by change and reflects on the timeless nature of Hollywood’s allure and its impact on the lives of those within its orbit.

Christmas Day 25 December 2023

Chariots Of Fire (1981 film) 11.15am BBC2

“Chariots of Fire,” directed by Hugh Hudson in 1981, is a cinematic masterpiece that beautifully captures the triumphs and challenges faced by athletes during the early 20th century. The film, set against the backdrop of the 1924 Paris Olympics, focuses on the experiences of two British runners, Harold Abrahams and Eric Liddell, as they strive for greatness.

On the field, the athletes encounter numerous obstacles, each reflective of the societal and personal challenges of their time. Harold Abrahams, portrayed by Ben Cross, faces discrimination and prejudice as a Jewish athlete striving for acceptance in a predominantly elitist and anti-Semitic environment. His determination to overcome these obstacles becomes a powerful driving force, turning his athletic pursuit into a symbol of personal and cultural resilience.

Eric Liddell, played by Ian Charleson, encounters a different set of challenges rooted in his strong Christian beliefs. His refusal to run on Sundays, even in the Olympic competition, becomes a source of conflict with both his teammates and Olympic officials. Liddell’s unwavering commitment to his faith adds a layer of moral and spiritual complexity to his athletic journey, highlighting the intersection of sports and personal conviction.

Off the field, the film delves into the personal lives of these athletes, depicting the sacrifices they make in pursuit of their Olympic dreams. The characters grapple with societal expectations, family pressures, and the internal struggles that come with the pursuit of excellence. The film humanizes these athletes, showing that even those with extraordinary abilities are not immune to the challenges and doubts that accompany their chosen path.

Vangelis’ iconic musical score enhances the emotional depth of the film, creating a powerful resonance with the characters’ struggles and triumphs. The cinematography captures the intensity of the races, emphasizing the physical and emotional toll that competitive athletics can exact.

“Chariots of Fire” is a compelling exploration of the obstacles faced by athletes both on and off the field. Through the stories of Abrahams and Liddell, the film transcends the sports genre, offering a poignant commentary on societal prejudices, personal convictions, and the indomitable spirit that propels individuals to overcome adversity in the pursuit of their dreams.

The Wizard of Oz (1939 film) 3.10pm C5

“The Wizard of Oz,” directed by Victor Fleming in 1939, is a cinematic masterpiece celebrated for its timeless charm and fantastical storytelling. Beneath the surface of this beloved classic, there are intriguing political themes and symbolism that offer a deeper layer of interpretation.

One of the most notable political allegories in “The Wizard of Oz” is its connection to the economic and political landscape of the United States during the late 19th and early 20th centuries. Many scholars interpret the yellow brick road as representative of the gold standard, a monetary system tied to the value of gold. Dorothy’s silver slippers (changed to ruby in the film adaptation) symbolize the populist movement’s call for bimetallism, an economic policy that would include silver as well as gold.

The Scarecrow, Tin Man, and Cowardly Lion, Dorothy’s companions on her journey, are often seen as representations of the American farmer, industrial worker, and political leaders, respectively. Each character seeks something they believe will make them whole – the Scarecrow desires a brain, the Tin Man a heart, and the Lion courage. These yearnings reflect the challenges faced by various sectors of society during a time of economic hardship and political uncertainty.

The Emerald City and the Wizard himself are symbolic of the centres of power and authority. The deceptive façade of the Emerald City represents the illusion of wealth and prosperity, while the Wizard, pulling strings behind a curtain, represents the hidden influences of political and economic leaders manipulating the system.

Dorothy’s journey, marked by challenges and self-discovery, can be seen as a metaphor for the American experience. Her realization that she had the power to return home all along – through the magic of her silver (or ruby) slippers – suggests the latent strength and potential within the individual, emphasizing a message of self-reliance and empowerment.

The film’s vibrant Technicolor cinematography and memorable musical score contribute to its enduring appeal, making it a cherished part of popular culture. While “The Wizard of Oz” is often celebrated for its whimsical fantasy, the subtle political undertones provide an additional layer of depth, inviting viewers to explore a world where the yellow brick road is not just a path to Oz but a metaphor for a nation’s journey through economic and political challenges.

Doctor Who: The Church On Ruby Road 5.55pm BBC1

Doctor Who: The Church On Ruby Road is a science fiction television special that will be aired on BBC One and Disney+ on Christmas Day, 2023. It is the first full episode to feature the Fifteenth Doctor, played by Ncuti Gatwa, and his new companion Ruby Sunday, played by Millie Gibson. The story follows the Doctor and Ruby as they encounter a mysterious man dressed as Santa Claus who robs a bank, and another man who claims to be the real Father Christmas. Along the way, they discover a hidden church in the woods, where goblins, stolen babies, and secrets await them. The special is written by Russell T Davies, who returned as the showrunner for the sixtieth anniversary year of Doctor Who.

Boxing Day 26 December 2023

North By Northwest (1959 film) 2.10pm BBC2

“North by Northwest,” directed by Alfred Hitchcock in 1959, is a thrilling masterpiece that epitomizes the essence of the classic espionage thriller. Starring Cary Grant as the suave and unsuspecting Roger O. Thornhill, the film weaves a complex web of intrigue, mistaken identity, and suspense against the backdrop of iconic American landmarks.

At its core, the film is a relentless pursuit narrative. Thornhill, a Madison Avenue advertising executive, is mistaken for a government agent and thrust into a world of espionage and danger. Hitchcock’s signature touch is evident throughout, as the plot takes unexpected twists and turns, keeping the audience on the edge of their seats.

Cary Grant delivers a charismatic and charming performance, navigating the escalating chaos with wit and style. Eva Marie Saint, as the enigmatic Eve Kendall, adds a layer of mystery and allure, creating a compelling dynamic with Grant’s character. The chemistry between the two leads is electric, adding a touch of romance to the film’s espionage-driven plot.

The film’s visual style is a testament to Hitchcock’s directorial genius. From the iconic crop-dusting scene to the climactic showdown on Mount Rushmore, “North by Northwest” is a visual feast. Hitchcock’s use of suspense, humour, and meticulous attention to detail elevates the film beyond a mere thriller, establishing it as a classic that continues to captivate audiences decades later.

Bernard Herrmann’s evocative score complements the on-screen action, heightening the tension and enhancing the overall viewing experience. The combination of Hitchcock’s direction, Grant’s charismatic performance, and Herrmann’s score creates a cinematic symphony that remains a benchmark for the thriller genre.

“North by Northwest” is not only a gripping tale of mistaken identity and espionage but also a reflection of its time, with Cold War anxieties and the emerging culture of paranoia subtly woven into its narrative. The film’s enduring legacy lies in its ability to seamlessly blend suspense, action, and wit, offering a timeless cinematic experience that continues to be celebrated by audiences and filmmakers alike.

Spartacus (1960) 3pm ITV4

“Spartacus,” directed by Stanley Kubrick in 1960, is a cinematic epic that not only stands as a monumental achievement in filmmaking but also resonates with powerful social and political themes reflective of its historical and contemporary context.

Set against the backdrop of the Roman Republic, the film follows the enslaved gladiator Spartacus, portrayed by Kirk Douglas, as he leads a slave revolt against the oppressive Roman system. In a political context, “Spartacus” serves as a commentary on power dynamics, class struggle, and the inherent injustices embedded within the political and social structures of ancient Rome.

The film also bears significance within the context of the Hollywood Blacklist era. Dalton Trumbo, a talented screenwriter, penned the script for “Spartacus” under a pseudonym due to his blacklisting for his political beliefs. The persecution of Trumbo and others during the McCarthy era adds an extra layer of resonance to the film’s exploration of freedom, rebellion, and the cost of standing up against oppressive regimes.

“Spartacus” delves into themes of slavery, freedom, and the struggle for human dignity. The gladiatorial arena becomes a metaphor for the dehumanizing forces faced by those oppressed by societal norms and political structures. Spartacus’ quest for freedom becomes a universal struggle, transcending its historical setting to resonate with broader themes of justice and human rights.

Kirk Douglas delivers a powerful performance as Spartacus, embodying the character’s resilience and the indomitable spirit of those who resist tyranny. The film’s ensemble cast, including Laurence Olivier, Jean Simmons, and Peter Ustinov, contributes to the narrative depth, portraying characters that represent various facets of the social and political landscape.

Stanley Kubrick’s directorial vision brings a sense of grandeur to the film, with epic battle scenes and sweeping landscapes complemented by Alex North’s memorable score. The film’s cinematography captures both the brutality of the Roman world and the humanity of its characters, creating a cinematic experience that is as visually stunning as it is thematically rich.

In conclusion, “Spartacus” transcends its historical and political origins to offer a timeless exploration of societal oppression, resistance, and the enduring struggle for freedom. Its resonance with the political climate of its time, coupled with the brilliant performances and Kubrick’s directorial prowess, makes it a cinematic classic that not only entertains but also provokes thought on the complexities of power and justice.

Mad About The Boy: The Noel Coward Story 9pm BBC2

Mad About The Boy: The Noel Coward Story is a documentary film that celebrates the life and work of one of the most influential and versatile artists of the 20th century. The film, directed by Barnaby Thompson, features rare footage, interviews, and insights into Coward’s career, which spanned theatre, cinema, music, and literature. The film also explores Coward’s personal life, which he kept hidden from the public eye due to the homophobic attitudes of his time.

The film is a fascinating and informative tribute to a 20th-century great, who defined an era with his wit, style, and talent. The film showcases Coward’s achievements, such as his plays Brief Encounter, Blithe Spirit, and Private Lives, his songs Mad About The Boy and I’ll See You Again, and his films In Which We Serve and The Italian Job. The film also reveals Coward’s struggles, such as his tax exile, his censorship battles, and his secret relationships. The film features the voice of Rupert Everett as Coward, and narration by Alan Cumming, as well as testimonies from Coward’s friends and admirers, such as Judi Dench, Ian McKellen, and Elton John.

Mad About The Boy: The Noel Coward Story is a must-watch for fans of Coward and anyone interested in the history of British culture and entertainment

The Vortex 11.55pm BBC4

The Vortex is a TV drama based on the controversial play by Noel Coward, first performed in 1924. The drama, directed by Dominic Cooke, stars Andrew Scott and Lily James as Nicky and Florence Lancaster, a mother and son who are both addicted to drugs and sex. The drama follows their turbulent relationship and the impact of their self-destructive behaviour on their family and friends. The drama also explores the themes of ageing, homosexuality, and social class in the 1920s.

The Vortex is a gripping and provocative adaptation of Coward’s masterpiece, which shocked the audiences of its time with its frank depiction of drug abuse and sexual affairs. Scott and James deliver powerful and nuanced performances as the tormented Nicky and Florence, who are both desperate for love and validation. The drama also features a stellar supporting cast, including Jessica Raine, Freddie Fox, and Phoebe Waller-Bridge. The drama is faithful to the original play, but also adds some modern touches, such as a jazz soundtrack and a more explicit portrayal of Nicky’s sexuality.

Wednesday 27th December 2023

Gone With The Wind (1939 film) 8.45am C5

“Gone with the Wind,” directed by Victor Fleming in 1939, remains a cinematic triumph and a classic that has left an indelible mark on the history of filmmaking. Adapted from Margaret Mitchell’s Pulitzer Prize-winning novel, the film unfolds against the sweeping backdrop of the American South during the Civil War and Reconstruction era.

At the heart of “Gone with the Wind” is the complex and tumultuous love story between Scarlett O’Hara, portrayed by Vivien Leigh, and Rhett Butler, played by Clark Gable. The film traces Scarlett’s journey from the genteel society of pre-war Georgia through the ravages of the Civil War and the challenges of Reconstruction, offering a poignant portrayal of resilience and transformation.

The film is a visual spectacle, known for its lush Technicolor cinematography, elaborate costumes, and grand set pieces. The iconic shot of Scarlett standing against the backdrop of a burning Atlanta is etched into cinematic history, encapsulating the film’s epic scale and emotional intensity.

Vivien Leigh delivers a remarkable performance as Scarlett, capturing the character’s strength, cunning, and vulnerability. Clark Gable’s portrayal of the charismatic and enigmatic Rhett Butler adds a layer of charm and complexity to the film’s central romance. The chemistry between the two leads remains a cornerstone of the film’s enduring appeal.

Beyond its romantic narrative, “Gone with the Wind” addresses social and historical themes, offering a portrayal of the Old South grappling with the challenges of war and reconstruction. The film has been critiqued for its romanticized depiction of slavery and its controversial portrayal of race, reflecting the sensibilities of the time in which it was made.

The film’s sweeping score, composed by Max Steiner, contributes to the emotional resonance of the narrative, heightening the impact of key moments. Hattie McDaniel’s portrayal of Mammy earned her an Academy Award, making her the first African American to win an Oscar.

While “Gone with the Wind” has faced scrutiny for its portrayal of race and historical events, it remains an essential part of cinematic history. Its impact on popular culture, its enduring characters, and its place in the pantheon of epic storytelling ensure that “Gone with the Wind” continues to be studied, discussed, and appreciated for its cinematic achievements and historical context.

Thursday 28 December 2023

Great Expectations (1946 film) 9.35am BBC2

David Lean’s 1946 adaptation of Charles Dickens’ “Great Expectations” stands as a classic example of masterful storytelling and cinematic artistry. In this black-and-white masterpiece, Lean brings to life the timeless tale of young Pip’s journey from humble beginnings to the complexities of adulthood in Victorian England.

John Mills delivers a compelling performance as the adult Pip, capturing the character’s growth, vulnerability, and moral dilemmas. The film effectively utilizes flashbacks to showcase Pip’s childhood, where Anthony Wager portrays the young and impressionable Pip. The chemistry between the two actors contributes to the seamless portrayal of a character navigating societal expectations, personal aspirations, and the complexities of human relationships.

Lean’s direction, coupled with the atmospheric cinematography of Guy Green, creates a haunting and evocative visual experience. The film’s settings, from the mist-laden marshes to the grandeur of Satis House, serve as a backdrop that enhances the narrative’s themes of social class, ambition, and the consequences of one’s choices.

The supporting cast, including Valerie Hobson as the ethereal Estella and Martita Hunt as the eccentric Miss Havisham, adds depth to the characters and brings Dickens’ world to vivid life. Bernard Miles, as the escaped convict Abel Magwitch, delivers a memorable and sympathetic portrayal that adds layers to the narrative.

The film condenses Dickens’ intricate plot while retaining the essence of the novel’s themes. It explores the impact of societal expectations on individuals, the transformative power of compassion, and the pursuit of self-discovery. The haunting soundtrack by Walter Goehr complements the film’s emotional resonance, underscoring key moments with subtlety and depth.

“Great Expectations” is a triumph not only in its faithful adaptation of Dickens’ classic but also in its ability to convey the depth and complexity of characters within the constraints of a feature film. Lean’s version of “Great Expectations” remains a cinematic gem, standing the test of time as a poignant exploration of human nature and societal expectations.

Friday 29 December 2023

Frank Sinatra Night on BBC4 from 7.50pm

Frank Sinatra Night on BBC4 is a special programme dedicated to the legendary singer and actor, who was born on December 12, 1915. The programme features two documentaries and a concert film that celebrate Sinatra’s life, music, and career. The programme starts at 7.50pm on 29 December 2023 and lasts for four hours. Here is the schedule and description of each film:

7.50pm: Sinatra: All or Nothing at All – An up-close examination of Sinatra’s life, from his humble beginnings in Hoboken, New Jersey, to his rise to fame as a singer, actor, and cultural icon. The film covers his personal and professional triumphs and challenges, as well as his relationships with his family, friends, and lovers. The film features rare footage, interviews, and insights into Sinatra’s music and legacy.
9.50pm: Arena: Frank Sinatra – My Way – A documentary that explores Sinatra’s signature song, My Way, and its impact on his career and image. The film traces the origins and history of the song, which was adapted from a French song by Paul Anka, and how it became Sinatra’s anthem of defiance and self-expression. The film also examines the cultural and social significance of the song, and how it influenced other artists and genres.
10.20pm: Sinatra in Concert at Royal Festival Hall – A concert film that captures Sinatra’s performance at London’s Royal Festival Hall on 16 November 1970, the day before he announced his retirement from show business. The film showcases Sinatra’s charisma, talent, and humour, as he sings some of his most famous songs, such as Strangers in the Night, Fly Me to the Moon, and My Way. The film also features a rare interview with Sinatra, conducted by David Frost.
Frank Sinatra Night on BBC4 is a programme that will delight and entertain fans of Sinatra and anyone interested in the history of music and cinema. It is a tribute to one of the most influential and versatile artists of the 20th century, who defined an era with his wit, style, and talent.

Out Of Africa (1985 film) 9.15am C5

“Out of Africa,” directed by Sydney Pollack in 1985, is a sweeping epic that transports audiences to the captivating landscapes of colonial Kenya in the early 20th century. Based on the autobiographical writings of Karen Blixen, the film unfolds a poignant tale of love, loss, and the inexorable ties between humanity and the untamed African wilderness.

Meryl Streep delivers a mesmerizing performance as Karen Blixen, a Danish baroness who arrives in Africa with dreams of cultivating a coffee plantation. Opposite her, Robert Redford portrays the charismatic aviator and big-game hunter Denys Finch Hatton, whose magnetic presence becomes entwined with Blixen’s life. The chemistry between Streep and Redford lends a compelling authenticity to their characters’ complex relationship.

The film’s narrative explores themes of colonialism, identity, and the clash between European sensibilities and the indigenous cultures of Africa. It paints a nuanced portrait of Blixen’s experiences as she grapples with the challenges of running a coffee farm, forming relationships with the local Kikuyu people, and navigating the complexities of love in a foreign and unpredictable land.

John Barry’s evocative score, which won an Academy Award, enhances the film’s emotional resonance, complementing the breath-taking cinematography that captures the sublime beauty of the Kenyan landscape. The vast, sweeping vistas serve as a metaphorical backdrop for the characters’ emotional journeys, reinforcing the film’s exploration of the profound connection between humans and the natural world.

Sydney Pollack’s direction masterfully balances the epic and the intimate, weaving together a narrative that is both visually stunning and emotionally resonant. The film earned critical acclaim, including seven Academy Awards, and remains a classic in the romance-drama genre. Streep received an Oscar nomination for her portrayal of Blixen, solidifying her reputation as one of the most accomplished actresses of her generation.

“Out of Africa” is a cinematic gem that invites viewers into a world of raw beauty and emotional depth. It captures the spirit of a bygone era while delving into universal themes of love and self-discovery. As an exploration of the human spirit against the backdrop of Africa’s untamed wilderness, the film continues to enchant audiences with its timeless storytelling and breathtaking visuals.

and finally, Little Women (2019 film) 3.20pm Film4

Greta Gerwig’s 2019 adaptation of “Little Women” breathes new life into Louisa May Alcott’s timeless novel, offering a fresh and compelling take on the beloved classic. The film skillfully navigates between the past and present, capturing the essence of the March sisters’ coming-of-age journey with heart, humor, and a contemporary sensibility.

The standout ensemble cast, led by Saoirse Ronan as the fiercely independent Jo March, delivers stellar performances that breathe authenticity into their characters. Florence Pugh, Emma Watson, and Eliza Scanlen portray the distinct personalities of Amy, Meg, and Beth with nuance and depth, creating a believable sisterhood that forms the emotional core of the film.

Gerwig’s non-linear narrative structure adds a layer of complexity to the storytelling, seamlessly transitioning between the sisters’ idyllic childhood and the challenges they face as young women striving for independence. The juxtaposition of timelines enhances the emotional impact of pivotal moments, inviting the audience to reflect on the characters’ growth and evolution.

The film’s visual aesthetics, from the warm, sun-drenched tones of childhood to the muted, wintry palette of adulthood, mirror the emotional arcs of the characters. The costumes and production design authentically capture the 19th-century setting while infusing the film with a modern flair that resonates with contemporary audiences.

The exploration of societal expectations, gender roles, and the pursuit of individual aspirations remains at the forefront of Gerwig’s adaptation. The screenplay delicately balances the novel’s feminist undertones with a modern lens, allowing the characters to grapple with societal constraints while maintaining their agency and resilience.

Alexandre Desplat’s enchanting score complements the film’s emotional beats, underscoring moments of joy, sorrow, and self-discovery. The film’s pacing and editing contribute to a smooth and engaging narrative flow, allowing each sister’s story to unfold organically.

Picture credits

The Big Sleep
By Warner Bros. – http://www.impawards.com/1946/posters/big_sleep_ver4_xlg.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=57612156
Tulsa Burning: The 1921 Race Massacre
By Automobile Blue Book Publishing Company – http://www.lib.utexas.edu/maps/historical/tulsa_ok_1920.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=64704056
Scrooge: A Christmas Carol (1951 film)
By Renown Pictures – https://www.amazon.co.uk/SCROOGE-1951-Alastair-QUAD-POSTER/dp/images/B004GIGLK0, Fair use, https://en.wikipedia.org/w/index.php?curid=40780323
Once Upon A Time In Hollywood
By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=60263751
Chariots Of Fire (1981 film)
By IMP Awards U.K. quad poster, Fair use, https://en.wikipedia.org/w/index.php?curid=3022377
The Wizard of Oz (1939 film)
By MGM – http://www.posterwire.com/wp-content/images/wizard_of_oz.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=3383511
North By Northwest (1959 film)
By Copyrighted by Loew’s, Incorporated. Incorporates artwork by Saul Bass – http://3.bp.blogspot.com/-TFNtX5EkR4A/US8p1CnHPsI/AAAAAAAABlQ/Ny7EKIHgk_I/s1600/north_by_northwest.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=25318656
Spartacus
By Reynold Brown – MoviePoster, Public Domain, https://commons.wikimedia.org/w/index.php?curid=25030150
Noel Coward
By Allan Warren – Own work / allanwarren.com, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=30911851
By Armando Seguso (per Heritage Auctions) – http://www.doctormacro.com/Movie%20Summaries/G/Gone%20With%20the%20Wind.htm, Public Domain, https://commons.wikimedia.org/w/index.php?curid=18535723
Great Expectations
By http://www.movieposter.com, Fair use, https://en.wikipedia.org/w/index.php?curid=7089723
Frank Sinatra
By Photograph by Capitol Records, per a credit found in the 1959 edition of the International Celebrity Register at page 696. No known source credits an individual photographer. – *Original source: DownBeat (November 28, 1957), page 15, appears to be the earliest publication. More of the photograph was shown in the 1959 publicity version. See “other versions” below.Immediate source: Scan via a tweet posted by The Hollywood Reporter on January 19, 2018. Cropped to include only the portions of the photograph disclosed by the “keybook” version. Retouched by uploader., Public Domain, https://commons.wikimedia.org/w/index.php?curid=92807232
Out Of Africa
By Universal Pictures – https://www.cinematerial.com/movies/out-of-africa-i89755/p/0l2t8eif, Fair use, https://en.wikipedia.org/w/index.php?curid=73735461
Little Women
By https://sonypicturespublicity.com/dom/secured/title/titleFolderContainer.jsf?terrtitleId=1840, Fair use, https://en.wikipedia.org/w/index.php?curid=61598613

In conclusion, Greta Gerwig’s “Little Women” is a masterful adaptation that honours the spirit of Alcott’s classic while offering a contemporary perspective on themes of love, ambition, and the pursuit of one’s dreams. With its stellar cast, innovative storytelling, and visual splendour, the film stands as a testament to the enduring relevance of the March sisters’ journey and their impact on generations of readers and now, viewers.

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Culture Vulture (28th of October to 3rd of November 2023)

October 28, 2023 at 6:23 am · Filed under Culture Vulture, Film & DVD Reviews ·Tagged , , , , ,

Welcome to Culture Vulture your guide to the week’s entertainment from an alternative viewpoint. Highlights this week include, A Beautiful Day in the Neighborhood: a heartwarming biographical drama that explores the transformative friendship between journalist Lloyd Vogel and beloved television personality Fred Rogers; George Carlin’s American Dream, an insightful documentary that delves into the sharp wit and provocative social commentary of the iconic comedian George Carlin, and a stylish and suspenseful thriller that follows a fashion photographer who experiences disturbing premonitions of murders through her lens. Selections and reviews are by Pat Harrington and music is by Tim Bragg.

Saturday 28th of October 2023

Discovery Film: Horror Special 11pm Sky Arts

“Discovering Film: Horror Special” is a Sky Arts program that features authors and film critics discussing their favorite horror movies. The show is hosted by Mark Kermode, the well-known British film critic and writer. The program is part of the “Discovering Film” series, which celebrates the lives and work of some of the most prolific and iconic Hollywood stars.

The “Horror Special” episode features Bonnie Greer, Ian Nathan, and other film critics discussing their favorite horror movies, including “The Omen,” “The Exorcist,” and “Frankenstein”.

A Beautiful Day In The Neighborhood (2019) 1.05am C4

“A Beautiful Day in the Neighborhood” (2019) is a heartwarming film that beautifully exemplifies social and ethical themes, making it not just a movie but a poignant lesson in compassion and the importance of human connection.

The film revolves around the iconic children’s TV host Fred Rogers, portrayed masterfully by Tom Hanks. Rogers is the epitome of kindness, empathy, and moral integrity. His unwavering commitment to promoting emotional intelligence, understanding, and acceptance resonates deeply in today’s world, where society often struggles with divisiveness and intolerance.

One of the central ethical themes of the movie is forgiveness. The character of journalist Lloyd Vogel, played by Matthew Rhys, harbors deep-seated resentment and anger, illustrating how grudges can weigh us down. Through his interactions with Rogers, we witness the transformative power of forgiveness and the importance of letting go of past grievances, a message that is highly relevant in a world marred by grudges and conflicts.

The film also tackles the theme of authenticity in a society often characterized by superficiality and pretense. Fred Rogers’ genuine and unapologetic sincerity challenges the prevailing notion that cynicism is a sign of maturity. His authenticity serves as a reminder of the ethical imperative to be true to oneself, a message that is increasingly valuable in a world where superficiality often masks our true feelings and identities.

“A Beautiful Day in the Neighborhood” explores the profound impact of positive role models. In a society where celebrity culture can often overshadow true moral and ethical role models, Fred Rogers stands as a shining example of someone who used his fame to spread positivity and change lives for the better. The film encourages viewers to seek out and celebrate such inspirational figures who promote values like kindness, empathy, and inclusivity.

“A Beautiful Day in the Neighborhood” is a deeply moving and thought-provoking film that delves into social and ethical themes that are particularly relevant in our contemporary society. Through the character of Fred Rogers, the film emphasizes the importance of kindness, forgiveness, authenticity, and the need for positive role models to guide us towards a more compassionate and ethical world. It is a reminder that we should all strive to be a little bit more like Mr. Rogers in our daily lives.

Sunday 29th of October 2023

George Carlin’s American Dream 3pm Sky Documentaries

“George Carlin’s American Dream” is a documentary film directed by Judd Apatow and Michael Bonfiglio that chronicles the life and work of the legendary comedian George Carlin 12. The documentary opens an intimate window into Carlin’s personal life, including his childhood in New York City, his long struggle with drugs that took its toll on his health, his brushes with the law, his loving relationship with Brenda, and more 32.

The first part of the documentary follows Carlin’s rise to fame in the 1960s comedy scene and his realization that he was meant for something edgier than the mainstream variety-show circuit. The second part of the documentary focuses on Carlin’s later years, including his political activism, his thoughts on religion, and his legacy as one of the most influential comedians of all time.

Elon Musk’s Twitter Takeover 8.25pm PBS America

“Elon Musk’s Twitter Takeover” is a two-hour documentary produced by PBS America that explores Elon Musk’s relationship with Twitter. The documentary delves into Musk’s journey from being one of the platform’s most provocative users to its sole proprietor, exploring the acquisition, free speech, and the company’s uncertain future.

Under The Skin (2013 film) 1.40am Film4

“Under the Skin” (2013), directed by Jonathan Glazer, is a hauntingly enigmatic and visually striking film that delves deep into themes of loneliness, love, and human identity, creating an unsettling exploration of the human condition.

Loneliness is a pervasive theme throughout the film, as Scarlett Johansson’s character, an alien in human form, roams the streets of Scotland in search of solitary men. The film’s portrayal of loneliness is chilling, as it highlights how disconnected individuals can be in a densely populated world. The alien protagonist preys on the isolated, echoing the idea that loneliness can make people vulnerable, susceptible to manipulation, and yearning for any form of connection.

Love, on the other hand, is depicted as an alien concept to the protagonist. Her dispassionate and predatory nature contrasts sharply with the human capacity for emotional connection. As she observes the fleeting moments of human affection, the film raises questions about the authenticity and depth of human love. It challenges viewers to contemplate the sincerity of our emotions and whether genuine love can exist in a world where superficiality often masks our true intentions.

The exploration of human identity in “Under the Skin” is a central and perplexing theme. As the alien takes on a human guise, she begins to question her own identity and purpose. This theme forces us to reflect on the complexities of identity, the masks we wear in society, and the search for a genuine sense of self. The film pushes us to consider what it truly means to be human, as the protagonist’s experiences lead her to grapple with emotions and self-awareness.

The film’s abstract and visually arresting style, paired with Mica Levi’s haunting musical score, enhances the sense of alienation and detachment. The imagery and sound design draw viewers into an eerie, dreamlike world that reflects the isolation and emotional detachment felt by the characters.

“Under the Skin” is a thought-provoking and unsettling exploration of loneliness, love, and human identity. It challenges us to examine the nature of human connection and the intricacies of human emotions. Through its enigmatic narrative and striking visuals, the film leaves a lasting impression, inviting viewers to contemplate the depths of the human experience and our capacity for both cruelty and compassion. It’s a film that lingers in the mind long after the credits roll, provoking profound questions about the human condition.

Coco (2017 film) 2.05pm BBC1

“Coco” (2017), directed by Lee Unkrich and Adrian Molina, is a heartwarming and visually stunning animated film that not only captivates the audience with its vibrant portrayal of Mexican culture but also explores profound themes of family, memory, and the power of pursuing one’s passion.

Set against the backdrop of the Mexican tradition of Dia de los Muertos (Day of the Dead), “Coco” invites viewers into a vibrant and enchanting world where the boundary between the living and the deceased is beautifully blurred. The film weaves a compelling narrative that explores the importance of remembering and honoring one’s ancestors, making it a celebration of Mexican culture and an ode to the universal theme of family.

At its core, “Coco” delves into the theme of family. The story revolves around Miguel, a young boy with a burning desire to become a musician, despite his family’s strict ban on music. This central conflict between Miguel’s passion and his family’s traditions leads to a touching exploration of the complexities of familial relationships. The film powerfully conveys the idea that family is a source of both love and friction, and it teaches us the importance of understanding, forgiveness, and the bonds that tie generations together.

“Coco” also introduces the concept of memory and how it connects generations. As the characters journey through the Land of the Dead, they discover that one’s memory can determine whether they continue to exist in the afterlife. This theme encourages viewers to reflect on the significance of the stories and memories we inherit and pass on, emphasizing the idea that our loved ones live on through our remembrance.

Visually, “Coco” is a breathtaking masterpiece. The animation is rich in detail, and the Land of the Dead is a vibrant, kaleidoscopic world that is a treat for the eyes. The film’s musical score is equally remarkable, with memorable songs that capture the essence of Mexican folklore and tradition.

“Coco” is a heartwarming and visually mesmerizing animated film that celebrates the rich tapestry of Mexican culture while touching on universal themes of family, memory, and the pursuit of one’s dreams. Its messages about the power of remembering and the enduring bonds of family resonate with viewers of all ages, making it a truly heartwarming and memorable cinematic experience.

Monday 30th of October 2023

This Cultural Life: Werner Herzog 2.15pm BBC RADIO 4

German film-maker and writer Werner Herzog talks to John Wilson about his cultural inspirations.

Night Of The Demon (1957 film) 10.05pm Talking Pictures

“Night of the Demon” (1957), directed by Jacques Tourneur, is a classic horror film that stands the test of time, offering a masterclass in suspense, supernatural intrigue, and psychological terror.

The film, based on M.R. James’s story “Casting the Runes,” is a brilliant example of atmospheric horror. It skillfully balances the ambiguity of the supernatural with the rational skepticism of its characters. This duality keeps the audience on the edge of their seats, questioning whether the malevolent force is real or a figment of the characters’ imaginations.

One of the film’s standout features is its intelligent and engrossing plot. It follows Dr. John Holden, played by Dana Andrews, an American skeptic who investigates the alleged supernatural powers of the sinister Dr. Julian Karswell, portrayed by Niall MacGinnis. The tension escalates as Holden delves deeper into the mystery, and the sense of foreboding grows with every revelation, leading to a climactic and chilling finale.

“Night of the Demon” explores the theme of the battle between science and the supernatural. Dr. Holden represents rationality and skepticism, while Karswell embodies the occult and the unexplained. This clash of worldviews adds depth to the narrative, making it more than just a typical horror film. It questions the limits of human knowledge and confronts the audience with the unknown.

The film’s cinematography is striking, with Tourneur’s expert use of shadows and lighting to create an eerie and unsettling atmosphere. The demon itself, when finally revealed, is a testament to the practical effects of the era, adding a sense of dread and mystique to the story.

In terms of performances, Dana Andrews and Niall MacGinnis deliver compelling portrayals of their respective characters. MacGinnis, in particular, infuses his role with a sinister charm that leaves a lasting impression.

“Night of the Demon” is a vintage horror gem that relies on suspense and psychological horror rather than gore and jump scares. Its enduring appeal lies in its ability to leave the audience with persistent questions and an abiding sense of unease, making it a must-see for classic horror enthusiasts and a reminder of the potency of old-fashioned storytelling and atmosphere in the genre.

Tuesday 31st of October 2023

How Safe is Maternity Care? 8pm BBC RADIO 4

Ten years ago, journalist Krupa Padhy lost her first child because of medical negligence. Now she wants to find out what, if anything, has changed in Britain’s maternity wards.

Wednesday 1st of November 2023

Doctor Who @ 60: A Musical Celebration 8.30pm BBC4

“Doctor Who @ 60: A Musical Celebration” is a special concert that celebrates the iconic and much-loved TV series. The concert features the BBC National Orchestra of Wales and the BBC Singers, conducted by Alastair King.

The concert is part of the celebrations for the 60th anniversary of Doctor Who. The show features music from the series’ most memorable episodes, including “The Daleks,” “The Tomb of the Cybermen,” and “The Day of the Doctor” . The concert also includes performances by guest artists such as Murray Gold, who composed music for the series from 2005 to 2018.

Thursday 2nd of November 2023

In Our Time: Aristotle’s Nicomachean Ethics 9am BBC RADIO 4

Melvyn Bragg and guests discuss Aristotle’s influential approach to the questions of how to live a good life and what happiness means, originally aimed at the elite in Athens.

Friday 3rd of November 2023

Eyes Of Laura Mars (1978 film) 9.05pm Talking Pictures

“Eyes of Laura Mars” (1978), directed by Irvin Kershner, is a stylish and provocative thriller that, beneath its glossy exterior, delves into social themes of the late 1970s, enriched by the disquieting fact that Laura’s photography often involves capturing women in degrading or violent poses. These themes add a layer of social commentary to its gripping narrative, reflecting the era’s changing societal attitudes.

At its core, the film mirrors the shifting societal dynamics concerning women and their roles. The titular character, Laura Mars, portrayed by Faye Dunaway, is a successful fashion photographer who becomes a witness to a series of gruesome murders. Her profession as a photographer offers a unique lens through which to examine the objectification of women in media, a theme that was gaining prominence during the feminist movement of the 1970s. Laura’s glamorous, high-fashion world is contrasted with the violence and voyeurism that she encounters, emphasizing the tension between image and reality, which parallels the challenges women faced in their struggle for empowerment.

The film also touches upon the theme of voyeurism and the intrusion of the private into the public sphere. As Laura Mars’ work involves capturing intimate and often exploitative moments through her camera lens, it raises questions about the ethics of surveillance and the invasion of privacy, a theme that has only become more pertinent in today’s digital age.

Furthermore, “Eyes of Laura Mars” explores the idea of desensitization to violence through media. In the film, Laura’s work blurs the line between art and exploitation, mirroring the concerns of society regarding the effects of graphic or sensationalized media content on its consumers. This theme of desensitization to violence has continued to be a topic of discussion in contemporary society, particularly in the context of video games, film, and television.

The film’s social commentary is enriched by its compelling blend of fashion and crime genres, creating a layered narrative that not only entertains but also prompts reflection on the cultural shifts of its time. “Eyes of Laura Mars” serves as a captivating exploration of the changing role of women in society, the ethical dilemmas of media, and the desensitizing impact of violent imagery, all within the unsettling context of Laura’s photographic choices. Its ability to engage with these themes while delivering a suspenseful and stylish story makes it a thought-provoking and enduring piece of cinema.

And finally, Mean Streets (1973 film) 11.10pm Film4

“Mean Streets” (1973), directed by Martin Scorsese, is a gritty and groundbreaking film that delves deep into the social themes of its time while providing a raw and unfiltered glimpse into the lives of its characters.

Set against the backdrop of New York’s Little Italy, the film explores the harsh realities of urban life, crime, and the struggle for survival. It paints a vivid portrait of a close-knit community where social bonds and codes of conduct are deeply ingrained. The characters, particularly the central figures of Charlie, played by Harvey Keitel, and Johnny Boy, portrayed by Robert De Niro, grapple with their roles within this social fabric. Their personal struggles mirror the broader challenges faced by the working-class youth of the era.

One of the central social themes of “Mean Streets” is the clash between personal desires and societal expectations. Charlie, a devout Catholic, aspires to find a balance between his moral values and the criminal activities he’s entangled in. This inner conflict reflects the broader tension within the generation, as traditional values often conflicted with the countercultural and rebellious movements of the 1970s.

The film also touches upon the theme of identity and self-discovery. The characters in “Mean Streets” are searching for a sense of self, trying to define their place in a rapidly changing society. Their journey is a microcosm of the larger social transformation occurring in the United States during the post-Vietnam War era.

Another noteworthy social aspect explored in the film is the concept of masculinity. The characters’ struggles with authority, power, and machismo shed light on the societal expectations and stereotypes of masculinity in an environment where toughness and aggression are highly valued.

“Mean Streets” is notable for its unfiltered and authentic portrayal of urban life, tackling issues such as crime, loyalty, family, and the search for personal identity. Scorsese’s use of vibrant music, kinetic cinematography, and a richly detailed setting creates a visceral experience that immerses the viewer in the streets of Little Italy.

“Mean Streets” is not just a film; it’s a snapshot of a time and place that captures the complex social themes and tensions of the 1970s. Its exploration of the clash between tradition and rebellion, personal and societal expectations, and the quest for identity within the microcosm of Little Italy continues to resonate with audiences and remains a landmark in American cinema for its powerful social commentary.

Picture Credits

Culture Vulture Image by Kollectiv Future with permission.
A Beautiful Day in the Neighborhood
By Sony Pictures Releasing – http://www.impawards.com/2019/beautiful_day_in_the_neighborhood.html, Fair use, https://en.wikipedia.org/w/index.php?curid=61900962
Under The Skin
By A24 Films – IMP Awards, Kellerhouse, Inc., Fair use, https://en.wikipedia.org/w/index.php?curid=42597010
Coco
By http://www.comingsoon.net/movies/news/886977-new-coco-poster-celebrates-the-day-of-the-dead-pixar-style#/slide/1, Fair use, https://en.wikipedia.org/w/index.php?curid=47613889
Eyes Of Laura Mars
Fair use, https://en.wikipedia.org/w/index.php?curid=18528867
Night Of The Demon
Fair use, https://en.wikipedia.org/w/index.php?curid=8913138
Mean Streets
By May be found at the following website: https://www.imdb.com/title/tt0070379/mediaindex?page=3&ref_=ttmi_mi_sm, Fair use, https://en.wikipedia.org/w/index.php?curid=63535900

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