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Non-Review Review: Ordinary Love

Ordinary Love offers a charming and affecting glimpse inside a marriage.

Liam Neeson and Lesley Manville play Tom and Joan, an ageing couple enjoying their autumn years together. One evening, Joan discovers a lump in her left breast. As a result, the couple find themselves navigating a precarious emotional rollercoaster as Joan deals with the resulting diagnosis and Tom struggles to hold it all together long enough that he might be his wife’s rock. Along the way, the couple try to find some balance in their lives, to maintain a delicate equilibrium inside a marriage that has already been strained by trauma unimaginable.

Food for love.
And also just food.

The “cancer” subgenre is a strange thing, encompassing movies such as Me and Earl and the Dying Girl or My Sister’s Keeper. These sorts of movies, and others about terminal diseases or afflictions, have to walk a fine line. Cancer is so common an ailment that such loss and such trauma is almost a universal experience. Movies like Me and Earl and the Dying Girl and My Sister’s Keeper can often struggle to capture the depth of emotion associated with such a diagnosis without slipping into cynical exploitation.

Ordinary Love works so well because of the humanity and empathy at its core. As the title implies, and as Tom outlines during one of the film’s most moving scenes, Ordinary Love understands that this sort of trauma is so horrifying because of the way it intrudes into the familiar and the safe. Cancer is a disease that turns a body against itself, spreading and growing inside the body that a person has known since birth. Ordinary Love captures that intrusion of the unknown into the familiar, offering a beautiful and moving sketch of a marriage that feels lived-in.

A couple of delights.

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Non-Review Review: Miss You Already

It is very difficult to produce a film about cancer that does not seem cloying or cynical. As a narrative device, cancer can often feel like a conscious attempt to manipulate the audience’s sentiment. It is an illness which means a lot to a lot of people, and which prompts a whole host of strong feelings among those who have lived with it and those who have known those close to them who lived with it. It is very difficult to properly calibrate a film about cancer so that it doesn’t feel like a short cut to audience empathy and sympathy.

Miss You Already walks a very fine line. It trips across that line on more than a few occasions, tripping over into the stock clichés of the “life-affirming cancer film.” There are emotional montages that capture and contrast the reality of life with and without cancer; there are familiar pop songs laid over sequences of characters coping with tremendous personal stress; there is the concious self-aware manipulation of footage in such a way as to visually underscore the passage of precious time or the pace of life.

missyoualready5a

There are some storytelling decisions that do feel a little too clever and a little too shrewd, a very obvious attempt to provide optimistic symmetry to the mortality that nestles at the heart of the film. Miss You Already feels almost too conscious of itself at certain points, too aware of the audience to which it plays. The film works best when it ignores the familiar structuring, when it avoids trying to offset the morbid material with something a little lighter. Although occasionally smothered by familiar story beats, there are moments of humanity here.

It is to the credit of the two lead performers that those moments of humanity still shine through. Drew Barrymore is charming and charismatic in the role of narrator and witness, but the film belongs to Toni Collette. Collette anchors the film, proving a weight and emotional centre that is occasionally obscured by its recognisable structure. Miss You Already doesn’t quite work, but Collette’s performance gets it a lot closer than it might otherwise.

missyoualready

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The X-Files – Elegy (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

The first two-thirds of Elegy count as the best episode of The X-Files that John Shiban has written at this point of his tenure on the writing staff. Elegy starts out as an episode that leans into Shiban’s strengths. It is a very traditional and old-fashioned horror story, the first tried-and-tested ghost story that The X-Files has told in a while. The idea of a haunted bowling alley is so wonderfully weird and so quintessentially American that it fits The X-Files perfectly. For its first thirty minutes, Elegy is funereal and sombre, haunting and enchanting.

Elegy is a story packed with potentially interesting concepts. It is overflowing with clever ideas and memorable images. Shiban is a writer who has a great deal of affection for classic horror, and that affection shines through into Elegy. There is a slow and sorrowful atmosphere to the early stretches of the episode. Transparent grey spectres are a staple of the horror genre, but they work very well in this context. The X-Files has been quite reluctant to handle traditional monsters, so there is something rather strange and affecting about seeing such a classic depiction here.

Here there be ghosts...

Here there be ghosts…

Then things go to hell. To be fair, the problems with the last fifteen of Elegy are very much suggested from the start; they are just pushed to the fore. It becomes quite clear that Elegy has no idea how to resolve a “haunted bowling alley” story, so the script hastily and clumsily transitions to an “abusive care home” plot. The first two thirds of Elegy are not that interested in the character of Harold Spuller beyond his use as a plot device; a fact that becomes quite apparent in how the final third callously disposes of him.

Elegy is an episode that brushes against greatness. Its best ideas rank with the highlights of the fourth season. Unfortunately, all of that is undercut by a truly terrible final act.

Blood on the mirror...

Blood on the mirror…

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The X-Files – Unrequited (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

Unrequited opens with Mulder and Scully’s attempts to stop an assassination attempt by an invisible man, before jumping back twelve hours to explain how our heroes got into this situation. With that set-up, Unrequited falls into a lot of the narrative traps associated with an in media res teaser. After all, there’s not really anything special about the teaser. There is no mystery to be solved, no strange behaviour to explain. What questions are we meant to ask, based on that opening scene? How are we meant to look at the rest of the episode differently, knowing what we know?

Sure, Mulder and Scully are protecting Major General Benjamin Bloch. That would seem to be a little bit outside the remit of “the FBI’s most unwanted”, but that is not too strange a situation for the duo. They are FBI agents, so there is a certain flexibility in their job description. The Field Where I Died – an episode with a much more effective non-linear teaser – featured Mulder and Scully collaborating with the ATF. So it isn’t as if the set-up should be striking or compelling.

Stop, or my Mulder will shoot!

Stop, or my Mulder will shoot!

It seems like we are meant to focus on the monster of the week – Vietnam veteran Nathaniel Teager. Teager has the ability to turn himself invisible, which is quite something. Sure enough, the teaser to Unrequited offers a glimpse of that ability in action. But why is it important to have show us that ability in a scene from the climax of the episode? With a few adjustments, Teager’s first murder in the back of the limousine would serve the same purpose; introducing the audience to his powers without the need to recycle several minutes of footage from the climax.

After all, the most dissatisfying aspect of the in media res teaser is not the fact that it is completely inessential. Instead, the decision to use footage from the climax means that the audience has to sit through the same sequence twice. The teaser for Unrequited works well enough the first time around, but the sequence is not clever or inventive enough to merit a live-action replay towards the end of the hour. It just saps momentum from episode, rendering the final sequences somewhat tedious. That is the biggest problem with the opening of Unrequited, even beyond laziness.

Flags of our father figures...

Flags of our father figures…

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The X-Files – Memento Mori (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

It is easy to see why Scully’s cancer arc is so fondly remembered.

It arrived at a point where the show was at the very top of its game. Scully’s cancer arc comes amid a slew of beloved and classic episodes, in the middle of a season that contains Home, Unruhe, Paper Hearts and many more. It is the defining mythology plot point for the show’s fourth season, which was the point at which The X-Files just exploded into the centre of popular consciousness. More than that, the episode introducing Scully’s cancer – Leonard Betts – was the most-watched episode of The X-Files ever broadcast.

What's in your head?

What’s in your head?

Memento Mori has its own endearing aspects. If Leonard Betts was the show’s highest profile and most populist success, Memento Mori counts as one of the show’s biggest critical successes. The episode is largely responsible for winning Gillian Anderson her Primetime Emmy Award for Outstanding Lead Actress in a Drama Series. It also took home the Primetime Emmy Award for Outstanding Art Direction for a Series and received a nomination for Outstanding Writing for a Drama Series. It is perhaps the most prestigious episode of the fourth season.

However, in spite of all of that, Memento Mori remains something of a mess. It feels like a clumsy retread of One Breath, a story that worked much better in the show’s second season.

Send in the clones...

Send in the clones…

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The X-Files – Never Again (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

Not everything is about you, Mulder. This is my life.

Yes but it’s m–

– Glen Morgan and James Wong take their bow; David Chase eat your heart out

...

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The X-Files – Leonard Betts (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

Leonard Betts is a big one. In fact, it may just be the biggest one.

Leonard Betts attracted the largest audience in the history of The X-Files, with almost thirty million people tuning in to watch the episode. This audience was largely carried over from Superbowl XXXI, but it arrived at a fortuitous moment for the series. The X-Files was exploding into the mainstream. Chris Carter and Frank Spotnitz had spent Christmas 1996 in Hawaii plotting The X-Files: Fight the Future, a blockbuster movie based on the series. The week before, Mulder and Scully had paid a visit to Springfield in The Springfield Files.

What a waste...

What a waste…

The show’s moment had arrived. Leonard Betts makes for quite the moment. It might not be the best episode in the history of the show; it might not even be the best episode of the season. However, it ranks with Pusher as one of the great archetypal episodes of The X-Files. The show captures so much of what makes The X-Files great, almost perfectly distilling the appeal of the show into a tight forty-odd minute package. It is a beautifully-crafted piece of television that checks all of the right boxes. This is a pretty fantastic introduction to the show and its world.

Leonard Betts is an episode that has been put together with incredible skill, one that demonstrates why The X-Files had such an impact on the popular consciousness.

Comfortable in his skin...

Comfortable in his skin…

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