This Time Next Year: British Film Festival

This Time Next Year

This Time Next Year Rating

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“This Time Next Year” isn’t just your average romantic comedy; it’s a delightful romp that delivers laughs while diving deeper into the messy, complicated nature of love and life.

From the outset, we’re treated to a parade of the main protagonists unfortunate but hilarious misadventures, that will have you chuckling and cringing in equal measure, culminating in Minnie Cooper, yes you read it correctly, Minnie Cooper, being locked in a bathroom as the clock strikes midnight on New Years eve.

Enter the damsels rescuer, Quinn, played by the swoon-worthy Lucien Laviscount, whose charm and good looks sweep Minnie off her feet, igniting all those classic rom-com butterflies. But hold on! While the sparks fly, the film quickly reveals it’s not just about the surface-level romance.

Quinn, it turns out, has a backstory that adds layers to his character. He’s not just a pretty face; he’s grappling with the responsibilities of caring for his mentally ill mother, a weight that has forced him to mature in ways that have affected who he is at his core.

 

Meanwhile, our unlucky-in-love heroine is battling her own demons—a boyfriend who’s more of a nightmare and a business that’s gone belly-up, all while dealing with the nagging feeling that life just isn’t on her side – a destiny predicted to her at birth by her own mother. A destiny she seems to fulfill at every turn.

The film tries to cover a lot of ground, fixing friendships, unwell mothers, failed businesses and broken hearts along the way, often leaving the romantic elements simmering on the back burner for a lot of its 2 hour duration. Yet, the cast shines with a remarkable chemistry that’s impossible to ignore. Sophie Cookson (known for “Kingsman: The Secret Service”) and Laviscount (of “Emily in Paris” fame) expertly dance around their characters’ undeniable attraction, offering moments that recall the delightful awkwardness of “Bridget Jones’s Diary” in a number of scenes that leave you in stitches.

As the story unfolds, the pace may meander a bit, but it ultimately builds toward a satisfying end. Spoiler alert: there’s a fireworks-filled climax that makes the wait worthwhile.

In the end, “This Time Next Year” is a charming, if slightly slow, romantic comedy that’s worth a watch—even if it’s just for the shirtless scenes of the leading man. Whether you’re here for the laughs, the love story, or just to enjoy some eye candy, this film delivers a heartwarming experience that will leave you smiling.

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Poison: British Film Festival

Poison

Poison Rating

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1

Poison is a film that examines the relationship between a long-separated couple and their shared grief over the loss of a child. Premiering in Australia as part of the British Film Festival, the production marks the feature debut of Désirée Nosbusch.

The opening scenes promise much, carefully shot by cinematographer Judith Kaufmann, with particular striking images of a petrol station. Alas, from this point onward, the vision and action are confined to church buildings and their surroundings, where the couple meets to discuss the potential exhumation of their son’s grave.

The main roles are taken by English actor Tim Roth and Danish actress Trine Dyrholm, who play the ex-husband Lucas, and ex-wife Edith, respectively. The production feels more like a two-hander than a full cinematic experience. It’s no surprise to learn that the film is based on a play by the same writer, Lot Vekemans.

 

As the conversation unfolds, pain and bitterness begin to surface. It becomes clear that Edith has not moved on from her grief, while Lucas has remarried and is expecting a child. There are some well-written moments, but the script is choppy, with some glaring inconsistencies. For instance, when it’s clear that no one is coming from the church (a ruse by Edith?) a sense of tedium and claustrophobia set in. One begins to wonder why either character stays —or, for that matter, why the audience does.

Is it the script? The casting? The direction? The British-Danish pairing of the two leads simply doesn’t gel, although both actors deliver credible performances individually. This may be one of the reasons the film fails to resonate: there’s a total lack of onscreen chemistry.

This is a slow-moving piece that explores the suffocating nature of grief, or more specifically, grief as experienced by two individuals. It’s inoffensive, but strangely lacking in conviction and emotional power.

My Rating: A luke-warm coffee in the rain

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Blur: Live At Wembley Stadium – Timeless

Blur: Live at Wembley Stadium

Blur: Live at Wembley Stadium Rating

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The film “Blur: Live at Wembley Stadium,” directed by Tony L, is a concert film that shows the well-loved alternative/rock band Blur performing their songs to hundreds in Wembley. The sense of camaraderie, love of their music, and craft were evident in every number and every shot.

The guitar, piano and drums were amazing to watch and skillfully played. The vocals, while not the conventional vocal style of many pop artists, suited the genre quite well and reminded me of other bands such as The Killers and Coldplay (if they played grungy rock). Whether it be due to the sound mix quality of the film itself or the stage sound mix, it was difficult to understand what the lead vocalist was saying sometimes. Despite this, it was clear that they held their own and seamlessly lead each song with talent and professionalism. Transitions were well done and on point. All solos worked well and provided the right amount of dynamics to draw in the audience.

The shots and colours were fairly high quality and offered inviting and attractive visuals. The use of space onstage was creative and took advantage of the size of the stage. The use of lighting and contemporary stage design added to the aesthetic and complimented the music genre well. Purple, orange, and blue filters over the projections of the band members added a very 90s aesthetic, which I enjoyed.

Their use of props was especially interesting and uniquely added character to the show. For example, the use of megaphones and tall cardboard cut out of a polar bear. This also contributed to interesting musical dynamics in that the siren on the bear’s megaphone was turned on during the end of one of the songs and complimented it very well. Lighting was also cleverly placed at this point. It is clear that a live show was especially important to them, and the work they put into engaging the audience in these ways was impressive, and amusing and expressed the band’s personality well.

 

Audience interaction and inclusion in the film added a sense of community surrounding the band and the experience. The clapping in unison at the beginning of their fourth song was a great example of this. Another was the request of the mask of Darren to be put on. many in the crowd placed a mask over their face and raved along to the relevant song, which the lead guitarist led vocally. Hearing the crowd sing along and added a wholesome vibe to the show.

An understandable note I have was the presence of two men in white coats, adjusting instruments and amps on stage during songs. While it makes sense that there would be people to help with this, it seemed disruptive on more than one occasion. Some of the shots were good quality, but slightly spoiled by the running back and forth of the stagehands/roadies. One of which, almost got hit in the face by a guitar a few times, which I found concerning.

At one stage, towards the end of a song, it seemed something had gone wrong with one of the instruments or pedals because the lead guitar cut out, and the lead vocalist requested the audience sing acapella with them instead. The lead guitarist initially seemed nervous about the issue but was soon comforted by the seamless way everyone rallied to finish the song. It was a beautiful moment, whether intended or not, that became one of my favourite moments in the film.

At every moment, Blur showed that they, without a doubt, know how to put on a show. Yes, time may have passed, but this show is TIMELESS.

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Hard Truths: British Film Festival

Hard Truths

Hard Truths Rating

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Set among the lush gilded halls of the Palace Cinemas in Como begins this year’s British Film Festival here in Melbourne for 2024! Upon arrival, I was guided towards a table filled with glasses, offered a glass of wine (which, of course, I take), and then showed towards Cinema 1. Whilst my heart is beating fast from almost running late and my feet are throbbing from not choosing the comfiest shoes to run almost late in, all this is left at the door as I am welcomed by a plush chair and ample foot space (thank goodness).

As an audience, we are officially welcomed to the Media Night of the British Film Festival and shown some trailers of upcoming movies (many of which look incredible) before the movie starts. I highly suggest checking out the program as this year’s running has such an intriguing mix of stories to view by some promising, talented, established directors and actors.

And then, the movie starts. As an audience, we follow the story of Pansy, a short fused woman who appears to be in a deep hole of depression, frustration and anger. Pansy, played by Marianne Jean-Baptiste and directed by Mike Leigh (All Or Nothing, Happy Go Lucky) plays a character whose emotions are on her sleeve and affect those around her to a detrimental point.

Now, while this movie does have a somewhat linear plot, I still came away a little confused. It felt a bit like the movie was trying to follow all of the main characters but, in the end, left so many loose ends. I suppose if the movie was trying to mimic real life, then this approach feels very realistic. However, the ending felt abrupt.

 

On the flip side, this does not diminish the acting ability of the actors in this film. Each character felt deeply thought out, thoroughly lived in and exciting to watch. Jean-Baptiste acted with such a tangible sense of rage and grief that it was so easy to get caught up in it all. I laughed at a few of her insults (almost rivalling Shakespeare in their wit) and cried along with her too. But it was hard to view such a continually confrontational character which did break my immersion for longing to psychoanalyse her right then and there. Instead of focusing on the story, I wanted to focus on the character of Pansy as that seemed more directly interesting to me.

Some other honorary mentions go to both Michelle Austin (who played Chantelle) and David Webber (who played Curtley). Austin’s portrayal of a tender sister (and tender character all round) who coaxes her sister slowly out of a deep hole of grief had me longing for a sister of my own. And Webber playing Curtley shows a stark contrast to the other people in his life, consistently withdrawn, quiet, a human doormat for Pansy to walk all over. I felt bad for this character, but it was also really hard to watch Curtley not stand up for himself. He was so in his shell and, as an audience, it was really difficult medicine to take knowing that almost everyone has someone like Curtley in their life and yet don’t always know how to help.

In summary, this film has a tremendous array of portrayals of the British middle class, but also accesses a confronting amount of emotions which are hard to sit with whilst watching the story unfold. I wish it made more sense to me, but perhaps I am in the minority. I think it would be worth a rewatch just to see what I potentially missed. I will, however, be looking at the rest of the program for the British Film Festival and attending what I can as there are a large number of films in it that pique my interest. This festival is on until the 6th of December and is worth checking out even just for the ambience of the Palace Cinemas!

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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