The thought of having to wait a decade for the Netflix take on the most staggering spectacle of our time – Prince Andrew’s interview – is torture
Does anyone else wish The Crown would get a bloody move on? Because, sure, despite the new intake of actors, the third season of The Crown is exactly the same as the previous two. It’s slow and staid and sumptuous, and largely about a very rich woman who basically has a very nice time without any sort of incident most of the time. It’s good and impressive and all, but there isn’t exactly a lot of high drama.
I can’t speak for everyone but the reason I keep watching is because The Crown is, to all intents and purposes, Better Call Saul With Corgis. The drama isn’t in what we see onscreen, but what we all know will definitely happen later. There will be death. Divorce. Windsor Castle will burn down. Prince Charles will get married to Princess Diana, but declare his wish that he was another woman’s tampon. Prince Harry will dress up like a Nazi. And Prince Andrew will deny having sex with a minor at the behest of the world’s most notorious billionaire paedophile shortly after having a pizza in Woking.
This last one has prompted the biggest crisis the monarchy has had to face for over two decades, and there’s a real sense that the whole thing will end in total disaster if it isn’t handled with extreme care. Everything is going wrong, and we still cannot rule out the possibility that The Crown will end with Queen Elizabeth undertaking the royal equivalent of opening a Cinnabon in Nebraska. That’s dramatic tension, not countless scenes of Prince Philip demonstrating an appropriate level of excitement about the moon landing. Continue reading
It’s war between the locals and tourists in a Cornish fishing village in Mark Jenkin’s dreamlike masterpiece
Cornish film-maker Mark Jenkin’s breakthrough feature is a thrillingly adventurous labour of love – a richly textured, rough-hewn gem in which form and content are perfectly combined. A refreshingly authentic tale of tensions between locals and tourists in a once-thriving fishing village, it’s an evocative portrait of familiar culture clashes in an area where traditional trades and lifestyles are under threat. Shot with clockwork cameras on grainy 16mm stock, which Jenkin hand-processed in his studio in Newlyn, Bait is both an impassioned paean to Cornwall’s proud past, and a bracingly tragicomic portrait of its troubled present and possible future. It’s a genuine modern masterpiece, which establishes Jenkin as one of the most arresting and intriguing British film-makers of his generation [ . . . ]
Read complete review at Bait review – one of the defining British films of the decade | Film | The Guardian
BritFlicks Podcast host Stuart Wright talks with 606 Distribution co-founder Pat Kelman about 5 Great British Horror Films.
- EVE (1968, Journey to the Unknown TV series)
- Vault of Horror (1973)
- Frankenstein & the Monster From Hell (1974)
- The Omen (1976)
- The House that Bled to Death (1980, Hammer House of Horror TV Series.
Source: 606 Distribution’s Pat Kelman Talks 5 Great British Horror Films.
It may only be small, but Wales has always punched above its weight in Hollywood . So here’s our list of the 50 best Welsh films through the ages – some you may have forgotten, some you may never have heard of and others you’ve watched more times than you can remember.
The titles on the list were either shot here, set here, written and/or directed by a Welsh person or starred a famous Welsh actor.
Source WALES ONLINE: The 50 greatest Welsh films of all time – Wales Online
The Scottish director of a new film about the world’s most famous comedy double act, Laurel and Hardy, said when he first read the script he “actually cried”.
Aberdeenshire-born Jon S Baird told BBC Scotland: “It brought tears to my eyes and I thought if it can do this just on the page then it’s got huge potential.”
Stan and Ollie, which tells the story of the duo’s final tour of the UK and Ireland, opens in cinemas this week.
Jon said he and writer Jeff Pope decided the movie was going to be a “love story”.
“It was a love story about these two guys, who just happened to be Laurel and Hardy,” he added [ . . . ]
Read More: Stan and Ollie film is a ‘love story’