A poignant, touching tale of a young man afflicted by Multiple Sclerosis, Go Now suffers little of the sentimentality which often overwhelms television dramas dealing with illness and disability – which writer Jimmy McGovern contemptuously describes as ‘wheelchair plays’. This, and the unusually authentic feel, owes much to the fact that McGovern’s co-writer, newcomer Paul Henry Powell, is himself a sufferer of MS, and based the drama on his own experiences.Read More »
A fraud investigator falls in love with his suspect, though they may be closer than they think.Read More »
A stonemason steadfastly pursues a cousin he loves. However, their love is troubled as he is married to a woman who tricked him into marriage and she is married to a man she does not love. The film is based on the novel Jude the Obscure by Thomas Hardy.Read More »
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“This neo-noir British crime drama, set at a decaying English beach resort, begins with a body dropped from a pier. Hairdresser Helen (Rachel Weisz) goes with local deejay Bob (Ben Daniels), but mute bicyclist Honda (Luka Petrusic), who secretly tapes people’s conversations, meets Helen at the beachfront and begins sending her flowers. Honda’s sad nympho sister Smokey (Macedonian-born Labina Mitevska) sings at a local club. A figure from Helen’s past, the enigmatic, mysterious Martin (Alessandro Nivola) checks out Helen but keeps his distance. Read More »
New York Times;
New Order’s album ”Power, Corruption and Lies” would make just as fitting a title for the magnificent ode to Factory Records, ”24 Hour Party People,” which tracks the rise and fall of that postpunk label.
Factory Records was the home of New Order and the flamboyantly self-destructive Happy Mondays, whose hot-to-the-touch song gives the film its title. The intersecting point of both these groups, and the story that comes in between, is the film’s central figure: the Factory Records co-founder and journalist turned postpunk impresario, Tony Wilson, played with a stinging, unctuous vitality by Steve Coogan.Read More »
A British war film released in 1997. It is directed by Michael Winterbottom. The screenplay is by Frank Cottrell Boyce and is based on the book Natasha’s Story by Michael Nicholson.Read More »
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Winterbottom’s theatrical feature debut Butterfly Kiss was released into UK theatres in August 1995. Set in a dystopian environment limited almost entirely to motorways, service stations and motels, it charted the dysfunctional lesbian relationship between the violent and erratic Eunice (Amanda Plummer) and the credulous Miriam (Saskia Reeves). In so doing it offered up a portrayal of Britain that had not previously been seen on its cinema screens. Although the film garnered mixed responses, a couple of reviewers such as Derek Malcolm seized on it as heralding the arrival of a remarkable new talent in British cinema (2). Indeed, the film was to lay out many of the themes and techniques that would come to define Winterbottom’s oeuvre.Read More »
