Tag Archives: Budget

DVD Review: Zombie Undead


This is one of those films with a Ronseal title. There are lots of zombies and zombies are dead, but also sort of lively in a sleepwalking sort of way, hence the “un”. The marketing material continues the no nonsense approach, showcasing a tag line of “RUN.HIDE.DIE!”. Tellingly a footnote informs me that “this disc contains no extra features”. I say tellingly because you really don’t get anything more than a bunch of shirts smothered in red paint and lips sticky with jam.

Sarah has survived a “massive explosion”. She is rather distraught though that the blast has peppered her Dad with all manner of fatal wounds, from bites to paper cuts. Desperately she tries to stop him from bleeding to death in the back of paramedic Steve’s small car, ideal for students or the elderly. Steve tries to calm Sarah as they drive away from the city to an “evacuation centre”. When they get there, Sarah passes out after the doctor plunges a needle full of adrenalin into poor old Dad from a great height.

Sarah comes round to find no one about, apart from a wheelchair parked shoddily and at a skewed angle in the middle of a typical hospital corridor. Perfectly logically she starts to warily shout “hello” at no one in particular. Finally some bloke turns up, tottering towards her, but Sarah can’t quite make him out because of some lingering concussion and a random cut that’s appeared on her forehead halfway through the scene. Her vision clears up just as he’s right in front of her. Unfortunately for Sarah this fella is in a right state; he hasn’t moisturized for weeks and he’s horny as hell.

Thankfully the first of a few fat men in Zombie Undead picks precisely this moment to turn up with a randomly acquired blade (other conveniently placed objects will star later such as torches and a bottle of pills). He swiftly slices the sex pest’s skull like a melon. Then Sarah’s female failings kick in. Instead of showering her rescuer with gratitude she wails and whines, inching herself away from our chubby chopper. It takes him ages to explain that there are a load of “things” like the sex pest, with awful skin and serious body odour issues, staggering about the corridors leaking goo and munching flesh. Sarah slowly accepts the situation, a bit, and vows to help Jay (for that is our hero’s name) find his little brother if he helps her find her Dad.

Sadly for Jay Sarah never quite embraces the survival instinct, always trying to save the zombies and people they encounter when they are beyond redemption. What are women like hey? Jay also isn’t helped by fellow porker Steve, who was the paramedic with the little car from earlier. Weirdly he is the slowest to come to terms with the blood billowing monsters. They find him cowering in a toilet cubicle, in an awfully amateurish immensely suspenseful scene with Jay crashing open the doors one by one, and despite his medical training he’s prone to chucking his guts up at the sight of other’s guts.

There are an awful lot of innards on show. If our fat protagonists could man up a little and acquire a taste for it there are feasts to be had, indeed zombies are regularly shown gobbling up intestines with grunting delight. One scene in yet another toilet (either funds were tight or the director loved the aesthetics of Condom machines and urinals) has what looks like a shrine to Lidl’s chipolatas, drizzled in organically sourced tomato ketchup and served on a bed of recently devoured homo sapien.

Even the gore lacks any variation or quality, despite unhealthy splutterings of it. The direction and editing is clunky, predictable and poor, but its imitation of handheld horror is competent compared to the script. The dialogue essentially has two levels, sounding either like cliché regurgitations of previous films or as if the shockingly bad and evidently inexperienced actors are improvising in a beginner’s drama class. As for the plotting a half hearted attempt is made to make things modern, with vague and contradictory allusions to a biological terrorist attack. It was obviously decided that to leave everything unexplained would be classier, thus depriving the audience of any satisfaction whatsoever from Zombie Undead’s 86 minutes.

Some answers surface from the pools of irritating disappointment as soon as the credits roll however. Why the unusual and implausible fat hero, with the weird undertaker/security guard costume? The film’s writer, Kris Tearse, was also its male star. The primary location was Leicester’s De Montfort University, which explains the extremely low budget feel. So a bunch of students are living the dream with this film it seems, no matter what its failings, some will be ecstatically excited when the DVD is released on the 30thof May. It has nothing new or engaging at all to recommend it. But to help justify the dream I will admit I flinched like a child at one point, and was genuinely surprised, although after the zombies had gone.

Torchwood to return in summer 2011 with Miracle Day


Captain Jack Sparrow has recently returned to swashbuckling action at sea in Pirates 4. Not to be outdone, John Barrowman’s Captain Jack Harkness of Torchwood is soon set to burst back onto our screens. But the Americans will be getting the first look.

Just as the latest series of Doctor Who began in the US, its spinoff is going stateside. And judging by the trailer (see bottom), in a very big way. The last series of Torchwood, Children of Earth, took it away  from both its ties to Doctor Who and its naff storylines in favour of one epic plot. The fruits of the BBC’s colloboration with American company Starz appears to be vastly higher production standards and cinematic scale to realise such scripts.

Once again there seems to be just the one key plot with more adult sci-fi themes. Last time it was governments bribing an alien with children to avoid an attack. This series has the big idea of – what would happen if everybody stopped dying? 

This is an interesting theme, given that, as fans of the show will know, Captain Jack cannot die because after he was killed by the Daleks in the first series of modern Doctor Who, Billie Piper’s Rose Tyler brought him back to life using the energy of the TARDIS. Which yeah makes him immortal somehow, don’t ask me watch the show.

After series 2 of Torchwood I had given up on it. The idea of an adult sci-fi show, Spooks meets Doctor Who, was an immensely exciting one. The first ever episode, about a sex crazed alien, was pleasing enough for teens but hardly satisfying sci-fi storytelling, a waste of the premise and a taste of most of what was to come. Children of Earth restored my faith and now the trailer for Miracle Day looks mindblowing.

It will benefit from discarding most of the original cast in favour of better known and probably more capable Americans. And hopefully, with Russell T. Davies also now free of Doctor Who duties, he can give it his best rather than his disappointing worst. The differences between the RTD era and Moffat’s reign, coupled with the new direction of both series, makes the dream combination of Torchwood and Doctor Who unlikely for fans in the near future though.

Anway enough waffling teasing. Here’s that trailer. A really pleasant surprise. WARNING: British viewers, a helicopter actually realistically blows up!

http://bit.ly/mnvAoR

Torchwood: Miracle Day lands in America in July. And if the BBC know what’s good for them it will air here shortly after.

Doctor Who: Series 6: Episode 5 – The Rebel Flesh


I am rather late with my thoughts on the latest episode. This is because in a lot of ways I thought The Rebel Flesh was scarcely worth commenting on. Not because it was bad but because it was mostly a setup for next week’s The Almost People. My suppressed OCD instincts could never allow me to skip an episode though. Judging by the build up to next week, it would seem that we’ll get some fairly substantial answers to aspects of the story arc, as well as a dramatic conclusion to the story established here.

The trailers and promotional material for The Rebel Flesh all emphasised the aspect of the Doctor mediating between two sides in a war, without necessarily condemning one as the enemy. This was all rather ominous given that the weakest episodes of last year’s series came via the Silurian double bill, in which the Doctor was reduced to an ineffectual peacekeeper. However thankfully not only does next week’s finale look far more satisfying than last year’s, as a standalone ideas piece this was superior to the disappointing Silurians.

Matthew Graham’s script has some very interesting ideas and manages to be original despite treading well explored sci-fi territory. The Doctor gets some fantastic lines when he is calmly and seriously explaining the rights and beauty of the flesh but I can’t help feeling Graham doesn’t carry off the scattier moments as entertainingly as Moffat or even RTD in the past. Matt Smith’s increasingly assured and diverse performance helps gloss over these occasional weaknesses in the more playful chunks of dialogue though and one line did manage to capture the mysterious, funny and mad side to our temperamental Time Lord: “I’ve got to get to that cockerel before all hell breaks loose! I never thought I’d have to say that again.”

The concept of the Gangers is suitably chilling for the tone of the new series and delightfully unsettling. There are genuinely complex ethical questions that arise from such a technology. Doctor Who is at its best asking those sorts of questions and sparking intelligent debate. But of course it also has its essential ingredients. Here we get some typical running around and down corridors, as well as scary gooey faces and a dark, near future setting.

With the somewhat obvious creation of the Doctor’s Ganger, and its emergence at the end, many are wondering if this is connected to the big question marks of the series surrounding the Doctor’s death in episode one. It would seem to be an easy get out clause. But for some reason my instincts tell me it would be simultaneously too simple and complex a solution. Too simple because Moffat doesn’t like answers you can see coming and too complex because clearly, despite their similarities, the Gangers have underlying faults and differences that make them monstrous. And I’m sure the Doctor will be of the opinion that there can’t be two of him dashing about the universe, for reasons of cosmic law and order.

Elsewhere in this episode we are still being fed teasing reminders of Amy’s pregnancy, with the Doctor scanning her inconclusively once again and telling her to “Breathe” before he darts of to try and stop the solar tsunami doing too much damage. Also Amy’s and Rory relationship continues to be pushed and strained. This week Rory has another love interest, in Ganger/human Jennifer, which is a nice role reversal for the hapless husband, often just reduced to a comic presence lusting after the TARDIS redhead.  Theories swirl in the online fan community, with some suggesting Rory is fading in and out of reality. Seems random? Don’t forget his disappearance through a crack in time and space last year and his return as an auton. Also the Doctor has forgotten about Rory a few times this series, including in this episode. Such moments appear to be simple humour at first glance. But maybe they’re not.

On a second viewing I thought Raquel Cassidy’s performance as factory leader Cleaves was quite appalling and irritating. That’s right just a random jibe at a hardworking actress there.

Stay tuned for next week’s The Almost People, which will nestle nicely before the Champions League final. Superb Saturday viewing.

Notes from the news: Germany’s green energy revolution, Super Injunction Twitter row and Health Reform debate


Amongst the scandalous stories of super injunctions, celebrity gossip ruling the internet and ideological feuds in Parliament, genuinely groundbreaking news from Germany that could have global implications is hiding. Angela Merkel, the Christian Democrat Chancellor, has taken the decision in the wake of Japan’s nuclear crisis at Fukishima caused by a devastating earthquake, to phase out Germany’s substantial nuclear programme. The speed and scale of her plans are unprecedented anywhere in the world, according to an article from The Guardian.

Merkel is far from a progressive or left leaning politician. She is also a realist not an idealist. This makes the news even more momentous and significant, for if Europe’s largest economy takes such action others will follow. The Guardian say that it seems the rationalist in Merkel has decided to take drastic measures to avoid an equally unexpected event as the Japanese Tsunami, bringing Germany to its knees and causing a catastrophic safety hazard.

Merkel is targetting green energy as a huge area for future economic growth. She will be putting her country at the forefront of development, making it a world leader, as President Obama’s positive rhetoric remains just that because of moves by Republicans to block carbon emission caps. The Japanese may also reconsider their decision to continue with nuclear power if other nations are adopting safer, more environmentally friendly alternatives.

Other countries may feel compelled to up their own efforts so they don’t miss out on market share. Green jobs have the benefit of being completely sustainable. An abundance of endless energy could lead to ambitious projects in terms of transport and infrastructure. Clean energy would generally lead to higher standards of living. I’ve long argued that if governments take up the challenge of climate change and replacing fossil fuels there are exciting and inspiring opportunities.

In terms of the domestic impact here in the UK of Merkel’s decision, it may encourage Liberal Democrats, who have long ruled out nuclear energy in their manifestos. Given the divisions now in the coalition following a heated election and referendum campaign, Lib Dems might push for increased direct government funding for offshore wind farms. Merkel recently opened Germany’s first sizeable offshore wind facility and her plans put it at the heart of Germany’s energy needs. The UK has 40% of Europe’s potential offshore wind energy, so there is huge scope for expansion. The Energy Secretary is a Lib Dem, Chris Huhne, who recently confronted his Conservative cabinet colleagues. There is a possibility he’ll push for more for his department in light of Merkel’s u-turn.

Here is the Guardian article: http://bit.ly/lb7lYk

The Telegraph has a prominent article about Jemima Khan being falsely named as a celebrity with a super injunction. She was wrongly accused of trying to gag the media because there were indecent pictures of her and Top Gear presenter Jeremy Clarkson. The incident, with countless other names leaked on Twitter, has prompted further debate about the usefulness of the legal measure in the internet age. It is possible to restrict publications like newspapers but the internet, and Twitter in particular, has an extremely fast mind of its own.

http://bit.ly/ksFV7M

Meanwhile in the House of Commons MPs have been debating the government’s proposed NHS reforms. There has been widespread opposition from doctors, nurses and other health professionals. Labour have pounced on the ill feeling and Nick Clegg vowed not to let the Bill pass if people’s concerns weren’t met, as part of his drive for a “louder voice” for Lib Dems in government following their election mauling.

Much of the opposition centres on the privatisation part of the Bill. There is a fear that the Conservatives are trying to privatise the NHS by “the back door” which is exaggerated. But there are issues with creating any sort of market in health. Personally I think private, high quality hospitals do have a role to play. But I feel uneasy about any market and don’t see the need for it. The NHS should simply prioritise and drop some treatments that are not essential, leaving them entirely to the private sector. This would be controversial but would save huge amounts of money and improve the standard of care for everyone, if measures were made to protect the poor.

One Lib Dem has suggested the Bill be scrapped completely: http://ind.pn/m18c8I

Library Love: Do the closures really matter? – Reading and Writing Challenge Month


I’ve never been a library lover. I’ve never taken to sitting there, in some dusty corner of my local archive of books, losing myself not just to the act of reading but the musty, hushed atmosphere of the place itself. I don’t depend on libraries for my books. I haven’t been to one in years.

When it was announced that libraries across the country would be closed down, I was frankly unmoved and more concerned about prioritising the threats of more devastating cuts to public services and investment. Reading will not end without libraries. In many ways they are outdated and unappealing. The future of reading, writing and knowledge lies elsewhere.

But recently I’ve been thinking about the issue again. And it’s certainly wrong that the Coalition are getting away with the quiet removal of libraries and other amenities, just because they happen to be less important than other areas in danger of being swallowed by the avalanche of cuts. The government is constantly striving to be radical, often for no practical reason. In all their years of opposition our current leaders appear to have built up such extreme levels of restless energy that they desire to drastically change everything, regardless of its merits. Some things are less broken than others; they should stop wasting time and money by meddling in too many areas.

I’m not saying libraries do not require government attention. Part of my attitude to them is down to the problems of the system. However they are also something that democratic, educated, developed nations, ought to be preserving rather than eradicating.

As I’ve said, my view of libraries is largely passionless. But once, reading both the novel Fahrenheit 451 and an explanatory introduction from its author, Ray Bradbury, I was entranced by the power, mystique and heritage of the institution that is the library. Across the world they have been the foundations of our knowledge, the records of our history, for centuries, if not millennia. Particularly in modern Britain they are vital bastions of cultural identity and heritage; a heritage the government is unthinkingly decimating with its deficit hacking cuts. Most of the cultural organisations hit by the government’s spending plans require little funding but produce massively disproportionate benefits. The case for the pluses of cutting them is wafer thin.

I began by stating that I had never been a library lover. This isn’t 100% true. As a boy, my attachment to reading began with the free books of the local library. Back then I discovered that an hour is better spent with a book than a games console, and that hour would be unbeatably absorbing. I only read trashy children’s and teen fiction, detective stories like the Hardy boys for example, but gazing around at the shelves it was then I knew that the written word and the ability to devour them was the gateway to entire worlds and experiences and information.

I still didn’t like reading in the library itself, an unattractive mid 20th century building, but I liked taking the books home. I liked that it was free and always remembered that reading needn’t be expensive from then on. I liked learning how to interact with the librarian and make my choice. It taught me more than just the importance of reading. Of course then I didn’t realise how meagre and disappointing the choice at my local library really was. That’s the main reason I abandoned it at quite a young age, and the same factor behind me shunning my school library as a source of information and a place of work throughout my school years.

I still think that only the most wonderfully impressive libraries retain a magical air; provide the sort of feeling I got for them reading Fahrenheit 451. Great historical libraries with their own stories and vast collections are beautiful, captivating buildings. Even an ordinary academic library, when devoted to your favourite subject, can be inspiring. Whilst regular local libraries lack the architectural magnificence and legacy, they remain vital lifelines, if only for a handful in the community.

 David Cameron’s Big Society, “DIY” and “help yourself get on in life” message, is in many ways perfectly encapsulated by the library. And yet he cuts them. He removes hundreds of local centres for people looking to educate themselves, for children encouraged into reading and away from useless, sometimes harmful diversion. Instead of getting rid of libraries he should be increasing access to them and strengthening the ones that are already there; with wider stock and more attractive, better designed spaces. The Prime Minister’s political party no longer seem worthy of the name “Conservative” but the changes they propose are hardly for the better. I’ve made it pretty clear here that libraries have not been integral to my reading life for a long time. But it seems to me that the Big Society, if it is a real concept at all, would depend on community assets like the library for cohesiveness and development.

Obviously I don’t think we’re heading for quite the apocalyptic decline in information and knowledge vividly rendered in Fahrenheit 451. But Bradbury’s work highlighted that reading and access to learning can be a right as much as health care can be in civilized, fair society. And with the decline of independent bookstores and even Waterstones, libraries could have remained an inexpensive safeguard and positive starting point for the young. In a way the cuts have rallied some communities around their local library. But most will simply fade away, like so much else to be cut under this government. I feel part of a generation that is less widely read than any before it at times. So for me, for nostalgia’s sake at least, the loss of libraries is a grave mistake and a regrettable shame. They should not be allowed to die enveloped by the silence demanded within their walls; a nationwide, noisy debate about the future of reading should begin.

Ironclad – A Soho screening


My review of Ironclad can be found here – http://flickeringmyth.blogspot.com/2011/03/movie-review-ironclad-2011.html – over at the always fabulous Flickering Myth. I’ll also post it here for my archives. Along with some photos I took in Soho, where I went to De Lane Lea studios, for the screening. It was incredibly exciting and inspiring to be sitting in their waiting room, with signed photographs from most famous actors you can think to name. That’s cliche, and I’m not bitten by the fame bug like some. But you just felt like you were somewhere talented people gathered to make things happen, for the world to see. As a Bond fan, it was exciting to see Quantum of Solace posters and know the sound for the film was mixed there. Waiting for the time of the screening allowed me to discover that Soho itself was fascinating. It’s the hub of London’s film industry, with studio HQs everywhere. Also a wide range of Bloomsbury publishers inhabited the smarter buildings, near various TV production companies, such as Tiger Aspect, which I found in a corner of Soho Square, opposite a house the black, celebrated nurse of the Crimea, Mary Seacole, used to live in. All of this upmarket, swanky, creative establishment stuff, nestled side by side with posh restaurants and seedier strip joints. A diverse place for sure.  A mini London – a place I could easily love to see everyday.

A party raged at The Soho Theatre (see above) to Rihanna music on a trendy London balcony. My camera struggled with the light to capture a shot down Dean Street of Post Office Tower.

Anyway here’s my review of Ironclad in full, it’s worth seeing:

The King’s Speech ruled at the Oscars and did so because of and despite of, three core ingredients. It’s a film that’s independently financed, based closely on historical events and proudly British. It proved that independent films could be both critically acclaimed and box office smashes. It brought to life even stuffy costumed history in a dramatic and engaging way. And it highlighted the world’s appetite for thoroughly English storytelling.

Director Jonathan English is aptly named then in the film industry at this precise moment. His latest project, Ironclad, is out on the 4th March. It shares many of The King’s Speech’s potential handicaps. It took eighteen hard months to raise the money for its ambitious scale and according to the earnest production notes, is a tale “torn from the pages” of English Medieval history. All those involved with the Ironclad team will be hoping that their film also shares some of the success enjoyed by this year’s big Academy Award winner. Producer Andrew Curtis certainly believes that like Tom Hooper’s Royal epic, English’s gritty medieval battle drama will prove that Britain is more than “this little village of filmmakers”.

It’s very hard to find anymore comparisons between Ironclad and The King’s Speech. Yes there’s a Royal involved, but Paul Giamatti’s megalomaniac King John in 1215 is poles apart from Colin Firth’s stuttering Bertie. He’s just been forced to sign the Magna Carta, a vital document that would go on to form the foundations of common law in England. This much is well known history, but the film claims the untold story is what John did next; hire an army of Scandinavian mercenaries to kill those behind the drafting of Magna Carta. It’s a piece of paper that concedes too many of John’s powers over his citizens, a humiliation, that he’s pretty damn pissed about. In a rage John sets out to retake his kingdom, only to be blocked by a handful of opponents at strategically important Rochester castle. From the very start Giamatti plays John, a historical villain we’re all very familiar with, as a man having an endless strop with catastrophic consequences. Revealingly Giamatti comments in the production notes that “I play Hitler, basically”. 

Ironclad’s impressive cast is undoubtedly an asset for the film and most of the actors are likeably convincing in their roles. But just as there is a vast gulf between the characters of King John and King George, there is a chasm separating the performances of Firth and Giamatti. In the trailer my expectations for the film were drastically lowered by the sight of Giamatti’s unavoidably ridiculous face barking angry orders; adorned with a silly beard clogged by drool and drizzle. To my pleasant surprise he was better as John than the trailer makes him appear. This however does not change the fact that the American’s accent regularly has the odd wobble and that his scenes are generally the least enjoyable in Ironclad. There’s something about his portrayal of the King that just failed to convince me. Admittedly I do think a lot of this doubt was down to my unease at his weak, unintentionally comedic appearance, obvious from the very beginning and before he had opened his mouth.

I was astonished to read a quote from Rick Benattar, one of the film’s producers who had worked with Giamatti before on Shoot ‘Em Up, that said: “We got him (Giamatti) signed up to play King John and cast the movie around him. That’s how it really started.” Now as I’ve said, Ironclad’s cast is genuinely impressive. British heavyweights like Brian Cox, Derek Jacobi and Charles Dance, star alongside established actors Mackenzie Crook, Jason Flemyng and Jamie Foreman. One of Giamatti’s better scenes in the film is so good because he’s trading insults and witty jibes with the formidable Brian Cox, manning the ramparts of Rochester Castle with his soldiers. There’s also impressive young talent on show in the form of Kate Mara as the central love interest and Aneurin Barnard as a youthful, idealistic and inexperienced squire. I found the concept of a Medieval Magnificent Seven intriguing and those actors within the castle walls pull it off. But Giamatti’s John is Ironclad’s single biggest flaw and I find it incomprehensible that he was the starting point for such a diverse, quality cast of Brits. More than anything else, he just doesn’t look right as King John.

Enough negatives then, let’s start talking about the good Ironclad has to offer. Perhaps the main reason I was so surprised by how integral Giamatti was to the creation of the project, was that James Purefoy seemed to have the far more pivotal (and praiseworthy) role. He plays an initially mute Templar knight called Marshall, which is an interesting background for the hero of any movie to have. Marshall’s characterisation in the script may not all be remarkably subtle but it is for the most part original and Purefoy’s performance captivating. He more than capably handles the physical side to Ironclad’s action and apparently enjoyed wielding an authentic 5ft sword.

As producer Benattar says, Purefoy made his name as a “spectacular leader and lover” in HBO TV series Rome. Whilst he again plays the man that rallies those around him and falls for a woman in Ironclad, his restrained Templar knight battling a crisis of faith, is very different to arrogant, swaggering Mark Anthony and demonstrates Purefoy’s range of ability. Looking back at his career it’s a real shame that Purefoy hasn’t had more opportunities to completely inhabit a central figure in the narrative as he does here. Before Daniel Craig’s casting as Bond, Purefoy was talked of as 007, and he certainly would have looked the part and had the acting chops coupled with a distinctive style. He is the heart of Ironclad and that’s saying something given the rest of the cast.

Aside from assembling such a well known, talented cast, director English was keen to make Ironclad stand out with visceral, realistic and gritty action. From the point of view of historical accuracy, Ironclad feels authentic, whatever liberties it probably took with actual events. The variety of weapons and the set all tend to convince, with the exception to the realistic feel being some dodgy CGI of the castle and surrounding area during otherwise good action set pieces. At times the desire to be hard hitting and true to the reality of Middle Ages gore also went too far, with some blatant green screen shots of limbs being cleaved off or bodies hacked in two. But again generally the filmmakers’ attempts to show “what it’s really like to kill someone with an axe” translate into gripping action.

What picking such fine actors allowed English to do was really ramp up the violence, action and drama and then count on his performers to lighten the sombre mood now and again. An interesting side plot of love between Derek Jacobi’s character’s young wife, played by Kate Mara, and Templar Marshall, is slightly different and a touch more interesting than your conventional diversionary romance, due to the knight’s vow of celibacy. There are also flashes of genuinely amusing, and very British humour, I wasn’t expecting from such a dreary looking film shot in rain battered Wales.

Vibrantly realised characters deliver one liners, which could be terribly bad, with attractive style. Asked whether the French will really come to the rescue, Charles Dance’s kindly Bishop of Canterbury, wryly quips “God knows”, glancing to the heavens. And Cox’s Baron D’Albany warns his companion as he makes him hold his sword, that “We may need protection” as they enter a brothel. Only such screen legends could deliver these lines in a way that doesn’t deflate the drama but enriches it with humanity and sprigs of light.

I cannot help but applaud Ironclad for what it proves; that British cinema can compete with the world and produce well acted, exciting action movies. It feels real and very English and director Jonathan can be proud; he deserves his film to succeed. But I can’t help but have reservations. Apart from the occasionally disappointing visual effect, Ironclad’s Achilles heel is Paul Giamatti. He is not terrible but feels out of place with the tone of the rest of the story. It’s a shame the producers felt the need to recruit an American star as an integral part of a very British project. For me his casting undermines the aim of a successful, British and independent film somewhat. That uneasy feeling I regularly got during his moments in the limelight was the only real disappointment of Ironclad; otherwise I found it a good and engaging film.

A note on the Oscars


I am probably one of only a handful of Brits disappointed that The King’s Speech swept the awards last night. Colin Firth deserved to win, but he was better in A Single Man. I also don’t dislike the film. My review of it (https://mrtsblog.wordpress.com/2011/01/13/the-kings-speech/) is generally positive. And from my point of view the best thing about the film, besides Rush and Firth sparking off each other, is that it’s a historical story for the most part accurately told. The only bad point that springs to mind is Timothy Spall’s caricature of Churchill and his appearance and supposed importance at times when he was not greatly significant. It’s good history as well as good storytelling. It’s a period I find fascinating. But there’s something depressing about the thought of the Americans simply going wild for this film because it’s about Royals, not simply for its superior quality to Hollywood efforts, and the world associating us purely with the Royal family once again because of it. I’m probably just a stick in the mud. But for me there were directors more deserving of Best Director than Tom Hooper, despite his excellent management of a good script and historical setting. David Fincher and even the unjustly overlooked Christopher Nolan had stronger cases. Also, again just in my opinion I suppose, The Social Network was a better piece of filmmaking and ultimately storytelling. It was a tale of our times and deserved to be crowned Best Picture for its drama and relevance. I suppose Academy voters might not all see the all consuming, far reaching effects of Facebook in their own every day lives. I was pleased that Natalie Portman won for Black Swan, despite my general dislike of her work that film deserved recognition on some level.

Actually whatever I just said hooray for the British showing the world how it’s done!

4th February 2011: The day of Nick Clegg’s quiet rebirth


http://www.nickclegg.com/nccom_news_details.aspx?title=Nick_Clegg%3a_Building_a_New_Economy&pPK=54d272f1-39c9-4d00-8a27-5666c0d029c9

Whatever happened to “I agree with Nick”?

What happened to the t-shirts churned out with that slogan and what happened to the most popular politician since Winston Chuchill?

David Cameron, the Conservatives, the Coalition and the cuts happened. And Nick Clegg’s identity as not only a politically savvy leader, likeable for remembering the names of questioners in the audience, but an ideologically well meaning man, was lost under all the public outcry. As the distinctive voice of his party became ever diluted by its partnership with the Conservatives, so did Clegg’s own progressive world view.

I’ve long championed Clegg on this blog. Frankly it’s been tempting to turn on Britain’s most hated man at times. But it would have been weak and naive to dismiss Clegg for compromising in government. He was absolutely right to enter into coalition. His choice of partner was unavoidable and fair. It was constitutionally correct and right for the British people. Not all of the policies of the Coalition necessarily are though. In fact some, many even, are damn right damaging.

More importantly from a Lib Dem point of view it’s been impossible to reconcile drastic deficit reduction with most of the progressive policies requiring investment in their manifesto. Finally though, today in Rotherham, Clegg delivered a speech daubed with innumerable fingerprints from that manifesto. And it’s the most convincing argument in favour of the government’s economic strategy so far.

Last year when David Cameron embarked on a foreign policy tour, I called on him to use sustainability and green growth as a unifying message to take around the world from Britain. Since then, and his failure to do anything of the sort despite promises of a “jobs mission”, President Obama has announced a focus on clean energy in his State of the Union address. And now Nick Clegg has made the ideological link between environmental and economic sustainability.

Nick Clegg’s speech has the potential to seriously worry Labour. It returns to the more inspirational language he used in the election. It makes a rational argument for a brand new economic model. Nowhere does Clegg make the mistake of saying it will end boom and bust, as Gordon Brown did, but that’s clearly the intention by creating a sustainable foundation for growth and diversifying Britain’s output. He makes it clear the government will plan for growth and eliminating the deficit is merely the means to an end of prolonged growth. The Conservatives, even Chancellor George Osborne, have made such a fetish of cutting that it seemed to be all this government stood for. Clegg reminds people of the future, of an optimistic vision. As with Climate Change, most have neglected to point out the opportunities created by the solution to a serious problem.

The speech will also reassure Lib Dems. To an extent, it reassures me. Clegg’s four pillars of growth are all sensible and recognisably linked to the key points on the front of his election manifesto. Investment over debt, regional balance, hard infrastructure (high speed rail, energy) and soft infrastructure (education and skills). For me the undertone of the speech was that were it not for the deficit and some conflicting priorities with Conservative colleagues, Clegg would be implementing an investment led, green economy alongside new measures for fairness. Fairer tax and better education. Green jobs and better transport.

Clegg ended his speech at the Carbon Capture plant speaking about Carbon Capture and Storage. The government appears to be committing to CCS. And about time to. For a long time the potential for exporting CCS technology, to emerging, gargantuan economies like China already packed with coal power stations, has been enormous. Britain could not only minimise upheaval and expenditure in converting her own energy supplies but make huge profits and create jobs by genuinely affecting the world’s carbon output through pioneering and exporting the technology. Clegg makes the economic case for CCS, but ties it to Climate Change for progressives. This is the way forward: realistic ways of getting emissions down.

However despite shifting the debate wisely to sustainability and articulating the reasons for government economic policy better than anyone so far, Clegg will remain under pressure from Labour. Firstly this speech shall probably wrongly achieve minimal publicity. Secondly, and more importantly, Clegg’s pillars of growth are undermined and contradicted by Coalition policy. They remain mostly on a wish list in the partly fulfilled Lib Dem manifesto. If there’s a commitment to education and “soft” infrastructure, despite the pupil premium it’s hard to justify cuts to universities. High Speed Rail makes slow progress, there’s no solid government money for green energy and jobs. The cuts hit traditionally poorer regions disproportionately hard. Labour should still be able to make the case that yes we want sustainable growth, but you needn’t cut as fast and deep, you needn’t delay all attempts to spark growth, despite a reasoned argument from Clegg about properly targeting spending. And you need growth in order to cut the deficit, sooner not later.

There are loads of good things in this speech I’ve wanted to see for a while. But the bottom line is they don’t go far enough and they’re outweighed by cuts, cultural devastation and unemployment. However if the Coalition pick up Clegg’s argument and Osborne’s Budget contains growth policies in keeping with a futuristic vision, Labour will find it harder to land blows on a plan of long term optimism. And whatever happens, Clegg’s proved his political credentials once more.

Old heads see off new faces at Old Trafford…just


It seems fitting that Manchester United’s new kit has a retro style this season, given their reliance on the resurgence of their old guard, the likes of Ryan Giggs and Paul Scholes, for a much needed breath of life and class during a stuttering start to the campaign. With few new signings to speak of United fans have been forced to hope that established stars in the squad recapture their best form to give this year’s title charge renewed vigour and yesterday in the ultimate clash of rivals Bulgarian forward Dimitar Berbatov stepped up to make a much needed, more significant contribution and spark premature talk of becoming player of the season.

All the early season talk has been of the ginger maestro Paul Scholes, spraying the ball effortlessly and accurately around the pitch from midfield, at the heart of everything good United do going forward. However whilst the shy professional stole the headlines for a change through the sheer dominance of his performances on the pitch, several of his usually derided teammates have quietly improved their consistency. Nani looks as if he is finally emerging from the shadow of Cristiano Ronaldo to become a tricky winger with plenty of end product, in both shots and crosses. He is tearing apart teams down United’s flanks and will be needed even more with no Valencia to steer crosses straight onto the head of Wayne Rooney for the bulk of this season. Berbatov too had, until yesterday, been progressing unnoticed into a reliable source of goals as opposed to an occasional scorer of wonder strikes full of delightful, artful strokes of flair and football genius. Yesterday’s hat-trick ensured his new season transformation took centre stage and became the subject of endless discussion. The test for him now will be whether or not he can continue all the qualities demonstrated against Liverpool’s demoralised defence and genuinely ease the burden on Wayne Rooney upfront for United by becoming their next big match winner, their next title winning goal machine.

For yesterday that it was what Dimitar Berbatov hinted he is capable of. He has always oozed flair and natural ability on the ball. As Mark Lawrenson remarked on Match of the Day 2, he is the type of player who can play football at walking pace. However yesterday Berbatov showed a whole host of other qualities that would make him the complete player should he be able to replicate them week in, week out. Much debate has centred on the lack of understanding between Rooney and Berbatov but yesterday they displayed intricate, interlinked build-up play. Berbatov showed plenty of movement and eagerness to work for the team. Most tellingly and positively for United he got himself in the box, in dangerous positions far more often than usual. Then once in these positions he produced classic, clinical centre forward headers that he made look easy, as well as a world class, instinctive second goal that will be one of the best of the season. In reality even the simple finishes required timed jumps, thoughtful movement and strength. I have previously argued that Fergie should ditch Berbatov if he proves to be nothing more than a costly luxury, but now the veteran United manager knows he has a player around which a successful season can be built should he maintain his form.

Worryingly for Fergie his side almost threw away a comfortable lead again against opponents they had easily outplayed though. Dropping points away at Fulham and Everton may already prove costly in the title race, but to allow arch rivals Liverpool back into the game so casually at the invincible fortress that is Old Trafford would have been unbearable and perhaps irreparably damaged United’s march to reclaim the title. Berbatov may symbolise all that was good about United’s attacking play and have had the effect of a new signing by discovering such inspired form, but the holes (literal ones in the wall for Liverpool’s equaliser) and lack of concentration in United’s defence may have the fans hoping for similar inspiration at the back. The return of Rio Ferdinand may help steady the ship should he find fitness and even the long awaited emergence from exile of Owen Hargreaves could give United’s title charge new impetus. Fergie must be hoping that the £17 million paid for Hargreaves finally reaps some rewards. He has undoubtedly only been a costly crock thus far in his Old Trafford career, but his return could prove timely and give the United defence a focused, hard working defensive shield in midfield that inspires concentration in the rest of the team. If United do not iron out defensive slip ups they will quickly lose touch with Carlo Ancelotti’s juggernaut of Chelsea consistency.

Meanwhile on Merseyside Liverpool fans will have to wait sometime before Hodgson’s new team gels and produces anything like the sort of consistency necessary for a title charge. Kenny Dalglish’s optimistic assertion this week that his old club could win the league contradicted the realistic assessment of the new manager and the expectations of all onlookers. The turmoil off the pitch means that Roy will be given time by the fans to rebuild upon sustainable foundations and a successful first season is only likely to yield silverware via a typically passionate and rollercoaster cup run with a few hard fought victories won in front of an always loyal Anfield faithful. Yesterday at Old Trafford it seemed for a while that Liverpool may have snatched a draw and such a result would have felt like a victory. In reality it would have been unfair on a dominant United side who easily stifled the likes of Torres and new boys Joe Cole and Raul Meireles. Liverpool’s new faces will eventually take the club forward but this season looks set to belong to the old heads at Old Trafford, with only the Chelsea steamroller capable of crushing their last hurrah.

Canny Clegg is no closet Tory


A leading article in The Observer today, linked below, argues that Nick Clegg is not simply a Conservative in disguise, adopting Cameron’s austerity drive with relish, but a pragmatic visionary with the aim of transforming British politics. On this blog I have long argued that Clegg needed to have the resolve to make the Lib Dems a serious, credible party of goverment in order to smash the Red and Blue seesaw of power at Westminster. This article in the Observer wisely points out the risks the Lib Dems face, of abandoning the bulk of their idealistic, protest vote, but also point out the necessity of a better politics, in which coaltions are effective and commonplace and policies are not beset by tribal division and disagreement. This better politics requires the Lib Dems try and seek a new wave of support, and I can only hope the British people recognise the fairness in Clegg’s vision for a political system that isn’t simply a two-sided battleground and back his party at elections. As I’ve said before Clegg and Cameron’s partnership has not brought instant honesty and reliability to Westminster, but the presence of a third party in goverment does reperesnt revolutionary, progressive change that ought to halt the worst of right-wing Tory policy and be good for fairness in the future. Nick Clegg is a political pragmatist who deserves to be admired for setting about changing his party and the country in the most idealistic and liberal of ways; by breaking an established mould. Whether his economic gamble proves right or wrong Clegg has rightly gone for the bigger prize of political regeneration, that ought to ensure the country is governed more progressively and democratically in the future.

http://www.guardian.co.uk/commentisfree/2010/sep/19/observer-editorial-liberal-democrats-conference