Television

The Trip

by James McNally on September 12, 2010

in Film Festivals,Television,TIFF

The Trip

The Trip (Director: Michael Winterbottom): Hastily edited down from its ori­ginal form as a six-episode tele­vi­sion series made for the BBC, Michael Winterbottom’s latest col­lab­or­a­tion with Coogan and Brydon is a great show­case for their impro­visa­tional talent, but the plot feels tacked on and is ulti­mately unnecessary.

Last at TIFF together in 2005 with Tristram Shandy: A Cock and Bull Story, the trio clearly love working together. Winterbottom admitted that essen­tially all of the dia­logue was impro­vised. He had been looking for a way to work together with friends Coogan and Brydon and came up with the idea of them having a series of lunches together. So he cast Coogan as “Steve Coogan,” a slightly out­sized ver­sion of him­self who receives a magazine assign­ment to con­duct a culinary tour of the north of England, writing about his res­taurant exper­i­ences as he goes. When his American girl­friend sud­denly returns to the US for work and their rela­tion­ship goes on hiatus, he turns to Brydon to accom­pany him. Rob Brydon, whose career has never reached the starry heights of Coogan’s, has a cosy domestic life with his wife and new baby, and seems con­tent with his status as a mid-level celebrity. Coogan, who exper­i­enced early fame as TV chat host Alan Partridge, has been chasing the high of that suc­cess ever since. So as we get lovely shots of the coun­tryside, and the pair are acco­mod­ated in swanky inns, Coogan paces the moors trying to find a cell­phone signal so he can call his absent girl­friend or one of his agents. Brydon, mean­while, uses the hotel phone to crack wise and talk dirty with his beloved wife.

These bits are amusing, but Coogan and Brydon have been playing these ver­sions of them­selves as far back as 2002’s TV movie Cruise of the Gods, so it kind of gets tire­some quickly. Yes, yes, Coogan is more famous and lives a jet-set life. Brydon has everyman charm. The real enjoy­ment of The Trip is watching the two play off of each other during their con­ver­sa­tions. Their attempts to one-up each other are hys­ter­ical, espe­cially when it comes to doing impres­sions of everyone from Michael Caine to Woody Allen. And the subtle dynamics between them per­fectly cap­ture the uncer­tain­ties of male friend­ships, from the fear of being seen as a gay couple to under­es­tim­ating the value of each other’s friend­ship. Almost every moment between them is hil­arious, which in the end shows how strong their bond is, even when they’re uncom­fort­able sharing their feel­ings about each other.

All of which makes the plot even more super­fluous. Numerous shots of gourmet food and kit­chens and cooking add prac­tic­ally nothing to the film. The beau­tiful scenery of Yorkshire and the Lake District, while giving the film visual appeal on the big screen, con­tribute very little to the essence of the film. The ending, which con­sists of nothing more than cut­ting between Brydon’s domestic bliss and Coogan’s posh but empty life­style, was melo­drama piled on thick. There really was no need to attempt to make this any­thing other than the superb buddy comedy at its heart. The rest feels arti­fi­cially tacked on and is ulti­mately distracting.

Here is the Q&A with dir­ector Michael Winterbottom and stars Steve Coogan and Rob Brydon from after the screening.

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 17:31

7/10(7/10)

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Bjarnfreðarson)

Bjarnfreðarson (Director: Ragnar Bragason): Based on a pop­ular Icelandic tele­vi­sion show, Bjarnfreðarson topped the domestic box office for sev­eral weeks last Christmastime, besting even James Cameron’s Avatar. Although I sus­pect that famili­arity with some of the TV show’s plot­lines would enrich the exper­i­ence, the film works quite well as a stan­dalone story, and if any­thing, it’s made me eager to seek out the rest of the series.

We first meet Georg Bjarnfreðarson (Jón Gnarr, who co-wrote the script with Bragason) as he’s being granted parole from prison. Despite his protests that he never applied, he’s forced out and we soon under­stand why. Georg is a tyrant, imposing his own will on everyone and everything around him. Flashbacks show us the reasons. The son of a very unique single mother, Georg was raised as a veget­arian fem­inist com­munist and was expected to be a “great man.” Instead, his mis­ad­ven­tures landed him in the slammer. Upon his release, his mother refuses to see him, so he crashes with Daniel, with whom he spent time in prison.

The nerdy Daniel is not someone you’d expect to have a crim­inal record, but appar­ently he got caught up in one of Georg’s schemes and did some time. Now, he’s about to graduate from med­ical school. At least, that’s what his wife and par­ents think. Secretly, he’s been studying art instead. Also living with them is Olafur, another prison buddy. He’s a 40-year-old who thinks he’s still 20, and when he loses his job as a delivery driver, an amazing piece of luck leads him to his true calling as a radio DJ.

Watching these three char­ac­ters interact, it’s no wonder that they’ve fea­tured in an entire series. What the film does, though, is to probe the oddball Georg’s back­story, and in the pro­cess, make us care about him. As we see him being picked on throughout his child­hood, we realize that he’s never known a normal life or normal rela­tion­ships. His desire to bond with the goofy Oli leads to some hil­arity, but in the end, these mis­fits really do need each other.

Though this reminded me in parts of Canada’s own Trailer Park Boys, there was some­thing deeper at work here. Although guilty of a few instances of poor taste (including giving Daniel a mentally-challenged brother-in-law and a father reduced to mum­bling inco­her­ently after a stroke), the film does convey a real sense of out­siders trying to make a new begin­ning, of trying to escape the per­sonas that have been forced upon them. That the film is able to achieve this while also providing plen­tiful laughs is a credit to the filmmakers.

In any case, it has me pre­pared to spend large sums of money to watch the rest of the story. And ship­ping DVDs from Iceland isn’t cheap, you know.

8/10(8/10)

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Survivors

by James McNally on April 30, 2010

in DVD Clubs,Television

Survivors: Complete Seasons One & Two

In what is likely to be the only piece of non–Hot Docs–related news for the next little while, I’m happy to announce that BBC America/BBC Canada this week released Seasons (or more accur­ately, Series) 1 and 2 of Adrian Hodges’ post-apocalyptic drama Survivors. I became hooked on this show more than a year ago, and up until now had to resort to some rather dubious means in order to keep up with it. Based on the ori­ginal 70s series cre­ated by Terry Nation (although Hodges calls it more of a re-imagining), Survivors fol­lows a small group of people who sur­vive a cata­strophic virus that wipes out 99% of the world’s pop­u­la­tion in a matter of a few days. The storyline has lots of twists and turns, but the best part for me is just seeing how people might sur­vive when all of their creature com­forts are sud­denly taken away. Who is best-equipped to sur­vive in a world like that? Since the series is based in the UK, at least everyone isn’t going around with auto­matic weapons, so the threat of viol­ence, though ever-present, doesn’t erupt into ludicrous fire­fights every episode.

I’ll have to say that the writing starts to wobble a bit in Series 2, espe­cially when it’s obvious that the pro­du­cers are reluctant to kill off any of their char­ac­ters. But Survivors is hugely enjoy­able, and may even have you thinking about how you might endure if/when everything even­tu­ally goes pear-shaped.

Survivors: The Complete Original Series

The ori­ginal series has also been released. All 38 epis­odes from 1975–1977 are included, as well as the fea­tur­ette “The Cult of Survivors”. Although the fash­ions haven’t aged kindly, the stories hold up remark­ably well, and you can see how the newer show has changed some of the ori­ginal char­ac­ters. As you can see from the extensive Wikipedia entry, this series has attained cult status and for fans of the show, this is likely to be the bigger prize.

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Top Gear - Your Hosts
Editor’s Note: Top Gear Seasons 11 and 12 were released on DVD in the US and Canada on January 12 by Warner Brothers. You can help Toronto Screen Shots by buying from Amazon.ca or Amazon.com.

I don’t own a car. In fact, I don’t even drive. That hasn’t dimin­ished in the slightest my pas­sion for this show. Broadcast ori­gin­ally on BBC, and now a hit on this side of the pond on BBC America and BBC Canada, this show about cars might pos­sibly be the best thing on television.

On the air since 1978, it’s been hosted since 1988 by the cur­mudgeonly Jeremy Clarkson. He’s ably assisted by tall hippie James May (often called “Captain Slow” by his col­leagues) and the dimin­utive Richard Hammond (occa­sion­ally referred to as “Hamster”). The chem­istry between the hosts is about 80% of the secret to the show’s suc­cess, with the centrepiece of each episode con­sisting of a series of vehicle-related chal­lenges in which the trio can com­pete against each other. Some high­lights include the three racing each other in trucks and city buses.

Other pop­ular seg­ments are the “Star in a Reasonably-Priced Car” (in which a celebrity is inter­viewed after com­pleting a lap of the racetrack in a “reg­ular” car) and those involving the masked race driver known only as The Stig. This anonymous pro takes out an end­less pro­ces­sion of fancy cars week after week and tries to com­plete the fastest lap of the Top Gear track. In this way, models are rated against each other and argued about end­lessly by the hosts.

Perhaps the best thing about the show is that it makes not a bit of dif­fer­ence that none of the models fea­tured on the show are even for sale in North America. Nobody in Britain can afford these cars, anyway. Top Gear is the ulti­mate vicarious thrill show. We can watch a crew of foul-mouthed wise­cracking lun­atics tear around a race track in ludicrously expensive cars and we’re sat­is­fied. The cam­er­a­work is dazzling, and the descrip­tions of the cars are over the top, which is also part of the fun.

It’s simply a joy to see these guys having so much fun at their jobs. The inter­views are also great, because they put the celebrities into unfa­miliar ter­ritory. Behind the wheel of a car and racing around a track, they don’t seem that much dif­ferent to us after all. Well, except for me. I can’t drive.

Top Gear Season 11 DVD Top Gear Season 12 DVD

Season 11 Details:

  • 6 epis­odes on 2 DVDs
  • 364 minutes

Season 12 Details:

  • 8 epis­odes on 4 DVDs
  • 500 minutes
  • Special Features include com­mentary on cer­tain epis­odes, the director’s cut of the Botswana Special from Season 10, deleted scenes and more.

Official web site on BBC America

Complete episode guide from Wikipedia

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Clubland

by Jay Kerr on October 1, 2009

in Documentaries,Television

Clubland

Clubland (Director: Eric Geringas): In the heart of Toronto’s enter­tain­ment dis­trict you’ll find 60 night clubs and 25 bars packed into 1.5 square kilo­metres. On the week­ends, this part of the city becomes “Clubland.” Over 50,000 people crowd the streets and line up to get into some of North America’s hot­test clubs.

Eric Geringas’ film takes us behind the scenes and into the VIP lounges where club­bers and pro­moters let loose. The clubs open at 10:00 PM and close at 2:00 AM. With only 4 hours to serve alcohol, it’s a race to make money and serve as many drinks as possible.

When 2:00 AM rolls around, the club­bers pour out into the streets where the noise and con­ges­tion wake the neigh­bours. Fueled with liquid courage, young men routinely engage in fist fights. While the police are busy making arrests, club rev­elers are passing out on the sidewalk.

The film sets up local res­id­ents, politi­cians and police against the club owners, who feel they have a right to be there. The clubs provide tax dol­lars to the city and they were there before the condos went up. The local res­id­ents com­plain about the noise and the violence.

For many, Clubland will provide an inter­esting glimpse into Toronto’s club scene and the con­tro­versy that sur­rounds it. The voi­ceover nar­ra­tion is a bit dis­tracting and makes the film sound like a really bad beer com­mer­cial at times. Aside from that the film is well-produced and presents argu­ments from each side fairly.

The eco­nomic con­tri­bu­tion from the condos far out­weighs the tax dol­lars that the clubs can gen­erate. The film con­cludes that polit­ical pres­sure is for­cing an increasing number of night clubs to close while the con­struc­tion of more condos is trans­forming the neighbourhood.

If you missed Clubland at the 2009 Hot Docs Canadian International Documentary Festival then you can see it in Canada on Global Television on Friday, October 2 at 8:00 PM ET/PT. In Winnipeg and Regina, the doc­u­mentary film will air at 7:00 PM.

Official site of the film

7/10(7/10)

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