The first couple of films we attended were The Incomer and Wicker. As a rule I’m not much of a ‘fable’ or ‘fantasy’ watcher and both these had solid threads of these genres running through them.

The Incomer is a Scottish black comedy shot in spectacular fashion as you would expect in Scotland. Siblings Isla (Gayle Rankin) and Sandy (Grant O’Rourke) have lived on a remote island for about thirty years in an almost primitive existence.

One day a naïve council administrator Daniel (Domhnall Gleeson) arrives to advise the couple that they need to relocate to the mainland. This decision isn’t accepted too well and the three of them are engaged in a conflict of cultural differences which is at times ‘laugh out loud’ funny.

I wasn’t familiar with the cast, who were very good, except for a bizarre cameo by veteran Scottish actor John Hannah who appears as a mythical creature, The Fin Man.

The film reminded me of Hunt For The Wilderpeople in terms of it’s ‘feel’. I enjoyed it but felt like it had the potential for more. Interestingly it was co-produced by South African comedian Trevor Noah and musician Moby.  7/10

 

We are big fans of Olivia Coleman, who is a proven dramatic actor having won an Oscar for The Favourite in 2018, but it’s her comedic ability that has been often underrated.

Her performances in the brilliant BBC Comedy Series, Peep Show are unforgettable as were her appearances in Fleabag and Wicked Little Letters.

In Wicker she plays a fisherwoman who is a social outcast in her medieval village. Everyone in the village is referred to by their occupation, The Bakerman, The Butcherman, The Bottlewasher etc but it’s the Basketweaver played by Peter Dinklage who enters her life.

Frustrated by not having a boyfriend let alone a husband, the Fisherwoman pays the Basketweaver to build a ‘Wicker Husband’ for her. Remarkably he does and lo and behold, he’s alive. Alexander Skarsgard is amazing in this role as he moves around in a formidable structure made from soft wood.

The two are immediately attracted and build a strong relationship to say the least. He proves to be the perfect man to the point where the women of the village swoon over him and the men get jealous.

I won’t say any more but needless to say there are elements of fairy tales, romance and drama within the film interspersed with a few laughs. This is where we expected to see more of Coleman’s natural comedic skill. She still shines in every scene but the script wasn’t as funny as we thought it would be when we saw the trailer.

The special effects and costumes are extraordinary and look incredibly convincing. There’s even a Wicker Baby that’s believable! Like The Incomer, it’s a perfectly adequate film well made, but I’m just not the target audience. 7/10

 

On the other hand, anything written and directed by the great Mike Leigh is right in my wheelhouse. Unlike every film we watch, a Mike Leigh film always leaves us discussing them long after the final credits.

I’ve read stories from actors who have worked with him and they all mention a man who leaves space for them to work in without losing site of the purpose. He lives the mantra of ‘less is more’, encourages improvisation and always introduces us to new talent.

Along with another legend in Ken Loach, Leigh’s films provide intimate insights into England’s working class and in many cases its society’s impoverished.

His latest film for the BFF Tender Loving Care looks like being the last for the eighty year old. I hope that’s not the case because yet again he has nailed it. What a cracker this is.

Two vivacious best friends Amie and Rosie live together in London and are both hard working social workers. Amie’s parents are aging and love each other deeply….  That’s it.

So why is this a great film? A Mike Leigh film relies on the performances because the plots are so simple and this is no exception.

The interactions between the girls, the girls and the elderly parents, the elderly parents with each other, and the girls with their hard core clients are all compelling.

Leigh’s ability to bring you into his character’s lives is second to none. The destination in his films never seem important, you stay transfixed in the ‘now’.

Like most of his films, they can have depressing themes and Tender Loving Care has its moments but there are plenty of funny times to offset the serious side of the story.

This is yet another moving classic from this master writer/director. 9/10