Tagged British Film

Skinhead Subculture vs. White Nationalism in This Is England

This Is England. 2006. Directed & Written by Shane Meadows.
Starring Thomas Turgoose, Stephen Graham, Jo Hartley, Andrew Shim, Vicky McClure, Joseph Gilgun, Rosamund Hanson, Andrew Ellis, Perry Benson, George Newton, Frank Harper, & Jack O’Connell. Warp Films/Big Arty Productions/EM Media.
Unrated. 101 minutes.
Crime/Drama

★★★★★
POSTER Shane Meadows is a British National Treasure. His films are snapshots of British life in various ways. Above all else, his directing and writing gives us insight into the struggle of the lower class, from people living in council flats to those fighting war and coming home to a dreary life to skinheads and white nationalists struggling to discover some kind of place in the hierarchy of English citizens. Regardless of theme, his subjects are usually a part of the lower socioeconomic ladder. This technique is proper because the best films often illustrate the complexities of its issues, something Meadows is able to do time and time again.
This Is England tells two stories: that of skinhead subculture and its reappropriation by white nationalist groups, as well as the tale of a young man in a low class neighbourhood trying to find his way, fed up with being bullied and with nowhere else to turn but a damaged group of neo-Nazis. The realism of the film is what gives Meadows his edge. In the tradition of other well respected British filmmakers such as Ken Loach, this movie and the style of Meadows in his directorial choices makes This Is England an important piece of cinema. Not simply in terms of British film, but rather it is a hugely influential, emotional, provocative work that begs attention from the world. Best of all, though, it definitely has given the British film industry hope in the 21st century to have someone like Meadows making such excellent films.
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Effectively, Meadows turns a personal story into one that attempts to demarcate the end of being a skinhead simply as an apolitical lifestyle, an attitude and a way of dress, before the white nationalists adopted it into a part of their system. The central story is about Shaun (Thomas Turgoose), his being a member of the lower class and slipping in amongst the cracks eventually almost right into the grasp of a dangerous ideology. However, around that with the influence of Combo (Stephen Graham) comes the major examination of skinhead culture. Today, you say the word skinhead and just about every last person you ask will associate that automatically with neo-Nazism. Rightfully so, as we see throughout This Is England. Because the apolitical nature of the original skinhead subculture clashed so brutally, often violently with the resurgence of Nazi ideologies in the 1960s through to the ’80s; of course there are still groups out there, but it seems up until the ’80s, maybe early ’90s was when the heyday of neo-Nazi subculture raged. In this sense, the situation between Combo and Milky (Andrew Shim) can be seen as a microcosm of the entire national situation in England with the skinheads and the white nationalists bumping up against one another. That emergence of senseless violence in Combo is like the turning point of where the white nationalism overtook skinhead subculture and made it their defining look.
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To my mind, Graham is one of the best actors working today. He is consistently amazing from one project to the next, and his energy is undeniable. There’s this thing that Hollywood, and the movie industry as a whole, has with male actors of smaller stature where they don’t usually get enough attention, other than some of the classic guys from the 1970s like Dustin Hoffman, even Al Pacino who isn’t that big. They were able to break past any of that foolishness and impress with their style. Graham is one of those, whose size determines nothing about his performance. He is downright threatening, menacing to the extreme even in his quieter moments. The explosiveness of his temper as Combo is startling. Without him, this story would not come as effective as it does because his raw intensity, the emotion he coils up underneath the character is fascinating. One favourite moment, even though it’s so hard to choose: after Lol (Vicky McClure) leaves him alone in the car, Combo does all he can to prevent bursting out into tears, shaking and crying; a scene of wild emotion, very subtle, very personal.
Aside from Graham and an altogether spectacular cast, young Thomas Turgoose is a major reason why the character of Shaun and his whole story comes across so honest. Before this film he’d never acted. Apparently he’d previously been kicked out of his school play for bad behaviour, even demanded five quid for his audition. Amazing. But his lack of experience as a formal actor, or even amateur, pays off. His reactions, his timing, it’s all genuine and there’s no pretense in him whatsoever. I’m sure an experienced actor could’ve played the character of Shaun, but for a personal, truthful, tragic story and character someone like Turgoose was the perfect pick. The kid has charisma and he makes Shaun into an interesting character that in the hands of a professional actor might have been caught up in method over something more organic.
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Shane Meadows wrote and directed one of the greatest films in the past couple decades. Certainly one of the best of the 21st century, and will remain so until the end of time. The cast is spot on, natural, led by the fantastically riveting performances of Stephen Graham and newcomer Thomas Turgoose. Keeping things natural and opting for a style akin to realism, Meadows captures the violent clash of subcultures in England through the eyes of a lost and lonely young boy. Not enough films are honest. This Is England comes across as some of the more honest cinema, British or otherwise, I’ve personally ever seen. The hardest truths to confront are most important, and Meadows does perfectly well navigating tough subject matter to create an engaging story that should resonate with many, today and long after tomorrow.

The Last Horror Movie: Genuinely Chilling Found Footage Horror

The Last Horror Movie. 2003. Directed by Julian Richards; screenplay by James Handel from an idea by Julian Richards.
Starring Kevin Howarth, Mark Stevenson, Antonia Beamish, Christabel Muir, Jonathan Coote, Rita Davies, Joe Hurley, Jamie Langthorne, John Berlyne, and Mandy Gordon. Prolific Films/Snakehair Productions.
Rated R. 75 minutes.
Horror/Thriller

★★★★1/2
lasthorrormoviethe2.0 I’ve talked a lot in my reviews about found footage. It’s a sub-genre which I happen to love, though, there are certainly tons of bad ones out there. Having said that, are there really any more than bad horror, drama, comedy, thriller, et cetera? Nope, not at all. It’s merely the fact that, after The Blair Witch Project and Paranormal Activity later, this sub-genre was reinvigorated after cult classics such as Cannibal Holocaust or The McPherson Tape, and naturally when a type of movie gets popular there are always other filmmakers looking to capitalize. Maybe this brings about more dreck than needed, but it also brings out quite a few excellent films in the lot which are more than worth the time to sit through.
The Last Horror Movie takes found footage, even a concept which we’ve seen before, and uses it to create a chilling, horrific bit of film. Certainly the, as I see it, overrated Man Bites Dog has stomped through the territory Julian Richards takes us into. However, it’s in the charisma and energy of the lead actor Kevin Howarth, playing a savage, voyeuristic serial killer, where the true horror of this movie lies and it is him, through every last scene, that will terrify you endlessly.
IMG_1982Using a cheesy horror video rental, naughty serial killer Max Parry (Kevin Howarth) tapes over the bad film on a VHS tape and lets other unsuspecting people rent it from the store. He’s even recruited an unnamed assistant (Mark Stevenson) to record all his murders and assaults on videotape.
Max goes on killing and doing terrible things, as the assistant films on. At one point he even attempts to involve the young, naive assistant in his work, putting a knife directly in his hands in order to experience the thrill of the kill.
Will Max Parry keep killing? Will he be caught? Can he successfully indoctrinate his assistant into a world of serial killing and depravity? With the tape wearing on, Max and his assistant find themselves in a scary, voyeuristic world where it almost feels as if the camera’s red light is our own eye, Max’s eye; and even scarier, we may come to discover that Max is not unlike a great many of us, terrifying and unsettling as the thought may be.
IMG_1988There are several amazingly chilling moments which deserve to go down in the horror history hall of fame. Honestly, there’s a wealth of horror in this short feature. I’ll discuss a few I think are particularly awesome and which deserve recognition.
The first happens very early, around 15 minutes in, as Max (Howarth) goes by a school, picking up a young boy. My heart started pumping as we watch Max, his video assistant taping the whole time, as he goes over to the boy, talks to him – you’d never suspect it was his nephew. There’s an undeniably pulse pounding lead up to this, until you see him at a door with the boy; his mother, Max’s sister, opens up and the terror is finished for the moment. But heading into this, even on a second viewing – and beyond – I’m consistently terrified by this part, though I know the outcome. Still gets me because the tension is there.
Other excellent, similar scenes happen as we often forget Max has an assistant following him with a video camera. Such as when we see a woman getting into her car in a parking garage, I actually lapsed and forgot Max wasn’t actually filming his own murders: then we see the woman in the car get strangled from behind, as Max sits in the backseat and his assistant films outside the car. Little bits like this make the tension and suspense of The Last Horror Movie draw out and last nearly the entire, scant 75-minute runtime.
IMG_1990 IMG_1991What scares me most about the character of Max is how he, through this film and his own film within a film taped onto another film, sort of confronts us with madness, murder, and violence in order to make us confront the concept of voyeurism. How much should you watch? How much will you watch?
When Max kills two people separately in the same room – turning the camera away for the actual murder – he then asks if we’re waiting to SEE THE VIOLENCE – curious about what happened, hoping to have seen the savagery up-close (edited with quick cuts briefly of the stabbings full-on). What he says afterwards chills me entirely to the very core of my being: “If not… then why are you still watching?
It begs the question, for the supposed person actually watching the VHS tape which Max has recorded over with his murderous rampage, why would you continue watching if you know what he’s doing is real/wrong? If that person, us the viewer, waited through those stabbings, we were waiting in order to see some bit of the blood and gore, to see the effects, the “realism” that apparently we’re craving terribly. The overall theme of this film is set in stone through this scene, as Max basically gives us his manifesto RIGHT HERE. Not only effective in making his actions and intentions known, it is downright fucking creepy and horrifies me each and every time I watch this scene.
IMG_1984 IMG_1985 IMG_1987I think there are obvious comparisons to Henry: Portrait of a Serial Killer, which I do believe are warranted. However, while there are certainly similarities I believe The Last Horror Movie goes further in certain aspects. There’s a similarly disturbing angle concerning video cameras: here we have Max; with John McNaughton’s cult classic, Henry and Otis use a video camera to record some of their nasty doings. There’s the whole essence of voyeurism and how the audience relates to what they’re seeing, whether it’s CNN news footage showing war and death or serial killers like these guys traipsing around, killing, savaging people and capturing everything on video.
Max Parry goes further than Henry and Otis in the sense of recording every last killing. They, often times, would do lots of terribleness outside of the camera’s frame. Not Max, though. He and his assistant carry the camera everywhere, anywhere, to get each single solitary moment of pain and torture recorded for the unsuspecting next viewer of the VHS rental. Max strangles, stabs, bludgeons, and even lights people on fire! His methods are completely barbaric. Whereas Henry and Otis in Henry videotape in order to get their rocks off later – sort of a substitution for having to physically revisit the scene of a crime like many serial killers do – Max records his murders in order to make the person SEEING THEM respond in a visceral way; they are either disgusted, or they find themselves drawn in (for any number of reasons). Either way, Max shows us this absolutely frightening display of serial murder and makes us accept the fact we are voyeurs – as citizens in a media dominated world and also as viewers, as an audience, sitting and watching the horror of a “realistic” movie. This is what rocks me so hard about The Last Horror Movie.
IMG_1980This is one of my favourite found footage horror movies. Absolutely at the top of the list, there aren’t many others which find themselves above this one; 4.5 out of 5 stars on my radar. Some may say it’s boring, that there’s nothing happening: to those people I say, are you serious? There’s a ton happening, as well as the fact The Last Horror Movie boasts a great deal of commentary on how we relate to horror/watch it and the voyeuristic tendencies which come along with seeing videotaped murder (doesn’t stop at fiction; think of the beheadings which have been filmed, the supposed tape of Saddam being hung, and tons of other real life death captured in realtime on video).
If you’ve not had a chance, do see this film as soon as you can. It’s not even that long, either. Both an excellent example of modern British film, British horror to be exact, as well as just a plain ol’ heavy horror film. If you’re a big fan of found footage done correctly, as I am, then you HAVE to see it! Necessary viewing for those who love this sub-genre. If you have any comments or theories of your own concerning Max, the film, then leave a comment and put in your two cents. Always love a good civil discussion or debate.