The Boat That Rocked (2009)

Capturing The Feel-Good Spirit Of '66



View trailer here

Classed as one of the greatest feel-good films in recent British Cinema, 'The Boat That Rocked' is one of those films that could have easily been missed upon its release in cinemas. This is a charming narrative set in 1966, about the adventures of a tight-knit group of Pirate Radio broadcasters aboard a rundown vessel anchored in the North Sea, and their battle with the establishment to keep Radio Rock afloat. The obvious comparison, or focus of inspiration would be the real events of well-known Pirate Radio broadcasts from that era such as Radio Caroline, so we'll get that out of the way. It should be made clear that this film is in no way a historical account of such movements faced by Radio Caroline et al.

This film has a brilliant comedy cast, including the talented Rhys Ifans, Chris O'Dowd, Bill Nighy and of course Nick Frost. They are also joined by Philip Seymour Hoffman as the American DJ aboard the boat who brings many an excellent moment as The Count (I still can't look him in the eyes after 'Boogie Nights'!). What follows is a great film which will make you laugh out loud, feel very sympathetic, and at moments laugh out loud when you should really be feeling sympathy (Thanks to one particular scene; a conversation between the newlyweds aboard the boat... Maybe that was just me, I can have a bit of a sick mind!). Ultimately though, this film fills you with a warm glow and makes you appreciate that some talented people within the British Film Industry can produce such a fine specimen.

On a personal note, I was born towards the end of the 1970's, but always wished I was around to enjoy the 60's (obviously for the culture, not the mind bending sex and drugs experiments of that era - in case mother is reading!!). Straight away, as soon as the film begins, you realise that you are in for a musical treat as well as a great cinematic experience. Featuring one of the greatest 60's playlists in its soundtrack, you just know that this is a construct of people passionate about Rock music. There was a rebellious charm about the music, something that just has not been replicated since. Tracks by The Box Tops, Jimi Hendrix, The Who, The Kinks and many more add a nostalgic feel to this film that is actually quite strange, when you realise you are not old enough to feel nostalgic (Unless you obviously are!).

The cinematography adds to this also. You can just imagine Britain in the Summer of 1966; long, warm, lazy days out in the park or by the beach. Hanging out with friends, listening to the radio blasting out song after great song, and hoping the Pirate Radio DJ uses the F-word live on-air. England on the cusp of winning the World Cup, The Beatles "achieving Jesus-like status", and I'm pretty sure a cold beer tasted sweeter then too (certainly cheaper!). These are all things that come to mind whilst watching this merry band of men (and lesbian, as one character constantly reminds everyone!) jostle and banter with each other, and the yellowish/orange toned cutaways of their captive audience up and down the UK enjoying their broadcasts.

In contrast, you have the British government being represented in such a bland, grey manner. Black suits and ties, white starch collared shirts, neatly Brylcreemed hair and NHS specs! This was the 'square' establishment battling with the gang of 'outlaws' everyone adored. You still found these enforcers quite amusing as you see the lengths at which Sir Alistair Dormandy (played by Kenneth Brannagh), and his subordinate Twatt (Two T's!) would go to bring about the downfall of such morally corrupting behaviour.

A film about struggle, love, despair, respect and of course Rock n' Roll; its climax leaves a smile on your face and nostalgia on your mind!

Fight Club (1999)

View trailer here

I have finally got round to making another entry on the blog. Here we are with the third entry to this project, and as you may have already gathered, it isn't a horror film! This is 'Fight Club'. The first rule of fight club is.... well, you know the rest! It would be an amazingly short post if we adhered to the rules! Again, rather than just regurgitate thousands of existing reviews already online, I thought I'd take a different perspective. those familiar with the film, will know how the two most prominent characters are Brad Pitt's Tyler Durden and Edward Norton's 'Jack' (in inverted commas as we do not know his actual name... In fact, he is credited as 'The Narrator', and only referred to as Jack on the blurb on the back of the UK DVD packaging... presumably after the subject in a series of journals he discovers during the film!). It seems as though the other pivotal character in this film text is always understated in influence, lost in all the mayhem. This is of course Marla Singer, whose role is acted by Helena Bonham Carter. This character's influence will be the focus of my analysis here.

"I Am Marla's Raging Influence"

Marla Singer is the key to the door where Jack assesses the world of Tyler Durden. In many ways, she is a 'real world' Tyler with the freedom and power Jack so wishes to acquire. Marla is the intimate axis between Jack and his life as Tyler. When they first meet, Jack and Marla appear to be kindred spirits. Two people confused about what they want from life and where they should be. It is shortly after, that Tyler 'enters' in order to give them direction!

The film as a whole is centred around Jack's struggle to be free. His subconscious desire to gain and express identity, which would be the total opposite of the 'Ikea Boy' lifestyle he finds himself in. Jack is so fed up with his mundane existence, hopping from business flight to business flight, that he fantasizes about being on-board a fatal mid-air plane collision. Marla is the catalyst for change, and Jack knows she plays a key role in finding his identity. Described as a "faker", Marla blocks Jack from feeling false emotions, and as the film progresses, she becomes a key feature in these emotions. The encoded message suggests that she is life, she is support, a structural basis for whatever it is that we need for identity and ownership of ones life. She is God. Marla's character becomes Jack's motive and reasoning. Jack's creation of Tyler is actually a male interpretation of Marla. Tyler is how Jack would see himself if he were to "let go" and become Marla. This may go some way to explaining why Jack does not initially give Marla his name when they are first introduced to each other.

Thinking about it, neither Tyler nor Jack actually exist, and Marla is the only one from the trio with a 'true' identity and a home - following the suspicious circumstances Jack's condo and possessions had been blown to pieces.

As mentioned earlier, 'Jack' is an alias (another one) taken by The Narrator later in the film, following his discovery and reading of journals which contain prose written about someone called Jack ("I am Jack's cold sweat", "I am Jack's smirking revenge", "I am Jack's complete lack of surprise"). 'Jack' is stuck so far in a rut with his mundane life, that he sees Marla as his saviour...someone 'real'.

Tyler's (Jack's) sexual attraction to Marla is an important element to the narrative. Tyler explains to Jack, "The things you own will end up owning you". This makes the audience wonder if maybe Jack's aim is not only to be liberated from what he owns, but also to unleash his emotions and sexual desires. This may be the motive for Jack in creating the 'attractive' Tyler alter ego - One side note... there is a scene where Jack and Marla are arguing in the street before he puts her on a bus to get out of town. They are standing in front of a cinema advertising the film 'Seven Years in Tibet'... a Brad Pitt film. Has Jack created Tyler Durden in Brad Pitt's image as this is what he sees as women finding sexually attractive? Surely, no coincidence! Jack's pursuit of Marla, not only makes her the reason but also the cause.



As 'Fight Club' evolves into 'Project Mayhem', Marla may seem to be all but forgotten and her attempts to contact Jack seem fruitless. The conclusions of 'Project Mayhem' can be argued to be carried out for her benefit. Tyler craves her sexually whilst Jack longs for a romance with her. This duality is always present, even when they deal with the patrons of 'Fight Club'. Perhaps this male aggression is a subconscious desire to please Marla, to prove their masculinity. This is evident when Jack discusses 'Fight Club' with Marla, his sarcastic tone suggesting his desire to impress her.

In the restaurant scene, Marla proves her control over Jack by screaming for him to shut up whilst surrounded by members of 'Project Mayhem'. Their reluctance to intervene suggests a hidden authority that Marla has (especially when the waiter recommends no clam chowder!). After all, if what Jack does is all for her, then perhaps the other members are all too aware of Marla's influence over Jack. Even his alter ego, Tyler displays fear towards Marla - he asks Jack never to speak to her about him - shows the extent of her influence over him.

The film follows themes of power, liberation, freedom, identity and constrained life. These are the obvious themes on display. However, when sexual desire becomes a theme, Marla's character takes a whole new lead. Jack desires Marla, but he cannot control her. He has no control over how she came back to him even though he sent her as far away as he could. He controls (is responsible) for the demolition of the credit card company office blocks, but is helpless in how she was bought back to him. Ultimately, Jack achieves his goal in gaining Marla's affections. They stand there together hand-in-hand as the tower blocks around them come tumbling down and everything is "restored to zero".

Night of the Living Dead (1990)

View trailer here

We start the second entry to this blog with a remake of the first entry! I assure all readers that the films featured here will not just be horror films, but ones from all genres and from all corners of the globe.

With that in mind, here we have 'Night of the Living Dead' (1990). A modern remake of the already established classic, this time directed by Makeup effects maestro Tom Savini. The first thing that must be established is that yes, it is a remake (bear with me horror fans!) but this is definitely a remake with merit. In fact, it's not your standard regurgitation but an update for the modern audience (at the time).

So what can we expect from this second incarnation of the seminal zombie film? The first thing that hits the 'NOTLD' purist is that it's in living (or living dead!) colour. Other advances in technology also impact on the film's overall feel. Advances in special makeup effects allows the zombies to be more sickening to view (think more Michael Jackson's 'Thriller') in all their gory glory. You can see more explicitly the causes of death for some of the undead (one of the most cringing examples being one fresh from the autopsy table, complete with half open autopsy chest wounds). You wouldn't expect anything less from Savini.

Those who have become accustomed to like-for-like remakes (and we all know there are plenty of those out there!) will be pleasantly surprised with NOTLD90, as although never straying too far from the classic original, uses the audience's prior knowledge and just when you think a scene is going to play out like Romero's version, you are immediately and intelligently misdirected and are given a surprise with something you did not expect - the opening introduction to the zombies in the cemetery being a prime example.

Those of you who have read my thoughts on Romero's 'Night of the Living Dead' (1968), will know that I bring into account certain social and political events happening at the time of the film's making, and offer an explanation on how they may have made an impact on the text itself. This would also be true of this film.
Some of the most significant social and political events around the time of NOTLD90 would be the rise of Feminism, the worrying surge in cults being reported in mainstream US media, and the low rumbles of the storm clouds over the horizon which was the first Gulf War, and Saddam Hussein's contribution to making the world familiar with the terms 'Chemical/Biological weapons', 'Weapons of mass destruction' and the liberal use of the aforementioned.

Events such as these have had a deep influence on the film itself. Evidence of this would be the explanation offered as to why the dead are reanimating. This is done - as with the original - in a vague method, which is very interesting and at the same time adds to the mystique, keeping the audience in the dark. It wants the audience to have that feeling of misinformation and not really knowing what is happening to the world, just as the characters in the narrative are feeling. Some "Explanations of the phenomenon" subtly offered by a news presenter on a television broadcast, are biological or chemical weapons being released (accidentally or in some kind of attack), which has an obvious origin in the fears of  the use of modern chemical and biological weapons. The broadcaster then goes on to say, "Religious leaders are calling it judgement day..." which also highlighted another popular fear amongst humankind as we approached the new Millennium. That God was punishing us, and that the world as we know it is about to end - a popular theme amongst the David Koresh's of nineties America! Whatever the real reason why the dead are roaming, Savini displayed a masterstroke in following Romero's footsteps in not putting everything on a plate for the audience and actually just letting them try to make sense of the situation themselves.

We are also introduced to an initially familiar Barbra character - excellently portrayed by Patricia Tallman - as the timid, fragile 'librarian' that we have come to expect from the original film. However, she undergoes a remarkable transformation halfway through this film, and there is no doubt that this is due to an update in generic conventions and the success of the Feminist movement. Barbra is played out as expected, as the damsel in distress, and we expect - as was the case in NOTLD68 - Ben to be the knight in shining armour... oh how wrong we are! Amazingly, halfway through the film, Barbra undergoes a remarkable transformation. After taking the time to take in what is happening around her, Barbra finds a pair of combat trousers and some old boots, and puts these on. Coupling this new look with a 'Die Hard' vest, a rifle and complimentary belt of bullets hanging diagonally across her upper body, Barbra the fragile rose has become 'Aliens' Ellen Ripley! This is not just an update of the appearance of the character, but also of her attitude. NOTLD90's Barbra makes a comment that would soon impact many a modern zombie horror film. We've all seen films starring slow, shuffling zombies and often wonder how they get anywhere near catching their intended lunch. Barbra acknowledges this while observing the approaching dead through the boarded-up window - "They're so slow. We could walk right past them. We wouldn't even have to run". That one comment reverberates to this day in the modern horror film, where zombies seem to no longer shuffle towards you groaning softly, but rather sprint at you! Did the first person to be stalked by the modern zombie, lay the foundations of the post-modern 'runner' zombie? After all, you can only create so much entertainment by having a zombie creep up on a film character and just have the character stroll away casually without even unloading one head shot! Here, Barbra says exactly what millions of zombie fans the world over have often thought but never dared say in public!

Barbra does not stop there in displaying her Feminist characteristics. "What I lost, I lost a long time ago and I do not intend on losing anything else!", is her response to Ben as she unloads blast after blast into a zombie who has managed to get past the group's barricades - another example of the 'new' representation of the female horror role. Of course, there is some evidence of the traditional representation of the female in this film - namely in Judy-Rose who spends the majority of the film screaming and running around, but even she ultimately displays her strong female characteristics by volunteering to drive the pickup truck which would get them to the gas pump, and subsequently to salvation (at least, that was the plan!).

Another theme evident in this film, is the apparent breakdown of trust in society. There is very little cooperation within the farm house amongst the survivors. As with NOTLD68, there seem to have been two groups in which to align ones self with - upstairs with Ben, or in the basement with Harry Cooper. Strong racial tensions remain among the two characters - "What about you...you don't exactly look like neighbours yourself", spits Cooper in one of the opening exchanges between the two. Some other choice words of battle between the two... Cooper - "Who the fuck gave you the right to decide for the rest of us"; Ben - "I'm just looking out for my own ass... If you wanna go down there then get. You be boss down there, I'm boss up here"; Cooper - "You're going to die up here"; Ben - "If help arrives, we'll try to remember to call you". Paranoia and betrayal are played out effectively in this film also. Ben asks Barbra to keep things in order in the house while he attempts to get to the gas pump outside. Cooper over powers her and takes the firearm from her. The audience eventually sees Ben and Cooper exchanging gun fire, while Barbra comments on the madness she is witnessing.

Barbra eventually leaves the house to go get help and comes across a group of rednecks who do not seem to be as aware of the Feminist movement as Barbra had become during this film. "What in the name of Jupiter's balls are you doing out here all alone, little lady?!" exclaims one before they start laughing and ridiculing her, all the way back to the house the next morning. We join the rednecks at camp which also includes a big group of bikers having zombie-related fun (a la 'Dawn of the Dead' 1978) and it's clear that these people have no respect for the 'dead' - some are put in a pen to fight, others are strung from trees and used as target practice. Barbra comments, "we're them and they're us" suggesting that socially humans have no respect for each other either.



The return to the farm house is very interesting indeed. Firstly, we are not exactly sure of the fates of Ben and Cooper. We just know that one holed up in the attic and the other in the basement. The last we saw of Ben, was a bleak scene where he sits wounded in the basement and discovers the key to the gas pump (which would have led to everyone's salvation had it been discovered sooner) and he begins laughing hysterically in the darkness as the oil lamp runs out of fuel. We cut to the next morning and the rednecks that Barbra bought back to the house are using a chainsaw to open the barricaded basement door. The door opens and a zombie Ben appears in the doorway, but does not attack. He is a passive zombie who instead looks over at Barbra blankly, and his jaw lowers as he seems to try and remember who she once was to him. However, one of the rednecks does not share this touching moment and quickly dispatches with our former protagonist.

Immediately following this, a hand grabs Barbra on the shoulder from behind, which turns out to be a still-live Cooper. He is pleased to see she has bought rescue but you can see the rage in her eyes as she lifts a handgun to him and effectively murders him. "That's another one for the fire", she says as she walks away, and the photograph slideshow paying homage to the original film's ending begins.

My final thought on this film is that although we have now come to expect poor quality remakes of popular horror films, I must say that this is one example that instils some faith in the world of remakes. For me, this is just as enjoyable as the classic original and in fact there are some elements I have enjoyed more the second time round. Let's hope the powers that be out there follow suit before creating another mind-numbing pointless regurgitation of films we have all seen before.

Night of the Living Dead (1968)

View trailer here

I thought a fitting selection for first post on this blog project - and a film that would meet the approval of many a Horror fan, much like myself - is George A. Romero's classic 'Night of the Living Dead'(1968). This film single-handedly shaped an entire horror sub genre and paved the way for the modern 'zombie' film. The film has an intriguing narrative - some of which may seem quite cliché to the modern zombie-saturated audience. However, the viewer must appreciate it's originality and the context of the time it was made.

The narrative begins with a brother and sister driving to the cemetery to visit a loved one's grave. Johnny and Barbra seem to be in the wrong place at the wrong time as they unwittingly find themselves in a world where the recently dead are reanimating and attacking the living. Following the first modern zombie attack committed to film, Barbra spirals into a nightmare world of survival holed up in a house with other survivors. Another point of historical interest regarding this film, is the casting of a black actor in the role of the protagonist (in the form of the excellent Duane Jones), which may sound trivial in this day and age, but remembering the context of the time the film was made, the Civil Rights movement was underway in the United States and this was quite a rare event, especially for a horror film.

I could sit here and discuss the film's plot in detail - something which you could read on a million other sites online - but as I've stated in my introductory post, this is a personal project airing my own views and opinions of films, and not another outlet for regurgitation of the same information. I hope to approach each film with a fresh angle and with the assumption that the reader is just as big a film buff as I am and is already familiar with the film text. So where does this statement lead this post? As I mention previously, let us look at the context through which this film was made.

The United States of America in the late 1960's. Despite all the nostalgic views (those old enough to have experienced it first-hand) this was not a time of total peace and harmony. As previously mentioned, the Civil Rights movement was in full swing, the Vietnam War was swinging even harder, the 'Space Race' was being... erm... raced, and a whole generation of flower children were left wondering what happened to all the love that they were going to save the world with. It also didn't help their cause that they were increasingly being tarred with the same brush as Charles Manson and his 'family'. Why are all these things relevant for the discussion of this film? Because it is an angry film representing angry America.

This film was made in the same year that man landed on the moon. Along with this great achievement for man, also came man's fear of what lay ahead in outer space and the exploration of the unknown. Many saw the exploration of space as a dangerous move for mankind, as we did not know what the consequences were. There seems to be a parallel drawn in the narrative of 'Night of the Living Dead' where the only (suggested) explanation as to the cause of the dead rising could be radiation emitted from a satellite crashing back into the Earth's atmosphere... As if God was punishing man for trying to play god. The fact that we as the audience are not given a definitive explanation of the cause just adds to the mystique of the film (a sin many modern horror films seem to commit!).

The zombies themselves are reminiscent of the walking wounded, returned from Vietnam clear for all to see. As they shuffle along in the claustrophobic shadows of the film, you can't but help make the comparison with the ultimate payers of the price of The Vietnam conflict... The returning soldiers (both the living but maimed and the variety that returned in body bags). Here were the war veterans stalking the society that sent them to fight a war that many did not agree with in the first place. And it's not just angry war vets represented here, but also the signs of the child rebelling against the parent. In one notorious scene, we see one of the surviving couple's infected young daughter murder her mother with a trowel. We are almost distracted from the fact that she is a ticking time bomb waiting to go off in the cellar, by concentrating on the events upstairs. Then, in the next instance we are reminded of this as she carries out this savage attack in the dark and claustrophobic cellar with some quite sickening audio effects overlaying her mother's screams. It is almost 'Hitchcockian' in the way that it was filmed, as it is very reminiscent of - but more explicit than - the shower scene in 'Psycho' (which again, had all sorts of parent - child subtexts!).
This is quite an iconic zombie attack, as she does not attempt to bite her intended victim, but preferring to attack her with the hand tool. It is not until her father discovers her feeding on his wife in the dark depths of the cellar, that we see the true extent of the attack.



The nature of the film did not seem to sit comfortably with the film-viewing public of the time. However, one element that still makes for uncomfortable viewing today, are the racial undertones evident throughout. From the back-hander brutally delivered by Ben to a delirious, vulnerable Barbra, through the "You be boss down there, I'm boss up here!" exchange with Cooper, to the bleak climax of the film which is very reminiscent of the Civil Rights protests and subsequent outbreaks of violence and rioting in the streets (complete with vicious German Shepperds on leashes trained to pounce). The lead-up to the end credits, which include the final moments of the narrative presented in a series of grainy black-and-white photo stills leaves you with a sense of emptiness and despair that just when you thought the ordeal of the night before was over, it was all for nothing.

'Night of the Living Dead' is a vicious, angry film that highlighted social issues of its time, but an absolute education in cinema and indie film making!

Please allow me to introduce myself... I'm a man of wealth and taste..

..So goes the opening to The Rolling Stones' classic 'Sympathy for the Devil'! *Ahem*

So here is my first post on this brand spanking new blog and no matter how you have found it, you are most certainly welcome to be here!

The first thing you might be wondering, is what does this blog offer that others don't? Well, there are many, many places out there on the internet to peruse for your film needs, read about the latest releases, etc..
This blog is more of a personal project. I've lost count of the films I've seen ever since I was an ankle biter... through the thousands and thousands of films added to my personal collection over the years... and now that I am actually employed to educate others (academically and otherwise!) on my most passionate subject! This is where I log my own personal opinion of any and hopefully every film I see/own... And trust me, I own/watch a lot of crap! There will be films that cater to everyone's tastes, eventually... except maybe for those of you who prefer to watch the sort of film where you prefer a box of tissues and a clenched fist, rather than a box of popcorn and a fanta frozen!

This is just a place for you all to read my honest (and hopefully entertaining) thoughts on each film...and you could agree or not! I'd even like to hear your opinions too! The more the merrier! Hope to be adding my film commentaries as frequent as my workload will allow.

I'm also on twitter so if you're interested, add me there too! (@PhreniX)

Let me know if there are any requests for film

s to view and add. Enjoy the New Year, people.