Has Corrie Finally Reached its Sell By Date?

Is Coronation Street struggling to weather the storm? Conor Byrne investigates.

Carla the shrew
Image Credit: ITV

Coronation Street has been a regular fixture on our TV sets since it first aired in 1960. Apparently, it’s never done better; it remains, as of August 2013, the number one soap with viewing figures reaching well into the millions. Viewership peaked at 28.5 million on Christmas Day 1987. From the 1960s to the 1980s, most episodes rated over 20 million viewers, and although this has declined in the 2000s and 2010s, this can more broadly be seen as a result of decline in viewership in terrestrial TV in the UK as a whole.

But Kathy Sweeney’s article written for the Guardian in July 2011 questioned why Corrie viewers were ‘turning off’, and two years later, the show hasn’t improved. Sweeney is right to suggest that ‘some storylines… seem to have dragged on well past the point where anyone could be reasonably expected to care’, whether Kylie Platt’s fraught relationship with David, which began as long ago as Christmas 2012, or the totally unconvincing affair between Tina McIntyre and Peter Barlow which has, thankfully, just ended… we hope.

David the psychopath
Image Credit: ITV

Not only are the storylines unconvincing, but the acting at times leaves a lot to be desired. Helen Worth rules the roost as a hilarious Gail Platt, while ‘Mad Mary’ makes for regularly entertaining viewing, but thank goodness irritating Stella Price (played by Eastenders’ Michelle Collins) appears in the show a lot less regularly. And don’t even mention characters such as Sunita – all she appeared to do was shout up the stairs telling her kids to brush their teeth and/or get into their pyjamas. Really convincing…

The departure of the best characters means that the show is slowly slipping into tedium. Gone are the days when sharp-tongued Blanche Hunt made us laugh or gape, open-mouthed, at her never-ending rudeness; and while Becky Granger’s constant storylines involving alcohol, adultery and scandal may have been slightly overdone, her pluckiness brought something to the show. This just isn’t represented anymore in the show – instead, characters are reduced to pitiful caricatures: the shrew Carla, the homewrecker Tina, the psychopath David. There’s no depth, and we just can’t empathise with any of them.

More simply, as Sweeney contends, the show’s lost its sense of ordinariness which was a very real reason it was so successful for such a long time. Instead, it’s moved to killing off characters with alarming regularity – ‘Coronation Street in recent years has had an astonishing death count, given that there are only about 15 houses’. The storylines are wearying and depressing, regularly focusing on death, betrayal and adultery.

But the biggest problem is that the majority of the characters just aren’t likeable. Something needs to change… before Corrie really does slide beyond the point of no return.

What do you think of the ailing soap? let us know on  Facebook, Twitter or by commenting below.

Headshot: Quentin Tarantino

Jarrett Banks thinks the director of Django is better than a Big Kahuna Burger, and here’s why…

Image Credit: The Telegraph

When sitting down to watch a Tarantino film I am always engulfed by the sharp colors that take me back to a childhood of comic books. This blurred line between reality and fiction is then further extenuated by a collection of cool, strange and wonderful characters that are always involved in some haphazard yet complex web of storylines.  Awkward camera angles are all part of the experience as you wait for a Tarantino-esque blood fest packed full of violence, blood, martial arts and badass one-liners that leave you wishing you were involved. 

Yet more impressive is his personal story. A man without a college degree, a man whose only insight into filmmaking was through working at a local video store, where any spare money was used to fund his own projects. This he attributes as his film school.

In 1992 he had his first flavour of success with the feature film, Reservoir Dogs. After being screened at the Sundance Festival, it paved the way for a fruitful and credible career as he created one highly acclaimed film after another. He won a Palme d’Or for Pulp Fiction shortly after, a film that continued to rack up awards with BAFTA’s, Academy Awards and Golden Globes, often for best original screenplay.  

I believe further credit is due for the fact he has been able to carve his name firmly on the furniture within every Westerner’s home, despite being a strong advocate of independent film. Refusing to sell out and conform to the monopoly of Hollywood, he has withheld his integrity by offering his own alternative spins on classic genres. Which I believe is a spur of hope in a fight against the dull, recycled cinema that is omniscient within the film industry of today. 

His alternative approach to cinema is never without its critics and his use of violence and racial epithets are continually scrutinized. But who cares? You know what your getting when you sign up for a Tarantino movie, I will nail bitingly wait for his next movie and continue to be enthralled by the spectacle he provides.

Do you think tarantino is some gourmet shit? Let us know on Facebook, Twitter or by commenting below

 

 

 

 

 

Peter O'Toole: Obituary

At the age of 81, Peter O’Toole died on the 14^th December 2013. Here Flora Carr reflects on the great stage and screen actor    

Image Credit: The Guardian

The first time I saw Peter O’Toole on screen it was in How to Steal a Million (1966). I had been going through my Audrey Hepburn phase and when the film came on the television I demanded that the whole family watch it. As in most Hepburn films, the iconic actress’ lines were snappy, her clothes inspiring and she had the whole ingénue thing down to a ‘T’. But throughout the film, it wasn’t Hepburn I was mesmerised by; it was O’Toole.

It’s not by any means O’Toole’s meatiest role. For that, you could point to his role as Kind Henry II in The Lion in Winter (1998) or perhaps his role as an elderly, dying actor in Venus (2006). Nor is it his most famous role; there you’re far more likely to think of his break-out performance in Lawrence of Arabia (1962).  

How to Steal a Million is a comedy, full of mistaken identity, love triangles, confusion and flirtatious banter. Hepburn plays Nicole, the daughter of an art forger. O’Toole plays Simon, a man discovered by Nicole examining one of her father’s pieces in the dead of night and whom she assumes to be a burglar. She then enlists his help to steal back one of her father’s pieces before he is exposed as a forger. It’s playful, fun and silly. And yet O’Toole still manages to dazzle. Through the merest twitch of a smile, he’s more expressive than the rest of the flamboyant cast put together.

In 1966, he was also at the peak of his attractiveness; just four years earlier O’Toole’s performance in Lawrence of Arabia prompted Noël Coward to famously quip “If you had been any prettier, the film would have been called Florence of Arabia”. He’s also unequivocally funny. His glass-cut British accent, combined with his dry sarcasm, results in even making even small exchanges like this memorable.

NICOLE: I didn’t want to keep you waiting, so I got engaged to him. Is it alright? Am I on time?

SIMON: Perfectly. In fact, we have ten more minutes, so if you want to go back and marry him…?

Image Credit: The Guardian

In real life O’Toole was equally full of wit and charm. As a man who received seven Academy Award nominations without winning a single one, when the Academy first offered him an Honoury Academy Award he told them “I’m still in the game, and can win the lovely bugger on my own”. However, when he did accept it in 2003, he jokingly stated “Always a bridesmaid never a bride my foot”.

In other eulogies people may focus on O’Toole’s drinking problems, his failed marriage or even just Lawrence of Arabia, a film that continued to define him even in later years. But instead I’ll continue to think of him as the rakish, gentlemanly, quick-witted and handsome private investigator-come-burglar. In my mind, it was a type-casted role- and a fantastic one too.

Do you have a favorite Peter O’Toole moment? Let us know on Facebook, Twitter or by commenting below.

 

A Holiday from Christmas Films

Katherine Watson recommends unseasonal films this Christmas. 

The experience of flicking through the TV channels and finding nothing but the same five Christmas films being shown for the tenth time in two days is one that is all too familiar in the final few days before Christmas.

Image credit: Collider

Now I’m a huge fan of Christmas films, and completely understand how they are a necessary part of Christmas, but in the moments when I would rather be back in a lecture theatre than have to sit through Elf again, I turn to the channels bucking the trend and showing – horror of horrors! – unseasonal films.

These channels don’t choose the festive favourites to fill their airtime during the long lazy days of the Christmas break, but to classic movie marathons; and for me, these films are as essential to the traditional picture of Christmas as films like The Grinch and The Muppets Christmas Carol.

A day filled with the epic scale of Lord of the Rings or the general hilarity of Come Dine With Me (who can beat Dave Lamb as narrator?) is never a day wasted.

My favourite series however has to be The Chronicles of Narnia; granted, The Lion, The Witch and The Wardrobe has a certain Christmas feel to it with the snow and the appearance of Father Christmas, but the sheer magic and adventure in these films (only the first two though; we don’t speak about The Voyage of the Dawn Treader) is enough to excite my inner child in the run up to Christmas.

Christmas has truly arrived when I’m sitting in my tinsel-adorned living room, snuggled under an entire bed’s worth of blankets with my sister, eating endless quantities of Quality Streets, ice-cream and Terry’s chocolate orange (which my dad has bought two weeks early in an attempt to be organized, naively assuming they will still be there on Christmas Day) watching all six Star Wars films…and then telling people what a productive day we’ve had.

After all, it is Christmas; how much more productive does a day need to be?

Katherine Watson

Do you prefer “unseasonal” films at Christmas? Let us know on Facebook, Twitter or by commenting below.

Old vs New: The Debate

Harriet Large weighs up the true meaning of a Christmas classic. 

Image credit: BBC

December is upon us and this can only mean one thing… it is now socially acceptable to whip out the endless supply of Christmas DVDs, sit in front of the television, hot chocolate in hand, and let the overwhelming sense of Christmas cheer envelop us. But which yuletide film will take your fancy this festive season? Will it be a timeless Christmas classic or a modern-day blockbuster?

As someone who is completely adverse to change and takes great pleasure in routine, I am one for following traditions and Christmas is no exception.

Each year my family are subjected to watching an endless array of festive films in the run up to 25 December (the majority of which they have seen countless times), and my word, do we have a good selection.

First, we begin with the ultimate classic, It’s a Wonderful Life. No matter how many times you see this perennial Christmas favourite, you will never fail to appreciate its warmth and sentiment. With a delightful song and dance sequence, visually witty moments such as the dance floor that converts into a swimming pool during a feverish Charleston competition, and sophisticated dialogue, this is a true masterpiece.

Next on the list: The Snowman. With its charming plot and enchanting musical score, this classic has been bringing yuletide cheer for years. The flickering, broad-strokes animation style truly makes this movie look like a picture book come to life. This nostalgic tale is short but sweet and a must-see during the festive season.

Image credit: Image.net

Then we move towards the modern era of Christmas films. Movies like Love Actually and Elf come into play, with their jovial characters, laughs a-plenty and thoroughly engaging stories. These comedic masterpieces are not to be missed under any circumstance. The real question is will these contemporary movies ever compare to the old-world charm of the classics?

It is true, perhaps, that in this day and age, directors see the festive period as an excuse to capitalize on the holiday spirit. Thus endless Christmas movies with no real sentiment or creativity are consistently churned out.

These low-budget spin-offs somewhat tarnish the magic of Christmas films with their awful plot lines, non-existent humour and complete lack of yuletide cheer. Examples include Black Christmas, an awful Christmas-themed horror remake, Surviving Christmas, a Ben Affleck disaster, and Four Christmases, a generic American comedy with a dreadfully predictable plot.

However, it would be unfair to generalise all modern films as a calamity. In fact, there have indeed been a select few produced in the last decade which could easily be classified as classics, take Miracle on 34th Street or Home Alone. They skilfully combine the romanticism of the classics with the contemporary twist needed to appeal to the population today.

When all’s said and done, any Christmas film that makes you feel warm and fuzzy inside and heightens the feeling of festive spirit is a success in my eyes; the year of production is insignificant. If there’s a positive ending, plentiful amounts of snow and an abundance of Christmas cheer, then that’s good enough for me!

Harriet Large

Are you an old-school stickler or a Christmas innovator? Let us know on Facebook, Twitter or by commenting below.

A Festive Alternative: Edward Scissorhands

Megan Furborough, Screen Editor explains why Johnny Depp in face paint should be a sight for sore eyes this Christmas.

Image credit: CBS

Whilst most of this film is set in a sundrenched and pastel-toned 1950s California, there’s snow (ish), there’s a Christmas tree and there’s Winona Ryder dancing under the flakes, which makes Edward Scissorhands my all-time favourite Christmas movie.

Directed by the legendary Tim Burton, Edward Scissorhands is framed by an elderly grandmother telling her granddaughter where the Christmas snow comes from. The story recounts the tale of Edward (Johnny Depp), an artificial boy left with scissors for hands after his kindly inventor dies before being able to attach his human hands.

Orphaned and alone in a crumbling mansion – after being taken in by Peg Boggs, a local Avon Saleswoman (Dianne Wiest) – Edward falls in love with the Boggs’s daughter Kim (Ryder). Despite the town’s initial admiration of his hedge-cutting skills, a series of disastrous accidents with his scissor hands lead to Edward being ostracised and feared by the townspeople, particularly Kim’s boyfriend Jim (Anthony Michael Hall).

The best scene comes as the Boggs family are putting up their Christmas decorations. Putting his hedge-cutting skills to good use, he creates an ice-sculpture, the shavings flying at such speed that they fall as flakes on a beautifully dancing Kim.

Danny Elfman’s haunting score, an elderly Kim’s admittance that “sometimes you still catch me dancing in it” and the chemistry between Ryder and Depp (they dated in real-life after this film) will leave you crying into your selection box and howling “WINONA FOREVER!”

Burton’s kookiness and the film’s quieter but still powerful tone make it a worthwhile change from the in-your-face antics of Elf or the preposterous storyline of Love Actually, leaving Edward Scissorhands as the perfect film for curling up on the sofa over the Christmas break.

Megan Furborough, Screen Editor

Would you watch Scissorhands at Christmas? Tell us on Facebook, Twitter or by commenting below.

Debate: Piracy

Two of our writers, Josh Mines and James Smurthwaite, try to get to the bottom of the highly contentious and topical issue of internet piracy.

Josh Mines: Against

However easy it is to feel angry about the recent news of the tightening of internet piracy laws, I find it difficult to see how one can have any massive opposition to this change. At the risk of sounding like those stern, over the top adverts that flash up just as you’re settling down with your popcorn: piracy is a crime. Don’t do it kids.

Personally, I love watching movies, and like it or not, films, whether they are Hollywood blockbusters or nouveau art house, cost a lot of money. Free internet streaming services take money away from the big screen. Though it’s easy to think of the film industry as a group of greedy, corporate suits, the consumer also has a duty to protect smaller emerging companies so we can keep enjoying original and quality film making.

It doesn’t have to be about constantly going down to the old picture house to watch the latest releases either. With the film industry moving on to the internet through legal streaming sites such as Netflix and Lovefilm, offer a slightly more cost friendly alternative to watch the latest movies and TV, without the inconvenience of moving all the way out of your bed. As well as that, who wants a great film undercut by murky picture resolution, constant buffering and pop up ads that often plague illegal streaming sites?

I don’t think it makes you a bad, morally insensitive person to watch the occasional film on a streaming site, but if you love cinema then it only seems fair that you should give something back in some way. The tough economic climate hits film production companies hard too, and as the age old saying goes, every little helps.

James Smurthwaite: For

On 22 November, five more internet streaming sites were blocked by major Internet service providers. The president of MPA described how he wants, “an internet that works for everyone… a place for investment, innovation and creativity”, but I wonder if he really appreciates what he’s saying?

You wouldn’t shoot a policeman then steal his helmet!
Image Credit: Newgrounds

It’s a similar problem to the ‘War on Drugs’, free sharing is always going to happen, you can block five sites, but ten more will undoubtedly replace them. If you remove a (relatively) safe avenue for viewers to go down, you only expose them to more subversive, more advert and malware filled websites, which only serves to bring in more money for the ‘Pirates’.

 Netflix themselves support file sharing, they follow trends on BitTorrent to see which programs work best on the internet, as opposed to live on TV, and therefore the ones they provide for their customers.

Furthermore, Vince Gilligan, creator of Breaking Bad, claims the success of his show is down to Internet streaming. It allowed word of mouth to spread the show’s popularity, an advantage that it would not have gained from its small initial TV audience. This is a sentiment echoed by producers of Game of Thrones.

I say, if file sharing is unavoidable let’s at least try to make it legislated. For people that want to pay for a more quality service, such as Netflix, let them, and I’ll be happy here with my slower to load and slightly pixelated version.

We know you all have an opinion on this! Let us know your thoughts on Let us know on Facebook, Twitter or by commenting below.

 

 

Ho-ho-holiday Viewing

Maddie Soper gives her rundown of the best-of-the-best festive films. 

Puppet master: Michael Caine in The Muppet’s Christmas Carol
Image credit: Collider

Every year they’re wheeled out to do the rounds again, like your favourite winter jumper. They’re dependable, comforting, and familiar. But what really are the best Christmas films?

First on the list is Jim Henson’s 1992 Muppet treatment of the Charles Dickens classic, A Christmas Carol. Whilst it may not have the hallmarks of a cinematic triumph, it’s nevertheless a beautifully crafted and moving take on Dickens’ greatest tale.

As with any musical, it was always going to be make or break with the songs, and in that regard it delivers in spades. Michael Caine is wonderful as both the villainous and reformed Ebenezer Scrooge, but was clearly cast for his acting gravitas rather than musical ability. But nobody cares, because Michael Caine is singing with Muppets about Christmas, and everything is perfect in the world.

They may be puppets, but the scenes at the Cratchett house demonstrate that Kermit and Miss Piggy can break hearts just as easily as split sides, and every year I still end up crying shamelessly at a tiny frog. Its widespread popularity and solid place in our hearts does just go to show that the films are much better judged by their place in childhood memories than by box-office earnings.

But where would Christmas be without the miraculous inter-weaving of eight seemingly unconnected storylines?

In a shocking turn of events, 2003’s Love Actually sees a Richard Curtis romantic comedy featuring Hugh Grant. Only this time he’s joined by the crème-de-la-crème of British movie talent, and in addition to that pesky love in the air, there’s Christmas all around.

Image credit: Telegraph

Ignoring the usual criticisms of “trite”, “contrived” and “painfully self-indulgent”, I stand firm behind my love of this movie. With a fabulous soundtrack and shots of an increasingly Christmassy London, Love Actually’s charm lies precisely in the unremarkable nature of the stories it tells and the lives it unfolds.

Whether it’s the sickeningly adorable Martin Freeman and Joanna Page, or Colin Firth with his Portuguese waitress, there is bound to be a story that melts your heart. There’s even patriotic British speeches and grand romantic gestures with cue-cards. But most powerful of all is the reminder that Christmas isn’t necessarily all happy. The scenes with Laura Linney and her mentally-ill brother are agonizing to watch, and involve the winner for most heartbreaking sequence featuring half-naked people.

But my favourite strand has always been the impeccably-acted Emma Thompson and Alan Rickman story that leaves you feeling wretched in all the right ways and features the perfect use of a Joni Mitchell song.

But when it comes to perfect Christmas movies, there is only one to top the list.

Fading-in on the utter despair of Jimmy Stewart’s George Bailey, it’s hard to comprehend how his tale will end up the most inspirational and joyous of them all. It’s A Wonderful Life may have been released in 1946, but it holds the same power to captivate and move audiences every Christmas season. As we see all the lives that this seemingly unremarkable man has touched, It’s A Wonderful Life serves to remind us that no matter how bleak the world may seem, Christmas is a time to appreciate what really matters.

And when we return to Bedford Falls each year, and hear that little bell ring, the magic of this Christmas classic will always be there to welcome us.

Maddie Soper

What are your Christmas picks? Let us know on Facebook, Twitter or by commenting below

Alternative Christmas Films #1: Die Hard

Will the Die Hard cowboy have a chance against the Christmas Canon? Katherine Perrington says Yippe Ki Yeah it will.

Celebrating its 25^th anniversary this year, Die Hard is, and always will be, one of the greatest action films ever made.

Its Christmas eve and off-duty New York police officer John McClane (Bruce Willis) fights twelve extremely lethal and well organised criminals, led by Hans Gruber (Alan Rickman). Gruber is performing a heist on an L.A skyscraper using a faked terrorist attack as cover and taking hostages including McClane’s wife, Holly (Bonnie Bedelia). What more could you possibly want in a Christmas film?

Image Credit: The Guardian

Rickman’s portrayal of evil Hans Gruber is not to be sidelined as he gives a brilliant and memorable performance along with the other cast members.

Sure its not perfect, the continuity department seemed to enjoy more than a few breaks, but if anything it only adds to the ongoing legendary status of this action masterpiece.

Watch along while McClane’s tank top becomes bloodier and bloodier, as he kills fake terrorists and scrawls threatening messages on their corpses, “Now I have a machine gun ho ho ho.”

Willis adds realism to his role as McClane, a hero who is scared and begs God to let him live. He is tough,deadly and wise-cracking but he is also human and Willis gives a perfect portrayal of these emotions in this film, which he unfortunately never satisfactorily gives again in the Die Hard franchise.

 So if you’re bored of the family Christmas films this year, wondering what to watch next on Netflix or just want to view a classic of the action genre then give Die Hard a watch. I guarantee you will not regret it and will soon be yelling Yippee Ki-Ay Motherfucker for the rest of the holidays!

Will your family be sitting round the tele for post dinner Die Hard?  Let us know on Facebook, Twitter or by commenting below.

 

"Both Wonderful and Strange": Twin Peaks UK Festival 2013

David Lynch’s surreal 90’s hit Twin Peaks may be overlooked by a new generation hooked on blue meth and coming winters, but for a hard core of viewers the spirit of the show is still live and kicking. Jess O’Kane, Screen Online Editor, joined the superfans down in London this weekend.

Full photo gallery here

Riverside Studios in Hammersmith became a hive of nostalgia and obligatory donuts this weekend as hundreds of “Peakies” descended on the capital for an annual trip down cult TV lane.

The Red Room Diner
Image credit: Jess O’Kane

Now in its fourth sell-out year, Twin Peaks UK Festival is both eccentric and utterly charming – fitting, perhaps, for a festival about a show that features murder, dwarves, personified logs and a truly unsettling villain.

Revisiting the spirit of such a beloved and bizarre show would be a challenge for any festival, but TPUK managed it admirably.

Downstairs, one room had been christened the Red Room Diner, where fan artwork, jewellery, David Lynch coffee and Twin Peaks manicures were on offer (one girl I spoke to proudly showed me her nails, which had a tiny typed letter glued to it where the murdered Laura Palmer’s would have been).

Upstairs, in a blood-red and sweltering cinema, there were screenings of various episodes and a surprise message from absentee cast member Kimmy Robertson.

Miss Miranda as a sultry Shelly and her comatose boyfriend.
Image credit: Jess O’Kane

The necessary dose of darkness came in the form of the Double R Club, a Lynch-themed cabaret act. A satirical take on the waitress Shelly Johnson (played by Madchen Amick, one of the festival guests) from fetish model Miss Miranda had a few pulses rising under their wristbands as she performed a strip tease for her comatose boyfriend Leo.

Best of all was comedy singer-songwriter Laurence Owen, whose witty ditties like “Bob’s Your Uncle” cleverly re-imagined the show’s characters with Tim Minchin-esque delivery.

As the evening progressed, the fans became the focus. A Q&A session lived up to every expectation, with stars Ian Buchanan, Charlotte Stewart and Madchen Amick proving to be both charming and full of anecdotes.

Whilst the focus was mainly on Amick, Buchanan and Stewart proved equally entertaining, and both seemed pleasantly surprised at how strong the Twin Peaks legacy has proved to be.

Niklas poses with his Red Room Scarf (in the Red Room)
Image credit: Jess O’Kane

The crowd were surprisingly diverse – I spoke to Brummie students, kids from Slovakia, eager Londoners and people who’d only seen a few episodes. None of the furthest travelled seemed bothered that they’d be flying back the next day or the day after.

Niklas, a friendly 30-something from Sweden, had been to the US festival in Snoqualmie twice, had named his child after one of the characters, and had sought out the exact branch where the bird sits at the beginning of the titles. His love of Twin Peaks, he said, was pure “nostalgia” – growing up, Twin Peaks was one of the few adult shows he was allowed to watch, and it had never left him.

For many, though, the allure of Twin Peaks seemed to be a kind of exoticism. A beardy man proudly bore a “BRING BACK TWIN PEAKS TO TV” t-shirt, and further inspection revealed that the campaign has over 20,000 likes on Facebook – impressive, for a show that’s now 23 years old. The love of Lynchian styling was a frequent theme; Ben and Maria, two first-timers, were there because “there’s not much else like it”. Ain’t that the truth.

As the night came to an end with a screening of Lynch’s 1997 Lost Highway, and a few stragglers stayed for “Twingo” (Twin Peaks bingo) and cherry pie, I was happy just to wander. I may not have been the biggest Peakie in the room, but I could feel the love everywhere: from the packed out cinema right down to the donuts.

Jess O’Kane, Screen Online Editor