Displaying items by tag: Timothy Spall

GOODBYE JUNE

UK, 2025, 114 minutes, Colour.

Helen Mirren, Timothy Spall, Kate Winslet, Andrea Riseborough, Johnny Flynn, Toni Collette, Fisayo Akinade, Stephen Merchant.

Directed by Kate Winslet.

A film with an appeal to a wide audience. It is a solid British drama. It has a very strong British cast. And, it is the first film directed by Kate Winslet, based on a screenplay by her son, Joe Anders (his father theatre and film director, Sam Mendes, and in his early 20s writing the film). Family.

Very often people don’t like to use the word death, burying the phrase, passing away, or the euphemism, passed. But here is a film about death and dying and no hesitations.

Over the decades audiences have been in admiration for Helen Mirren and the variety of roles that she has played. Helen Mirren turned 80 in 2025 and here she is playing a terminally ill mother family, collapsing at the opening of the film, rushed to hospital, decisions to stay in hospital for some kind of palliative care before her death. And many moments when we the audience share her physical pain.

The focus is on her three daughters, how they relate to their mother, how they relate to each other, their own families. And, with their mother so close to death, they are very conscious of their disputes but having the opportunity to display them, become more aware of, and, with the quiet intervention of their mother, facing up to the realities of their lives, in the past and the present.

The portrayals of the three sisters are very strong. Kate Winslet herself plays the oldest of the three, the reliable one, talented in her work, supporting others financially, children of her own that she feels she does not seen enough of, her husband away on business. By contrast, the second daughter, played by Andrea Riseborough (and glimpses of Stephen Merchant as a husband) is devoted to her children but, soon seen to be a controller, and heavy resentments towards her older sister.

But there is quite a contrast with the third sister, played by Toni Collette, caught up in New Age meditations and practices, living on the continent, with her classes, strong emotions, but afraid that time is passing her by.

The always reliable Timothy Spall plays June’s husband – an interesting portrait of the loving husband but who finds it hard to express emotions, taking refuge in sitting around and nodding off, after the canteen the pub, challenged by his daughters – and a wonderfully emotional sequence when he does a karaoke song, devoted to June.

And, then there are the grandchildren – it is Christmas time and they are preparing to take part in a Christmas pageant. They perform for their grandmother in hospital, more details of the Gospel story in the play than in many explicitly Christmas films. (And the entertaining line with grandfather playing the innkeeper, replying to Mary and Joseph that there is no room at the inn because “it’s Christmas and were very busy”.)

And back again to June, loving her family, not blind to their failures, finding ways to bring them even closer together (, moving sequences on truth-telling and re-discovering love) – and, a pleasing variation on the title when she leaves her letter to her unborn granddaughter, urging her to live her life to the full. And it is signed, Goodbye June.

1. A film about death and dying? Illness? Palliative care and decisions? Family support?
2. Using the language of death and dying, not just simply “passing”?
3. The work of Kate Winslet, her son writing the screenplay, her direction, her performance and presence?
4. The situation, the family, the mother’s illness, treatment, failing, the prospect of dying, soon? The impact on her husband, the past relationship, his coping and not coping? The response of her daughters, the contrasts, the emotion of her son, the grandchildren?
5. June, her age, her marriage, for children, her love them? Her understanding them? The nature of her illness, the treatment, her collapse in the kitchen, getting her to the hospital, the surgery, the gathering of the family? Her response? Her knowing her condition?
6. The doctors, the surgery, their explanations, Molly and her harsh responses, the doctor clicking his pen at her outburst? The decisions? The couple with the palliative care, June and her plan for her future? Molly’s angry outburst? Julia and her apologies?
7. The decision for June to stay in hospital, Molly setting up the roster, not coinciding with Julia? The family and their keeping to the roster, the effect on them all? June, her pain, alleviation, sense of peace, patient with her children, her decision to try to reconcile them?
8. Julia, the oldest, her marriage, her children, the Down Syndrome youngest? Her absent husband and his business, connections? The children and the Christmas play, dropping them at school, the arguments in the car? Her work, responsibilities – and later revelation of her paying for mortgages for her parents, for Molly…? Strong in herself, yet often angry? The interchanges with Molly?
9. Molly, her appearance, her marriage, the children, the baby, bonding with her children, busy at home, to the hospital, her response to her mother, her harshness in listening to the doctors, to the palliative care team? Her roster? Anger with Julia? Her husband in the background, at home, with the children?
10. Connor, living at home, waking, hearing his mother? His age, highly emotional, his response to his mother, to his father, staying at home and caring? Taking his mother to the hospital, his grief, emotions? Relationship with his sisters? His presence?
11. Helen, New Age, in Germany, her sessions, her talk, her clientele, the exercises, the phone call, her coming to London, her mother’s comment about her not wearing yellow, the bond with her mother, with the others? The discovery of her pregnancy? Her partner, her later story about his relationships, Gustav and his being available for surrogacy? Helen. her age, emotions, apprehensive?
12. Bern, the long marriage, his age, appearance, seemingly distracted, with his wife, at home, leaving the tap running, the flooding of the house? His relationship with his daughters? Seemingly self-preoccupied? Food, the pub, the beer, the football matches and his shouting? Fixing the television?
13. Days passing, the roster the visits, the effect on June, health, her pain, the relief?
14. The staff, the character of Angeli, his background, his name, his kindness to Helen, their bonding, his discussions with the children? In the interfaith chapel? Connor wandering into the Chapel, returning, with Angeli, the touch of the hand – and at the end of the final party, as a couple?
15. June and her wanting to reconcile Julia and Molly, the plan with Angel, summoning them, the hurry, June’s device of getting them tell her right the letter to Helen’s child, straight talking to them? The scene together, the corridor, who first? Molly and her own idolising of Julia in the past, imitating her, Julia leaving when Molly was 13,feeling a sense of loss, betrayal? Envy of Julia and her accomplishments? Getting the Snickers, eating? Julia and a declaration about herself, having to take all the responsibilities? The bonding between the two, decision to cook the Christmas meal together?
16. Connor and his exasperation with his father, his father going to the pub, telling his father off, in the pub, Bern choosing Georgia on my mind, substituting Junie, the emotional love for his wife, his son hearing it, their bonding? The house flood, Bern’s denial, different accommodation?
17. The decision for the Christmas play, everybody turning up, the focus on Christmas, details of the Christmas play, the Gospel story, the performance, the humour, the joy?
18. June, with Bern, her dying?
19. The aftermath, the party, everybody together, joy, reconciliation, the toast to June?
20. The finale, her letter to Helen’s child, expression of love, touches of immortality, the nice touch with the title, Goodbye June.

COMES A BRIGHT DAY

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Craig Roberts, Imogen Poots, Timothy Spall, Kevin McKidd, Josef Altin, Anthony Welsh, Geoff Bell.

Directed by Simon Aboud.

A number of people, bloggers, have enthused about this blend of thriller and romance. However, a number of bloggers were not attracted by the film, critical of its credibility and performances. This review opts for the latter opinion.

The film focuses on a young man, Sam (Craig Roberts), a small job in a large hotel, but looking as if he was still at school. He is given a job by the manager, played by Geoff Bell, and goes to visit a friend who works as a cook, played by Anthony Welsh, they plan to own a restaurant. Then there is an encounter with an attractive customer, Mary (Imogen Poots) whom we have seen working in a jeweller’s shop managed by Timothy Spall.

On his way back, Sam calls into the jeweller’s shop to make a date with Mary when suddenly there is an invasion, two manic burglars, Kevin McKidd, quite over the top in terms of character credibility and performance. Then there is a police siege – rather confusingly filmed, and rather large for such a robbery.

Most of the film consists of conversation between the three held as hostage after a sympathetic old lady whom we have seen at the hotel is callously shot. The two burglars are masked, frustrated, trying to find a way out, including tapping into the false roof of the shop to find an exit.

The conversation between the three and the attempts to deal with the situation, each of them becoming more forceful as the situation goes on, but it is not particularly interesting.

Ultimately, the trio is able to overcome the robbers and there are prospects of a happy ending.

THE HEIST BEFORE CHRISTMAS

UK/Northern Ireland, 2023, 80 mintues, Colour.

Timothy Spall, James Nesbitt, Bamber Todd, Laura Donnelly, Joshua McLees.

Directed by Edward Hall.

Here is a slight and different Christmas film from Northern Ireland. And, it is not necessarily a charming Christmas story.

It opens with a bank robbery by a robber disguised as Santa Claus (James Nesbitt). The focus is on the town, especially young boy, Mikey (Bamber Todd) defying the headmaster, all kinds of mischief, all kinds of bitterness, at home with his single mother and his younger brother, she hard at work to make ends meet.

Mikey realises what has happened, goes in pursuit of the false Santa, discovers an old Santa  lyng in the snow, mistaking him for the robber, this Santa being Charlie, a kind old man who imagines himself as Santa Claus and lives in local institution. And is played by Timothy Spall in Norwegian-accented English.

And so, the film moves along, what will Mikey do, can he possibly change, be sympathetic? What about Charlie and his being out there in the snow? And what about the robber, and his tactics to avoid capture?

So, more than a touch of the offbeat, not exactly the nice family Christmas film expected.

1. The title, Christmas entertainment? Different?
2. From Northern Ireland, the town, homes, shops, banks, the countryside? Carols and the score?
3. The edge in Mikey’s behaviour and the possibility of his changing. Different Christmas film? The bank robbery? The bank robber, disguised as centre? Charlie and his dementia and thinking he was centre? The atmosphere in the town, Christmas celebrations, he and his family?
4. The picture of the town, homes, shops, offices, the bank, the streets and celebrations, the countryside, the forest, the snow? The car chases and other vehicles? The musical score, Joy to the world?
5. The focus on Mikey, his age, his attitudes, causing mischief at school, the reaction of the headmaster, his surliness, defiance, seeing the bank robber and the pursuit, his curiosity, pursuit? At home, his attitude towards his mother, to his brother? Audience response to him?
6. The exasperated mother, at home, with the children, Mikey and his attitudes, her eventually slapping him, her upset afterwards? With Joshua, his age, difficulties, the hopes for Christmas, the bike? The poor situation? The mother at work, the boss, her being late, his attitude, her friend? With the customers, the raffle tickets? Joshua wanting the bite? Her changing the bucket of tickets? Not winning the bike, going into the office, discovering the truth, confronting the owner?
7. The robber, disguised as centre, the chase to the town, his escape, in the forest? Mikey and his pursuit? Discovering Charlie, the Norwegian accent, talking as if he were centre, dressed as centre, Rudolph’s return…? Mikey returning with the soup, the bank robber, the confrontations, the gun?
8. The adventures in the forest, Mikey wanting the money, escaping with Joshua, the continued pursuit? The vehicles? Mikey’s promise? The bag, the money? The slapstick comedy, all the accidents, the fights?
9. Back into town, the identity of Charlie, the police, the officer and his laughing at his own jokes, the more sympathetic police officer? Shooting centre? Hospital?
10. The pursuits, the climbing, the mother attacking the robber, her fall, the mayhem? Hospital?
11. The target audience for this kind of Christmas film? Children? Family? Adults?

THE SIXTH COMMANDMENT

UK, 2023, 4 X 60 minutes, Colour.

Eanna Hardwicke, Timothy Spall, Anne Reid, Connor MacNeil, Adrian Rawlins, Amanda Root, Sheila Hancock.

Directed by Saul Dibb.

The Sixth Commandment is based on an actual case, that of Ben Field, initially making a very good impression, charming, befriending lonely people, caring for them, but all the time sociopathic behaviour, narcissistic, exploiting those whom he befriended, is one changing their wills, his medicating them, their deaths. Ultimately, the cases were investigated, Ben Field arrested, charged, found guilty.

This is a powerful recreation of two of the stories, Timothy Spall excellent as Peter, a lonely gay academic, and Anne read as Anne, lonely, Ben befriending her, manipulating her, responsible for her death.

While the supporting cast are very effective, the focus is on Eanna Hardwicke as Ben Field, a tour de force performance, always convincing, Connor MacNeil appears as Martin, the young man, also manipulated by Field.

The first episode tells Peter’s story, the second the story of Anne. The third episode shows the police investigations. The fourth episode has Ben Field in court.

Series was written by Sarah Phelps, BBC writer, responsible for several adaptations of Agatha Christie (including the strange ABC Murders with Poirot, played by John Malkovich, revealed to be a priest). The series was directed by Saul Dibb (The Duchess, Journey’s End, Suite Francaise).

A series to be recommended.

1. Based on actual facts? Miniseries treatment?
2. The title, the commandment rhyming with thrill? Kill?
3. The setting of the English village, homes, school, church, the police, the courts? The musical score?
4. Peter’s story, the performance by Timothy Spall, Peter’s life, age, living alone, quietly gay, the Internet and porn, his loneliness, going to the school, his speech and acclaim, his writing novels, keeping extensive diaries? Classes, Martin present, Ben arriving, almost taking over after being late, the quotes? The friendship with Ben, in class, his style, sharing with Peter, the visits, the walks, the mountain, the declaration of love, his continued care, Peter’s novel, Martin coming as a boarder, arranging the printing of the novel, the launch, Peter’s medical condition, Ben’s continued treatment, Ben and his concern, audience suspicions? Peter’s erratic behaviour, hospital, drinking, his death, the sadness? Ben and his eulogy in the church?
5. Peter’s brother and his wife, the bonds with Peter, their concern, the visits, believing Ben?
6. Anne’s story, neighbour to Peter, her dog in the street? Ben, friendly, the attack and their talking, his flattering her? her age, life and career, alone? Her niece and the visits, the family? Ben, growing friendship, moving in, the religious dimension, his alleged studies for priesthood, wearing the vestments in the house, giving communion? The messages on the mirror? Her medication, changing her will? The lease, busy, the phone calls? Anne and her illness, the institution, the discussions, Ben and his eulogy?
7. The focus on the investigations, the police and their personalities, the detectives, the chief detective taking over? Anne’s niece, the interrogations, the growing focus on Ben? Background to Ben Peter, Ian and his wife? The issue of the diaries, the search, and having taken some? Looking for clues? The persistent officer examining the documents? The charges? Ben getting out, his continued politeness, Martin and his fear, Ben controlling him?
8. The court, the detectives and their evidence, collecting the evidence, Ian and his wife, collaboration, Anne’s niece and her husband, disruption to her family life? Ben, acting the part, seeing him in flashbacks, his words, as defence that he was literary, imaginative, writing down the words rather than action? The rap themes, his denials?
9. The reconstruction of the death sequences and their impact?
10. The jury, Martin released, Ben guilty, Ian and his wife, reaction, 26’s niece?
11. The portrait of a psychotic, sociopath, charm, narcissistic, the evil that he brought on innocent people, exploitation?

NORTHERN COMFORT

Iceland/UK, 2023, 97 minutes, Colour.

Lydia Leonard, Timothy Spall, Simon Manyonda, Ella Rumpf, Nick Blakely, Gina Bramhill, Rob Delaney, Emun Elliot, Sverrir Gudnasson.

Directed by Hafsteinn Gunnar Sigurdssobn.

Northern Comfort is a film from Iceland, director, actors – but, a collaboration with the United Kingdom, especially for the cast.

At the core of this film, comic touches, serious themes, is the fear of flying. Which means the title is ironic.

The film opens with a test run, a group of fearful clients, hearty instructions by the staff, experiencing a simulation, relieved when it is over. Then, the training company offering a short flight in reality to test their overcoming of their fears. We are introduced to several characters to bring the drama to life, Lydia Leonard as Sarah, a competent businesswoman, pretending that she has had flights to Los Angeles when she has simply been at home, in a relationship with a man and his daughter. Timothy Spall is a military veteran but a popular writer. There is the influencer, Cocoa, Ella Rumpf, with her boyfriend, IT inventoSverrir Gudnasson. And there is the leader, having to take more responsibilities than usual, Charlie, Simon Manyonda.

As might be expected, the actual flight has all kinds of problems exacerbating the fear of flying. Then, they are stranded in Iceland, the plane needing repairs, put up at a hotel, the attempts to get away, Sarah encounters a drunken taxi driver and crash, Edward using military tactics to intimidate Charlie, the inventor encountering someone at a bar and discovering his sexual orientation. And Sarah is desperately trying to ring her boyfriend who is angry because he saw her embraced by Charlie, encouraging her misinterpreting it.

The way out, in fact, is a flight to Germany, overcoming some fears, getting home, confessing the truth, safe back on home ground.

1. The title and its irony is? Fear of flying? Nervous passengers? Test flights? Reality?
2. Iceland/UK collaboration? British perspectives? Nordic perspectives?
3. The British locations, the characters and their situations? The flights? The Iceland locations, visuals, the countryside, hotels? Musical score?
4. Initial test flight, the simulation, the passengers and their range, their fears, the experience? Olivia and her explanations? Charles and his support? The aftermath, the debriefing?
5. Sarah’s story, age, professional work, reputation? The relationship with Tom? His daughter? Her hopes? Her fear of flying, it her lies about going to Los Angeles, future bookings and her being trapped? The domestic scenes with Tom? Is discovering the truth? His reaction? Her desperate phone calls, explanations? His suspicions at the airport on seeing her embraced?
6. Edward, his military background, fiction writer, personality, briskly, fear of flying?
7. Coco, influence, glamorous? Satiric jibes at influences and the media? Anton, his cap, removing his cap, no hair? Scandinavian, self-important? His talent and developments? The relationship?
8. The delay is about the actual flight, to be brief, return? At the airport, some of the group anxious and pulling out? Charles by himself? His leadership, the mixups, eventual flight? The passengers, behaviour, no alcohol, Anton’s demands? The fears? The landing?
9. The further delays, information about the aircraft, the need for repairs, arguments? Going to the hotel? The interactions between the members of the group?
10. Sarah, desperation, the room, Charles, getting the taxi, the drunken driver, the crash, her coming back? Continued efforts to get out? The flirtatious pilot and the flight to Germany?
11. Edward, reaction to Charles, abducting him, tying him up?
12. Coco and Anton, the bar, the man with his come on, going to the room, the flirtation with Anton? His decision not to leave?
13. All the upsets in getting back to the airport, in time, the cargo plane, settling in?
14. The return home, the effect of the experience of Edward, and Sara, explanations and reconciliation?