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Bleak Moments | 1971 | ★★★★
A suburban secretary with a dryly whimsical, vaguely cruel sense of humour, living alone with her mentally handicapped sister, attempts to alleviate the loneliness that increasingly envelops her by optimistically indulging in a series of (decidedly awkward) social encounters with three other equally lonely individuals – her unbalanced work colleague; a timid, stunted intellectual suitor; and a shy, angel-voiced folk singer. Dark humour, off-kilter characterisation, and fine performances combine to good effect, in Leigh’s accomplished debut, a quietly witty slice-of-bleak-life drama.
A suburban secretary with a dryly whimsical, vaguely cruel sense of humour, living alone with her mentally handicapped sister, attempts to alleviate the loneliness that increasingly envelops her by optimistically indulging in a series of (decidedly awkward) social encounters with three other equally lonely individuals – her unbalanced work colleague; a timid, stunted intellectual suitor; and a shy, angel-voiced folk singer. Dark humour, off-kilter characterisation, and fine performances combine to good effect, in Leigh’s accomplished debut, a quietly witty slice-of-bleak-life drama.
Hard Labour | 1973 | ★★★★½
Leigh’s pleasingly understated telefilm paints a thoroughly authentic-feeling portrait of a working class Mancunian family, taking particular notice of its put-upon, emotionally broken mother (played to sorrowful perfection by the excellent Liz Smith). Dolefully funny, yet devastatingly moving, the film explores – with veritable performances, incisive writing, and restrained direction – familial and societal roles. Clifford Kershaw and Polly Hemingway – as patriarch and grown daughter – also do sterling work, with small roles for Bernard Hill and Alison Steadman likewise catching the eye.
Leigh’s pleasingly understated telefilm paints a thoroughly authentic-feeling portrait of a working class Mancunian family, taking particular notice of its put-upon, emotionally broken mother (played to sorrowful perfection by the excellent Liz Smith). Dolefully funny, yet devastatingly moving, the film explores – with veritable performances, incisive writing, and restrained direction – familial and societal roles. Clifford Kershaw and Polly Hemingway – as patriarch and grown daughter – also do sterling work, with small roles for Bernard Hill and Alison Steadman likewise catching the eye.
The Permissive Society | 1975 | ★★★½
A thoroughly immature young man brings home his prim-and-proper girlfriend for a slightly awkward tea with his worldly sister, in Leigh’s gently moving, deceptively astute exploration of the ways by which we often hide our true feelings behind decidedly inappropriate behaviour. Made as part of BBC Birmingham’s Second City Firsts – a series of 30-minute plays – this intriguing short work packs plenty of humour and insight into its slight frame, with a trio of excellent performances giving it memorable life. Bob Mason’s outstanding turn proves the pick of the bunch.
A thoroughly immature young man brings home his prim-and-proper girlfriend for a slightly awkward tea with his worldly sister, in Leigh’s gently moving, deceptively astute exploration of the ways by which we often hide our true feelings behind decidedly inappropriate behaviour. Made as part of BBC Birmingham’s Second City Firsts – a series of 30-minute plays – this intriguing short work packs plenty of humour and insight into its slight frame, with a trio of excellent performances giving it memorable life. Bob Mason’s outstanding turn proves the pick of the bunch.
Nuts in May | 1976 | ★★★★½
A faddishly earthy bourgeois couple travels into the country for a camping and walking holiday, but comes unstuck amongst the great unwashed. After a less-than-promising start, they befriend a trainee P.E. teacher from Cardiff, and all proceeds peacefully. However, when a pair of boisterous Brummies arrives at the campsite, clashing personalities soon see tensions rise to the point of violence, in Leigh’s riotously funny telefilm. Winning performances, instantly quotable dialogue, and potent social satire combine to enormously entertaining effect.
A faddishly earthy bourgeois couple travels into the country for a camping and walking holiday, but comes unstuck amongst the great unwashed. After a less-than-promising start, they befriend a trainee P.E. teacher from Cardiff, and all proceeds peacefully. However, when a pair of boisterous Brummies arrives at the campsite, clashing personalities soon see tensions rise to the point of violence, in Leigh’s riotously funny telefilm. Winning performances, instantly quotable dialogue, and potent social satire combine to enormously entertaining effect.
The Kiss of Death | 1977 | ★★★½
A socially awkward undertaker’s assistant with a wry but decidedly infantile sense of humour unashamedly spends his evenings playing the part of third wheel to his best friend Ronnie and girlfriend Sandra, until a gum-chewing shoe shop assistant manages to catch his eye, in Leigh’s witty, unpredictable, and quietly perceptive slice-of-life drama. A very young David Threlfall, making his first screen appearance, proves strangely mesmerising in the central role.
A socially awkward undertaker’s assistant with a wry but decidedly infantile sense of humour unashamedly spends his evenings playing the part of third wheel to his best friend Ronnie and girlfriend Sandra, until a gum-chewing shoe shop assistant manages to catch his eye, in Leigh’s witty, unpredictable, and quietly perceptive slice-of-life drama. A very young David Threlfall, making his first screen appearance, proves strangely mesmerising in the central role.
Abigail's Party | 1977 | ★★★★½
As the titular teenaged social event rages on a few doors down, Beverly, a controlling lower middle class housewife, hosts her own decidedly awkward and increasingly desperate soirée, in Leigh’s cynically hilarious teleplay, which expertly mixes pointed social commentary with wonderful character-based comedy. Alison Steadman excels as the domineering host, with similarly excellent work coming from Tim Stern (as her hen-pecked husband), Harriet Reynolds, John Salthouse, and the incomparable Janine Duvitski (as their unfortunate guests.)
As the titular teenaged social event rages on a few doors down, Beverly, a controlling lower middle class housewife, hosts her own decidedly awkward and increasingly desperate soirée, in Leigh’s cynically hilarious teleplay, which expertly mixes pointed social commentary with wonderful character-based comedy. Alison Steadman excels as the domineering host, with similarly excellent work coming from Tim Stern (as her hen-pecked husband), Harriet Reynolds, John Salthouse, and the incomparable Janine Duvitski (as their unfortunate guests.)
Who's Who | 1979 | ★★★★
The state of the nation, as seen through the prism of a London stockbrokerage. A wealthy partner visits a pair of even wealthier clients, who treat their young child as if she were just another possession. An upper middle class graduate suffers through a dinner party with his decidedly immature Hooray Henry friends. And a council house-dwelling autograph hound, who fetishes the British gentry, hijacks his cat-fancying wife’s feline-themed photo shoot. The uniformly excellent performances of the well assembled cast give Leigh’s bitingly observed slice-of-life comedy-drama vibrantly brilliant life. Hilarious.
The state of the nation, as seen through the prism of a London stockbrokerage. A wealthy partner visits a pair of even wealthier clients, who treat their young child as if she were just another possession. An upper middle class graduate suffers through a dinner party with his decidedly immature Hooray Henry friends. And a council house-dwelling autograph hound, who fetishes the British gentry, hijacks his cat-fancying wife’s feline-themed photo shoot. The uniformly excellent performances of the well assembled cast give Leigh’s bitingly observed slice-of-life comedy-drama vibrantly brilliant life. Hilarious.
Grown-Ups | 1980 | ★★★★
Just moved into their first home, 24-year-old newlyweds Dick and Mandy (Philip Davis & Lesley Manville) attempt to make their way in life, but find their progress hindered terribly by Gloria (Brenda Blethyn), a tactless family member who just won’t leave them alone. Simultaneously hilarious and heartbreaking, and filled with universally excellent performances, Mike Leigh’s incredibly perceptive, beautifully observed BBC farce proves quite the delight.
Just moved into their first home, 24-year-old newlyweds Dick and Mandy (Philip Davis & Lesley Manville) attempt to make their way in life, but find their progress hindered terribly by Gloria (Brenda Blethyn), a tactless family member who just won’t leave them alone. Simultaneously hilarious and heartbreaking, and filled with universally excellent performances, Mike Leigh’s incredibly perceptive, beautifully observed BBC farce proves quite the delight.
The Birth of the Goalie of the 2001 F.A. Cup Final | 1982 | ★★★½
A Sunday league goalkeeper, who dreams of having a little playmate, tries to convince his wife to have a baby. However, being more practically minded than he, she proves reluctant at first, but eventually gives in to his repeated requests, in this perceptively amusing look at the differing attitudes towards parenting between the sexes. Part of the Five-Minute Films series, Leigh’s short film was shot in 1975, but not shown until 1982.
A Sunday league goalkeeper, who dreams of having a little playmate, tries to convince his wife to have a baby. However, being more practically minded than he, she proves reluctant at first, but eventually gives in to his repeated requests, in this perceptively amusing look at the differing attitudes towards parenting between the sexes. Part of the Five-Minute Films series, Leigh’s short film was shot in 1975, but not shown until 1982.
Old Chums | 1982 | ★★★½
Just on his way out to the cinema, a disabled man bumps in to an old friend, and makes polite conversation. However, things gradually become fraught and the conversation one-sided, as the other man’s insensitivities take their toll, in this well-observed Five-Minute Film.
Just on his way out to the cinema, a disabled man bumps in to an old friend, and makes polite conversation. However, things gradually become fraught and the conversation one-sided, as the other man’s insensitivities take their toll, in this well-observed Five-Minute Film.
Probation | 1982 | ★★★
A recently convicted, but not yet sentenced, young offender visits the office of his potential probation officer, where he is offered several cups of tea, converses with a fellow young offender, and attends his first meeting. This Five-Minute Film proves well-observed, but forgettable. (What ever happened to Herbert Norville?)
A recently convicted, but not yet sentenced, young offender visits the office of his potential probation officer, where he is offered several cups of tea, converses with a fellow young offender, and attends his first meeting. This Five-Minute Film proves well-observed, but forgettable. (What ever happened to Herbert Norville?)
A Light Snack | 1982 | ★★★★
In a large industrial bakery, a worker on the shop floor suffers through a painfully one-sided conversation with a socially oblivious workmate, whilst a suburban housewife – all ready to go out for the afternoon – politely puts up with the inconvenience of a shameless window cleaner. The best of the Five-Minute Films, A Light Snack proves painfully well-observed.
In a large industrial bakery, a worker on the shop floor suffers through a painfully one-sided conversation with a socially oblivious workmate, whilst a suburban housewife – all ready to go out for the afternoon – politely puts up with the inconvenience of a shameless window cleaner. The best of the Five-Minute Films, A Light Snack proves painfully well-observed.
Afternoon | 1982 | ★★★½
A housewife and a teacher are enjoying a boozy afternoon, when a newlywed friend turns up. Distinctly inebriated and considerably more experienced, they find her advice about marriage and relationships decidedly amusing. Laughter proves infectious, in the funniest of the Five-Minute Films.
A housewife and a teacher are enjoying a boozy afternoon, when a newlywed friend turns up. Distinctly inebriated and considerably more experienced, they find her advice about marriage and relationships decidedly amusing. Laughter proves infectious, in the funniest of the Five-Minute Films.
Home Sweet Home | 1982 | ★★★★½
This beautifully observed telefilm presents a decidedly haunting, somewhat pathos-laden portrait of a rather jaded postman, whose wife is long gone, and whose daughter has been taken into care. Guiding us through a couple of days in his life, Leigh allows us to follow this lonely postie as he sniffs around his workmates’ wives, and does his best to avoid the inane chatter of patronising social workers. Carl Davis’s agreeably sombre score, Eric Richard’s stunning central performance, and Leigh’s customarily perceptive vision combine to rather moving effect.
This beautifully observed telefilm presents a decidedly haunting, somewhat pathos-laden portrait of a rather jaded postman, whose wife is long gone, and whose daughter has been taken into care. Guiding us through a couple of days in his life, Leigh allows us to follow this lonely postie as he sniffs around his workmates’ wives, and does his best to avoid the inane chatter of patronising social workers. Carl Davis’s agreeably sombre score, Eric Richard’s stunning central performance, and Leigh’s customarily perceptive vision combine to rather moving effect.
Meantime | 1984 | ★★★★½
Living in a council flat with their unemployed parents, two out-of-work young men – one, cynical and angry, the other, slow and gentle – struggle to make their way in life, against a backdrop of despair, rage, and hopelessness, in Leigh’s masterful telefilm. Phil Daniels and, in particular, Tim Roth excel as the unfortunate siblings, with memorable support coming from Gary Oldman’s ‘orrible skinhead, Jeff Robert’s incredulous dad, Marion Bailey’s superficially positive aunt, and Tilly Vosburgh’s put-upon local girl. Andrew Dickson’s discomfitingly off-key score also proves noteworthy.
Living in a council flat with their unemployed parents, two out-of-work young men – one, cynical and angry, the other, slow and gentle – struggle to make their way in life, against a backdrop of despair, rage, and hopelessness, in Leigh’s masterful telefilm. Phil Daniels and, in particular, Tim Roth excel as the unfortunate siblings, with memorable support coming from Gary Oldman’s ‘orrible skinhead, Jeff Robert’s incredulous dad, Marion Bailey’s superficially positive aunt, and Tilly Vosburgh’s put-upon local girl. Andrew Dickson’s discomfitingly off-key score also proves noteworthy.
Four Days in July | 1985 | ★★★★
Set against the festivities of The Twelth, Four Days in July presents a beautifully observed portrait of two Northern Irish families – one catholic and one protestant – as they prepare for the arrival of their first children. Highlighting both the similarities and differences between their segregated lives, Mike Leigh’s gently funny, splendidly acted, and (reasonably) even-handed slice-of-life drama proves insightful. Des McAleer, in particular, gives a great performance – one of a number of eye-catching turns.
Set against the festivities of The Twelth, Four Days in July presents a beautifully observed portrait of two Northern Irish families – one catholic and one protestant – as they prepare for the arrival of their first children. Highlighting both the similarities and differences between their segregated lives, Mike Leigh’s gently funny, splendidly acted, and (reasonably) even-handed slice-of-life drama proves insightful. Des McAleer, in particular, gives a great performance – one of a number of eye-catching turns.
The Short & Curlies | 1987 | ★★★½
A bespectacled wise-cracker, who only communicates through corny jokes, courts the affections of a shop assistant, who – when not getting her hair done by a chatty hairdresser – is forever talking about bodily complaints. Short and sweet, with excellent performances from David Thewlis and Sylvestra Le Touzel (as the courting couple), Alison Steadman (as the hairstylist), and Wendy Nottingham (as her sullen daughter,) Leigh’s slice-of-life drama proves delightful.
A bespectacled wise-cracker, who only communicates through corny jokes, courts the affections of a shop assistant, who – when not getting her hair done by a chatty hairdresser – is forever talking about bodily complaints. Short and sweet, with excellent performances from David Thewlis and Sylvestra Le Touzel (as the courting couple), Alison Steadman (as the hairstylist), and Wendy Nottingham (as her sullen daughter,) Leigh’s slice-of-life drama proves delightful.
High Hopes | 1988 | ★★★★½
After an enormously successful 17 year spell working in television, Mike Leigh returned to the cinema with this disquieting and masterful yet gently affecting, low-key slice-of-life drama, in which a deeply cynical socialist and his bubbly wife struggle to come to terms with living in Thatcher’s every-man-for-himself Britain. Andrew Dickson’s brooding score, Roger Pratt’s muted photography, three tremendously moving performances (from Philip Davis, Ruth Sheen, and Edna Doré), and the Mancunian auteur’s trademark bitter-sweet humanism combine to quite astonishing effect.
After an enormously successful 17 year spell working in television, Mike Leigh returned to the cinema with this disquieting and masterful yet gently affecting, low-key slice-of-life drama, in which a deeply cynical socialist and his bubbly wife struggle to come to terms with living in Thatcher’s every-man-for-himself Britain. Andrew Dickson’s brooding score, Roger Pratt’s muted photography, three tremendously moving performances (from Philip Davis, Ruth Sheen, and Edna Doré), and the Mancunian auteur’s trademark bitter-sweet humanism combine to quite astonishing effect.
Life Is Sweet | 1990 | ★★★★½
Leigh’s sublime slice-of-life drama – warm and oft hilarious yet quietly moving – paints a loving portrait of an average-ish London family. The cast members are all wonderful, with Jim Broadbent and Alison Steadman as the cheery, chirpy parents, and Claire Skinner and Jane Horrocks as their disparate twin daughters, given more-than-able support by Stephen Rea and Timothy Spall as a pair of family friends and David Thewlis as a secret boyfriend. Spall’s hysterical turn is perhaps the pick of the bunch, but Skinner and Horrocks’s final scene together is the film’s most affecting. Rachel Portman’s score also proves memorable.
Leigh’s sublime slice-of-life drama – warm and oft hilarious yet quietly moving – paints a loving portrait of an average-ish London family. The cast members are all wonderful, with Jim Broadbent and Alison Steadman as the cheery, chirpy parents, and Claire Skinner and Jane Horrocks as their disparate twin daughters, given more-than-able support by Stephen Rea and Timothy Spall as a pair of family friends and David Thewlis as a secret boyfriend. Spall’s hysterical turn is perhaps the pick of the bunch, but Skinner and Horrocks’s final scene together is the film’s most affecting. Rachel Portman’s score also proves memorable.
A Sense of History | 1992 | ★★★½
The 23rd Earl of Leete, as he guides us through his vast estate, relates to us matter-of-factly tales from his decidedly bloody past, a past filled with suicides, familial murders, apparently slow-witted homosexuals, and gushings of admiration for Adolf Hitler. Jim Broadbent, who also wrote the screenplay, totally convinces in the central role, bringing hilarious life to a peculiarly English type of sociopath, in this Leigh’s first director only credit – a markedly mirthful mockumentary.
The 23rd Earl of Leete, as he guides us through his vast estate, relates to us matter-of-factly tales from his decidedly bloody past, a past filled with suicides, familial murders, apparently slow-witted homosexuals, and gushings of admiration for Adolf Hitler. Jim Broadbent, who also wrote the screenplay, totally convinces in the central role, bringing hilarious life to a peculiarly English type of sociopath, in this Leigh’s first director only credit – a markedly mirthful mockumentary.
Naked | 1993 | ★★★★★
In Leigh’s scabrously funny, grimly moving exploration of desperate lives, a violent and misanthropic yet viciously intelligent Mancunian flees to London to avoid a potential beating, turning up on the doorstep of an ex-girlfriend. Over the course of a few days, he drifts around the city, foisting his confrontational personality onto a series or random strangers. David Thewlis, in the central role, has never been better, and is given great support by Lesley Sharp (as his long suffering ex), Katrin Cartlidge (as her vulnerable housemate), Greg Cruttwell (as a sadistic yuppie), Peter Wight (as a strangely optimistic night-watchman), Ewen Bremner and Susan Vidler (as a pair of homeless Scots), and Gina McKee (as a gentle house-sitter). Dick Pope's photography and Andrew Dickson's score also prove top-notch.
In Leigh’s scabrously funny, grimly moving exploration of desperate lives, a violent and misanthropic yet viciously intelligent Mancunian flees to London to avoid a potential beating, turning up on the doorstep of an ex-girlfriend. Over the course of a few days, he drifts around the city, foisting his confrontational personality onto a series or random strangers. David Thewlis, in the central role, has never been better, and is given great support by Lesley Sharp (as his long suffering ex), Katrin Cartlidge (as her vulnerable housemate), Greg Cruttwell (as a sadistic yuppie), Peter Wight (as a strangely optimistic night-watchman), Ewen Bremner and Susan Vidler (as a pair of homeless Scots), and Gina McKee (as a gentle house-sitter). Dick Pope's photography and Andrew Dickson's score also prove top-notch.
Secrets & Lies | 1996 | ★★★★★
After the death of her adoptive mum, a young woman decides to track down her birth mother. Their first meeting proves decidedly emotional, but subsequent get-togethers prove more pleasant and relaxed. However, when she is invited to her oblivious half-sister’s 21st birthday party as a family friend, clandestinely meeting the rest of her extended clan for the first time, a number of secrets and lies come to the surface, in Leigh’s formally elegant yet overwhelmingly moving family drama. Brenda Blethyn’s exceptional performance, playing the part of the tearful mother, proves the pick of an excellent cast.
After the death of her adoptive mum, a young woman decides to track down her birth mother. Their first meeting proves decidedly emotional, but subsequent get-togethers prove more pleasant and relaxed. However, when she is invited to her oblivious half-sister’s 21st birthday party as a family friend, clandestinely meeting the rest of her extended clan for the first time, a number of secrets and lies come to the surface, in Leigh’s formally elegant yet overwhelmingly moving family drama. Brenda Blethyn’s exceptional performance, playing the part of the tearful mother, proves the pick of an excellent cast.
Career Girls | 1997 | ★★★
A thirty-year-old Yorkshire woman travels down to London to spend a couple of days with an old friend from polytechnic, and is confronted with a flood of memories from their flat-sharing student days – memories made stronger by a number of improbable coincidences. Lynda Steadman and Katrin Cartlidge do well as the two old friends, whilst Mark Benton – simultaneously hilarious, terrifying, and heart-breaking – really excels. However, plot contrivances and a somewhat misjudged score take the shine off a little.
A thirty-year-old Yorkshire woman travels down to London to spend a couple of days with an old friend from polytechnic, and is confronted with a flood of memories from their flat-sharing student days – memories made stronger by a number of improbable coincidences. Lynda Steadman and Katrin Cartlidge do well as the two old friends, whilst Mark Benton – simultaneously hilarious, terrifying, and heart-breaking – really excels. However, plot contrivances and a somewhat misjudged score take the shine off a little.
Topsy-Turvy | 1999 | ★★★★
Doing his best impression of Robert Altman, Mike Leigh presents an exquisitely crafted, wonderfully acted portrait of the Victorian comic opera purveyors Gilbert & Sullivan – as well as of their various players, technicians, and family members. Concentrating on the period from the lukewarm reception of Princess Ida in 1884, through their subsequent creative impasse, to the grand success of 1885’s The Mikado, the film explores its time, place, and people with wit, style, and insight.
Doing his best impression of Robert Altman, Mike Leigh presents an exquisitely crafted, wonderfully acted portrait of the Victorian comic opera purveyors Gilbert & Sullivan – as well as of their various players, technicians, and family members. Concentrating on the period from the lukewarm reception of Princess Ida in 1884, through their subsequent creative impasse, to the grand success of 1885’s The Mikado, the film explores its time, place, and people with wit, style, and insight.
All or Nothing | 2002 | ★★★★
A slowly atrophying South London family is awoken from its terminal slumber by a member’s unexpected heart attack. Elsewhere on their council estate, a mother and daughter are brought closer together by the latter’s pregnancy, and another young woman comes to despair of her alcoholic parents. Typically stellar photography, scoring, and performances make this a work of rare beauty, and one that is very easy to admire. However, being that it lacks Leigh’s usual humour, it also proves – as it casts an unblinking eye over the lives of several desperate and lonely people – almost unrelentingly bleak.
A slowly atrophying South London family is awoken from its terminal slumber by a member’s unexpected heart attack. Elsewhere on their council estate, a mother and daughter are brought closer together by the latter’s pregnancy, and another young woman comes to despair of her alcoholic parents. Typically stellar photography, scoring, and performances make this a work of rare beauty, and one that is very easy to admire. However, being that it lacks Leigh’s usual humour, it also proves – as it casts an unblinking eye over the lives of several desperate and lonely people – almost unrelentingly bleak.
Vera Drake | 2004 | ★★★★
When one of the “girls she helps out” almost dies, the activities of an amateur abortionist come to the attention of the police. The fact that she is a loving wife, mother, daughter, and all round good egg, forever putting the welfare of others ahead of her own, ensures that her arrest proves incredibly difficult for all concerned. Formal elegance, considered pacing, outstanding performances, and an attention to period and procedural detail combine to excellent effect, in this intense, beautifully observed ‘50s-set drama.
When one of the “girls she helps out” almost dies, the activities of an amateur abortionist come to the attention of the police. The fact that she is a loving wife, mother, daughter, and all round good egg, forever putting the welfare of others ahead of her own, ensures that her arrest proves incredibly difficult for all concerned. Formal elegance, considered pacing, outstanding performances, and an attention to period and procedural detail combine to excellent effect, in this intense, beautifully observed ‘50s-set drama.
Happy-Go-Lucky | 2008 | ★★★★
A 30-year-old primary school teacher with a seemingly insatiable appetite for life has her bubbly enthusiasm dimmed somewhat by a number of events, including: an encounter with an unpredictable homeless man, the discovery of an abuse victim in her class, and an increasingly confrontational relationship with her intense, decidedly angry driving instructor. However, her innate optimism just about wins through in the end. Sally Hawkins (in the central role) and Eddie Marsan (giving painfully visceral support) are both as wonderful as ever. Supporting turns are nicely underplayed, and Gary Yershon’s score proves memorable.
A 30-year-old primary school teacher with a seemingly insatiable appetite for life has her bubbly enthusiasm dimmed somewhat by a number of events, including: an encounter with an unpredictable homeless man, the discovery of an abuse victim in her class, and an increasingly confrontational relationship with her intense, decidedly angry driving instructor. However, her innate optimism just about wins through in the end. Sally Hawkins (in the central role) and Eddie Marsan (giving painfully visceral support) are both as wonderful as ever. Supporting turns are nicely underplayed, and Gary Yershon’s score proves memorable.
Another Year | 2010 | ★★★★
Leigh’s bitter-sweet family drama paints a loving portrait of a contented, well-adjusted middle class couple. Depicting 12 months’ worth of encounters with family and friends, the film contrasts their normal, happy existence with the oft lonely and miserable lives of their loved ones. Jim Broadbent and Ruth Sheen shine as the well-balanced middle-aged couple, with Lesley Manville really excelling as the most wretched member of their circle of friends. Leigh’s mise en scène – more adventurous and deliberate than usual – is also exquisite. A tremendously moving film.
Leigh’s bitter-sweet family drama paints a loving portrait of a contented, well-adjusted middle class couple. Depicting 12 months’ worth of encounters with family and friends, the film contrasts their normal, happy existence with the oft lonely and miserable lives of their loved ones. Jim Broadbent and Ruth Sheen shine as the well-balanced middle-aged couple, with Lesley Manville really excelling as the most wretched member of their circle of friends. Leigh’s mise en scène – more adventurous and deliberate than usual – is also exquisite. A tremendously moving film.
A Running Jump | 2012 | ★★★★
Five members of a busy East End family go about their hectic lives – selling second hand cars, driving cabs, helming exercise classes, lifeguarding, and generally rushing here, there, and everywhere – in Leigh’s cracking short film, which was made to tie in with the London 2012 Olympic Games. Sharp writing, appropriately intense pacing, bold scoring, and a number of excellent comic performances combine to decidedly delightful effect.
Five members of a busy East End family go about their hectic lives – selling second hand cars, driving cabs, helming exercise classes, lifeguarding, and generally rushing here, there, and everywhere – in Leigh’s cracking short film, which was made to tie in with the London 2012 Olympic Games. Sharp writing, appropriately intense pacing, bold scoring, and a number of excellent comic performances combine to decidedly delightful effect.
