Richard Online

REVIEW: No Other Choice ★★★★☆

January 23, 2026

No Other Choice is a 2025 South Korean satirical black comedy thriller, co-written and directed by Park Chan-wook, based on the 1997 American novel The Ax by Donald Westlake. It had its world premiere at the Venice International Film Festival in August and was released in the UK today, Friday 23 January.

Yoo Man-su (Lee Byung-hun) is a senior papermaker of 25 years standing, working for Solar Paper. He has purchased his childhood home, where he Lives in relative luxury with his beautiful homemaker wife Lee Mi-ri, (Son Ye-jin), their two children, and their two dogs. However, this ideal life is brought to an abrupt end when Solar Paper is bought-out by an American conglomerate, and Man-su is made redundant. He sets himself the target of finding new employment in the paper industry within three months, however thirteen months have gone by, and he is box-shifting in a warehouse for peanuts. When appropriate jobs are advertised, which is rare, there are always other unemployed ex-papermakers who seem better qualified for the positions.

Man-su needs to change the structure of this small specialist labour market to put himself in pole position when the next job comes along. He needs a plan. And what a plan he comes up with! You see the precise moment when the idea comes together in his head – it is a rather wonderful moment! And so this macabre, though often hilarious, satire on the state of the corporate world begins.

What makes this such a great film is that Man-su is entirely unequipped to put into action his own plan, but is determined to do so, regardless. This leads to the most outrageous situations, sometimes farcical, often verging on slapstick, but always fuelled by the desperation of his situation, as he sees it.

I should come clean here – I also worked in the paper industry for (almost) 25 years, although not as a papermaker – my job was to count the profits (FD) – so even looking at the papermaking machinery brings back memories for me.

No Other Choice is very dark, very violent, and very, very funny. I have no hesitation in recommending it, unless dark and violent puts you off, in which case Director Park’s work is probably not for you anyway.
My ‘Top 3 and a Bit’ Films about Football

January 18, 2026

It has been quite some time since my last Top 3 and a bit post, so I felt a new instalment was long overdue. Next Friday, Saipan gets its UK release. It is a film about the notorious ‘Saipan incident’, which led to Irish manager Mick McCarthy sending bad-boy Roy Keane home from the 2002 FIFA World Cup Finals before the first ball was even kicked. I am very much looking forward to seeing it, so I decided to do my Top 3 and a bit films about football whilst I wait. Of course, films about football are, by and large, not really about football; they are about coming of age, and growing up, and taking responsibility and, basically, life itself. Philosopher Albert Camus said: “what I know most surely about morality and obligations, I owe to football” – and he was a goalkeeper, so he had plenty of time to think about it!

Anyway, without further ado, here are my Top 3 Films about Football, together with notes on a number of additional films which are worthy of attention:

(1)          Gregory’s Girl (1981 – Bill Forsyth)

Gregory’s Girl is a charming, innocent and very funny coming-of-age romantic comedy which touched the hearts of millions and was included at number 30 in the BFI’s list of the top 100 British films of the 20^th Century. Gregory (John Gordon Sinclair) plays on his school football team. They are very bad, so the coach holds trials to find new players. Along comes Dorothy (Dee Hepburn), who is much better than any of the boys on the team. She is selected in Gregory’s position, and he is relegated to goalkeeper; however, he doesn’t mind – he is completely smitten. She agrees to go on a date with him, but it is no ordinary date, as Susan (Claire Grogan) would no doubt testify. Film critic Roger Ebert said, “maybe only grown-ups should see this movie – it contains so much wisdom about being alive and teenage and vulnerable that maybe it would even be painful for a teenager to see it.”

(2)          The Keeper (2018 – Marcus H. Rosenmüller)

The Keeper is a British-German biopic of Bert Trautmann (David Kross), who went from the Hitler Youth to become a much-decorated German soldier, then spent time as a POW in Lancashire, and stayed on to marry a Lancashire lass, Margaret (Freya Mavor), ultimately becoming Manchester City’s inspirational goalkeeper. All I really knew about Trautmann was the story of the 1956 FA Cup Final (as every schoolboy of my generation did). However, this proved to be much more than a simple biopic; it is a film about the lasting damage done by war, redemption, and, ultimately, the possibility of forgiveness. Trautmann received both the Order of Merit of the Federal Republic of Germany and an honorary OBE for his work in Anglo-German relations.

(3)          The Damned United (2009 – Tom Hooper)

The Damned United is a fictionalised version of the story of Brian Clough (Martin Sheen) and Peter Taylor (Timothy Spall) taking over Leeds Utd after Don Revie’s departure to become England Manager. It is a tale of a clash of styles – Clough and Taylor who wanted to play a cleaner game of football and the ‘dirty’ Leeds players who wanted to carry on in the aggressive approach to the game preferred by Revie. It is not a spoiler to say that Clough failed and was out on his ear after 44 days. Interestingly, Clough and Taylor went on to manage Nottingham Forest with massive success; Revie failed as England manager and finished his career in the Middle East; and Leeds have spent 50 years failing to repeat the success they had under Revie. The film is a fascinating journey into the mindset of charismatic, yet controversial, Brian Clough – “the best manager England never had”.

And the Contenders

The following films are those that came very close to making my Top 3, but did not quite get there (the ‘bit’), listed in alphabetical order:

The Beautiful Game (2024 – Thea Sharrock)

A roller-coaster of a film about the Homeless World Cup, highlighting mental health issues and the importance of sportsmanship, with an unforgettable performance from Bill Nighy. Ultimately, a film about humanity – I cried!

Fever Pitch (1997 – David Evans)

Based on Nick Hornby’s book, and starring Colin Firth and Ruth Gemmel, this is a story about growing up, and understanding that there is more to life than football, set against the background of Arsenal’s 1988/89 (First Division) Championship winning season.

I.D. (1995 – Phil Davis)

Based on a true story, an uncompromising film about football hooliganism, starring Reece Dinsdale as John, a young police officer sent undercover with the hardcore fans of fictional Shadwell Town.

Joyeux Noël (2005 – Christian Carion)

A heartwarming film about the futility of trench warfare, depicting the Christmas truce in 1914, through the eyes of French, German and Scottish troops. It is a lovely uplifting film, although ultimately it is very much a romanticised version of the real events.

The Miracle of Bern (2003 – Sönke Wortmann)

The story of a struggling German family set against the background of the West German national football team’s success in the 1954 World Cup Finals in Switzerland, which was all the more astonishing given that Germany was still struggling both spiritually and economically following the war.

Offside (2006 – Jafar Panahi)

Using humour and intelligence to highlight the ludicrous nature of Iran’s gender laws, a film about a group of girls who try to watch a World Cup qualifying match in Tehran. Director Jafar Panahi faced significant legal and professional punishments from the Iranian government in relation to this film.

Sixty Six (2006 – Paul Weiland)

A comedy-drama recounting the true-life bar mitzvah of director Paul Weiland which took place in London on the day of the 1966 FIFA World Cup Final. An excellent performance by Eddie Marsan as the father.

There’s Only One Jimmy Grimble (2000 – John Hay)

More Manchester City, this time in the shape of a young boy playing for a school team who, with the help of a pair of magic boots, gets to play in an inter-schools cup final at Maine Road. Sounds a bit silly? Just go with it, and you won’t regret it. A starry cast including Robert Carlyle, Ray Winstone, Gina McKee and Ben Miller.

United (2011 – James Strong)

From City to United, the story of the ‘Busby Babes’ and the 1958 Munich air disaster, with a star turn from David Tennant as assistant manager Jimmy Murphy. Actually a Television film, but still deserving of its place in the list.

And the rest…

The following are all good films and worth watching, but didn’t come close to troubling my Top 3:

The Arsenal Stadium Mystery (1939 – Thorold Dickinson)

An old-fashioned tongue-in-cheek crime drama, but good fun and the football seemed authentic.

Bend It Like Beckham (2002 – Gurinder Chadha)

A film about a girl from a Punjabi background wanting to play in a women’s football team, very much against the societal norms.

Looking for Eric (2009 – Ken Loach)

Not a Ken Loach masterpiece, but a real crowd pleaser, with an interesting turn from Eric Cantona.

Purely Belter (2000 – Mark Herman)

A film about a couple of loveable Geordie kids, fighting against the odds to make enough money to buy Newcastle United season tickets.

Those Glory Glory Days (1983 – Philip Saville)

Another coming-of-age drama, this time about a group of teenage girls growing-up supporting Tottenham’s 1960/61 double winning side, featuring Danny Blanchflower as himself.

And the rubbish…

These films are worth mentioning simply as a warning – they are very bad!

Green Street (2005 – Lexi Alexander)

Elijah Wood as a football hooligan? A very silly idea – just watch ID instead.

When Saturday Comes (1996 – Maria Giese)

Formulaic and predictable – struggling alcoholic (Sean Bean) gets himself fit and scores the penalty that wins the big game – yawn.

Will (2011 – Ellen Perry)

On Rotten Tomatoes, the film has a score of 0% – need I say more?

Yesterday’s Hero (1979 – Neil Leifer)

Formulaic and predictable – struggling alcoholic (Ian McShane) gets himself fit and scores the penalty that wins the big game – sound familiar?

I am sure I have missed some great football films. If you know of any which you think I really should watch (i.e. that may deserve a place in my Top 3 and a Bit), please let me know. I will endeavour to find them and watch them. I will review Saipan in a couple of weeks, and report back on whether it makes the grade.
REVIEW: Rental Family ★★★★★

January 16, 2026

Rental Family is a 2025 comedy-drama film directed by Hikari, who co-wrote the screenplay with Stephen Blahut. It had its world premiere in September at the 2025 Toronto International Film Festival, was shown at the London Film Festival in October (where I first saw it), and went on general release in the UK today, 16 January (when I saw it again).

Phillip Vanderploeg (Brendan Fraser), an American actor living in Tokyo, searches in vain for a ‘proper’ acting job – it is seven years since he arrived in Japan and his most substantial piece of work in that time has been a Japanese toothpaste commercial. He undertakes a job as ‘Sad American’ for a company called Rental Family, owned by Shinji (Takehiro Hira), and stays with the company, taking on an unusual series of ‘roles’ ‘filling in’ for missing family members and friends.

Unused to this concept (which astonishingly is a real service available in Japan) Phillip finds it difficult to remain objective in his roles, particularly in relation to that of temporary father to Mia (Shannon Mahina Gorman), a young half-Japanese girl whose single mother wants to demonstrate a stable family unit to a prospective school, and that of a journalist pretending to write a profile on a retired actor, Kikuo Hasegawa (Akira Emoto), who is suffering from dementia, at the behest of his daughter.

Rental Family explores identity, lies, and loneliness in an amusing yet thought-provoking manner. It provides Fraser with an ideal showcase for his touchy-feely talents, and the supporting cast are uniformly excellent.

Films as good as this do not come along too often; it is intelligent, gentle, sweet and lyrical. Do not miss the opportunity to see it on the big screen.
REVIEW: Hamnet ★★☆☆☆

January 10, 2026

Hamnet is a 2025 British/American historical-fiction film, directed by Chloé Zhao, who co-wrote the screenplay with Maggie O’Farrell, based on O’Farrell’s novel of the same name. It had its world premiere in August at the 2025 Telluride Film Festival, which is in Colorado, apparently, and was released in the UK yesterday, 9 January.

I feel I must stress that describing Hamnet as historical-fiction might be considered misleading; there are so few genuine facts involved that ‘fictional-history’ would seem nearer the mark. Lovers of the book, and I believe there were a lot of lovers of the book, will no doubt like the film, but will say, ‘it wasn’t as good as the book’ – don’t they always? I did not read the book, so came to this story cold. Unfortunately, I also left it pretty cold, too.

My biggest problem is that since so little is known about Shakespeare’s wife, Anne Hathaway (Jessie Buckley), her backstory has simply been made up. Her name has been changed to Agnes, and she has been made into some kind of weird nature-obsessed witch (with a pet falcon), which seems improbable in the extreme. To say I did not like the characterisation is an understatement – I found it positively irritating. Then we have Will Shakespeare himself (Paul Mescal) whose characterisation constantly reminded me of Connell from Normal People (also played by Mescal) rather than any realistic depiction of what England’s greatest ever playwright and poet might have been like.

I even found Hamnet (Jacobi Jupe), title character and son of the above, to be a moody and irritating little bugger, although to be fair this might have been transference of the opinion I had already formed of the parents. The only believable portrayal was of Mary Arden, Shakespeare’s mother (Emily Watson) – when she told Will not to marry Agnes, since she was a witch, in my opinion he should have listened to her.

Interestingly, the children were born without umbilical cords, although why that should have annoyed me given the total absence of any kind of realism, I am not sure, but it did. On to the final twenty minutes, and we had the opening performance of Hamlet, performed in a style which did not feel at all Elizabethan to me; but now I am just nit-picking. My boat was not floated; in fact, I suspect my boat may have been the Mary Rose.

If you liked Hamnet the book, go see the film – you might like it, you clearly don’t mind the balance of fiction and history, but you will probably conclude it is not as good as the book; if you didn’t like the book, then definitely don’t bother; if you didn’t read the book, think carefully – if you like your ‘history’ to be invented, then who knows, you might not find it as irritating as I did.
REVIEW: Marty Supreme ★★★☆☆

January 9, 2026

Marty Supreme is a 2025 American comedy drama film, directed by Josh Safdie from a screenplay by Ronald Bronstein. It had its world premiere at the 2025 New York Film Festival in October and was released in the UK on Boxing Day.

The film, set in 1952, tells the story of around nine months in the life of Marty Mauser (Timothée Chalamet), a fictional character loosely based on the American table tennis legend Marty Reisman. Reisman was possibly America’s greatest ever table-tennis player, although enthusiasts of the sport may suggest Dick Miles could have taken him the distance on that claim. However, if Reisman wasn’t quite America’s greatest player, he was certainly America’s greatest table-tennis showman and hustler (at one time performing a table-tennis warm-up act for the Harlem Globetrotters), and this is where Safdie has concentrated his film.

The story begins at the British Open Championships in London and ends on the eve of the World Championships in Japan. However, both these tournaments are fictionalised versions of the real thing and, not in any way a spoiler for the film, Reisman actually won Bronze in the 1952 World Championships Men’s Doubles, which was played in Bombay, not Tokyo.

Marty Supreme is a relentless comedy odyssey, played at breakneck speed, involving a series of highly unlikely situations in which our ‘hero’ finds himself, many of which are unbelievable and yet, may well be based on facts. It is entertaining, but I think I went along to see some kind of sporting biopic and may have taken a little while to tune myself into the comedy.

However, Chalamet was very good in this marmite role, and to be fair at times I was not sure whether I loved him or hated him as a character, but he certainly made his mark. As his older love interest, wealthy, retired actress and socialite, Kay Stone, Gwyneth Paltrow was excellent, as was Odessa A’zion as Rachel Mizler, Marty’s childhood sweetheart, now married to another but carrying Marty’s baby.

However, ultimately, with the benefit of a couple of days to dwell on what I saw, I feel there are some very disturbing themes which somehow seem to have been lost in all the hype. Narcissistic heroes are nothing new, although in Mauser this is taken to extreme; his total self-obsession and focus on his own dreams leaves everyone, friend or foe, drowning in his wake, and a possible redemptive final scene is, for me, far too little, far too late. The unapologetic toleration of his cruelty, much of which is somewhat unnecessary and gratuitous, is a little difficult to bear at times and the way Jewish identity and Holocaust memory are portrayed left me feeling rather uncomfortable. Having said all of that, Marty Supreme is a (slapstick) comedy, and is probably best taken as nothing more than that. It is sure to be a contender at the upcoming award ceremonies. And, if nothing else, the actual table tennis scenes are good to watch (if like me you enjoy watching great table tennis).
REVIEW: Sentimental Value ★★★★☆

January 2, 2026

Sentimental Value is a 2025 Norwegian drama film, directed by Joachim Trier, who co-wrote the script with Eskil Vogt. It had its world premiere at the Cannes Film Festival in May (where it won the prestigious Grand Prix) and was released in the UK on Boxing Day.

The film centres on the difficult relationship between Norwegian film director Gustav Borg (Stellan Skarsgård) and his two grown-up daughters: Nora (Renate Reinsve – star of Trier’s The Worst Person in the World) and Agnes (Inga Ibsdotter Lilleaas). Borg had left his family (and Norway) when his marriage to Sissel had failed but after she dies, he returns to reclaim the family house. His daughters have grown to resent him, partly because of his extended absence, partly due to his drinking problem, and partly due to his obsessive focus on his own career at the expense of his family.

However, Borg’s career is now on the slide. He has written a new film, inspired by his mother’s suicide, with Nora in mind as the lead actress: she is a successful stage actress, and he feels that her participation will make funding the project easier. When Nora refuses even to read the script, Borg offers the role to American film-star Rachel Kemp (Elle Fanning). As well as Nora, Borg wishes to use Agnes’s son to play an important role in the film, just as he used Agnes in one of his early films when she was just a child, but Agnes also objects to this.

This is effectively a story about art versus family responsibility: Borg believes that to become a great artist, one must focus entirely on the art at the expense of all other matters; as he remarks to his daughters, ‘you will never write Ulysses while driving the kids to soccer practice’.

The acting is uniformly excellent and the writing and direction, the style of which is clearly a nod to that of Ingmar Bergman, is Trier’s most mature and accomplished to date. My only criticism is that it feels just a little baggy at times and, had its 133 minutes been condensed to around two hours with some judicious cutting, it might have been even better.

Having said that, Sentimental Value is a very good film indeed and will undoubtedly be a contender at all the coming award ceremonies. I heartily recommend it.
REVIEW: Nuremberg ★★★★☆

December 13, 2025

Nuremberg is a 2025 American, fact-based, historical drama, written and directed by James Vanderbilt, based on The Nazi and the Psychiatrist by Jack El-Hai. It had its world premiere at the Toronto International Film Festival in September and was released in the UK on 14 November. I finally got around to seeing it yesterday, at the Vue in the Leeds Light.

Nuremberg recounts the story of Reichsmarshall Hermann Göring (Russell Crowe), Hitler’s former second-in-command, from his surrender to U.S. forces in May 1945, through to his trial for crimes against humanity (amongst other charges) in October 1946.

These trials were ground-breaking, in that this was the first time anyone had been prosecuted for crimes against humanity and, whilst they were not actually the first ever prosecutions for war crimes, they were the first modern-day prosecutions and were the foundational trials that shaped modern international justice for war crimes.

I visited Nuremberg earlier this year and spent several hours in the ‘Memorium Nuremberg Trials’ museum, so I had actually visited the court room where much of the action takes place. Before going, I had watched Stanley Kramer’s 1961 film Judgment at Nuremberg. So I felt reasonably well informed and was most definitely interested in the subject matter.

The film centres on the relationship between the American army psychiatrist Major Douglas Kelley (Rami Malek) who is summoned to Luxembourg to evaluate the mental health of the twenty-two Nazi leaders under Allied custody who have been selected for prosecution, and Göring, who is one of the twenty-two. Having been pronounced fit to stand trial, they are all flown from Luxembourg to Nuremberg for the trial. The principal prosecutor was US attorney Robert H. Jackson (Michael Shannon), ably supported by British MP and Barrister Sir David Maxwell Fyfe (Richard E. Grant).

Was the film historically accurate? So far as I can gather, reasonably so. Did the cast do justice to this serious and important subject-matter? Almost. Crowe was remarkably good as Göring, depicting Hitler’s number two with a blend of dignity, charm and total narcissism that worked exceptionally well. Both Jackson and Grant performed their parts well, and with the appropriate level of gravitas. The problem to me was Dr Kelly, both in the writing, perhaps overstating his role and importance in the prosecution process, and in the casting of Malek, who simply seemed wrong for the role, at time his characterisation appearing just plain silly.

However, the investigation into the character of Hermann Göring was absolutely fascinating, as was the importance of the trial, the need to identify and ‘prove’ the presence of evil behind Nazism and to establish the collective responsibility of the Nazi hierarchy. I found those court-room scenes particularly moving.

I do now want to spoil the film for anyone by giving away too much, but I do want to point out that the film includes an extended excerpt from the footage from the camps which was shown to the court, the first time it had been shown in a public forum. This material is very graphic, and I would hope very upsetting, regardless of whether or not you have seen these images before. I have seen reviews which object to the inclusion of this footage; I feel it was vital to grounding the film as a historical document, rather than just a courtroom thriller.

If you are interested in the holocaust (and you should be) then I recommend Nuremberg. It is a fascinating dissection of evil and, specifically, of the character of Hermann Göring.
REVIEW: It Was Just an Accident ★★★★☆

December 6, 2025

It Was Just an Accident is a 2025 thriller, written and directed by Iranian filmmaker Jafar Panahi. It had its world premiere at the Cannes Film Festival in May, where it won the Palme d’Or, and has been selected as the French entry for Best International Feature at the coming Oscars. The film was shown at the London Film Festival in October and was released in the UK yesterday, 6 December.

It Was Just an Accident follows Vahid (Vahid Mobasseri) who quite by chance has come across the man who tormented his life whilst he was incarcerated by the Iranian authorities as a political prisoner: Eghbal, also known as ‘pegleg’ (Ebrahim Azizi). Seeking revenge, Vahid takes Eghbal hostage. However, not absolutely certain he has the right man, he then travels around Tehran in a van with his tormentor safely secured in the back, gathering a disparate group of former prisoners in an attempt to confirm Eghbal’s identity.

This is a film about state-sponsored torture and its long-lasting effects, both physical and mental, on the victims. Consequently, one would expect a dark harrowing film. However, whilst the story is dark and, I have no doubt, will remain with me for a very long time, Panahi’s touch is extremely light and there is a good deal of comedy, almost slapstick, in what becomes a ‘round-Tehran-road-movie’. Some of the interactions with those who are not directly involved in the story are genuinely laugh-out-loud funny. And surely it is this juxtaposition which deservedly won the Palme d’Or. The light and shade within the storytelling takes what could have been a horrific revenge-thriller and makes it a film about the very nature of what it is to be human.

I first saw this film at the LFF. The cinema was full and there was an air of expectation verging on excitement – the audience responded with laughter, which I am sure was the director’s intention. I saw the film again yesterday at the National Film and Media Museum in Bradford. There were nine or ten people in the audience – nobody laughed. Consequently, it felt much darker.

I strongly recommend It Was Just an Accident. It is a beautifully made film, full of heart and humanity, and yet it is a timely reminder that in the west we live in something of a protective bubble.

Incidentally, whilst away from Iran this week promoting the film at the Marrakech International Film Festival in Morocco, Jafar Panahi has been sentenced to a one-year prison term on charges of propaganda against the state. He will serve the term on his return to Iran. He is no stranger to Iranian prisons and, as a proud Iranian, he will return and he will serve his sentence.
REVIEW: Blue Moon ★★★★☆

December 1, 2025

Blue Moon is a 2025 American biographical comedy-drama film, directed by Richard Linklater from an original script written by Robert Kaplow. It had its world premiere at the Berlin International Film Festival in February (where it was nominated for the Golden Bear) and was released in the UK on 28 November.

The film is set in Sardi’s restaurant on Broadway on 31 March 1943, the opening night of Rodgers and Hammerstein’s Oklahoma!. However, the subject of the drama is neither of these, but Lorenz Hart (Ethan Hawke), ex-writing partner of Rodgers, barely eight months before his untimely alcohol-induced death. The single location would seem to lend itself to a chamber-play rather than a film, and certainly the first half, which takes place at the bar, is particularly theatrical. Here we learn about Hart through his interactions with Eddie, the barman (Bobby Cannavale), Morty, the piano player (Jonah Lees), and EB White, author of Stuart Little and Charlotte’s Web (Patrick Kennedy), who just happens to be in the bar. The interplay between these four characters is a delight; I was particularly struck by Kennedy’s portrayal of White, and Ethan Hawke gives the performance of a lifetime as Hart.

In the second half, the post-show party arrives, opening up the film with an extensive cast of characters, including the girl with whom Hart is totally infatuated, Elizabeth Weiland, a Yale art student (Margaret Qualley). This might seem a little odd for an openly gay man, however Hart’s infatuation speaks volumes about his addictive personality. The arrival of Richard Rodgers (Andrew Scott) provides an insight into what went wrong with the Rodgers and Hart writing partnership. Whilst this was all most informative and helped to give a more rounded portrait of Hart as a flawed genius, I did find myself missing the wit and charm of the four-handed opening 45 minutes.

I must mention the music, which was a delight from start to finish, and sets the tone for the whole film, together with the quality of the acting, which is excellent throughout.

If you have any interest at all in the great Broadway musicals, then I thoroughly recommend Blue Moon to you; and even if you don’t, it is a most enjoyable way to spend 100 minutes.
REVIEW: The Choral ★★★☆☆

November 11, 2025

The Choral is a 2025 British historical comedy-drama film, directed by Nicholas Hytner from an original script written by Alan Bennett. It had its world premiere at the Toronto International Film Festival in September, and was released in the UK on 7 November.

The film is set in the fictional Yorkshire town of Ramsden in 1916, as the terrors of the Great War ravage Europe. Conscription came into force at the beginning of that year, and those who did not volunteer for active service a year or so earlier are now being drafted, whether they like it or not.

Consequently the local choral society, which has already committed to its next performance, does not have the necessary manpower to deliver. To begin with they are losing their choirmaster and so the committee must find a replacement, which they debate in a scene straight out of JB Priestley’s When We are Married. They then appoint, against their better judgement, Dr Henry Guthrie (Ralph Fiennes) who unfortunately has just returned from a musical position in his beloved Germany and may have other skeletons in his closet to boot! (ee bah gum). Guthrie reluctantly agrees to accept the position, provided he has total artistic freedom, and suggests that instead of the planned work by a German composer, they produce Edward Elgar’s Dream of Gerontius. Guthrie then sets about touring the local pubs to identify any young men who can sing in order to recruit them into the choir and get them knocked into some sort of shape prior to the performance. And finally, on the afternoon of the show, who should pop by but Elgar himself (Simon Russell Beale) to throw a late spanner in the works.

So, a good old British feelgood film, in the tradition of, say, Brassed Off? Except this is no Brassed Off. To begin with, the plot is very clunky with lots of one-off events introduced just to move the story forward. Secondly the characterisation is woefully thin – the only vaguely rounded character is Dr Guthrie, and he is very much dependent on the acting of Fiennes rather than the quality of the writing. As for the rest of the cast, it reads like a Who’s Who of British character actors (Roger Allam, Alun Armstrong, Mark Addy, Ron Cook and so on), all of whom are left to flounder with poorly defined caricatures. As for the portrayal of Elgar, Beale hams it up preposterously, but to be fair he has nothing to work with – I am sure if Elgar were alive today, writs would be issued.

Finally the story itself bites off far more than it can chew, and so is utterly lacking in focus. We deal with: the returning wounded, the faithless girls back home, the white-feather brigade, the need to lose one’s virginity prior to going to fight, the small-town hypocrisy surrounding the local prostitute, even the difficulty of masturbating when you have had your right arm shot off (I kid thee not). There are more serious matters of anti-German sentiment and latent homophobia, although interestingly not racism: the fact that the female star of the choir is a young black girl, Mary (Amara Okereke) passes without comment.

I know that traditionally with a stage play the buck stops with the playwright and with a film it stops with the Director, but when Bennett is the writer and Hytner the Director, we are in unusual territory. And by and large my criticisms are with the writing, so for me the book (sic) must stop with Bennett.

The cinematography is nice, as is Elgar’s music, and it is very pleasant to look at the local scenery of Saltaire and Keighley station, both of which are very close to where I live. So my main criticism of Hytner is that he should have told Bennett that the screenplay needed to be considerably tighter and more focused, the characters needed to be properly defined, and the plot needed to be much smoother.

So why three stars and not two? Because this is a film that a lot of people will enjoy without worrying about the bits that annoy me. If it is on the TV on a wet Sunday afternoon and you have nothing much else to do, then it is a not too unpleasant way of whiling away a couple of hours. Just keep your artistic expectations low, and you should be all right.