Florian Zeller’s 2020 film, The Father, is a poignant and unsettling cinematic experience that immerses the audience directly into the disorienting world of an elderly man grappling with dementia. The story centers on Anthony (Anthony Hopkins), a fiercely independent and proud 80-year-old living in a spacious London flat. His daughter, Anne (Olivia Colman), struggles to care for him as his grasp on reality deteriorates, yet he vehemently rejects every caregiver she hires.

The film's brilliance lies in its innovative narrative structure, which eschews a conventional linear plot for a fragmented and subjective perspective. We see the world through Anthony’s eyes, a confusing and ever-shifting landscape where time and space are fluid. Familiar faces inexplicably change, as different actors portray Anne and her husband, Paul. The layout of the apartment morphs, with rooms and furniture appearing and disappearing without warning, mirroring Anthony’s internal turmoil and profound sense of loss.

This clever and disquieting approach masterfully conveys the frustration, fear, and confusion that dementia inflicts. The audience is placed in the same bewildering position as Anthony, questioning the reality of events and the identities of those around him. We share his moments of lucidity, which are heart-wrenchingly interspersed with paranoia and accusations, particularly his recurring belief that his cherished watch has been stolen.

As the narrative unfolds, it becomes devastatingly clear that Anthony’s perception is unreliable. The flat we believe to be his is actually somwhere else, and his timeline of events is a jumble of memories, anxieties, and present moments. The film’s climax is not a singular event but a gradual and heartbreaking erosion of Anthony’s identity with some final gut wrenching scenes and a powerhouse performance from Anthony Hopkins.

The Father is a powerful and empathetic exploration of dementia, leaving a lasting impression of the profound human tragedy of a mind unraveling.

"I don't need any help from anyone. And I'm not going to leave my flat. All I want is for everyone to fuck off. Having said that... it's been a great pleasure. Au revoir. Toodle-oo."

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Scott and Steven

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism

Fancy a twisted trip to France? Our American painter, Jeff, certainly gets more than he bargained for when he dallies with the alluring Eve. She cooks up a rather madcap scheme to spring her hubby, Georges, from the local asylum using a handy oxyacetylene torch. But hold onto your berets! This seemingly straightforward caper spirals into a fiery game of murder, mistaken identities, and shocking revelations. Turns out, some folks are just a tad maniacal, and poor Jeff's in a very sticky situation!

Paranoiac (1963)

Right then, pack your bags for the sun-drenched, yet surprisingly sinister, Camargue region of France! Our protagonist, the somewhat hapless American painter Jeff Farrell, arrives looking for inspiration but quickly finds himself ensnared in a rather sticky wicket. He catches the eye of the mature and manipulative Eve Beynat, who runs a local bar with her lovely stepdaughter, Annette.

Eve spins a yarn about her husband, Georges, unjustly locked away in a nearby asylum for a crime he didn't commit – supposedly for using an oxyacetylene torch on his daughter's attacker. Before you can say "amour fou," Jeff is persuaded to help bust Georges out. The plan? Use that infamous torch to cut through the bars, or, if Georges has already shuffled off this mortal coil, to discreetly dispose of his remains.

Naturally, things go wildly off-piste. The breakout seems to succeed, but soon a body turns up, and the ever-suspicious Inspector Etienne starts sniffing around. Jeff, bless his naive heart, finds himself sinking deeper into a quagmire of deceit, where identities blur and everyone seems to have a hidden agenda. Was Georges truly wronged? Is Eve the damsel in distress she claims? And what's Annette's real role in this increasingly dangerous charade? Prepare for twists, turns, and a climax that proves some folks are just plain maniacal!

"You take a man's wife, Mr. Farrell, but not his money?"

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Scott, Steven and Mark

Fancy a playdate that's to die for? Join Mumsy, Nanny, and their darling (if slightly overaged) Sonny and Girly! This charmingly unhinged family just adores making new friends and luring them back to their quaint estate for endless games. Just remember: follow the rules, or it's permanent naptime!

Mumsy, Nanny, Sonny and Girly (1970)

Get ready for a rollicking, if rather unnerving, trip to the countryside with Freddie Francis’s 1970 cult delight, "Mumsy, Nanny, Sonny and Girly"! Forget your typical family get-togethers; this aristocratic British clan, tucked away in their gloriously crumbling Gothic pile, has a very peculiar idea of fun, and it’s all part of their never-ending, ever-so-slightly lethal "Game."

Meet the players, won't you? There's Mumsy (Ursula Howells), the lady of the manor, whose honeyed tones could charm the birds from the trees – right before she plots their untimely demise. Then we have dear old Nanny (Pat Heywood), ever loyal, ever simmering, and a stickler for the family’s rather unique traditions. And who could forget the children? Sonny (Howard Trevor) and Girly (Vanessa Howard) are grown-ups who’ve hit the pause button on maturing, preferring school uniforms and a particularly sinister brand of playtime. Their favourite pastime? Inviting charming chaps, affectionately dubbed "New Friends," back to their secluded estate for a jolly good… well, let's just say it rarely ends with a polite thank-you note.

You see, these "New Friends" quickly discover that their weekend invitation comes with a few rather peculiar house rules. They're expected to join in the family’s whimsical, if decidedly menacing, games. Pop a clanger, try to leg it, or generally spoil the fun? Well, that’s a one-way ticket to "meeting the angels," a quaint family euphemism for a rather permanent departure, often captured on Sonny's home movie camera for a bit of fireside entertainment. The film wastes no time in showing us how previous guests have fared – it’s not pretty, but it’s frightfully inventive!

Now, the real sport begins when a particularly sharp "New Friend" (the rather dapper Michael Bryant) wanders into their web. Unlike the others, this chap’s got his wits about him. He starts to notice the little cracks in this picture of domestic bliss: the glint of jealousy between Mumsy and Nanny, the oddly chummy vibes between Sonny and Girly, and young Girly’s rather blossoming, if thoroughly confused, interest in him.

Our clever "New Friend" decides it’s time to shake things up a bit, playing the family members off against each other like a maestro of mischief. He turns on the charm, especially with the ladies, and watches the sparks fly! Girly’s head over heels, Mumsy sees a new star for her manipulative little shows, and Nanny? Well, Nanny’s green-eyed monster is having a field day. Sonny, bless his cotton socks, just wants things back to the way they were and gets increasingly tetchy.

As our "New Friend" pulls the strings, the once-sacred rules of "The Game" get hilariously, and then dangerously, twisted. It’s not the captive causing the chaos anymore; it's the captors themselves, all clamouring for his attention and a slice of the power pie. The previously united, if terrifyingly bonkers, family starts to come apart at the seams, tumbling towards a climax that’s as wildly entertaining as it is darkly satisfying.

"Mumsy, Nanny, Sonny and Girly" is a cheeky poke at the old stiff upper lip and the very idea of a 'proper' family, all wrapped up in a deliciously dark and witty package. It’s less about the blood and guts and more about the spine-tingling giggles and the sheer audacity of a household where innocence and insanity go hand-in-hand. So, if you fancy a film that’s truly one of a kind, step into their parlour – just be sure you know the rules of "The Game"!

"In a happy family, you must always have rules."

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Scott and Steven

Welcome to Reel Britannia-a very British podcast about very British movies ...with just a hint of professionalism.

And a huge welcome back to Hal, contributer of wonderful reviews at the official Talking Pictures Podcast as well as host of his very own show Couple Indemnity.

Hold onto your snorkels! In Thunderball, suave spy James Bond jets off to the sun-drenched Bahamas. Why the holiday? Because the villainous, eye-patch-wearing Largo of SPECTRE has pinched two atomic bombs and is holding the world to ransom! 007 must navigate treacherous waters, both literally and figuratively, charming allies like the stunning Domino while dodging Largo's aquatic thugs. Get ready for thrilling underwater battles, cool gadgets, and Bond proving that even a nuclear crisis can't cramp his impeccable style. It's a high-stakes game of global poker, and Bond's all-in!

Thunderball(1965)

In 1965's Thunderball, James Bond, played with maximum cool by Sean Connery, finds himself in a pickle when the notoriously nasty organization SPECTRE, specifically their number two main man, the delightfully devious and eye-patch-sporting Emilio Largo, makes off with two atomic bombs. Their asking price for not reducing a major city to a fine powder? A cool £100 million in diamonds.

Naturally, Her Majesty's Secret Service dispatches their best man, 007, who, after a rather explosive pre-title sequence involving a man in drag and a handy jetpack, tracks the villainy to the vibrant, sun-drenched Bahamas.

Bond's mission quickly turns into a tropical tango of espionage. He crosses paths with the alluring Domino, who just happens to be Largo's mistress, and the fiery SPECTRE operative Fiona Volpe, who prefers lethal motorcycles to leisurely strolls. Armed with Q's latest toys – including gadgets perfect for underwater shenanigans – Bond dives headfirst into Largo's world, which is, conveniently, based around a superyacht and a rather shark-infested estate.

The film culminates in an absolutely bonkers underwater battle royale, proving that fisticuffs are just as effective below the waves as they are on dry land. With the fate of a major city hanging in the balance, Bond and his newfound allies engage in a fin-tastic clash against Largo's scuba-equipped forces. Will Bond recover the bombs, get the girl, and deliver a perfect one-liner before the credits roll? You know the answer, but the fun is in watching him do it with effortless charm and a never-ending supply of air tanks!

"My dear girl, don't flatter yourself. What I did this evening was for King and country. You don't think it gave me any pleasure, do you?"

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Scott and Steven

Reverend Rider (Reginald Tate) and his sister Mary (Flora Robson) do their best to soothe the panic, encouraging everyone to rise above the drama. But resisting the intrigue proves harder than it seems! Even Rider’s daughter Ann (Ann Todd) isn’t spared, with her fiancé David (Geoffrey Toone) caught in the crossfire. The letters keep coming, fanning the flames of mistrust and upending friendships.

In a shocking twist, Connie Fateley (Catherine Lacey), a shy seamstress, is wrongfully accused of writing the letters. Heartbreaking consequences follow, but the mystery deepens as the letters continue, leaving the village reeling and desperate for answers.

Though dark moments linger, the story keeps you hooked as it explores themes of trust, community, and the havoc wreaked by unchecked gossip. Beneath the mystery is a compelling cautionary tale about the impact of words and the resilience of human connections. With its gripping twists, Poison Pen delivers a captivating mix of tension, drama, and a reminder to think twice before judging others—wrapped up in the atmosphere of classic British cinema!

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Scott and Steven

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism

This week...more from the great Hammer studios as they craft a chilling tale of deceit and madness. A presumed-dead heir resurfaces, unraveling sinister family secrets. Gothic suspense intertwines with psychological twists, as greed, guilt, and identity collide in a haunting inheritance drama. Starring Oliver Reed and Janette Scott.

Paranoiac (1963)

Where secrets fester and madness reigns—welcome to the Ashby estate, where paranoia is just the beginning

Paranoiac (1963), directed by Freddie Francis and produced by Hammer Films, is a gripping psychological thriller that delves into themes of identity, deception, and madness. Loosely based on Josephine Tey's novel Brat Farrar, the film is set against the backdrop of a wealthy but dysfunctional British family, the Ashbys, whose lives are marred by tragedy and secrets.

The story begins with the Ashby siblings, Simon and Eleanor, living under the care of their strict Aunt Harriet after the death of their parents in a plane crash. Simon, a cruel and manipulative alcoholic, is weeks away from inheriting the family fortune. Eleanor, fragile and haunted by the past, struggles with her mental health, particularly after the apparent suicide of their elder brother, Tony, years earlier.

The plot takes a dramatic turn when a man claiming to be Tony reappears, throwing the family into turmoil. While Eleanor is overjoyed and convinced of his identity, Simon and Aunt Harriet are skeptical, suspecting him to be an impostor. As tensions rise, the film unravels a web of deceit, revealing that "Tony" is indeed a conman hired by the family solicitor's son to cover up financial embezzlement.

The narrative is further complicated by Simon's descent into madness, driven by guilt and greed. The eerie atmosphere is heightened by haunting organ music and a masked figure, adding layers of gothic suspense. The climax reveals shocking truths about the family's dark past, including Simon's role in Tony's death and Aunt Harriet's attempts to maintain a facade of normalcy.

Oliver Reed delivers a standout performance as the volatile Simon, capturing the character's menace and vulnerability. The film's cinematography, with its shadowy visuals and dramatic angles, enhances the sense of unease, while Elisabeth Lutyens' haunting score underscores the psychological tension.

Paranoiac is a masterful blend of gothic horror and psychological drama, showcasing Hammer Films' ability to craft compelling narratives that linger in the mind long after the credits roll.

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Scott, Steven and Mark