Two of my Favourite Comedy Shows

Tags

Comedy, Everybody Loves Raymond, Frasier

I admit to being a lover of comedy when it’s done right. Two of my favourite comedy series are Frasier and Everybody Loves Raymond. Below I will list why I love them so.

Everybody Loves Raymond:

• That jingling music that is both funny and catchy.
• The family that is the Barone’s, dysfunctional in the best sense of the word.
• The timing and situations that happen.
• How it could be deep at times.
• And of course, the riotous humour.

Frasier:

• The ear worm of a theme song.
• The immense chemistry between the cast.
• The cast and guest stars that kept it so fresh.
• The way the characters were written and portrayed.
• How it knew when to bring in emotion.
• And last but not least, the scintillating comedy.

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Paddington

Tags

2010's, Adventure, Ben Whishaw, Comedy, Hugh Bonneville, Imelda Staunton, Jim Broadbent, Julie Walters, Madeleine Harris, Michael Gambon, Nicole Kidman, Paddington, Paul King, Peter Capaldi, Sally Hawkins, Samuel Joslin

Film Title

Paddington

Director

Paul King

Starring

• Ben Whishaw as Paddington Bear
• Hugh Bonneville as Henry Brown
• Sally Hawkins as Mary Brown
• Julie Walters as Mrs. Bird
• Nicole Kidman as Millicent
• Madeleine Harris as Judy Brown
• Samuel Joslin as Jonathan Brown
• Peter Capaldi as Mr. Curry
• Jim Broadbent as Mr. Gruber
• Michael Gambon as Uncle Pastuzo
• Imelda Staunton as Aunt Lucy

A sprightly, adventure-filled and heartwarming take on the classic stories of Michael Bond’s marmalade loving, eponymous bear, Paddington is one of those movies that it’s hard to find fault with. Primarily, this stems from the fact it’s so much fun and an utter delight of comedy, heart and wonder.

We begin in the jungles of Darkest Peru, where we discover an English explorer happening upon two very intelligent bears with a love of marmalade. In time, he teaches them about modern life and even gets them to talk. Before heading back to civilisation he promises them a home in London if they should ever need it. The two bears, named Pastuzo and Lucy, have a nephew with them many years later; a curious and fun-loving bear who shares their taste for marmalade. But their harmony is shattered when an earthquake hits and kills Uncle Pastuzo. Aunt Lucy is getting older and can’t take care of Paddington as she once could. she remembers the explorer’s words of promise about there always being a home in London. Stowing her nephew into a cargo ship, she bids him farewell in the hope he will find a happy, new home. Upon arrival in London, he is met with hostility and all hope for a lovely, caring family to take care of him seems lost. That is until he encounters the Brown Family at Paddington Station. The mother, Mary, gives him the name Paddington and being a kind, considerate person, she offers to house him in her home. Her fussy and killjoy husband Henry, who is obsessed with keeping things risk-free, is completely against the idea of Paddington living with them. The children Judy and Jonathan, are thrilled to have Paddington with them, despite their father’s trepidation. Paddington is most curious to know more about the professor who visited Darkest Peru all those years ago and roping the family into things, he gets them into a whirl of unintentional mischief and laughs. But there is an evil taxidermist by the name of Millicent who has discovered Paddington and will stop at nothing to make him part of her sinister collection, now on his tail. Cue much mayhem, thrills and adventure for the bear and the Brown Family.

Paul King directs with an enormous amount of heart, humour and deeply felt love that explodes from almost every frame. It will take someone with a real damp view of life to not smile or have fun with a movie such as this. King just pushes all the right buttons of raucous humour, heartfelt sentiment and just plain adventure in a way that is spellbinding and an utter delight throughout. sense of magic and feel good factor it has going for it. It’s adventure of the highest level that proves totally sprightly and accessible to all ages. The blending of CGI in the title character and the real-life surroundings, that are continuously colourful, is seamlessly done. On a visual level, Paddington scores major points. The bright as a button colour scheme and adventurous ways of showcasing this zany fable are here in a glorious pot of love. And speaking of love, the film truly gets across the message of accepting people and loving one another beautifully and with clarity. The humour covers a wide spectrum from the mischievous and playful(Paddington accidentally flooding the Brown’s bathroom for starters) to nods and winks to older members of the audience, without missing a beat or getting overstuffed. It’s rare to come across a film such as Paddington that can be a ball for everyone watching. It has a style and care to it that many movies that aim for every age can sometimes miss in the long run. The high-reaching and upbeat score are on full duty; bringing out the simply amazing story and film that it accompanies. Put quite simply, you couldn’t ask for a more enchanting movie than Paddington.

Ben Whishaw beautifully voices the title bear with a childlike adventure and sense of mischief. His relaxing tones and enthusiasm can be heard so well that it’s really difficult to imagine another person voicing Paddington with the same skill as Whishaw has. Hugh Bonneville and Sally Hawkins play well off one another as total opposite mum and dad. Bonneville is staid, careful and unwilling to entertain fancy notions, Hawkins is imaginative, lovely and slightly zany. Both consummate actors invest a lot into their respective roles(which also goes for pretty much the entire cast, who are finely assembled). The ever-dependable Julie Walters has a whole bundle of fun as the elderly relative of the Brown’s, whose quick wit and precision with cleaning ensures things are up to her tidy standards. Nicole Kidman is a dark delight as the villain of the piece; a Cruella like woman who wants to add Paddington to her collection. Kidman is both menacing and tongue in cheek funny, while also embodying something seductively devious too. It’s obvious that she had a really fun time playing this type of character just from the looks on her face. Child actors Madeleine Harris and Samuel Joslin are ideal for the roles of the Brown children who take the bear under their wing. Peter Capaldi is very amusing and slimy as the local nosy neighbour getting in trouble with the evil taxidermist, while Jim Broadbent provides sage as a man who helps point Paddington in the direction of what he seeks. Briefly found voicing Paddington’s relatives in Darkest Peru are Michael Gambon and Imelda Staunton, whose pathos and warmth are felt from the get go, despite only being on the screen for a short duration.

Hilarious, riotously entertaining and aimed at all ages, Paddington takes its place as a firm favourite that will pull you in with its message of family and its massive beating centre that is the lovable bear.

Carry On Spying

Tags

1960's, Barbara Windsor, Bernard Cribbins, Carry On Movies, Carry On Spying, Charles Hawtrey, Comedy, Dilys Laye, Eric Barker, Gerald Thomas, Jim Dale, Kenneth Williams

Film Title

Carry On Spying

Director

Gerald Thomas

Starring

• Kenneth Williams as Desmond Simpkins
• Barbara Windsor as Daphne Honeybutt
• Bernard Cribbins as Harold Crump
• Charles Hawtrey as Charlie Bind
• Jim Dale as Carstairs
• Eric Barker as The Chief
• Dilys Laye as Lila

A frequently hilarious send up of the Bond movies and Film Noir in parts, Carry On Spying is an enjoyable and fun ninth entry into the long-running movies that is also the last to be filmed in black and white. Be prepared for a riot of laughs here.

A top-secret chemical formula is stolen by an agent who plans to deliver it to an evil organisation known as STENCH. The British Secret Service are panicking at the impending doom that could grow if STENCH gets their hands on the formula. Due to budget cuts and lack of resources, the Chief has to rely on trainee agents to take part in the mission. They are headed by the snide and deluded Desmond Simpkins, and the rest consist of goofy Harold Crump, chirpy Daphne Honeybutt and clumsy Charlie Bind. They are hardly the most effective crew to retrieve something so crucial, but are aided by the fact that Daphne has an excellent photographic memory. They journey to Vienna to meet with another agent( the very Bond like Carstairs) but attempts of a rendezvous are thwarted by the incompetence of the crew and a delirious series of mix-ups that also sends them to the Algiers in search for the formula is what hilariously follows. Who ever said the spying game was just for geniuses?

Gerald Thomas is once more director and clearly on the ball with this offering of jokes and funny goings on. His sense of fun and spoofing of the spy genre is put into great effect, making the laughs flow like a nice wine. Spying is the last black and white entry of the series and it signs off from monochrome with some style and rollicking action. The long shadows of Noir, in particular The Third Man, as well as the James Bond movies, are sent up in hilarious fashion as a whole host of comedic mix-ups have the agents in all sorts of bother with the enemy. While spoofing spy movies and thrillers, Carry On Spying does have the right atmosphere for a movie of that kind, though one with a hell of a lot more zany antics. The pace is lightning quick, benefiting the often outrageous and farcical ventures the bumbling group get themselves into. It’s this efficiency and riotous laughs that are the biggest points of praise in Carry On Spying. From outrageous opening to hilarious headquarters mayhem, there’s no shortage of giggles to be had with Carry On Spying. The innuendo is there and often extremely funny, but never overtly in your face. This makes it an innocent but no less fun outing for the usual assembled gang and more in keeping with some of the earlier entries in the series. Matching the slapstick and crazy occurrences is a very lively score that is the definition of cartoonish.

Kenneth Williams is the main man here, delivering a scene-stealing turn playing the overblown nitwit who thinks he’s a lot better than he actually is. Employing a snide voice and dispensing on liners like there’s no tomorrow, Williams is on fine form from start to finish. Barbara Windsor( who’d later become something of a staple in the Carry On’s) makes her debut here with a light, funny and very cheeky performance. Often later cast as a bimbo or lusted after girl, it’s quite nice to see Windsor as sexy but somewhat more innocent than her latter outings show. It’s a nice, fizzy and wide-eyed performance as the most reliable and resourceful member of a rag-tag team and one that cements Barbara Windsor as something special in these movies. Bernard Cribbins is back following the last movie Carry On Jack, and his goofiness and timing are on point as one part of the inept agents trying to retrieve the formula in rib-tickling style. The last part of the foursome is the delightfully impish Charles Hawtrey; who is customarily camp and energetic in his manner. The main quartet work very well together and the smashing fun depicted transfers directly to the audience through their enthusiasm and brightness. Many of Spying’s laugh come from Jim Dale as a man of disguise whose always thwarted and troubled by the bumbling agents. The fact that he’s on their side and they constantly hinder his chances of glory are the stuff that chuckles are made from. Eric Barker is on familiar but humorous form playing the figure of annoyed and aggravated authority that he knows so well. Dilys Laye( her last appearance being in Carry On Cruising) nicely returns with a devilishly seductive part of a go-between agent who constantly switches sides with aplomb.

Carry On Spying is damn good fun that moves along at a scintillating pace that never lets up, making the enjoyment that much more wonderful. Definitely a high point of the Carry On Movies at least in my book that is. You’ve got a good afternoon film to watch with Carry On Spying that’s for sure and certain.

 

Carry On Jack

Tags

1960's, Bernard Cribbins, Carry On Jack, Carry On Movies, Charles Hawtrey, Comedy, Donald Houston, Gerald Thomas, Jim Dale, Juliet Mills, Kenneth Williams, Percy Herbert

Film Title

Carry On Jack

Director

Gerald Thomas

Starring

• Bernard Cribbins as Midshipman Albert Poop-Decker
• Juliet Mills as Sally
• Kenneth Williams as Captain Fearless
• Charles Hawtrey as Walter Sweetly
• Donald Houston as First Officer Howett
• Percy Herbert as Mr Angel
• Jim Dale as Carrier

The first hysterical historical from the Carry On team, Jack doesn’t exactly rank as one of its finest hours. Most of the main team are missing and the humour could be better in many stretches, but it’s not a complete disaster. It’s just a good Carry On rather than a great one.

After Nelson dies, the English realise they need more men fighting. With the shortage, one Albert Poop-Decker , who has spent eight and a half years training becomes a midshipman. It is what follows to Albert that puts the main plot into gear. He is to report to the frigate Venus as soon as possible. Yet after going to a local tavern to have a good time, he is knocked out by the beautiful Sally. She commandeers his clothes and identity to get aboard the Venus. Around the same time, Albert and a cess pit cleaner named Walter are press ganged by members of the ship and taken aboard in an ironic situation for Albert. The boat is captained by Captain Fearless, who is quite the opposite of what his name says and is very inept at his job. Despite his protests, Albert is reduced to seaman and also discovers Sally on board disguised as him. Meanwhile, bullying First Officer Howett and bosun Mr Angel, have become fed up with the Captain’s lack of expertise and with Howett wanting to experience some action, they begin plotting something devious against him. Rather than a mutiny, they stage it so it looks as if the boat has been invaded, causing Albert, Captain Fearless, Sally and Walter to flee. The quartet drift in the sea before reaching what they think is France, they actually wash up in Spain. As the two sets of crew continue on, Albert finds himself in hot water constantly as much misunderstanding, subterfuge and bad luck mark his eventful days of outrageous adventure at sea.

Gerald Thomas is once more behind the camera and though it’s far from his best work, he manages to make Carry On Jack whiz along. He also gets the staple of aping a particular film style right with the spoofing of cinematic swashbucklers and Napoleonic War stories. The main problem with Carry On Jack is that it just doesn’t quite have that snap that really makes a Carry On. Now the Carry On Movies are hardly what you’d call respected or high art and neither do they try to be, but there are certain things that the movies must have for them to be successful. First and most important, the humour has to be the biggest concern for entertaining the audience. That’s not to say that Jack doesn’t have its comedic moments, it just could have been funnier than it actually was. With most of the humour here, it just doesn’t hit the target as well as other entries in the eventful series of the comedies. Far more laughs could have been generated if some thought has gone into things. The innuendo is strong and often good, but the regression in humour fails to back it up. The lack of the main Carry On team are missing, which in turn plays into some of the flaws because we miss certain members of the usual gang. But it’s not all bad in Carry On Jack, there are some moments of treasure to glean. When the humour does hit, it can be rather good and make the journey quite fun. Most of it centres on the misadventures of Albert and how unlucky he is. If the humour had been more consistent, this could have benefited Jack and made it a great movie. The film is shot in colour and despite the movies being notoriously low budget, everything looks full of life and bathed in brightness. With the last movie, Carry On Cabby, being in black and white( and effectively so), seeing some colour here is welcome. The musical score is agreeable and cleverly pokes fun at the grand ones used in big historical epics.

Though most of the usual gang aren’t present, the cast still delivers. Bernard Cribbins is a good lead, playing the unlucky Albert with great skill and humour. He employs this look of bewilderment at his unfortunate circumstances that really is quite amusing.  Juliet Mills, in her only Carry On outing, clearly has a lot of fun being sneaky, romantic and capable. Plus, she is so lovely in manner and appearance that it’s a shame she wasn’t in more Carry On Movies. Stalwarts Kenneth Williams and Charles Hawtrey are here doing what they do best, especially in the case of Williams and his gift for comedy. Donald Houston, with a menacing bull-dog like approach, plays the angry and plotting First Officer extremely well and is supported admirably by Percy Herbert. We get an amusing cameo from Jim Dale at the beginning of the picture and he gets the best line of the entire movie.

So while it does possess some charm and fun factor, Carry On Jack just winds up being a less than memorable entry into the canon due to the lack of cast regulars and a dive in the humour.

A Christmas Story

Tags

1980's, A Christmas Story, Bob Clark, Comedy, Darren McGavin, Drama, Jean Shepherd, Melinda Dillon, Peter Billingsley

Film Title

A Christmas Story

Director

Bob Clark

Starring

• Peter Billingsley as Ralphie Parker
• Darren McGavin as Mr Parker
• Melinda Dillon as Mrs Parker
• Jean Shepherd as Adult Ralphie

A warm-hearted, funny and overall perennial Christmas classic, A Christmas Story is required viewing at this time of year.

It is the run up to Christmas in the early 1940’s and nine-year-old Ralphie Parker is an excitable boy. The one thing in the world that he wants for Christmas is a Red Ryder BB gun. So he sets in motion plans to convince everyone he should receive his desired gift. The problem is that it isn’t as easy as that as his wish is greeted with the remark ‘You’ll shoot your eye out.’ His eccentric family; a grumbling father who prides himself on , a caring yet firm mother often keeping the peace and an awkward little brother, provide a lot of the humour present. Ralphie attempts to persuade his parents, his teacher and even Santa that the Red Ryder BB gun is the best gift, but finds himself hitting stumbling blocks a long the way. Between dodging the local bully and the various annoyances caused by grown-ups, Ralphie attempts to make his plan a success. Along with other vignettes, we follow Ralphie in his quest to get that treasured toy gun in any way possible for his young mind.

Bob Clark is the inspired guy directing this seasonal favourite with love and appropriately from a child’s point of view. It’s a credit to him and the winning screenplay that Ralphie doesn’t become some whining brat, instead being a little boy with a big imagination who desperately wants that Red Ryder BB gun . This is one of many things that really creates such a warm atmosphere, as we can all see ourselves a little in Ralphie and his insatiable love for the gift he wants. A Christmas Story is essentially a rumination on the adventures of childhood and how everything looks through youthful eyes. dares, games and observations on everything around it are all here for us to enjoy and also reflect ourselves on our own adventures in the younger times of life. With added insight also given info how family can be quirky but no matter how strange, they matter at the end of the day. The framing device of an adult Ralphie narrating his campaign to get his desired present is inspired and the often wry but still excited words we hear, still let us remember the kid that’s inside all of us. There is a very personal slant to the film as it is narrated by Jean Shepherd, whose semi-autobiographical book was the basis for the film. A Christmas Story is extremely successful at getting to the heart of what it means to be a kid; how things seem a big deal when you’re little, how events can seem unfair but can pan out well in the end and how Christmas plays such a big part of it all. We’ve all surely felt like Ralphie at one point or another with that one special present we lust after as if our lives depended on it? And we’ve all experienced what we deem to be unfair treatment and behaviour that seems strange from adults, best envisaged in unusual scenes that highlight the fears of Ralphie. That’s why A Christmas Story resonates so beautifully with me and almost everyone else who sees it; the fact that it is not afraid to tread into moments of darkness, before bringing it back to fun and lightness with adventure coming through again. And talk of memorable moments in a movie; A Christmas Story boasts plenty. From the leg lamp that Mr Parker wins and proudly displays in the front room to Ralphie’s friend getting his tongue stuck to an icy lamppost  as a dare, there’s no shortage of parts to love about A Christmas Story.

Our main cast is totally amazing and so well suited to their roles, cleverly embodying them with a great deal of fun. Peter Billingsley is marvellously engaging as the protagonist of Ralphie. Everything revolves around him and the young Billingsley, with his large eyes and wonderful facial expressions, gets across what it is like to be a kid wanting something so desperately. You really can’t see anyone else playing Ralphie as Peter Billingsley is so good at it. And we really want him to get that Red Ryder BB gun because of how well and how relatable Ralphie ultimately is. Darren McGavin is exceptional as the serious and often gruff father who does love his family, he just doesn’t show it enough. The serene and protective side of the family comes with the lovely Melinda Dillon as the mother, whose support and doting are balanced with her degree of fairness and quiet authority. Having Jean Shepherd be the narrator was a fantastic choice as his voice is so full of both childlike glee and an adult’s view of things. It works on so many levels within A Christmas Story and is yet another reason to love it.

A fun evocation of nostalgia, the awkwardness of childhood and above all Christmastime, A Christmas Story lives long in the mind and heart. You can watch this movie every time it is near the December 25th and never get bored, due to the spirit and love it has.

Carry On Cabby

Tags

1960's, Amanda Barrie, Bill Owen, Carry On Cabby, Carry On Movies, Charles Hawtrey, Comedy, Drama, Esma Cannon, Gerald Thomas, Hattie Jacques, Jim Dale, Kenneth Connor, Liz Fraser, Sid James

Film Title

Carry On Cabby

Director

Gerald Thomas

Starring

• Sid James as Charlie Hawkins
• Hattie Jacques as Peggy Hawkins
• Charles Hawtrey as Terry ‘Pintpot’ Tankard
• Kenneth Connor as Ted Watson
• Esma Cannon as Flo
• Liz Fraser as Sally
• Amanda Barrie as Anthea
• Bill Owen as Smiley
• Jim Dale as Expectant Father

The seventh Carry On movie, Cabby marks itself out as something a tad different from the norm, yet still boasting all the fun and good time a movie like this is expected too. Combining a keen eye for life at the time and the usual naughty comedy, Carry On Cabby is a resounding and pardon the pun, driving success.

Charlie Hawkins is a cheeky owner of a London taxi company named Speedee Cabs. Although a charmer to a fault, he’s also something of a workaholic to say the very least. His kind wife Peggy has grown tired of her husband’s devotion to his job, that has put a wedge between them that only she can see. She hopes that one day he will show her some appreciation, even though he doesn’t mean to be as inattentive as he seems. Also occupying the taxi company is loyal second in command Ted, whose often bickering with his tea lady girlfriend Sally and new driver nicknamed Pintpot who is prone to all sorts of mischief. Charlie’s dedication to his job finally comes to a head when he misses his wedding anniversary. This proves the last straw for Peggy, who decides that she must teach her husband a lesson. Using her initiative, she decides to secretly set up a rival taxi cab firm. It is named Glam Cabs, which she populates with gorgeous ladies to draw in customers. Staying in the background but pulling the strings, Peggy sets her girls out for a taste of success. The game is on as competition and all bets are off as Glam Cabs begins to succeed and Charlie’s company flounders, all with Peg motivating events to her advantage and giving Charlie a taste of his own medicine.

Gerald Thomas directs with his customary flair for comedy, while expanding on some drama in the piece. It’s clear that this a Carry On that wants to be more than funny and it actually accomplishes it winningly. After the colour of Carry On Cruising, the choice to go back to black and white pays dividends here. While primarily a comedy, Cabby has a certain serious undertone to it which surprises but finds something to say. With the film being made in the early 60’s and with more expression for women, Cabby reflects this change and how there was still a very big divide on what women were thought as and how they should be. Cabby gets in the laughs, but the social consciousness of it is what really makes it stand out in my eyes. Bucket loads of innuendo and sexiness abound in much the way you’d expect from a Carry On, but added in among Carry on Cabby’s virtues is a take on women striking out in a man’s world. Granted this includes using sex appeal and physical advantages, the feeling of fun mixed with the script that tackles what was going on at the time, any worries of overt sexism are cooled as its so well written. A serious topic is displayed with a tongue in cheek approach that still gets the message across; a success in my book. And talking of well written, Carry On Cabby is really the first of the film’s to really focus on character. You really get to know the people here, especially and the battle of the sexes their differences stoke. Combined with various incidents of great slapstick, this depth and character is what really counts in this hilarious outing for most of the team. Many moments stand out here, not least of all the ongoing battle between both companies and the various, sly methods employed to get business. Plus, we get the first appearance of Jim Dale, in a humorous interlude as an expectant father whose mind is rattled and whose constant journeys that he employs Charlie for land the latter in extremely hot water. The music is typically and amusingly jaunty, which is just what you want.

Sid James takes centre stage, perfecting his Cockney charmer and rogue routine that is great to watch. Acting alongside Hattie Jacques, James makes his character a blinded man who is good deep down. Hattie Jacques is beautifully moving and later on mischievous as the aggrieved wife, who takes control and fights fire with fire. Although she was remembered for playing the battle-axe or stern woman of authority, Jacques displays a real sensitivity and strength here that is a fine example of her talents. Charles Hawtrey returns to the fold with his fine brand of hapless pratfalls and slapstick, that is also complimented by the always excellent Kenneth Connor. Esma Cannon, in her last Carry On film, lights up the scream as the mischievous second in command for Glam Cabs. Liz Fraser once again provides the glamour and lusciousness of womanhood. Amanda Barrie has fun as the flirty Glam Cab girl who gets the most attention, while Bill Owen has his last Carry On outing in a funny interlude at the start of the film. The previously mentioned Jim Dale is a real hoot in his debut outing, which would lead to countless more.

A great entry into the ongoing franchise, Carry On Cabby mixes a certain social undercurrent to compliment its laughs and bring that something different to the table.

Crooks in Cloisters

Tags

1960's, Barbara Windsor, Bernard Cribbins, Comedy, Crooks in Cloisters, Davy Kaye, Francesca Annis, Gregoire Aslan, Melvyn Hayes, Ronald Fraser, Wilfred Brambell

Film Title

Crooks in Cloisters

Director

Jeremy Summers

Starring

• Ronald Fraser as Little Walt
• Barbara Windsor as Bikini
• Bernard Cribbins as Squirts
• Gregoire Aslan as Lorenzo
• Davy Kaye as Specs
• Melvyn Hayes as Willy
• Wilfred Brambell as Phineas
• Francesca Annis as June

An amiable and easy comedy about a band of crooks living in hiding by pretending to be monks, Crooks in Cloisters has a certain sunny feeling that’s difficulty to resist. Yes it may not be a vintage comedy and some of its dated, but the fact that it’s got something of an irony to it keeps you watching.

Amiable Little Walt, along with his crooked crew, consisting of his lady Bikini, flashy Squirts, Spanish and talkative Lorenzo , nervous Specs and poetry loving Willy, pull off a small train robbery in London. Yet rather than basking in the glory of their earnings, they have to keep a low profile. Fleeing London because of the increasing search for them being headed by a determined detective, Walt tells them all that he has somewhere ideal for them all to stay. It’s an island on the Cornish Coast.  What he hasn’t explained is that they will be hiding out in a monastery and disguised as monks! This is to everyone else’s dismay as they expected something else entirely. As they all get to grips with difficult life as pretend members of clergy, Walt continues to have a sideline in crime to make some living, but largely goes at it straight. They are helped by former sea dog and fisherman Phineas, who can be a crafty so and so at the best of times. Much hilarity ensues as they all try to make a go at things in the most unlikely of circumstances. The funny thing is the whole gang, initially after failed attempts, grow to like the monastic lifestyle and while crooks, they begin to rethink their ways and consider going straight for the very first time.

Jeremy Summers directs this easy film with no frills or pretence, just the desire to have a good time. Plus, the Cornish coast does look very idyllic in the grand scheme of things. The first half of Crooks in Cloisters is filled with amusing antics as the group struggles with living like genuine monks, as old habits die hard for them all. The attempts by Bikini to serve up edible food provide great laughs, while the forever gambling minded Squirts can’t resist placing a few bets on his winning greyhound. The script, which contains lashings of Cockney slang and references, also gets the film at a sprightly pace. Crooks in Cloisters goes a little overboard on occasion and while the Cockney humour is amusing to me, many who are unfamiliar with it may have difficulty seeing it as funny. But the good nature of proceedings is pretty winning and hard not to smile at watching a most unlikely group find unexpected joy in a lifestyle so different from their own. It’s not high art, but neither is it trying to be. The film is the equivalent to a movie you put on during a Sunday afternoon when there’s nothing else that takes your fancy. It’s harmless and simplistic, yet has a certain amusing and cosy charm going through its veins. Crooks in Cloisters is more a film to chuckle at than really laugh out loud at, not that that’s a bad thing mind you. It’s a familiar set up of. What largely benefits the film is a sprinkling of depth in the latter stages, added with a sort of bittersweet irony that befalls the gang. A comical score is employed and while a tad over the top, often suits the events on screen.

While the characters are largely archetypes, the actors clearly have fun with them. Ronald Fraser is very fun as the leader of the motley crew who likes to think he has a plan up his sleeve, but regularly falls short on delivering that. There’s a good heart in there, beneath all the bravado and schemes that Fraser plays to a fine degree. Barbara Windsor, possessor of helium voice and bouncing, bubbly attitude, has some hilarious moments as the moll of the bunch, specifically when she becomes interested in the culinary arts and takes issue with the reaction to her meals. The delightful Bernard Cribbins is a hoot as the most conspicuous member of the group, whose mind is usually on placing bets or some other wanted luxury that leads to trouble. Gregoire Aslan is the wittiest of the bunch, while Davy Kaye is the always timorous and most unable to hold his own water. The youthful looking Melvyn Hayes is a standout here. Playing the most eloquent and sensitive member of the motley crew, he has a real desire and passion to embrace the lifestyle with an almost childlike glee. You can’t help but smile when this guy comes on screen. Wilfred Brambell as the sneaky former seaman and Francesca Annis as his gorgeous granddaughter also make a mark in this comic movie.

So while it’s no comedy classic by any means, the gentleness, laughs and later a slightly bittersweet tone makes Crooks in Cloisters a smashing way to spend and hour and a half.

Carry On Cruising

Tags

1960's, Carry On Cruising, Carry On Movies, Comedy, Dilys Laye, Esma Cannon, Gerald Thomas, Jimmy Thompson, Kenneth Connor, Kenneth Williams, Lance Percival, Liz Fraser, Sid James

Film Title

Carry On Cruising

Director

Gerald Thomas

Starring

• Sid James as Captain Crowther
• Kenneth Williams as First Officer Leonard Majoribanks
• Kenneth Connor as Doctor Arthur Binn
• Lance Percival as Wilfred Haines
• Liz Fraser as Glad Trimble
• Dilys Laye as Flo Castle
• Esma Cannon as Bridget Madderley
• Jimmy Thompson as Sam Turner

The sixth movie in the long running comedy series, Carry On Cruising is the first on colour too. And it adds to the summery, breezy charms of this venture as a cruise ship is beset by calamities and romantic chases in typically amusing fashion.

On the cruise ship ‘The S.S. Happy Wanderer’ seasoned Captain Crowther is hoping for a smooth sea journey before he takes a prestigious job on another liner. His wish for seeming stability is thwarted when he sees that a number of his usual, loyal crew have been replaced either through illness or other things. What he gets is gossip First Officer Leonard, timid Doctor Arthur Binn, dopey, seasick chef Wilfred Haines and Barman Sam Turner , who can’t mix the Captain’s favourite cocktail. Everyone is dying to impress the Captain, in the hopes that they get to become staff on his other vocation. Trouble is as hard as they try, trouble seems to follow them everywhere they go. And the passengers on the cruise are also a spirited and eventful bunch too. Blonde beauties Glad and Flo are friends and sometimes rivals when it comes to being on the lookout for a man, though Glad can’t see that Doctor Binn is clearly infatuated with her. And Bridget Madderley is a sprightly, amazingly spirited old woman who can show the young ones just how to have some outrageous fun. With the crew and passengers all at sea quite literally and zany catastrophes afoot, it’s a high time at sea for Captain Crowther and his new crew.

After the less than stellar Carry On Regardless, Gerald Thomas finds himself on summery, jolly form with a delightful outcome for us the audience. I adore how the humour is both from the dialogue and of the physical variety; an array of great faces and movements are once again the real crux of the humour here. And add in the colour for good measure, and it all feels so frightfully romantic. There’s still room for innuendo and double entendres, but they are buttressed by the sweetly innocently amorous adventures of the ship that stay on the right side of cheeky. Importantly, Carry On Cruising would be the last of the series to feature a script by Norman Hudis, who had previously scribed every entry to this point. His nudge wink humour and feeling of group camaraderie in hilarious circumstances can not be underestimated in the history of the film’s and he goes out in fine style. The antics and comedic acts that go on in Cruising have laughs written all over them for your enjoyment. From an a,using ping-pong game to clueless whipping up a frankly revolting cake that he somehow thinks is world-class, there’s no shortage of hilarity to be had with Carry On Cruising. When you go into a Carry On, it’s the laughs you want. Yes there is a story, but it’s the efforts of the cast that you most treasure and the familiarity of it all makes it cosy. You can accuse the Carry On movies of repeating the same formula, but the fact that you know what you’ll get actually causes them to be very satisfying as a result. Not every joke hots the mark, but the antics and farce are in high supply and move Cruising on at a quick and pleasing pace. One notable absence in Cruising is that of Charles Hawtrey, who had a disagreement with production after wanting top billing. He is missed in this film, as are Joan Sims and Hattie Jacques. Yet despite their absences, Cruising doesn’t fall apart and continues on in greatly comic tradition with the rest of the regulars. A tropical and tongue in cheek score provides just the ticket for this entry.

Sid James heads proceedings in a somewhat serious role, that still gets humour under the belt. As the beleaguered, grizzled captain who is beset by problems, James clearly has fun playing the long frustrated man wanting to sign off in style, but seeing it is far from steady water ahead. The hilarious Kenneth Williams is here as agony aunt, who has a tendency to meddle and on more than one occasion, use his loquacious ways to endear himself and others to the Captain. With his usual array of catty one liners and hysterical facial expressions, its happy sailing for Williams. Also in great spirits and good form is Kenneth Connor, bringing out the shyness and permanently unlucky in love aspects of his part in the way he always does. Both Kenneth’s have some dazzling scenes together, obviously bouncing off the other with ease. Getting a lot of the laughs is Lance Percival; him of the dumbfounded yet childlike expression. He is a hoot as the chef on the cruise, at times completely oblivious to his shortcomings and causing a near riot in the process. Dilys Laye and Liz Fraser are on hand for the loveliness and flirtatious banter and looking ravishing while doing it too. Liz Fraser stands out the most out of the two women, being both cheeky and warm. And one can’t forget the immensely humorous showing from Esma Cannon, who gets up to all manner of mischief during her time at sea in an impish way. Given the least to do is Jimmy Thompson as the wet behind the ears barman, though he has his fair share of moments.

A generally sweet and somewhat more romantic Carry On, Cruising ticks the required boxes and joyously delivers the comedy goods with an abundance of energy.

Carry On Regardless

Tags

1960's, Bill Owen, Carry On Movies, Carry On Regardless, Charles Hawtrey, Comedy, Esma Cannon, Gerald Thomas, Hattie Jacques, Joan Hickson, Joan Sims, Kenneth Connor, Kenneth Williams, Liz Fraser, Sid James, Stanley Unwin, Terence Longdon

Film Title

Carry On Regardless

Director

Gerald Thomas

Starring

• Sid James as Bert Handy
• Kenneth Connor as Sam Twist
• Charles Hawtrey as Gabriel Dimple
• Joan Sims as Lily Duveen
• Kenneth Williams as Francis Courtenay
• Bill Owen as Mike Weston
• Liz Fraser as Delia King
• Terence Longdon as Montgomery Infield-Hopping
• Esma Cannon as Miss Cooling
• Stanley Unwin as Landlord
• Joan Hickson as Matron
• Hattie Jacques as Nurse

The fifth entry in the franchise, Carry On Regardless for me hits a stumbling block. While it’s still funny, the focus on too many individual incidents gets laborious and it feels like there is too much going on and not all of it good. Suffice to say, Carry On Regardless is my least favourite entry so far in the long running series.

A group of disgruntled individuals meet in the Labour Exchange, moaning about the severe lack of jobs. They are perpetually unlucky Sam Twist, clumsy and harmless Gabriel Dimple, amiable Lily Duveen, snotty language expert Francis Courtenay, gruff chap Mike Weston, gorgeous blonde Delia King and well-groomed Montgomery Infield-Hopping. On the very same day, a discovery in the paper for an agency known as ‘Helping Hands’ is found. Given the lack of jobs, the motley crew races to the office to get work there. The agency is run by the crafty Bert Handy, who along with his secretary Miss Cooling, hopes the business of ‘Helping Hands’ can be successful. Hiring the group, he awaits greatness. At first, business is pretty slow for all involved. Yet eventually, given that the agency has advertised that they will take whatever job there is, offers flood in for the staff. Which of course means that unusual and kooky antics are bound to follow, especially with this group of misfits taking part. And when the new order system that assigns jobs for everyone is mixed up, much mayhem ensues.

While Gerald Thomas knows what he’s doing to get laughs, his direction is as uneven as the stories at play. Nothing bad by any stretch, just a feeling of being too thrown together and forced. While other Carry On Movies have been episodic, they at least had more of a clear thread running through them. Regardless just feels like an overload of ideas that could have been rendered with more efficiency. Part of the fun in a Carry On is the camaraderie and group effort of the thing; Regardless keeps them apart for much too long. Now there’s still humour to be gleaned, with more innuendo peppered in there in budding fashion. Owing to the scattershot narrative, some vignettes stand out more than others. Joan Sims getting sozzled at a high society is hilarious, as is Kenneth Williams walking and entertaining a Chimpanzee for the day. Kenneth Connor’s story of a misunderstood message that leads to what he thinks is a spy operation is probably the funniest of the lot, especially as it really plays up the fact that he’s such a hapless chap. While these areas of Carry On Regardless are fun and get laughs, the rest of it somehow grinds to a halt. I feel that the talents of some members of the cast where not given great stuff to work with, which is a shame considering their talents. While the score is eventful, it isn’t the finest example of music in Carry On.

Sid James, with his trademark grin and dirty laugh, is clearly having fun as the boss of the agency, who everything seems to link back to. There’s something about James that really keeps you watching, even when the stories get to be a bit of a bore. Kenneth Connor, so far a firm favourite in the Carry On team, once more plays the underdog to the hilt. Connor just knows how to gain laughs from you with his brand of hapless enthusiasm and performance. I’ve grown to love Charles Hawtrey and his comedic talents, and though he gets one particularly funny scene, I was a bit disheartened that he wasn’t given a whole lot to do. The delightful Joan Sims shines in her main scenes with her comic timing and personality, making up for some of the less assured vignettes. And of course a Carry On wouldn’t be one without the inimitable Kenneth Williams. That vocal style, mannerisms and facial expressions are just too hilarious, Williams is a masterful comedian. Bill Owen is sadly given scant to do in this venture, while the gorgeous Liz Fraser provides ample sex appeal in her debut Carry On. Terence Longdon makes his last appearance, which sadly is one that is few and far between as he feels a little shoe-horned into the mix. Providing splendid support is the sweet and pixie-like Esma Cannon, whose pretty fun and endearing as a daffy secretary. Stanley Unwin appears, along with his trademark gobbledygook style of speaking to play a Landlord, that no one can understand. In a funny reversal of fortune from Carry On Nurse, Joan Hickson plays a hospital matron while Hattie Jacques is the put-upon nurse.

Not a bad movie, it has its moments that raise a laugh, but Carry On Regardless feels hit and miss in regards to the rest of the films.

Tremors

Tags

1990's, Bobby Jacoby, Comedy, Finn Carter, Fred Ward, Horror, Kevin Bacon, Michael Gross, Reba McEntrie, Ron Underwood, Tremors, Victor Wong

Film Title

Tremors

Director

Ron Underwood

Starring

• Kevin Bacon as Val McKee
• Fred Ward as Earl Bassett
• Finn Carter as Rhonda LeBeck
• Michael Gross as Burt Gummer
• Reba McEntrie as Heather Gummer
• Bobby Jacoby as Melvin
• Victor Wong as Walter Chang

A fine horror comedy that lovingly sends up and celebrates 50’s monster movies, Tremors is a fun ride and a film that has you laughing just as much as biting your nails.

Handy men Val McKee and Earl Bassett are growing bored with their lives in the desert town of Perfection, Nevada. Val is the younger of the men and more than a bit jocular, Earl is the older and more pragmatic of the two. While neither are the sharpest or brightest, they know that they can’t just doing menial jobs for their lives. Deciding to pack up and leave, their short-lived exit from town is cut short by the discovery of a dead body. The man in question is found up a pylon, dehydrated after being too afraid to climb down. Shortly following this is more gruesome discoveries and the men encounter seismologist Rhonda LeBeck, who has been investigating unusual activity in the desert area. It transpires that worm like creatures have emerged from beneath the ground and been attacking the residents, taking them underground for sustenance. With help from Rhonda, it is deduced that vibration and noise is what attracts them, leading the survivors to think up ways to communicate without being caught and plot some form of break from the growing onslaught . Holed up back in the dusty town, Val and Earl take residence in the convenience store with some of the other residents. But these creatures are getting smarter and more vicious, leading more frequent attacks .It’s now up to the group to come up with some way to escape being the next meal of these ferocious creatures.

Ron Underwood has a knowing sheen to his direction; gladly combining the humorous and shocking into one big ride. His efficient pacing makes certain that no flab is found and we get straight into the action, while still allowing the characters to take centre stage. The small community all have their respective quirks and foibles, which is pretty fun to see as they slowly band together to survive and defend themselves against the creatures. It’s a simple story, but Tremors knows this and with a winking eye to the audience, acknowledges what you’d expect from a 50’s creature feature and adds its own brand of things to the mix. Things especially hit a high point when the residents are forced onto the roof, while still attempting to conjure a plan of escape as well as keeping noise to a minimum. Having to be extremely careful not to alert the creatures of their presence The design of the worm like critters is through practical effects, and it looks well-worn by now, yet this adds something else to Tremors. What Tremors most has going for it is the humour, which is delivered in spades. The running gag of Val and Earl being unable to leave town, at first because of trivial things and soon quite deadly events, is hilariously done and plays throughout the darkly comic heart of Tremors. Horror and comedy is sometimes a difficult tightrope to walk, but Tremors does it extremely well. It ensures that the laughs are very present, but that it can ratchet up suspense and deliver the horror goods when required. Through quick point of view shots, the nasty creatures attack and we are thrown into the fray as they wage war on the residents. It’s a slice of entertainment of the highest order, complimented by a tongue-in-cheek and jaunty score that fits just right with the tone of the movie.

Kevin Bacon and Fred Ward lead the way as the two unlikely heroes of the piece. They are likable guys who while not the smartest people ever, have enough gumption and attitude to take on the terror in front of them. They are bungling, prone to disaster ,funny yet nifty when it comes to being practical and using what they have at their disposal.  A lot of the effectiveness comes from the chemistry between both actors, who clearly are having a blast and enjoy working with each other as the amusing and heroic duo. It wouldn’t be the same without Bacon and Ward in these roles, adding a goofy and irresistible charm to it. Smarts are provided by Finn Carter’s scientist, who is the real brains of the piece and a woman who can take action effectively too when the occasion calls for it. Stealing a lot of the show however is Michael Gross; portraying the war-obsessed and tooled up Burt Gummer with a boisterous personality and wicked gleam in his eye. His attitude and presence are both funny and hopeful, because at first his paranoid antics regarding a new war are laughed at, before coming in extremely useful as the horror rises. Reba McEntrie is his wife, who shares his obsession and love of firearms, while there is Bobby Jacoby as the town brat and Victor Wong as the convenience store owner whose place becomes a shelter.

An excellent pastiche of B-movies mixed with more of contemporary sensibility, it’s hard not to enjoy Tremors for just how much of a blast it is. Never taking itself too seriously, Tremors is an all round good time for horror fans who like their movies with humour.