Film Critic Matt Taylor is enamoured with Annihilation, the second directorial effort from Alex Garland, and Netflix's latest exclusiveWritten by Redbrick Film on 20th March 2018
Review: The Party
Film Critic Phoebe Christofi implores you not to overlook low-key British drama The Party
A tragicomedy. A display of social behaviours. An A-List cast. The Party could be defined as a film in its absolute simplest form, so pure was it in its creation. Bells and whistles aside, all this movie needed to be great was a stellar cast, and boy did they deliver. No music. No colour. Just acting. With nothing distracting you from the plot, your task was to purely observe the social behaviours and interactions amongst the group of friends. With actors Kristin Scott Thomas, Timothy Spall, Patricia Clarkson, Cillian Murphy, Emily Mortimer, Bruno Ganz and Cherry Jones all interacting in an intimate setting, they kept the plot consistently flowing with both ease and skill.
A group of friends attend a dinner party at Janet (Scott Thomas) and Bill’s (Spall) house to celebrate Janet’s promotion to Shadow Minister for Health. At the beginning of the film, you’re introduced to the idea that Janet has a secret admirer or lover whose calls and texts constantly interrupting the chaos of the evening.
“The Party could be defined as a film in its absolute simplest form, so pure was it in its creation
The film was surprisingly aesthetically pleasing with its monochrome scenes and lack of soundtrack. There was something so authentic in the way that Bill (Spall) created the sound of the film through the crackly vinyl he played on his record player. This added comedic value to the plot as whenever another character meddled with the records, the tempo of the music would not match the mood of the scene, but rather created an ironic ambience.
“The film is highlighting a 21st century Britain, with its key issues of disillusionment, mainstream politics, the UK’s health service, and feminism
Verdict: In a world full of superhero movies, spy films and major franchises, it’s consoling to know that there is still something categorised as artistic theatre in existence. Unapologetically mundane with what is implied as an extraordinary plot twist, the Who’s Afraid of Virginia Woolf style film comes under the category of “Dinner Parties from Hell”, making you question what revelations could be uncovered at your next gathering.