Inside Number 9: Episode 7: La Couchette

Although certainly

weaker than any

season 1 episode, I

am still hopeful 

for the rest of

the season.

I feel that the first thing I need to discuss in regard to this episode is the idea of disappointment. Did I find this episode disappointing.... maybe. I think judgement has to be reserved until the season is complete, then I will be able to place it in full context and decide where it fits in with the show overall. Moving on from this however, I feel it is safe to say that this is my least favourite episode of the show so far. That does not make it a bad episode, as the prior season set a very high standard, however it naturally means I found some pretty gaping flaws.

Much like Sardines this episode is something of an ensemble piece set within a confined location. Unlike Sardines the episode does not attempt to create a creepy or awkward atmosphere, instead opting for a more nauseating and frustrating tone. This honestly works very well at first, with this increasing sense of pent up frustration brewing within the episodes most highlighted character (Shearsmith). However, for some reason I feel this tone becomes forgotten latter in the episode. The character's become too civil with each other, and none of the aggression or frustration leads to anything. This was a minor disappointment for me and cheapened the setting significantly. Furthermore I was a little put off by the greater emphasis on comedy, far broader comedy at that. Again, I am not worried for the rest of the season, but it grated on me somewhat this time.

Moving on from the tone, how was the acting? Well this is complicated. Shearmith and Pemberton are great, providing the bulk of the laughs in my opinion. Seeing the two bicker in German was a delight, particularly as someone who knows a bit of German and could semi-follow their conversations. The rest of the cast were fairly mixed, weaving between annoying, bland and funny, all except one, Jack Whitehall. I hated this guy, he was highly grating, utterly pointless to the episode on the whole and did nothing but deliver the most forced lines and dialogue of the entire series so far. It feels hyperbolic to say this guy almost ruined the episode for me, but he was not far off.

On a more positive note, aside from Whitehall's lines (which I can only assume was the result of  a hung-over writing session from Shearmsith and Pemberton), the dialogue is snappy and fun, granting me a good handful of genuine laughs throughout. The cinematography was also as good as ever, highlighting the claustrophobic and uncomfortable environment of the train carriage.

Overall, I still think this was a good piece of darkly comedic television. However I do not think it will be remembered highly when compared to the show overall, with it's gross-out humor and the presence of Whitehall. It should be noted that the twist was very good and did a lot to save the experience for me, offering the darkest and smartest joke of the entire episode.

By Jack D. Phillips
A Zoom Film Review
Inside Number 9: Episode 7

Inside Number 9: Season 2

Inside Number 9 season 2 has begun. I will begin reviewing each episode as they are released. I hope you enjoy!

By Jack D. Phillips

Winter's Light (1963)

Bergman's

melancholic character 

study,

may be too cold 

and flat for me.

This film is my second experience with seminal Swedish filmmaker Ingmar Bergman. I watched this film mere days after watching Through a Glass Darkly, a film which I consider to be a masterpiece. I did not review that film as I believe only a Masterpiece Corner review would do it any justice. The two film's have more connecting them than simply belonging within the same filmography, as they are part of a thematic trilogy (Darkly being the first and Winter's Light being the second). Despite my love for this film's predecessor however, I did not form a particularly strong connection to this film and found it very monotonous and dull. I do not believe this film to be poor by any means, however it did not impress me as much as I had hoped.

The most important aspect of the film to discuss is it's primary actor, Gunnar Björnstrand (also a prominent actor within Darkly). He is utterly brilliant in portraying a conflicted priest and conveys the bitterness and weariness of the character beautifully. Similar praise goes to Ingrid Thulin, who manages to balance civilised restraint with raw emotion very well. She also offers the film's greatest scene, a long declaration of love and confusion done within a single unbroken take. My issues with this film do not lie with it's acting, and every performance is either solid or fantastic.

My issues begin with the film's pacing. Like many of Bergman's films Winter's Light is fairly short, hovering around the ninety minute mark. Despite this, the film feels far longer and made for a surprisingly difficult watch. I found myself unable to finish the film within a single sitting, something which I cannot recall happening to me before with a film of this length. The cause of this difficulty lies with the film's deeply melancholic and languid tone. I am not averse to bleak or melancholic films (Darkly is an example of this in it's own right), however Winter's Light offers no respite of levity at any point throughout it's duration. This makes the film an exhausting and almost boring viewing experience, which is not a term I use lightly. When the Wind Blows is also a film which is heavily melancholic in it's tone, however it gives moments of respite and offers variation in the ways it portrays it's horrors. Winter's Light is comprised of a string of melodramatic conversations, with little variation or respite. The term I would best use to describe this film is, flat. Nothing moves or flows, it's emotions and pacing disappointingly stagnant and unchanging. The priest's depression does not build or even change, it remains mostly the same throughout. Despite my reluctance to use this term, I found this film very dull.

On a more positive note, this film's cinematography is stunning and I would happily hang any frame from it on my wall. In particular the voyeuristic shots lingering on the nails within the hands of a wooden Christ. I also loved the film's ending, which reaches a level of despondency which almost reaches a darkly comedic level in my eyes. Finally, although I find it vastly inferior, it makes an interesting film to compare to Darkly, as they cover similar themes whilst showing different perspectives.

Overall, I was disappointed by this film. It has not effected my views on Bergman and look forward to watching more of his film's in the future. Winter's Light is considered a masterpiece by many, and I do not dispute it's claim to such praise. However the film failed to engage me, and I will not pretend that it did.

By Jack D. Phillips

A Zoom Film Review

The Harrowing (2014) [Guest Review]

Acknowledging Genius

The Harrowing

I understand that it’s odd for someone to review a late episode of a series, let alone the finale and skipping the previous chapters. Well let me clear something up;

Inside No. 9 is what British television has needed for a long time coming. With the long strands of story-driven programmes often suffering in quality due to failing to keep the audiences interest with the same essential characters and story for weeks bordering on months, a low-key anthology was a welcome entry to BBC2. Especially when it turns out to be the newest lovechild in the ever-growing family of unsung British comedy heroes Reece Shearsmith and Steve Pemberton.

When united with friends Mark Gatiss and Jeremy Dyson, Shearsmith and Pemberton collectively form the much known and loved League of Gentlemen, the comedy show that with elements of gothic, macabre and just plain unnerving horror. I know I’ve yet to get the episode BUT BARE WITH ME because I need to establish how much J’adore La Ligue des Gentlemen. They manage to utilize many established horror tropes from recognizable classics yet somehow still come across as something new and original. When the group moved on to separate works, Reece and Steve (we’re soul mates) often co-create new shows with vastly different structures of storytelling to prove themselves as more than one trick ponies. They first made Psychoville, a dream-like whodunit with an insane cast connected to a dark incident from their pasts. And most recently No. 9, a “Tales of the Unexpected” style anthology series mixed with their traditional dark humour. And the gimmick is that each episode takes place in an area numbered nine, be it a house, room, gym locker etc...

 While Big Blogger has already told you what to think of the previous five episodes, I will nonetheless quickly summarise my opinions of series 1’s run.

Sardines = A genius discomfort comedy with a terrific set and a perfect ensemble cast. Special praise goes to Tim Key’s award-deserving performance and a twist ending that left me shivering.

A Quiet Night In = An ambitious feat to modernise Laurel and Hardy pays off splendidly. Great set design, hilarious silent comedy form Reece and Steve and they, much like their previous work, show how low-brow, often tasteless humour can be done right.

Tom and Gerri = The previous episodes reassured me the two are still funny, but this episode made me realize how thoughtful and understanding they are under the hook-clown masks. A tragic commentary on human impulse and trauma led by two fascinating characters. Steve’s Migg fills me with bile and Reece’s Tom breaks my heart.

Last Gasp = The most tender of the entries. A compelling tale of greed and hypocrisy with an always welcome appearance from Tamsin Greig. Admittedly, this is the episode with the least “re-watchability” due to the lack of sensational drama but it’s definitely worth a watch.

The Understudy = The traditional “Macbeth production goes wrong oh how ironic” story has been done many times before. Thankfully, this episode is saved from being clichéd by three-dimensional performances from every actor involved and some top-notch lighting. Also, the sinister tremulous ambiguity helps the episode stand on its own terms from the others. And yes, “Fuck me, it’s a ghost!” is the best quote of 2014 T.V.

And now, my detailed review of the series one finale

The Harrowing =  …well. I previously mentioned how in their League days, their writing would stop the laughs and hit you with no-holds barred horror. Well the ending of this episode is the most frightening thing these two have made since the League of Gentlemen Christmas Special.

The tale tells the aforementioned tale of teenage girl Katie( Amiee-Ffion Edwards), who has been hired by two odd neighbours to take care of their invalid brother, Andrass. The two brother and sister pair Tabitha (Helen McCrory) and Hector (Reece) tell her to never visit Andrass upstairs but to simply maintain the temperature and deliver him milk and biscuits from a mobilised chair, like some sort of maid for the uncanny. Without notifying the two, she soon invites her Goth BFF Shell (Poppy Rush) and the two gradually learn more morbid facts about their unseen client.

The notable homages to horror directors such as John Carpenter, William Friedkin, Dario Argento and numerous others are amazing to find on Television these days. You can tell this episode was written with love and care from Reece and Steve by the cognitively dissonant atmosphere that what you’re seeing is horrible yet jolly good fun. The nine-numbered house itself is one of my favourite sets of the series. Much like its residents, it tightropes between Carry On-esque cheese and a classical horror style in the vein of James Whale’s The Old Dark House. As for the residents themselves, they prove to be the beating heart of the duo’s trademark horror-comedy. Reece is at his most delightfully perverse as the quivering spectre of Hector, delivering his ridiculous dialogue with barely restrained glee and McCrory is equally having a ball with her larger than life character whilst never losing the gravitas of her usual thespian training.

Not to say that the protagonist is inferior. Edwards’ proves to be a surprisingly professional and convincing actor for her age, managing to convey a naturally confused and frightened response to the situation whilst keeping in sync with the comedic set-up of said events. We quickly sympathise with Katie as we would with Laurie Strode, Ellen Ripley, Sally Hardesty and other horror female leads not because of the comparisons with this episode and the films of those protagonists, but because Edwards is likable in the role and well written by Reece and Steve.

Also, props to Fields for assuming a role that could have easily been reduced to that of the “obnoxious sensitive friend” archetype we see in MANY slasher films before Wes Craven felt the need to point it out for us, because she turned out far better than I feared. Her character is far more layered and complex and Fields herself has great comic timing, particularly when her dialogue emphasises the poor grammar of our youth. The shame.

When I first heard that the two main leads of The Harrowing would be two teenagers I was slightly concerned. Two middle aged men attempting to capture the essence of young people not from their generation has often led to mixed to embarrassing results (see certain episodes of Doctor Who written by Steven Moffatt ). Thankfully, whether it be by thorough research into the demographic or the sheer magic dust that emanates from the two writers’ fingers, Katie and Shell are funny, engaging and realistic as both roles and as representations of homo sapiens youngsters.

The only mild complaint I have for The Harrowing is how when something particularly nasty happens, the madcap humour can be a little disingenuous, but that’s often par for the course for the stylings of the League, whether they be full, halved, quartered or just a standard Mark Gatiss episode of Who or Sherlock. On a petty note, it does feel odd with Steve’s absence from this episode but Reece wasn’t in Last Gasp so it all evens out.

I couldn’t have felt more satisfied or terrified as I did when the hilariously inappropriate end credits of The Harrowing played out. I would recommend that should you watch this show in no particular order, always finish series one with this, as the impact would be grossly diminished otherwise. The new series airs on March 26th, BBC2 at 10:00pm. Please watch it. I don’t care if you hate it; just show these two geniuses that their talents don’t go unacknowledged. 

By Harri Davies

A Zoom Film Review         

Another Guest Review

Harri Davies, a good friend of mine, has decided to upload his first guest review to the blog. He is a massive fan of Inside Number 9, he was the guy that introduced me to the show. and has decided to articulate his thoughts on the show's season finale. The Harrowing.

By Jack D. Phillips

Nocturne (1980) [Short Film]

It must be hard to live

inside Lars von Trier's 

head.

I have never seen a film from acclaimed filmmaker Lars von Trier before this short. I decided that It would be best to start at the beginning of his career to truly begin understanding where his work comes from, and so I arrived at this feverish little film.

Nocturne is a brief little journey into the fears and idiosyncrasies of the director, who is clearly a troubled man in many areas (look up interviews with him, he is both hysterically awkward and quiet miserable in many that I have seen). Nocturne visually brings these troubles to life in a surprisingly sophisticated manner. The visuals in this film are remarkably advanced and unique for a student film, creating a horrific and captivating atmosphere and effect. The opening shot in particular is a genuinely horrifying and made me feel uneasy to watch, and from that point the rest of the film is drenched in awkward paranoia.

Overall this film is a powerful shot of creepy uneasiness that has only increased my interest in the director. It is available to watch on Youtube and I highly recommend giving it a try, it's only eight minutes long after all.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 6: The Harrowing

The season

finale is funny, clever and

entertaining. Also, one

of the most terrifying 

endings in recent television

history.

Inside Number 9's season finale is certainly the most ambitious episode of the season. It attempts to homage classic horror films, simultaneously parodying the genre whilst creating an atmosphere and tone similar to such horror classics. This is not an entirely unique concept, and has been attempted by previous films such as Scream and The Cabin in the Woods. I like both of these films, however I feel that they both fell short in some aspects. The Harrowing is not perfect either, and is certainly not my favourite episode of the show, however it is certainly one of the most potent entries within this little sub-genre.

This first and most interesting element of the episode to me is the production design. I was blown away by the setting of this episode, a classic old dark house, due to the sheer amount of effort that was put into upping the uneasiness of the environment. The hellish paintings on the wall, the stark black paint on the walls, and especially the furniture. The house's furnishings are clearly of a different time, outdated and comically contrasting with the modern outfit of the main character. However the fact that this detail is not pointed out very much allows it to melt into the atmosphere rather than being forced into the forefront. That detail helps to explain why so much of this show works so well, it respects it's audience and is happy to let an element simply do it's job, rather than specifically pointing it out. This applies to script details, visual details or music details. I love this show, and so much of that comes from the way Shearsmith and Pemberton respect their audience.

Speaking of Shearsmith, he offers the most entertaining performance of the entire season in this episode. The character Hector, whilst far from being the main character, is an absolute joy. Shearsmith goes completely over the top here and loves every second of it, granting an endlessly quotable character. Despite this however, the character retains a slyly creepy dimension throughout and always maintains an eerily creepy presence despite his hilarious dialogue and delivery. The same applies to Helen McCory, who is also great as the episodes other source of chilling villainy. She isn't as funny as Shearsmith (although sill having a fair number of amusing lines herself) however she manages to be even more unsettling, driving home the effective horror edge of the episode. The episode's main character, Katy, exists in stark contrast to these eerie beings and acts of a strong base to keep the audience grounded and on edge, for we are genuinely concerned for her safety.

The final thing which deserves note is the ending. The episode's creepy undercurrent grows throughout, until it's ending. The final scene of the episode will stick with whoever watches, it is is not only explicitly horrific, but also implicitly disturbing and implies far more horrible things for the main character. The episode's twist is nowhere near as shocking as others within the season, however this scene more than compensates.

Overall, this episode makes a worthy conclusion to the first season and leaves the viewer with a harrowing (chuckle) feeling. The second season of this excellent show begins airing this Thursday (26th March) on BBC ONE. I highly recommend giving the second season a try in case you missed the first, or buying the first season on DVD to catch up on some amazing television.

By Jack D. Phillips
A Zoom Film Review
Inside Number 9: Episode 6

Inside Number 9: Episode 5: The Understudy

The greatest acting and

writing showpiece of the entire

season. Truly masterful.

On the one hand, this episode could be accused of being the least ambitious most simplistic episode of the entire season. Almost all the episode takes place within a single room, the cast is fairly limited (confined to five lead performances) and the majority of the story is told through dialogue. However despite all of this, not only is this one of my favourite episodes of the season, but I would also consider this to one of the most tightly made episodes in British television history. Feel free to quote me on that if you care to.

Pemberton plays Tony, an arrogant and narcissistic stage actor currently performing Macbeth. Pemberton dominates the screen with his huge amounts of charisma and presence at all times and it's great to see the actor finally able to unload his full potential. He is clearly having a blast here, and it makes an interesting contrast to compare this to his role in Last Gasp, which saw him at probably most subtle and reserved versus this far louder and brasher character. However it is Shearsmith who dominates the episode, playing the titular understudy Jim. I will not spoil this performance, however alongside A Field in England, which is one of the greatest British films I have ever seen, this performance helped to cement Shearsmith as one of my favourite British actors. Jim is in my opinion the most relatable, developed and unique main character of the entire season, and he portrays all the human pain and disappointment which would naturally come from being forced into such a position. The other performances and characters in this episode are also wonderfully portrayed, bolstered by the strongest interactions that have been written for the series yet. Particular praise to Lyndsey Marshal for her excellent and subtle performance as Laura.

Aside from the acting, this episode features the season's best script, without a doubt. The dialogue is fluid, the pacing is perfect (special praise for the use of a five act structure, giving the episode an appropriately Shakespearean scale and tone) and the twist is the best of season in my eyes. This is both in terms of the shock it provides, and the way it changes the way you view the preceding story and character interactions in such a drastic manor. 

Overall, I cannot praise this episode enough. I wish I could continue on to praise every element of this episode individually. The dramatic and intense lighting, the genius of setting the entire episode within a single dressing room, the line 'Fuck me it's a ghost' (the most quotable line of the season). This episode is a masterpiece of dark comedy, character drama and theatrical fable, and I recommend it higher than any other episode of the season.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 5

Letterboxd

Hey guys, I recently opened an official account on Letterboxd.com. There you can keep up to date on what I've been watching lately (meaning possible review targets) and what my immediate thoughts were. It's a much better environment for interaction so feel free to message me.

http://letterboxd.com/thezoomfilmblog/

By Jack D. Phillips

Masterpiece Corner: When the Wind Blows

The most devastating film I have ever seen

Just to lay out how effective this film is and how much domination it enjoys over my soul, simply know that it made me cry and hopelessly paranoid hours after watching, twice. That in mind, When the Wind Blows is a fairly obscure and rarely discussed British animated film from 1986. Directed by animation legend Jimmy T. Murakami (chiefly known for the iconic short film, The Snowman) and based of the book by Raymond Briggs, the film is fairly notorious among animation fans for it's extremely dark subject matter, and the infamously bleak depiction of this subject matter. It has since been heralded as a hidden gem and a classic of 80's British cinema.

The film follows an elderly English couple, a man named Jim and a woman named Hilda, living in an isolated cottage in the countryside. Their life is shown to be extremely idealic and free of worry, immediately making the characters the least likely focus for a film about the effects of a nuclear bomb, which this film is. We follow their preparations for the upcoming bomb, done with the aid of Government pamphlets, which is done in a relatively light-hearted and almost comedic fashion. The audience is lulled into false sense of security by the chipper, gentle and warm tone. A bomb could not possibly fall on the lives of characters such as these, they are far too innocent to exist in an environment like that, the viewer thinks to themselves in hope. Even the occasional cutaways to the bombs being prepared to launch from Russia seem unnreal, set aside the domestic disputes of the two characters. Despite the expectations and hopes of the audience, fall the bomb does. (Spoilers from this point onward).

Jim and Hilda die. They die very slowly and in ever increasing pain and misery, this slow decay into death is the focus for the film past the opening twenty minutes. This is why the film is infamous, it tackles the true horror and misery that would result from a nuclear war and is unforgettably upsetting.

As you can tell from the image above, the film has a very plump and cute art-style. It is reminiscent of The Snowman and looks not too dissimilar to a TV special for little kids. On it's own, this aesthetic would probably be ill equipped to handle the horror of the film's later section, therefore the film mixes in many other animation styles. Pencil drawn, stop motion, watercolour and even stop motion is mixed into this film in some capacity. Every single one of these styles is used to display a specific element of the films story. For example, the pencil drawn segments are used whenever the characters have a pleasant or wistful dream sequence, of which there are two in the film (along with one which is far less pleasant, yet equally dreamlike). The multiple animation styles are blended stunningly, all creating and specific effect and building towards the film's overall effect. Not only would I praise the animation of this film, but I would go as far as to call it an astonishing achievement, a milestone in the evolution of animation. There are very few films which use it's visual style to such an effect, and almost none which do so as creatively. In the end, we see our plush and warm little characters wither away through radiation poisoning. Their cute, childlike animation giving way to a nightmarish window into reality.

Above and beyond the awe inspiring animation are the vocal performances from Peggy Ashcroft and John Mills. The two actors bring the characters to life with such believable sensitivity that it is hard to describe. These feel like real, living, breathing people. At several points in the film, I am reminded of my own grandparents and other elderly people I have known. The inflections of pain, and slow creeping sentiment of despair that grows within their voices throughout the film is possibly the most saddening thing I have ever heard. It is hard to comprehend or articulate, it is simply harrowing.

Overall, When the Wind Blows is a very simple film. It does one thing, rend the soul of it's viewer (in this case me) and it does it better than any film I have ever witnessed. Upon my second viewing (I set myself a goal to watch films at least twice before I review them for MC) I noticed one other beam of brilliance which tipped this film into officially being a work of genius in my eyes. The films, chronology. The audience is never informed how much time passes between the bombs impact, and the couples' death. At first I assumed several days due to the dwindling supplies they endure, however they did not seem very well prepared in the first place. The frequent fades to black could imply the passing of days, weeks or merely hours. As the gloomy grey environment never changes, under the effect of a nuclear winter, time is completely distorted and impossible to read. This single revelation confirmed what I had previously suspected, this film is cinematic purgatory incarnate.

I am now quite fervently anti-nuclear because of this film, and have a streak of paranoia that I didn't realise before. This will be the most depressing and bleak review I will ever write on this blog, and that is only to pay some level of tribute to this masterpiece of misery.

By Jack D. Phillips
Masterpiece Corner #2

Yojimbo (1961)

One of Kurosawa's

most well known films

is a fun and

perfectly balanced

proto-action film.

At the time of it's release, Yojimbo was the highest grossing Kurosawa film in Japan and it remains one of the filmmakers most well known films to this day. It is also one of Kurosawa's most influential films, being the direct inspiration for Sergio Leone's Dollars Trilogy, the trilogy which breathed new life into the American western. Therefore it is quiet hard to remove Yojimbo from it's historical significance. However, I'm going to try.

Like many Kurosawa films, Toshiro Mifune (who now has a comfy seat waiting for whenever I bring him up) is the star and gives a phenomenal performance, perhaps his most iconic of all. Sanjuro is a selfish, cynical and manipulative drifter who leeches off the gang leaders of the film's town setting, and loves every second of it. Mifune is having a blast with this role, and yet is still able to give an underlying hint of nobility and justice to the character. Sanjuro is perhaps the perfect image of the travelling vagabond, one of the most enduring characters in modern culture directly because of this film. Other than Sanjuro, the film is occupied by several other characters who would go on to become highly recognisable icons with other westerns/samurai films. It is truly fascinating to witness where all these recognisable character archetypes originate from, and how wonderfully their first incarnations were portrayed.

Outside of the performances, the film features some of Kurosawa's most sturdy cinematography. The film has a very horizontal aesthetic, with a large focus upon horizontal lines and sweeping empty streets. This style would later evolve into the iconic showdown at the end of The Good, The Bad and the Ugly. Similar to the acing, it is stunning to see where such a well known and finely tuned visual style was birthed from, and how effective it was even at that point. The use of weather within this film is particularly impressive, rain emphasizing tension and frustration and mist showing the growing intensity and impending violence of the situation.

Yoimbo offers some of the most impressive scenes within Kurosawa's filmography. Particularly the rivalry between Sanjuro and the revolver twirling brother of one of the mob bosses. Merely with the blocking of the actors and the framing of the image, a powerful rivalry between the witty samurai and the powerful gun-warrior. Also, the earth-shattering sequence which shows Sanjuro at his lowest point is genuinely hard to watch and serves to harshly cut through the lighthearted and darkly-comedic tone of the film up to that point. Mifune owns these scenes with his posture and physical presence, two aspects of the actor which I don not think he has been matched on by any other.

In conclusion, Yojimbo is another of Kurosawa's masterpieces and has become a pillar of film culture. I personally would not hold it as one of my favourite Kurosawa's, I tend to prefer either his more epic and bombastic films or his tight character dramas. Despite this however, this is a must see in my eyes and deserves all the attention it has received since it's release.

By Jack D. Phillips
A Zoom Film Review

Inside Number 9: Episode 4: Last Gasp

Not as twisted

or shocking as other episodes.

Instead, here we have

 a moral drama

with dark and revealing

ideas.

If Tom and Gerri acts as the perfect encapsulation of the series in my eyes, then this episode acts as the odd exception to the ideas established throughout the series. Last Gasp has no twist ending, it cannot even loosely be considered a horror themed episode and it doesn't even feature Reece Shearsmith in an acting role (I realise I've been misspelling his name so far, I am a moron). Despite being the season's most a-typical episode, I still find much to enjoy here and recommend Last Gasp as the morbid moral drama it is.

Although Shearsmith does not appear here, Pemberton carries the torch with what may be his most layered and detailed role of the season. A conflicted father attempting to do what is best for his daughter, whilst still clearly being deeply affected by the consequences of these actions. The cast for this episode outside of Pemberton is also fantastic, featuring much of the sadly underrated acting talent within British television. The cast comes together to form characters who are probably the most identifiable of the entire season, all understandable in their motivations and limitations. The episode also features Tamsin, the only prominent child character and performance in the entire season, who is handled with shocking delicacy and realism. Overall I cannot praise the character acting in this episode enough, nor the excellent writing with is used to bring the characters to life.

The plot of the episode is a moral drama which exposes perhaps the most ugly aspect of the British psyche, the obsession with celebrity. The episode clearly condemns this obsession, yet does so through action rather than by lecturing the audience. We are made to form our opinions on the issue by watching the increasingly disgusting actions of the characters and the lengths many will go to in order to exploit other human beings. If he were still alive this would be the kind of story I could see Sidney Lumet directing, and the Inside duo handle it masterfully.

Overall, despite an ending which I found to be slightly rushed, I consider this to be a great episode. It is far from my favouite, and it is certainly an odd one within the season, yet overall it provides an uncomfortably frank tale of greed and brutality.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 4

Ringing Bell (1978) [Short Film]

A powerful and deeply

moving tale of revenge and

identity. A true classic

of Japanese animation.

Ringing Bell is notorious amongst animation fans for it's dark and sharp shift in tone the film experiences after the first ten minutes. The contrast between the extremely gentle and soft animation of the film's start and the jagged, dimly lit animation of it's end is also an often discussed topic, overall making this film legendarily boundary pushing within the world of animation. However despite the film's infamy, banned in Kazakhstan after nation-wide rioting over the film's DVD release, it is something of a cult classic and is loved by many, including myself.

The most continuous and debated element of the film is certainly it's animation. Many consider the two styles it blends together to be jarring and distracting, an understandable complaint. In my opinion however, the film excellent use of watercolour backgrounds helps to merge the two styles together, blurring the lines between the two and creating a natural and beautiful merging of the styles. 

The jagged shadows of the ending and fluffy pastel colours create a powerful contrast rather than a distracting one, separating the world's of sheep and wolf in a poetic fashion. Further praise must go towards the sheer scope of the films animation, presenting some of the most impressive scenic vistas that I have ever seen in drawn form, matching the almost Shakespearean scale of the storytelling. However the most amazing aspect of the animation in my opinion is the wolf. He is terrifying, a living strip of shadow with piercing white eyes and a eerily silent manner of movement. It is worth watching the film for this wolf alone if nothing else.

Ringing Bell also features some exceptional sound design. The early synth sound effects start the film sounding whimsical and cheerful, accompanying the harmless and sweet visuals. By the end however they morph into almost demonic sounding mechanical fuzz, representing the de-humanizing journey the main character takes and the brutality of the film's world. In general I would use this film as an example of the potential potency of a synth score, both to create levity and horror.

Finally, the film's actual storyline, which is heralded as both a beautiful modern fable and a trite, braindead propaganda piece. As I have already used the word 'Shakespearean' you can tell where I land. The film's message is superficially simple yet connects and flowers into various other issues. The loss of one's identity, the meaning of being a predator, the effects of revenge and the power of parental authority. All these concepts are weaved into a mere forty-five minute short and it is breathtaking.

Overall, watch this short on Youtube (I feel I have wrote those words numerous times this month), as it is available in both dubbed and subbed forms (I watched the sub). This film will certainly stir emotions and regardless of your opinion, it will at least make you feel something. I love this film, and I hope I can encourage further discussion about it.

By Jack D. Phillips
A Zoom Film Review

Inside Number 9: Episode 3: Tom and Gerri

Perhaps the

 most complex twist,

and screenplay in

general, of the entire

season. 

A great episode.

If I were to pick a single episode of the entire first season of Inside Number 9 to encapsulate the entire series overall, it would be this one. Excellent writing, wonderful performances, a deeply disturbing and genuinely brilliant twist ending. This episode is perhaps the most complete and complex episode of the entire season, and I would not be surprised if this was the story which inspired the entire enterprise.

In the acting department, Pemberton and Shearsmith dominate this episode perhaps more than any other. Sheersmith plays Tom, a deeply flawed yet totally relatable man who stands as perhaps the most detailed and profound character of the entire season. Pemberton matches this with a performance which is simultaneously eerie and engrossing, playing a character who I'm sure will be the subject of a far more intelligent analysis than I could provide. On the supporting front, there are only two other character's of note within the entire episode. One is Gerri, Tom's girlfriend and voice of reason (played by Gemma Arterton) and Stevie, an amusing voice of humanity within the increasingly unstable mind of Tom (played by Conleth Hill). Overall the acting within this epsidoe is perhaps the most impressive of the entire season, bolstered by the excellently witty and tightly crafted dialogue.

There is overall not much more to say about this episode. It showcases the duo's writing and acting skills more than perhaps any other episode and is probably the episode which is most deserving of deconstruction and analysis. I also consider this episode to be the sibling episode to the season's fifth episode, largely due to both episodes dependence on performance. Of the two however I can certainly say that this episode is at least the more chilling and mind-bending, and it stands as a testament to the writing talents of Pemberton and Sheersmith.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 3

My 1,000 Film Watchlist.

On IMDB, my watchlist (films I want to see but have not yet) recently reached a full 1,000 films. Although I hesitate to call this an achievement, I have decided to post a link to my watchlist, just so that anyone curious can look through and possibly find something that interests them too.

1,000 Film Watchlist

By Jack D. Phillips

Inside Number 9: Episode 2: A Quiet Night In

Some of the most

entertaining

30 minutes in

television history.

A Quiet Night In is so entertaining it is hard to truly describe. The episode takes the form of a silent comedy, clearly inspired by the works of Laurel and Hardy, and involves two cat burglars (played by Pemberton and Shearsmith) breaking into a house to steal a work of art. 

Although every episode of the season features comedy in some capacity, this episode is the only one which pushes it into the foreground. The comedy in this episode, all of which is visual do to the silent nature of the episode, is absolutely hilarious. The scenarios are totally ridiculous and the script keeps throwing bigger and better curve-balls at the viewer. This episode stands as an absolute comedy classic and is a much watch for anybody who either loves, or wishes to study great comedy.

The set design of the episode is also fantastic. It features a very 1980's neon aesthetic and reminded me a lot of Michael Mann's Manhunter. It is quite stunning to look at and helps to highlight the surprisingly mature cinematography that this episode, and by extension the rest of the series, boasts.  The production values are very impressive here, and with the exception of the final episode, I am sure A Quiet Night In had the season's biggest budget.

In conclusion, I adore this episode. I would consider it a contender for my favourite epsiode of the entire show and I look forward to re-watching it again and again. Get some friends together and enjoy.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 2

Falling Leaves (1912) [Short Film]

A powerful and poetic

slice of melodrama.

A powerful portrait of

 innocence and

childlike determination.

I first became aware of this little gem from Mark Cousins' excellent documentary The Story of Film, and I was surprised to find it in great quality on Youtube. Falling Leaves is a fantastical and whimsical film from the pre-Griffith silent era of cinema. It was directed by Alice Guy, often considered to be the first great female director, and is held as a classic of early French film. 

The most important aspect of the film is it's powerful imagery. The simple metaphor the film bases itself around, falling leaves represent the inevitability of time, is shown gloriously and leads to what is now one of my favourite visuals of the entire silent era. Falling Leaves also boosts an impressive child performance, the earliest example of one I can think of. Young Magda Foy shows a strong will and relentless determination which is highly admirable and moving to watch unfold. This character is an adorable star of the era for me now. Furthermore the film handles the sensitive emotions of serious illness elegantly, showing the wider effects on the family and by extension tells it's story very well.

Overall, Falling Leaves is a simple yet perfectly balanced piece of early melodrama. I recommend tracking it down on Youtube, for this is a film which I feel deserves a bit more recognition and praise than it seems to receive.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 1: Sardines

A great balance of comedy

and tension. Possibly the best

writing of the entire season.

As a kick-off for the season, Sardines acts as the perfect tone setter for the macabre mix of comedy and thrilling psychological horror that makes up the bulk of the show. We get given a premise which forces several character's, many of whom do not like each other or have secrets they wish to withhold, together in a confined space.  This leads to tension, awkwardness and very dark humor.

I give much praise to Pemberton and Shearsmith for this introductory episode, not just for the top-notch quality of their script, but due to their willingness to not dominate the screen at all times. The two play a troubled gay couple, Pemberton playing a character who is introverted and clearly embarrassed by his partner, whilst Shearsmith plays the far more brash and loudmouth of the couple. The two do well with their roles, however they wisely decide to restrict their character's to supporting roles, giving other actors equal if not greater screentime and development. 

I will not spoil the other characters, however it should be said that the dialogue and interactions written by Pemeberton and Shearsmith are outstanding. Funny, detailed and all conversations help to illuminate a dark truth bubbling beneath the surface of several of the characters. This is probably the best screenplay of the entire season and one of the best 30 minute screenplays I have ever experienced, it really is something special.

In conclusion, Sardines acts as a stunning introduction to the series. It showcases the full writing prowess of the creative duo and assures the audience that they are in exceptionally capable hands. It also acts as a showpiece for several excellent performances and results in perhaps the most powerful twist of the entire season.

By Jack D. Phillips

A Zoom Film Review

Inside Number 9: Episode 1