This bitter sweet comedy follows protagonist Robbie as he sneaks into the maternity hospital to visit his young girlfriend Leonie and hold his newborn son Luke for the first time. Overwhelmed by the moment, he swears that Luke will not have the same tragic life he has had. Escaping a prison sentence by the skin of his teeth, he’s given one last chance…
While serving a community service order, he meets Rhino, Albert and Mo who, like him, find it impossible to find work because of their criminal records. Little did Robbie imagine how turning to drink might change their lives – not cheap fortified wine, but the best malt whiskies in the world. Will it be ‘slopping out’ for the next twenty years, or a new future with ‘Uisge Beatha’ the ‘Water of Life?’ Only the angels know… –Rebecca O’Brien
Unlike virtually all his contemporaries, Ken Loach has never succumbed to the siren call of Hollywood, and it’s virtually impossible to imagine his particular brand of British socialist realism translating well to that context. After studying law at St. Peter’s College, Oxford, he branched out into the theater, performing with a touring repertory company. This led to television, where in alliance with producer ‘Tony Garnett’ he produced a series of docudramas, most notably the devastating “Cathy Come Home” episode of “The Wednesday Play” (1964), whose impact was so massive that it led directly to a change in the homeless laws. He made his feature debut Poor Cow (1967) the following year, and with “Kes”, he produced what is now acclaimed as one of the finest films ever made in Britain. However, the following two decades saw his career in the doldrums with his films poorly distributed (despite the obvious quality of work such as The Gamekeeper (1968) (TV) and Looks and Smiles (1981… read more
Without getting overly spoilery, the realist elements in the early scenes are effective enough at reminding the viewer they're watching a Ken Loach film so that the conclusion, which would feel formulaic in a Hollywood production, has something of a genuine twist to it: Loach actually giving his hero a happy ending, and letting them escape their past. Even the use of the Proclaimers feels earned.
The Palme d’Or goes to Michael Haneke’s Amour. Also, a comprehensive list of all the award winners.
Kiarostami, Hong Sang-soo, Resnais: some of the biggest names of the festival unveil their latest works
On the opening day of the 2012 Cannes Film Festival: a poster round-up of the films in competition.
On the agenda today was “The Angels’ Share” directed by the well-decorated Ken Loach, a film I had been curious about after yet another award win (Jury Prize) for Loach in Cannes. The film starts out… read review