Connect with us

Entertainment

Review: Director Ken Loach's compassion remains a sturdy, reliable virtue in 'The Old Oak'

Published

on

Review: Director Ken Loach's compassion remains a sturdy, reliable virtue in 'The Old Oak'

When it comes to the fiercely political British director Ken Loach’s latest film, “The Old Oak,” a bit of classic Hollywood promotional language comes to mind: Ken Loach is “The Old Oak.” Because seemingly forever, the sturdiest, tallest figure in the cinema of working-class struggle has been Loach, the man behind such raw, forthright classics as “Kes,” “Riff-Raff,” “The Wind That Shakes the Barley,” “I, Daniel Blake” and “Sorry We Missed You.”

If this is the final round for the 87-year-old filmmaker, he’s going out with a protest sign in one hand and a pint in the other. That’s because “The Old Oak,” written by longtime collaborator Paul Laverty and named for the last remaining pub in a downtrodden town in northeast England, shows Loach no less committed to the cause but also as faith-filled as he’s ever been.

It’s 2016 when we enter the story via black-and-white photographs of a busload of displaced Syrians, mostly mothers, children and the elderly, being dropped off in the mining town of Durham, the film’s audio dominated by locals loudly and bigotedly condemning their arrival. When the film itself starts (and cinematographer Robbie Ryan’s clean naturalism takes over), we learn that the refugee documenting everything is a young woman named Yara (Ebla Mari), whose first interaction is with a brutish man who violently grabs her camera and breaks it.

One of the aid helpers appalled at his townsfolk’s behavior is divorced, middle-aged pub owner TJ (an affecting Dave Turner), a lonely man with a good heart and a lot of hurt. He offers to help get Yara’s camera repaired and the unlikely pair strike up a friendship borne of mutual empathy for each other’s pain: her homeland and family brutalized by war; his once-thriving community battered by economic neglect and a poisoning fear. The latter is routinely manifested in the churlish Old Oak regulars for whom nostalgia-fueled resentment is no longer a condition to be changed but a disturbingly snug set of clothes; they view TJ’s kindness toward Yara (or anybody’s charity toward the Syrians) as a betrayal.

Dave Turner in the movie “The Old Oak.”

Advertisement

(Zeitgeist Films)

But on the walls of the threadbare pub’s long-shuttered backroom is photographic evidence — a reminder to TJ, an inspiring history for Yara — of the country’s 1984 miners’ strike, when an embattled people looked out for one another. Soon enough, TJ is spearheading a revitalization of the room so two struggling worlds can meet: communal dinners to feed both the refugees and a deprived town’s isolated youth. As things play out, however, Loach and Laverty are realistic enough in their tale of invigorating compassion to grasp that, as difficult as it is to find and nurture hope, just as essential is recognizing the danger lurking in festering grievance.

As vitally angry as Loach’s films can often be about the issues they’re addressing, the secret glue to his unvarnished, in-the-moment style has always been what camaraderie and care look like within any maelstrom of injustice and oppression. The authenticity of his casting, including his unwavering belief in newcomers, is flawless here, with Mari’s portrait of resilience sharing the frame wonderfully with Turner’s bearish, wounded air. And in a key role as a pub regular, Trevor Fox makes palpable the injury and distrust that can warp an honest reaction to a stranger’s struggles.

Loach is the rare movie agitator who can point to results. In 1966, his television film “Cathy Come Home” rattled the U.K. into acting on homelessness. We may be too inured these days to the unceasing drumbeat of immigration’s realities and disinformation to expect “The Old Oak,” as deeply emotional as it is, to have a similar impact. But we can still feel thankful for this beautifully indignant director’s career-long, never-wavering theme of solidarity, of seeing others’ problems as ours too, worth striking about and fighting against. It’s a righteous oeuvre with marvelously strong roots.

Advertisement

‘The Old Oak’

Not rated

In English with English subtitles (due to strong regional accents)

Running time: 1 hour, 53 minutes

Playing: In limited release.

Advertisement

Movie Reviews

Michael Jackson documentary set to release after massive re-write

Published

on

Michael Jackson documentary set to release after massive re-write
  • Fans reignite Drake vs Kendrick feud after album announcement

    03:35

  • Now Playing

    Michael Jackson documentary set to release after massive re-write

    02:57

  • UP NEXT

    Patrick Brammall on How He Got His Role in ‘Devil Wears Prada 2’

    05:43

  • Henry Winkler on ‘Hazardous History’ S2, Zip lining With Grandkids

    07:38

  • Did Harry Styles and Zoë Kravitz Get Engaged?

    04:05

  • Ana Gasteyer on Role in ‘Schmigadoon!’ Musical: ‘I’m Very Mean’

    06:03

  • Laufey Talks Children’s Book ‘Mei Mei the Bunny,’ Coachella, More

    05:15

  • Shania Twain to Host the 2026 Academy of Country Music Awards

    00:26

  • Colman Domingo and Nia Long Talk New Michael Jackson Biopic

    04:50

  • Charlize Theron Talks Intense Training for New Thriller, ‘Apex’

    06:30

  • Jimmy Kimmel Shares Photo of His Son to Mark His 9th Birthday

    00:39

  • Could Rocky Score an Oscar for ‘Project Hail Mary’ Movie?

    01:36

  • ‘The Pitt’ Season 2 Finale Sees Huge Surge in Streams

    01:23

  • ‘Top Gun’ Movies Are Returning to Theaters for 40th Anniversary

    01:24

  • Chicago collectible store is latest target in Pokemon card crime spree

    01:59

  • Victoria Beckham Shares Hot Takes on Chores, Nicknames, More

    07:34

  • John Legend Talks New Book, ‘The Voice’ Finale, Marriage, More

    06:37

  • Victoria Beckham Talks Family, Marriage, Navigating Tough Times

    07:58

  • Steve Schirripa Joins TODAY With Dog WillieBoy to Talk New Book

    04:32

  • Stars of ‘Running Point’ Discuss What to Expect From Season 2

    06:34

Top Story

‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

Hallie Jackson NOW

Stay Tuned NOW

Top Story

Top Story

Nightly News Netcast

Play All

Continue Reading

Entertainment

‘Clayface’ trailer teases DC Studios’ first proper horror movie

Published

on

‘Clayface’ trailer teases DC Studios’ first proper horror movie

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

Advertisement

“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

Advertisement

Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.

Advertisement
Continue Reading

Movie Reviews

Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Published

on

Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.

As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.

During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.

Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.

“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.

Advertisement

“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”

As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.

Shigeru Miyamoto says he was surprised by Mario Galaxy Movie reviews.

While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.

The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.

Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.

Advertisement

“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.

“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.

“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”