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The late travelling NY wiseguy ex chef turned writer Anthony Bourdain visits the UK post Brexit pre pandemic.

He first enjoys a great meat feast at Fergus Henderson's St John where entrails and organs become a thing of simple beauty and flavour.

Next a hook up with Jaime Hince of The Kills for great Jamaican take away fare and a booze up in a pub to chew the fat about Brexit.

He visits Nigella Lawson for a needed greasy hangover cure.

Earlier a quiet interlude with the divine Nigella Lawson in a pub with pork scratchings, white bait and a runny Scotch egg. Tony appears melancholic and fragile in a moment of peace.

A visit with Margot, fergus' partner at her eaterie. To discuss Brexit and good food.

Things ratchet up a few notches as Tony visits former enfant terrible of the kitchen Marco Pierre White at his piggy hotel in Somerset. Marco shows his spread, pigs and contentment and expands on his childhood escape into Nature and his philosophy.

Next to Weymouth and the nicotene named Marboro fish and chip shop where Marco initiates Tony with his first chip butty. Prior to this Despite the sea being as calm as a mill pond they boarded a fishing boat to feed gulls from a fishing hook.

Later he meets one of his heros Ralph Steadman for a few beers and a visit to his studio.

This programme was very enjoyable and i recommend re watching all of Anthony Bourdains programmes.

This is an interesting film that the public and fans of Delphine Seyrig should seek out. She is given a substantial role and makes the most of it. The film is genuinely odd in that it feels like two unrelated tales; Karl (a hit-man) dispatches his victims coolly. Then he enters the tranquil world of Kate and falls in love, with tragic consequences. The film is beautifully shot and well observed, its complex characters interacting and developing.

For no apparent reason Jeanne Moreau appears and sings a song by Stephane Grappelly. There are shades of Rohmer and painterly influences. The French countryside has rarely appeared lovelier. At times the camera simply lingers on a tree or glass which creates an atmosphere. The performances are terrific, Guy Bedos, usually a comedian, plays it straight here with great success. However, the film belongs to Seyrig, one of the most totally underrated and truly great actress' of theatre and cinema.

The End of the Road, is probably Terry Southern's most personal work for the cinema. One over which he had most input and control. Southern's presence is felt throughout the film, from the use of his own East canaan home as a location, to Keach holding a pair of Terry's legendary 'Bono' fly style shades, to Terry's own cameo appearance as a patient.

The film is superbly acted by all concerned, Keach especially and the film is shot and edited as a subversive assault on the psyche and hypocrisy of America at the end of the sixties. Family life and alienation are to the fore, and a profound sadness for the end of the sixties.

The film often goes too far and screams too loudly its in gags and cleverness, but it is genuinely moving and totally unique. One can also say that the ill judged inclusion of the protracted and unwatchable abortion scene, killed any chances the film had of success. Which is a great shame, as this is a film which deserves a wider audience beyond its status as a cult oddity. The End of the Road is one hell of a unique ride if you can stay on board and a great insight into the mind of one of cinema's greatest screenwriters, Terry Southern.