benwalsh29

It's impossible to take seriously an organisation that makes Braveheart best picture (in any shape or form) or passes over Goodfellas for Driving Miss Daisy (recently consigned to an afternoon slot on Channel 5). However, it never ceases to amaze me how the Oscar committee (the shadowy academy) consistently overlook the best performances every darn year. Kate Winslet is astonishing in this otherwise quite ordinary film from auteur Jane Campion. While Keitel does his obligatory grimacing and Winslet's accent and performance are faultless. "arse shot", Winslet is luminous as Ruth, an Australian who has found comfort in an Indian guru, Baba. Her dysfunctional urban family (a little too many stereotypes here) hire American Exit Counsellor PJ Waters (Keitel) to free their little girl from the clutches of Baba and "deprogram" her back to "normal". However, poor PJ faces deprogramming himself as he falls helplessly for his avenging angel. Stunning turn.

"You take after your granddad. No words, just dribble and puke." A grandmother tells her teenage daughter's baby "Shearer". Mark Herman's follow-up to his excellent Brassed Off and Little Voice, is a gritty slice of contemporary Geordie life. This Four Film production introduces newcomers Chris Beattie (looks like a miniature Shearer) as Gerry and Greg McLane as unemployed Sewell. They're on a seemingly impossible mission to raise the £1000 for season tickets to see their beloved Newcastle United. While they think up increasingly outlandish money-making schemes - from selling household junk to shoplifting and the odd bit of housebreaking - real life begins to inferere. Gerry's violent and alcoholic father (Tim Healy of Auf Wiedersehn fame putting in a memorable 'orrible performance) forces his way back into his family's life. Like Herman's previous features, Purely Belter is laced with bittersweet comedy and some stunning dialogue ("No Alan [Shearer], not Celine f***ing Dion"), but it somehow lacks the emotional cohesion.

Some Voices centres on Ray (Craig) and his release from a psychiatric hospital. His rehabilation starts fairly well, with Ray working for his protective brother Pete (Morrissey) in a restaurant. However, when Ray falls head over heels in love with Laura (McDonald), a wild Scottish girl, and stops taking his medication, matters spiral out of control. Directorial debutant Simon Cellan Jones has effectively captured the colour (mostly grimy) and energy of Shepherds Bush. However, this is an actors piece and as such Craig and McDonald shine. Especially, McDonald who brings a natural warmth to a difficult role. Ultimately, both a disturbing and rewarding film, but don't expect any belly laughs or easy answers.