Greigx3

People have complained that this film is too formulaic, it's too glossy and sugar-coated and that it's so steeped in saccharine sentimentality that it will make the overpriced, syrupy Coke that you bought from the multiplex foyer seem sour and flat.

While there is definitely truth in the above statement, I think enjoyment of this (and any) film depends on your attitude. If you go into this film expecting to see some gritty socio-political drama focussing on the oppression of Welsh mining classes, you will be sorely disappointed. You will come out complaining about how populist it is, how it's so conventionally structured and emotionally sensationalist etc, etc.

The poster is a lovely snapshot of a group of idyllic young friends having fun in the blistering summer of 1976. It's all orange and glowing. The trailer gives a taste of how packed the film is with poppy love songs of the era, how predictable the premise makes the plot, how familiar the angsty teenage characters are, how petty the conflicts seem in this hazy summer utopia of a bygone Britain and how indulgently reminiscent it is.

It's called Hunky Dory.

The signs are there - everything about the design screams out feel-good mainstream movie. It is unashamedly populist, unashamedly sensational and is obviously going to be as conventional as any piece of popular cinema. There's nothing subtle about the way the film advertises this sense of style.

To know all this, watch the film then criticize it for the glaringly obvious is lazy criticism, at best. Don't go and see the film if you know you're going to suffer an adverse reaction to the sheer amount of light-heartedness going on. That's like going into a screening of Shrek with your arms folded for the entire movie then coming out in a huff saying to your bemused/horrified children "the guy's an ogre but not once did I see a man's skin being peeled off while he was still alive."

For those more willing to accept this film for what it so blatantly is, I'd say it's an easy, feel-good film with and great 70's soundtrack (from the likes of Bowie and ELO) and superb Welsh accents throughout. A coming-of-age film set in a specific place and moment in British history, it shares an obvious affinity to Ricky Gervais and Stephen Mechant's Cemetery Junction as well as Billy Elliot (a couple of the producers made this film too).

There are a lot of characters so the attempt to squeeze in all of their individual stories is overly ambitious, but the cast are great. Minnie Driver is easily lovable and I get the feeling you'll be seeing a lot more of Aneurin Barnard's face in the future. The ending is a little bit vague and they try and remedy this by giving a 'where are they now' sequence during the end credits – which is a bit half-baked (no reference to the recreational activities of the time intended).

Overall, a likable film with some nice messages (namely Karl Marx's sentiment "don't let the b*st*rds grind you down") and a well-polished style that makes for easy watching.

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An incredibly impressive debut film from youthful newcomers Will Sharpe and Tom Kingsley. Black Pond is a delightfully grim black comedy about the Thompson family, who're embroiled in a tabloid scandal about the death of a new family friend. They say that truth is stranger than fiction and, while this IS fictional, it has a realistic plausibility and a documentary style which makes the almost farcical events seem hilariously absurd in contrast with the repressed sobriety of the upper-middle-class English milieu. It's one of these films that will have you grinning like a Cheshire cat all the way through, giggling and snorting like a child who's just heard an old man fart during a quiet church service and eventually letting out a proper belly-laugh every now and then. Colin Hurley, Amanda Hadingue, Simon Amstell, Will Sharpe (writer/director/actor) and the whole cast are excellent and Chris Langham makes a long-awaited return to film (with the controversy of his own personal ordeal with negative publicity perhaps adding its own somewhat dark undertone to the film – almost definitely NOT a conscious effort by the producers though!). It's a fine example of typically British satirical wit and exemplary of the potential of indie cinema, considering it was made on tiny budget of £25,000. The lack of money means this film will only be seen by few people on its limited release, but as it gathers rave reviews and serious respect, it will no doubt earn cult status by the time it's out on DVD. More like this and more from Sharpe and Kingsley please!