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1. 1192 Vote
2. Stars - Jenny Agutter
3. 2018
4. Comedy, Drama
5. 91minute
6. Frank Cottrell Boyce

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Download free sometimes always never want. Sometimes Always Never Dir. Carl Hunter. UK. 2018. 91 mins. It would take a strong appetite for English eccentricity – Liverpudlian eccentricity, to be precise – to fully embrace the charms of Sometimes Always Never, a melancholic comedy-drama about father-son reconciliation. Scripted by Frank Cottrell Boyce, the dialogue bristles with wry exchanges and throwaway wit; but there’s often the feel of a mismatch between the low-key such-is-life observations and Carl Hunter’s sometimes forcedly off-beat direction. Hunter – making his feature debut after shorts and TV work – shows visual invention to spare, but this sometimes overloads a slight story that serves as a somewhat familiar vehicle for Bill Nighy. Nighy never really clicks with the distinctive rhythms of the dialogue, nor makes Alan a plausible three-directional being. The film is unlikely to catch fire commercially, though adventurous older audiences might take to the family angle, the nostalgic humour and to some appealing casting, including Jenny Agutter in her most substantial cinema role for a while. You could hardly have an opening shot more bespoke for Nighy than the image of him standing under an umbrella on a windswept beach (in Crosby, actually, with Antony Gormley’s lifesize iron statues dotted along the coastline). Nighy plays Alan, a widowed tailor, one of whose sons went missing years earlier. He’s now setting off with his other son, painter Peter (Sam Riley), to visit a morgue where a body might be the missing Michael. While waiting, they stay at a hotel where they meet a couple, Margaret and Arthur (Agutter, Tim McInnerney) on a similar mission, and where the unprincipled Alan lucratively thrashes Arthur at Scrabble. Alan later moves in temporarily with Peter, his wife Sue (Alice Lowe) and their computer-addicted teenage son Jack (Louis Healy) and settles in to obsessively play online Scrabble – in which he’s convinced he’s found a clue to his lost son’s whereabouts. Much of the script can best be described as banter - in the old, good-natured sense – with Alan and Peter swapping reminiscences about cultural trivia and bygone brand-names (Subbuteo, Chad Valley et al) that won’t mean much to anyone who wasn’t around in Britain in the 70s and 80s. A Dymo Labelmaker (a plastic gun-shaped thing; it makes labels) plays a significant part, and there’s a running joke about Arthur having been a session singer on the old cash-in compilation LPs of soundalike hits once produced by the Pickwick label: “He was Bonnie Tyler once, ” confides Margaret. Unsurprisingly, all paths lead to reconciliation, life lessons and a benign philosophical payoff (“You have to make the best of it”). Hunter’s direction consequently goes full out to bolster the material with some stylistic playfulness, and pretty much uses any trick that works – manifestly painted backdrops, captions on 70s wallpaper, back projections, black-and-white inserts, animation, even an out-of-nowhere cameo from Alexei Sayle. But the whimsy, in both script and visuals, can sometimes be grating. Richard Stoddard’s photography, especially as applied to Tim Dickel’s detail-rich production design, creates a slightly unreal, dreamlike world, the heightened colours sometimes creating an eerie aquarium feel. Where the film fails to cohere is in suggesting that its characters are really alive in its artificial world. The cast is strong overall, Lowe nicely catching the sitcom tone of the domestic scenes, Agutter and McInnerney lending vivid character support, and Riley standing out as the long-suffering son who never got to be the beloved prodigal. However, Nighy – who has an executive producer credit – never quite comes into focus, and neither does his Liverpool accent. Somewhat coasting on his trademark dourness, he sketches Alan in a collection of mischievous verbal and physical mannerisms, as a garrulous chancer, ever ready with arcane traveller’s lore or tips on the art of Scrabble. But Nighy never really clicks with the distinctive rhythms of the dialogue, nor makes Alan a plausible three-directional being. However – at least in the scenes where he’s not wearing dubious knitwear – you can believe in the ever-dapper Nighy as a tailor. The film’s title, by the way, refers to the rules for which buttons on a jacket should be done up, and in which order. Production companies: Goldfinch Studios, Hurricane Films International sales: Double Dutch International, Producers: Roy Boulter, Sol Papadopoulos, Alan Latham Screenplay: Frank Cottrell Boyce Cinematography: Richard Stoddard Editor: Stephen Haren Production design: Tim Dickel Music: Edwyn Collins, Sean Read Main cast: Bill Nighy, Sam Riley, Jenny Agutter, Tim McInnerney, Alice Lowe.

Download free sometimes always never take. Masterpiece. Download free sometimes always never will. LONDRES 2018 par 25/10/2018 - Ce premier film de Carl Hunter, scénarisé par Frank Cottrell-Boyce, est une oeuvre pleine de style sur le deuil, la famille… et le Scrabble Bill Nighy dans Sometimes Always Never Le titre du premier long-métrage de Carl Hunter, Sometimes Always Never   [ + lire aussi: bande-annonce fiche film], se réfère à la règle qui préside au boutonnage d'une veste de costume à trois boutons: le bouton du haut parfois, le bouton du milieu toujours et le bouton du bas jamais. Le port de costume, notamment du trois-pièces est pour beaucoup de gens, aujourd'hui, réservé aux grandes occasions, et beaucoup de gens ignorent cette règle. Alors que pour certains, elle peut sembler futile et excentrique, pour d'autres, elle est sacro-sainte. C'est la ligne de partage entre ces deux catégories de gens qui sépare les personnages Sometimes Always Never, qui a fait son avant-première mondiale au Festival de Londres, dans la section Laugh. Le souci irrépressible de toujours faire les choses comme il se doit est un des traits de la personnalité d'Alan ( Bill Nighy), un tailleur veuf. Le fait que le monde ne soit pas toujours de son côté sur ce point l'a amené à vivre une vie torturée qui le rend de plus en plus irritable. C'est aussi la source de la grande douleur que le parfait gentleman porte en son cœur: avant que l'action du film ne commence, son fils aîné est parti précipitamment de chez eux à cause d'une dispute survenue pendant une partie de Scrabble. Depuis, personne de l'a vu, et il a été déclaré présumé mort. Alan n'aurait-il pas pu être un peu plus souple sur les règles à suivre? L'état de désarroi psychologique du personnage est posé dès la première scène, où on le découvre dans sa parfaite élégance, sous un parapluie, sur une plage du nord de l'Angleterre fouettée par le vent, le regard tourné vers la mer. La pose est si typique de Nighy qu'on a du mal à imaginer qu'un autre acteur que lui ait pu s'acquitter de ce rôle. Le réalisateur, Carl Hunter, a été bassiste pour le groupe de pop indé britannique The Farm, et c'est lui qui s'est occupé de l'image visuelle du groupe, dessinant les pochettes et posters, où il montre un penchant évident pour les couleurs vives ainsi que les dessins audacieux et rétro. Les chansons du groupe parlaient beaucoup de communauté et de fraternité, de sorte qu'on est pas surpris que le trait le plus saillant de son premier long-métrage soit les décors et que la réalité augmentée fasse partie de l'histoire: il y a ici des mots écrits sur des brosses à dents, des projections pendant les trajets en voiture et des décors à la peinture. Si ce style farfelu et fantaisiste évoque un peu Wes Anderson, toutes les références du réalisateur semblent être britanniques, et se situent entre la fin des années 1970 et le début des années 1980. L'intrigue suit Alan et son deuxième fils, Peter ( Sam Riley), tandis qu'ils se lancent dans un voyage en voiture pour essayer de réparer leur relation à eux deux, mise à mal par le fait qu'ils ne réagissent pas de la même manière au deuil. On les a appelés pour identifier un corps, mais est-ce que cela les aiderait vraiment, d'avoir le fin mot?, et la vérité admise selon laquelle "le plus dur est de ne pas savoir" est contredite par l'idée que "l'espoir est le meilleur des amis". Le temps et l'espace semblent ici un peu décalés, par les décors mais aussi la photographie de Richard Stoddard, qui reflète l'état d'esprit d'Alan et le fait qu'il n'arrive pas à aller de l'avant dans la vie et continue d'être maniaque quant à l'apparence à donner aux choses. Le scénario de Frank Cottrell-Boyce ( 24 Hour Party People   [ + lire aussi: bande-annonce fiche film]), avec lequel Hunter a collaboré sur l'écriture du drame social Grow Your Own (2007), est inférieur aux visuels, et l'accent est mis sur la mélancholie et l'humour aux dépens d'un récit solide qui guiderait le film, mais cela n'affecte pas trop gravement l'ensemble car Sometimes... est une oeuvre sur les émotions, pleine de coeur et de compassion, à laquelle on prend souvent plaisir. Sometimes Always Never a été produit par Hurricane Films (Royaume-Uni) et Goldfinch Studios (Royaume-Uni). Les ventes internationales du film sont assurées par la société canadienne Double Dutch International. (Traduit de l'anglais) Vous avez aimé cet article? Abonnez-vous à notre newsletter et recevez plus d'articles comme celui-ci, directement dans votre boîte mail.

Download free sometimes always never come. I saw a BMW (black Mama whooping) at Walmart last week. The mother was yelling with every lick like, I. Told. You. Not. To. Touch. Nothin! I had a flashback to my childhood. 4 / 5 stars 4 out of 5 stars. The veteran actor shines as an ageing word wizard searching for his estranged son in Carl Hunter’s kind-hearted debut Beguiling Englishness … Bill Nighy in Sometimes Always Never. T here’s a beguiling Englishness to this elegant, offbeat comedy-drama, terrifically written by Frank Cottrell-Boyce and directed by feature debutant Carl Hunter. It has a wonderful syncopation in its writerly rhythm and narrative surprises. The film positively twinkles with insouciance, and is performed with aplomb, particularly by Bill Nighy, who brings a droll sprightliness and deadpan wit to the lead part, but shows how these mannerisms mask emotional pain. Sam Riley is excellent as the character’s long-suffering son. Nighy plays Alan, a retired Merseyside tailor – and Nighy nails an engaging and consistent voice, sounding like a kind of donnish Ringo Starr. The actor shows how his character, a formidable and quietly intelligent man, has retreated into his habits and eccentricities to shield himself from the cares of the world. Long ago, Alan’s favourite son left home, never to return. In the decades since, Alan has searched for him, a quest that has sparked mixed feelings in the heart of his other, now grownup son Peter (Riley) who feels that he was always second-best. Watch the trailer for Sometimes Always Never But Alan has fixated on one thing in particular: the fact that his son stormed out over an ostensible argument over Scrabble, and whether the two-letter word “Zo” was admissible. Now Alan is obsessed with Scrabble; he is a grandmaster, a black-belt, even hustling unsuspecting players he meets in B&Bs – a funny and unexpected interlude with a couple played by Tim McInnerny and Jenny Agutter. But while staying with Peter, his wife Sue (Alice Lowe) and their withdrawn teen son Jack (Louis Healy), things reach a crisis. Playing Scrabble online, Alan encounters a virtual opponent whose style he recognises – and who deploys the controversial word “Zo”. Is someone trying to get in touch? The Scrabble and Scrabble-obsession are emblems of a complex sort of communication crisis. Alan’s mastery of the game has taken him along a certain type of loneliness spectrum. He is simultaneously very good with words and absolutely terrible with them. He can’t make contact with Peter and Peter can’t make contact with him. And yet, Alan has far from given up on life: to Peter’s exasperation and dismay, he continues to be an assertive personality, airily dapper, liking everything just so in ways that can’t simply be written off as dysfunctional. He has a positive effect on Jack, showing him the correct way to wear a suit (the title refers to the jacket’s three buttons, top, middle, bottom, and which may be done up). The “tailoring-mentoring” scenes here incidentally have a thousand times more wit and humanity than those in the boorish Kingsman films. Riley, Lowe, McInnerny and Agutter are all superb in their roles and the Scrabble face-off with McInnerny in an early scene – together with its highly surprising second encounter the following morning – is carried off with wit and flair. This film is a distinct, articulate pleasure.

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