Paul Kaye will be joining Peter Capaldi and Jenna Coleman in 'Doctor Who'.
Paul Kaye, the British star of It's All Gone Pete Tong, Blackball, Game of Thrones and, err, the BetVictor TV ads, is to star in the ninth season of Doctor Who, current filming in Cardiff. The show will return in Autumn this year, with Peter Capaldi and Jenna Coleman back as the Doctor and Clara.
Both Peter Capaldi [L] and Jenna Coleman [R] will return for Doctor Who season 9
Kaye will play a character named Prentis and although plot details are being kept under wraps, the actor told Den of Geek: "As a kid of the 1970s, the two shows you always watched were Top of the Pops and Doctor Who, they were unmissable. I actually wrote a song called 'Looking for Davros' in my first punk band and I sang it like a demented Dalek.
Continue reading: 'Game of Thrones' Star Paul Kaye set for 'Doctor Who' Season 9
British filmmaker Martin Simon Hewis uses dark humour and visual trickery to overcome what is clearly a very small budget. So even if the comedy feels low-key and uneven, it continually catches us off-guard with inventive touches that bring out deeper themes. It's also strongly reminiscent of that time of life when youthful carelessness has to give way to grown-up responsibilities. And the characters are hilariously realistic.
Set in a Bristol call centre, the story focuses on Dan (Hughes), a hapless guy who has just been thrown out of his house by his angry mother (Haywood), who's sure he let his drunken dad (Kaye) steal her winning lottery ticket. With nowhere to live, Dan takes his cat and camps out in the office without telling his colleagues, a gang of bored phone operators (including Thomas, Ashton and Ladwa) who liven things up with pranks and after-hours partying. But his life gets even more complicated when his maneating boss (Lombard) tells him to sack Teri (Lovibond), the coworker he has a secret crush on.
In other words, amid all of the workplace antics, Dan needs to grow up and sort out his life. But it's a lot more fun to hang out with his goofy colleagues and let someone else take responsibility. The script nicely captures this time of life without ever getting heavy-handed about it, focussing on the colourful characters and situations as well as the internal fantasies that torment Dan. Hughes plays him as one of those standard British protagonists who can't quite get anything right, and yet we root for him. Lovibond is a feisty foil for him, although their rom-com subplot remains in the film's margins. And the surrounding cast bring all kinds of sparky wit to their roles.
Continue reading: 8 Minutes Idle Review
Game of Thrones season 3 is on it’s way, and if the dark television adverts aren’t enough to convince you, then the new trailer will have to do. And it’s good; oh it’s good. If you thought seasons 1 and 2 were big, then it’s about to get bigger.
We’ve only got around a month to go before the season three premiere, so HBO have really made us wait for this trailer. But now it’s here, we can’t wait to see some epic sword sinking action. This new season will see 14 – that’s right – 14 new cast members for the show.
Continue reading: Game of Thrones Season 3 Trailer Finally Hits (Watch)
This film may look sleek and urgent, but it never feels like anything more than a run-of-the-mill London drugs thriller. The cast is good, and the imagery is striking, but it never adds anything new to the genre. And it certainly doesn't have the bracing impact of the original 1996 film, which introduced the world to Nicolas Winding Refn (Drive).
It centres on the young drug dealer Frank (Coyle), who with his friend Tony (Webb) is trying to bring a huge stash of drugs from Amsterdam to London. The cops are brutally trying to force Frank into turning in evidence against his supplier Milo (Buric), which puts him in a very bad position. With Milo's henchman (Ferda) breathing down his neck, Frank tries to call in his debts and raise enough cash so he and his stripper girlfriend Flo (Deyn) can get away. But all of his plans seem to go awry, which strains his relationship with Flo because he doesn't want to tell her the truth.
This is one of those movies in which events squeeze in on the central character from every side, forcing him to increasingly desperate actions. And Spanish director Prieto has a lurid visual style that jolts the screen with energy, even if it leaves everything feeling rather superficial. Coyle finds Frank's intriguing edges, playing him as a cocky nice guy whose confidence is beaten out of him. As he becomes a shell of himself, we have quite a bit of sympathy with him. So it's a shame that we never really feel much chemistry between Frank and Flo.
Continue reading: Pusher Review
Kenneth (Deacon) has changed his name to K to seem more street-smart on his rough council estate. His parents (Robson and Benson) think he needs to take more responsibility in the family, so he decides to help with their money problems. Although quitting his job isn't the smartest move. Then he hatches a plan to sell drugs to the neighbourhood with the help of his dopey pals (Zonzolo, Oyeniran and Vu) and a visiting foreign student (Barbieri), but this puts him on a collision course with the estate's self-proclaimed kingpin Tyrone (Campbell).
Continue reading: Anuvahood Review
Astutely combining sharp comedy with complex political and theological issues, this film is packed with strong themes and vivid characters that keep us interested even as the plot drifts into silly slapstick.
London cabbie Mahmud (Djalili) is a loving family man and a relaxed Muslim whose son Rashid (Shah) wants to marry the step-daughter (Radford) of a radical Imam (Naor). But just as Mahmud is trying to behave like a better Muslim, he discovers that his birth parents were Jewish. Suddenly, his whole world shifts on its axis, and he turns to rival Jewish cabbie Lenny (Schiff) for advice.
He's also understandably terrified to tell his family the truth, although his wife (Panjabi) suspects that something's up.
While Baddiel's smart, funny script probes the comical possibilities, Appignanesi's direction continually looks for sight gags and rude jokes. The result is a little uneven: even though these two elements come together often, the wacky physical humour sometimes undermines the more provocative themes. On the other hand, this approach keeps us nicely off-balance, never quite sure where the story might go while allowing the cast to make the most of their characters.
Most enjoyable, and telling, is the way this news causes Mahmud to see the world through different eyes. Not only is this amusing, but it also challenges our own perspective on the world around us. Djalili plays this cleverly; we can understand why Mahmud finds it impossible to continue hating Jews. Watching him try to become a better Muslim even as he's studying Judaism is pretty intense, although it's basically played for laughs. When Lenny welcomes Mahmud to "the worldwide conspiracy", it's a joke. Right?
These elements make the film much more meaningful than most comedies, and add offbeat details to the characters and situations. So it's a bit frustrating when the plot takes over in the final act, weaving in a side-story from early on that we knew would come back later, then heading for a big showdown that feels like it was grafted on from Hollywood script-writing software. This milks the emotions more than was necessary, but even here the corny slapstick is intermingled with theology, giving the whole film a potent kick.
Alice is a young woman (Grace) running from a couple of thugs when she's hit by a cab driven by Whitey (Dyer). She can't remember who she is, so he takes her along to meet the gangster Gonzo (King). Then Whitey learns that her wealthy dad (Hagon) is offering a $10 million reward for her return. And as Alice travels around London following clues to her identity, she meets a variety of eccentric characters. Ultimately, Whitey and Alice converge on a nightclub run by the mob boss Harry (Parker).
Continue reading: Malice in Wonderland Review
And apparently, this oddity merited being the subject of a feature film from National Lampoon, the former cultural touchstone that has now become the bottom feeder of American lowbrow humor.
Continue reading: Blackball Review
At first I thought I was reading it wrong: The title was just It's All Gone and "Pete Tong" was a wayward producer credit or something.
Continue reading: It's All Gone Pete Tong Review
Opening with an energetic blitz of Wilde's decadent, party-hardylifestyle (cocaine, booze, puking, orgies, stage-diving, magazine covers,Ibiza beach parties), the film follows his descent into a strung-out hellof wheels-falling-off-the-wagon self-pity after going stone deaf -- andthus losing his livelihood and his only real talent. But writer-directorMichael Dowse then taps into the revitalizing potency of a metrical andmetaphysical epiphany that brings Wilde (played with frazzled, hyperactivecharisma by Paul Kaye) roaring back to prominence before he disappearswithout a trace at the height of his fame.
The title is Cockney rhyming slang for "it's all gonewrong," and Kaye -- with his scruffy hair, unevenly angular face andoh-so-British teeth -- rides his character's foolishness and vitality likea racecar with 100,000 hard miles on its tires. He just keeps pushing andpushing even though he knows in the back of his head something's goingto blow. Wilde is so fried he's barely able to form a coherent sentencewhen he's living what he thinks is the good life.
Bad genetics and loud music conspire to bring him downto earth, and once his hearing is gone, he nose-dives toward rock bottomand fights his sometimes comically depicted demons. His coke habit is symbolizedby a guy in a badger suit literally shoveling white powder in his faceand beating him up.
Continue reading: It's All Gone Pete Tong Review