Content :

The Inbetweeners

Pushing Daisies

Once

Battlestar Galactica

Chuck

Preaching to the converged

White Girl

Terminator: Sarah Connor Chronicles

Be Kind, Rewind

Michael Clayton

No Country For Old Men

Mad Men

Journeyman

2007 on the big screen and small

Top 25 Time Travel Stories

The Rules of Seduction

The Nines

National Novel Writing Month

Portrait of Jennie

Red Planet Prize

Dexter

Screenwriting matters

The secret history of British film

Californication

Agents

Superbad v the feMANists

Atonement

Paul Laverty

My weekend with the podcasters

Edinburgh Film Festival 2007

A bummer of a summer of British film?

Wouldn't you just die without Mahler

The great British screenplay

Seinfeld

Steps back in amazement

Cheltenham Screenwriters' Festival

28 Pirates Later

How to arrive late and leave early

Blog off and leave me alone

Screenwriter : comic reader

The 50 Greatest TV Dramas

Spiderman 3

The Holiday

Perfume

Porn: The Second Coming

The Innocents

Battlestar Galactica

My highlights and low lights of a moviegoing 2006

The Queen

Pan's Labyrinth

Casino Royale

Little Children

My fave screenwriting podcasts

Random thoughts about character

Trouble in paradigm

Children of Men

Lost on Broad Street: Diary of a Multi-Strand Collaboration [External link]

Dramatica: the DNA of story?

Writing partners

EAVE: uni for film producers

Writing for Hollyoaks

The loneliness of the long-distance copywriter

Access issues for theatre writers

 

The Best of 2007


BSG As far as cinemagoing went, 2007 felt like a much more lacklustre year than the previous one, and yet it kicked off with strong non-Hollywood fare like This is England, The Last King of Scotland and The Lives of Others.

The latter was one of those rare European subtitled films that become a massive hit with the cinemagoing public and are immediately slaughtered by critics who spend the rest of the year chiding the cinemagoing public for not watching European subtitled films.

At Edinburgh I was lucky enough to catch the moving And When Did You Last See your Father?, a film which, I suspect, has a special poignancy to anyone who's had to deal with losing a parent, and the hilarious Two Days in Paris, Julie Delpy's Woody Allen-inspired directorial debut.

Comedy of the year, though, had to be Hot Fuzz, which truly kicked ARSE. How great it was to be sitting there in a ram packed auditorium with people fighting over seats for a British movie that totally delivered and did the business. Messrs Wright and Pegg: you are truly gods amongst men.

Just as funny and intelligent (although the latter quality passed most critics by) were Knocked Up and Superbad, the latest entries in the emerging ladcom genre, which prompted howls of ridiculous PC outrage but were anything but the gross out movies people who didn't bother to see them thought they were.

In a more serious vein, The Bourne Ultimatum and Zodiac were Hollyood films shot through with a European sensibility, like the 1970s conspiracy thrillers they emulated.

But for me the film of the year was Atonement, a beautiful British film that took the heritage template and dared to experiment with it, to the point where it was like watching Brief Encounter directed by Julian Temple. It had more guts and balls than any present-day so-called-realist film out there and out-arted the arthouse industry whilst playing to the great unwashed of the multiplex crowd. A sure sign that you can make challenging, thoughtful, self-referential cinema without disappearing up your own arse.

Having said all that, the really challenging, relevant drama and comedy in 2007 was mostly to be found on the TV screen, even though I felt like I was only scratching the surface of the overwhelming output of drama from the US.

Jericho was a missed opportunity and only ever fulfilled its dark promise in a couple of episodes. Likewise with 24 season 6, which was just so dull: they've nuked LA, ho hum, Jack's back and barking at people in every episode, do I really care any more? This is one series I won't be returning to in 2008. Thanks for the memories, guys.

But Entourage just got better and better, as did the second season of Dexter. Comedy-wise, there were moments of dark genius from Flight of the Conchords, The Mighty Boosh and 30 Rock, and Californication was that rare thing: a 'dramedy' with writing to die for.

But the two stand out series came from the sci-fi arena. Heroes managed to cross over by putting normal people in abnormal situations and always making us care about them.

But far and away the greatest drama of the year, in any genre, was Battlestar Galactica. Season three opened with brutal occupation, routine torture and suicide bombings, developed to drugged up threesomes and climaxed with Bob Dylan and mind-blowing mystical revelation. Then they came back with the one-off Razor and got even darker. Where other TV dramas and movies tried and failed to bring us the War on Terror, it was left to a sci-fi fantasy series with a terminally uncool name to actually deliver the goods.

At times it had me falling to my knees, Homer Simpson-like, yelling 'How can one insulated cable bring so much happiness!?'