Steve Coogan has been asked by The Observer to tour the country's finest restaurants, but after his girlfriend backs out on him he must take his best friend and source of eternal aggravation, Rob Brydon.
Tommy Saxondale is an ex-roadie with anger management issues and his own pest control business in Stevenage. Having survived a hostile divorce, Tommy now lives with his girlfriend Magz. ... See full summary »
When famous DJ Alan Partridge's radio station is taken over by a new media conglomerate, it sets in motion a chain of events which see Alan having to work with the police to defuse a potentially violent siege.
Two actors, as their make up is applied, talk about the size of their parts. Then into the film: Laurence Sterne's unfilmable novel, Tristram Shandy, a fictive autobiography wherein the narrator, interrupted constantly, takes the entire story to be born. The film tracks between "Shandy" and behind the scenes. Size matters: parts, egos, shoes, noses. The lead's girlfriend, with their infant son, is up from London for the night, wanting sex; interruptions are constant. Scenes are shot, re-shot, and discarded. The purpose of the project is elusive. Fathers and sons; men and women; cocks and bulls. Life is amorphous, too full and too rich to be captured in one narrative. Written by
The film also features several pieces of music used by Stanley Kubrick in similar situations in Barry Lyndon (namely the Sarabande by Georg Fridrich Händel and traditional British Grenadiers), a film set in about the same location and period. See more »
I've got to be able to kick and stretch. That's what foeti do.
Yeah, but not when they're full term.
He wants realism. Yeah. I'm a grown man, talking to the camera, in a womb.
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Opening credits have (intentional) spacing issues, and mismatched fonts. See more »
One of the funniest and strangest films about the film-making process, this is less an adaptation of the novel, more a focused and hilarious deconstruction on Winterbottom's working methods. Coogan and Brydon are fantastic. The scene with Coogan and a hot chestnut down his trousers is worth the price of admission alone! Although the film may not be to everyone's taste - it darts around and has little respect for narrative logic or continuity (as does the book), it is a freeform little gem that really does cement Winterbottom's reputation as the most exciting British director out there. Any person who can make In This World, Code 46, 9 Songs and then this in a row is worthy of respect.
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