The US President and UK Prime Minister fancy a war. But not everyone agrees that war is a good thing. The US General Miller doesn't think so and neither does the British Secretary of State for International Development, Simon Foster. But, after Simon accidentally backs military action on TV, he suddenly has a lot of friends in Washington, DC. If Simon can get in with the right DC people, if his entourage of one can sleep with the right intern, and if they can both stop the Prime Minister's chief spin-doctor Malcolm Tucker rigging the vote at the UN, they can halt the war. If they don't... well, they can always sack their Director of Communications Judy, who they never liked anyway and who's back home dealing with voters with blocked drains and a man who's angry about a collapsing wall. Written by
Loop Film Productions Ltd/AT
The film's final credits roll over a long shot of the main office. At the very end, Malcolm Tucker comes out, looks at the TV and asks, "Who let this woman out with her fucking hair like this?! On national television?! Looks like she stuck her finger in a fucking electrical socket..." before walking away. See more »
Armando Iannucci's brilliant political satire, 'The Thick Of It', takes obvious cues from real events (and personalities) in British politics; and cooks these ingredients into a splendidly toxic broth personified by the character of Maclolm Tucker, spin doctor extraordinaire, the man with the most inventive foulmouth on the planet. The other protagonists are slimy, incompetent, self-serving; but part of Iannucci's genius is that even as you hate them, you almost end up feeling sorry for them as well, doomed to play their part in the political machine. It's a brilliant programme; what's even more unusual is the success of its adaptation to the big screen. To make 'In the Loop', Iannucci has directly addressed one of the biggest recent political stories, the second Gulf War, which also allows him to introduce a range of American archetypes into his drama; as with his British characters, the mixture of exaggeration, subtlety and sheer venality in their portrayals is wonderfully judged. And although wholly fictional, as an account of how certain intelligence dossiers came to be faked, it's also wholly compelling and believable. Less surprisingly, many of the regular cast from the TV series also feature in the film, although (Peter Capaldi as Tucker aside) in slightly different roles. But there's no denying the basic quality of the humour here; the title of this review, incidentally, is one character's description of opera. A film which makes you laugh or think as much is rare; one which does both is something special indeed.
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