Talking Movies

March 10, 2019

Notes on Fighting with my Family

Fighting with my Family was the catch-up film of the week much earlier today on Sunday Breakfast with Patrick Doyle.

Stephen Merchant is the decidedly unlikely writer/director of this sports comedy-drama about the cheesy world of wrestling, which is fixed not fake as Nick Frost is quick to point out. Frost and Lena Headey are the proprietors of World Association of Wrestling, based in Norwich, but their children Florence Pugh and Jack Lowden have the chance to hit the big-time when they try out for the WWE during a London event. But coach Vince Vaughn only takes Pugh with him to Florida for SEAL/NXT training. As the Goth Pugh struggles with the talentless bikini babes being more popular than her with the wrestling audience the embittered Lowden spirals into drink and rage back home. And that is where Merchant’s name on proceedings becomes curious. A wonderful dinner party where Frost and Headey try and fail to impress the classy parents (Merchant and Julia Davis) of Lowden’s girlfriend is pure Merchant, but then the sports drama surrounding such sequences is a familiar tale differentiated only by the theatrical nature of the sport depicted in training montages.

Listen here:

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April 7, 2017

Table 19

Anna Kendrick stars in a slightly unusual romcom that is notable for being more amiable than the usual Hollywood fare.

Kendrick is Eloise, the ex-maid of honour, who is still attending her best friend’s wedding despite being ditched from the bridal party after breaking up with the best man Wyatt Russell, brother of the bride. To avoid awkwardness she is relegated to the back of the room, Table 19. And as she planned the wedding Eloise knows just what a humiliation this is: seated next business acquaintances of the bride’s father, Craig Robinson and Lisa Kudrow, a nanny, June Squibb, a ‘successful businessman’ who is clearly nothing of the sort, Stephen Merchant, and a frustrated teenage lothario, Tony Revolori.

The Breakfast Club is an obvious point of reference for Table 19, and there is an undeniably goodhumoured spirit to proceedings that counts for much. But the presence of the Duplass brothers as original screenwriters makes you wonder what this movie was envisioned as in earlier drafts, especially as a striking camera movement when Eloise dances with a stranger and the best man sees it almost feels like a leftover from a draft where the real time wedding was being imagined as one single long take.

Table 19 isn’t hilarious, but it is more thoughtful than one would imagine and hides its grand romantic gesture with some glee.

3/5

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