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People Just Do Nothing: Big in Japan (2021)

People Just Do Nothing is one of the funniest comedies the BBC has had to offer in recent years. Following the incredibly popular mockumentary style that has become increasingly common in the comedy format for TV shows, People Just Do Nothing follows a group of aspiring musicians who run a pirate radio station, Kurupt FM, and their quest to hit the big time. The show ran from 2014 to 2018 with the film, People Just Do Nothing: Big in Japan seeing us revisit the group as their signature song has seen a huge surge of popularity after being used in a game show in Japan. The boys hit Japan in the hopes of starting their professional careers and, as expected, run into all kinds of hilarious problems along the way. Just like 2016’s Absolutely Fabulous: The Movie, People Just Do Nothing: Big in Japan shows that you can have a lot of fun with a cinematic feature based on a sitcom with fantastic results.

Directed by Jack Clough and written by the cast, People Just Do Nothing: Big in Japan remains true to its roots. Not falling for common traps normally committed by films based on TV shows, the characters’ actions in the film feel true to how they would act on the show rather than making them caricatures or something less risky to please a larger audience. This is a film that has been made with the fan base in mind and with plenty of inside jokes and references to events that happened on the show, long time fans are sure to be happy with the results. Even those who haven’t watched the show before are sure to have a great time as the characters are well established and the introduction makes the following events of the film clear so as not to alienate the audience. Clough’s direction cleverly sticks to the mockumentary style and the script is well paced so as not to feel like an extended episode. The cast and crew make the most of the location filming and allow the audience to really see the most of Japan.

Reprising his role as the franchise’s lead, Allan Mustafa is great as MC Grindah, who agrees to fully corporate with the Japanese record company who want to make the group mainstream by giving them a complete image makeover that is world’s apart from what they present. Mustafa’s performance is on top form and he ensures that Grindah is as funny and deluded as ever. The premise of the film is simply but the way that Mustafa performs allows us to see real growth in Grindah as he begins to lose grip of his roots and starts to become fashioned into the record label’s image of what a successful musician should be like. We see the mental anguish that he feels as he is pulled in each direction until he has a major breakdown while still providing his signature comical performance so the film isn’t dragged down by the seriousness.

Could there really be a People Just Do Nothing film without Asim Chaudhry as the iconic Chabuddy G? The answer is no and luckily, we don’t have to wonder as Chaudhry is on top form as everyone’s favourite manager. It’s just a shame that he isn’t in it more but as we see Chabuddy’s position as manager threatened, we begin to see his life unravel in a way that seems even worse than what we have seen before. We see plenty of laughs as Chabuddy tries to bluff his way through a variety of situations but there is also a sincere side that we see as he tries to stop Grindah but venturing down a path that isn’t true to his image.

There were so many highlights in this film from the hilarious reveal of the group’s stage costumes to the dance moves they are expected to learn but the greatest development to arise from the film is the relationship between Steves (Steve Stamp) and Miki (Hitomi Souno). Steves is often the fall guy of the group and often finds himself in the worst circumstances but doesn’t really mind due to his permanently drug induced state but it is his scenes with record label employee Miki that provides the majority of laughs throughout the film. You may have watched the film and wondered if there is anyone who can match Steves’ level of weirdness and the film answers that question. What starts as hysterical shenanigans soon turns into something more and it is lovely to see Steves develop another layer and see a different side to him.

Overall, People Just Do Nothing: Big in Japan isn’t afraid to have fun and allows fans and newcomers to the franchise alike enjoy their adventures. With plenty of laughs and hysterical characterisation, this is definitely a film that will pleasantly surprise you and is entertaining to watch.

What did you think of People Just Do Nothing: Big in Japan? Let me know in the comments below!

People Just Do Nothing: Big in Japan is available to watch in cinemas now!

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Alex Wheatle (2020)

The penultimate film in Steve McQueen’s Small Axe anthology series is named after a prominent figure of the Brixton riots that took place in 1981. Alex Wheatle sees the titular character (Sheyi Cole) serving a sentence after partaking in the riots and connecting with his roommate, Simeon (Robbie Gee) as he shares his story from his troubled upbringing in the system to adulthood where he starts to learn his roots and how that fits into the modern day society where the police are constantly mistreating minorities on a regular basis. Just like the other films in this series, Alex Wheatle is another unflinching look into the ordinary life of a black man.

Like the previous installment, Red, White and Blue, Alex Wheatley decides to chronicle a specific person’s experience rather than an event as found in the first two films. Where Alex Wheatle differs from its predecessor is it goes into detail of how racial prejudice is evident in the social services system. From the moment he is put in social services’ care, it is clear that Alex has entered a system that doesn’t care for him. From the constant physical abuse and daily beratement, Alex’s struggle to fit in at school and have a healthy home life is basically impossible from the outset. McQueen shifts between the present and past so we can see the parallels between Alex’s child and adulthood even if the events are different.

Sheyi Cole is fantastic as Alex, playing him from his teenage years to adulthood. With the film itself being named after his character and being onscreen for the majority of the time, it could be easy for a newcomer to struggle to remain consistently captivating but Cole does a brilliant job. From Alex’s time during childhood in a foster home where he was abused and picked on constantly by the matron because he is black to his time among the black community as an adult where he is an outcast as he doesn’t acknowledge his blackness or know his roots. Alex goes on a journey to find his identity and over time he is shaped by the people around him becoming more comfortable in himself and aware the political climate.

As Alex’s cell mate, Simeon, Robbie Gee also pulls off a flawless performance. Simeon acts as Alex’s polar opposite. A Rastafari who is completely aware of himself and his identity, Simeon encourages Alex to read a wide range of literature to better himself when it comes to his views on the world. Acting as the inspiration for Alex to become a writer, his presence is so integral to the plot and development of Alex’s character. He is also the catalyst to Alex’s built up tension and anger as his ongoing hunger strike leads to a bout of diarrhea which causes Alex to lash out due to the smell. Naturally Simeon manages to calm Alex and ask him to share his story. Simeon is a character created from Wheatle’s memories as he acted as a consultant for the script meaning that you get the full story from his perspective.

Reaching into another area of London, Alex Wheatle shows that these communities are connected by the thread of racism and prejudice that is thrust upon them by systems that are meant to serve and protect them. Focusing on the person rather than the riots also made sure that the audience fixation remains on Wheatle whereas in Mangrove, the actual protest is such an important part of showcasing the injustice the whole group faced. Another interesting choice by McQueen was not immediately divulging what Alex’s crime actually was so we can naturally see the events of Alex’s life unfold without actually knowing what to expect except for the fact that he ends up in prison.

What did you think of Alex Wheatle? Let me know in comments below!

Alex Wheatle and the rest of the Small Axe films are available to watch on BBC iPlayer now!

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London Film Festival 2020: Lovers Rock

The last film on my list brings the whole Festival to full circle as it ends with the second episode of Steve McQueen’s Small Axe series named Lovers Rock. The film spans a single evening taking place at a house party in Ladbroke Grove and, much like Mangrove, serves as a safe place for the black community to gather. Following protagonist Martha (Amarah-Jae St. Aubyn), a young woman who sneaks out of her house to attend the party. The party is fun at first as she dances with her friend Patty but soon enough the darker undercurrents start to seep through as she is harassed by men at the party as well as a group of white men outside. Her experience ties in with the darker experiences of other partygoers, mainly women. Patty leaves because she doesn’t want to be left alone with a stranger and another woman, Cynthia, is raped by a man who had harassed Martha earlier.

Despite its short 68 minute running time, McQueen makes the best of this time by creating a complex intertwining of relationships in the short duration of events. Martha’s experience is one that spreads across many emotions from elation at attending the party with her best friend, Patty to the fear of being harassed by a fellow partygoer to the horror of the violence. The script written by McQueen and Courttia Newland is compact and wastes no time in getting into the rush of party preparation while allowing some time for the characters to naturally flourish in the second act before violence kicks off. This short snippet of time exposes us to a lot of characterisation and actually gives us a good idea of who Martha is and what kind of person she is. The shift in gender dynamic is brilliantly done as the women lead the party by dancing on their own but after the incredible “Silly Games” scene which I will discuss later, the party is overrun by the men who are frantic. As night goes on, the party becomes more aggressive and violent until the walls seem like they are closing in, making for a claustrophobic experience. The safe place doesn’t feel so secure any more to Martha.

Amarah-Jae St. Aubyn is brilliant as lead character, Martha. A normal woman who is excited to party with her friend but has a strength that means she isn’t afraid to stand up for herself. What St. Aubyn does so well is bringing out Martha’s character little by little through actions and mannerisms. When Cynthia is raped, Martha is unafraid to stand up for her and stop him. Even when he squares up to her and towers over her, she stands tall. You would not think that this is St. Aunbyn’s first leading role as she is so natural in the role. It’s a great character arc as well. From a timid young woman sneaking out to party to the final shot of her sneaking back in a d clearly feeling changed from her experience. We see the changes that she has experienced on her face in those final moments.

In the supporting role we have Micheal Ward as fellow partygoer, Franklyn, who proves to be a perfect match for St. Aubyn. The interaction between the two works perfectly as they bounce off each other. Franklyn acts as a fly on the wall to the party. He doesn’t partake in the men’s dancing and is dedicated to making sure Martha is safe despite having never met her before this night. Ward isn’t in it that much but his presence and protection can be felt when Martha is wandering around the party. The final scenes in which he is in where he encounters his boss who is unhappy that he brought Martha to the shop bring the microcosm of the party to the outside world. Franklyn serves as Martha’s guide for the party and arguably to life, introducing her to a world that she hasn’t encountered before.

The highlight scene is when Samson, the DJ, cuts the music to get the attendees to sing “Silly Games” by Janet Kay accapella and it is a wonderful choice. The partygoers keep dancing and create the rhythm together in a way that highlights the tightness of the community. McQueen really is a genius when it comes to intertwining art forms in his films and this is a great way of incorporating music in a way we haven’t seen before. Because the music has been so continuous as well it helped to slow the pace down for a little bit as the shift from fun to chaos ensues.

The music choices in Lovers Rock provides the ongoing flow for the episode and adds to the frantic nature of the party. An eclectic mix of lovers rock, reggae and blues, Lovers Rock is brimming with black music and it is a brilliant soundtrack. The hectic and continuing nature of the music becomes synonymous with the action as though it is playing an active role.

Lovers Rock closes the London Film Festival on the 18th October and will show on BBC One in the United Kingdom on

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Fleabag (Live Screening, 2019)

“He’s so bony… it’s like fucking a protractor”

Over the past few years, live viewings of National Theatre productions have increased in popularity with sold out screens all over the globe. Admittedly, I have never attended (mainly due to the price) but when I saw that Phoebe Waller-Bridge’s brilliant one-woman show Fleabag was going to be screened live from the Wyndham’s Theatre, I knew I had to go. As an avid fan of the show and Waller-Bridge, I have been counting down the days to see this and I was wasn’t disappointed. Fleabag follows a young woman as she navigates a life filled with heartbreak, relationships and a lot of sex. She is the sole owner of a guinea-pig themed café after her best friend, Boo, accidentally-on-purpose commits suicide. This run of performances marks Waller-Bridge’s last venture as her iconic creation and all tickets sold out within minutes making it one of the most anticipated theatre trips of the year. Sadly, I was unable to get tickets but I took this opportunity to see it immediately as I knew I would regret it instantly.

Fleabag herself is gritty to the extreme. She’s unfiltered, unapologetic and always thinking and talking about sex but she’s also complex, smart and relatable. I think this is why the character is universally loved. The character is a brilliantly rounded portrayal of the 21st century woman. A true modern feminist hero (even if in one hilarious slip, she admits that she would trade 5 years of her life for the “so-called perfect body”). She’s brutally honest, hilarious and riddled with bad habits such as excessive drinking, smoking and masturbating while her partner sleeps beside her. It’s as if Fleabag breaks every rule in the book and is a walking taboo.

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Waller-Bridge’s script and Vicky Jones’ direction are impeccable. Every move and expression is calculated and enhancing the dialogue. It’s compact and tight with every segment executed perfectly. The setting is minimalist to the extreme, Fleabag and a chair in centre stage but the performance Waller-Bridge brings is anything but. Dressed in a red jumper and jeans, Waller-Bridge transports us to various locations around London, acting out different characters such as her sister, a job interviewer and regular café customer, Joe. I was interested to see if I would be as invested when watching it on a screen rather than in the theatre itself and I found myself transfixed. The camera work was brilliant and the sound was impeccable.

Compared to the BBC series, the stage production is grittier and sadder than its counterpart. The first episode covers the show with the revelation of the first season finale so a lot is added into the TV series. Fleabag seems even more unfiltered and unhinged in the stage production which I didn’t think was possible and it was great to see some familiar moments that I recognised from the show.

I wasn’t too sure what to expect but it was a brilliant experience and I hope to go to many more National Theatre productions. The atmosphere was great and everyone in the theatre audience and cinema audience were completely invested in her story. I expected to laugh which I did in abundance but I wasn’t expecting to cry as much as I did. A heartbreaking segment with Fleabag and Hilary, the café’s mascot guinea pig, is horrific to watch and brought an array of gasps and tears from both sets of audiences. There’s an encore screening in October and I recommend that you book tickets as soon as possible. It’s a brilliant and refreshing piece of theatre that shows how a simple production can create a complex experience.