I was instantly intrigued by his suggested gig, because while as a diehard music fan I had visited many of the country’s stadium meccas and more intimate venues, I had never ventured into a sleepy Cornish fishing village to quench my musical thirst.
Said ‘gig’ was due to take place in Port Issac, North Cornwall, and would involve a waterside party hosted by a local a cappella band made up of grizzled local fishermen and other sailor types. She had been watching them on family vacations for years, and assured me and mine that our breath would be well and truly taken away.
I was not convinced. I’ve never been so wrong in my life.
Seeing the now legendary Fisherman’s Friends on their home turf so long ago, it was clear that one day skeptics like me around the world would eat crow and it was only a matter of time before these guys (if they wanted to) would go somewhere. They were simply sensational.
Sure enough, the ‘bundle of buoys’ eventually signed a £1million deal with Universal and hit star-studded heights which included backing up Beyoncé on the Glastonbury pyramid stage. A film adaptation of the charming tale was inevitable, and in 2019 we were treated to Fisherman’s Friends (the film), which starred the talented James Purefoy as the band’s frontman, and charted their incredible rise to stardom.
Now, the long-awaited sequel has finally landed in cinemas, which sees Purefoy behind the mic and leading the charge with the next chapter in the hometown heroes story.
Send people! Let’s take a closer look…
The rags-to-riches story of eight men from Port Isaac in Cornwall, who signed a record deal in 2010 and became the first traditional folk band to land a top 10 album chart on the UK charts. is smoothly translated as the fish-out-of-water comedy-drama Fisherman’s Friends.
Meg Leonard and Nick Moorcroft make their directorial debut with a sequel that draws inspiration from the frenetic 14-month period between the release of the LP and the band’s 2011 performance on the Glastonbury Festival’s Pyramid Stage at Worthy Farm on the same Sunday line-up as Beyonce.
The script takes factual bass notes and adds driving choruses of whimsical melodrama and romance, including a first acting role for Irish singer-songwriter Imelda May as a spunky love interest for a swarthy singer of sea song.
It’s heartwarming and enjoyable entertainment, filled and set with the same wholesome design as its predecessor, including a daring rescue worthy of an episode of Lassie and a soulful cliffside rendition of Harry Glasson’s anthem, Cornwall My Home.
The underdog story is written big from when a London label frontman (Ramon Tikaram) rejects the band as Moby Dick And The Whalers and backs the promotion of an airy pop diva because that “success is measured in record sales, not brain cells”. Inevitably, he chokes on those words.
The remaining nine members of Fisherman’s Friends embark on a whirlwind UK tour. Singer Jim (James Purefoy) hasn’t processed the death of his father Jago (David Hayman) and he’s looking for emotional support in a flask of whiskey much to the dismay of A&R man Gareth (Joshua McGuire).
The “buoy band” returns to Port Isaac gloomily.
When record label general manager Leah Jordan (Jade Anouka) broaches the thorny issue of a new singer to replace Jago, Jim protests vehemently.
“When the father died, the band died with him,” he grumbles, sparking fights with fellow members Leadville (Dave Johns) and Rowan (Sam Swainsbury) after Farmer Morgan (Richard Harrington) auditions. successfully to join the ranks.
Crescendos of disharmony in front of the media with drunken and disorderly Jim in charge of a microphone at the open-air Minack Theater in Penzance.
Perhaps a visit from songbird Aubrey Flynn (May), who has embraced sobriety after a hellish past, can bring lost soul Jim back from the brink of self-destruction. Fisherman’s Friends: One And All was composed to warm the shells of our emotionally manipulated hearts and the siren song of Leonard and Moorcroft’s picture is hard to resist.
Cinematographer Toby Moore showcases Cornwall’s natural beauty from every angle imaginable, including a tete-a-tete on a clifftop bench with spectacular panoramic views of the harbour.
The pacing is smooth, and the only point of contention is an on-screen discussion of the scone overlay label.
The battle lines are drawn in jam then in cream… or vice versa.
Murder is child’s play in director William Brent Bell’s prequel to 2009’s psychological horror Orphan about a 30-something psychiatric patient with a rare glandular condition that delays her growth, allowing her to pose as a young girl and infiltrate unsuspecting families.
The cuckoo in the nest is happy as a lark and mad as a loon in Orphan: First Kill, which chronicles the antagonist’s first forays outside of secure isolation and pits the cunning predator against a surprisingly worthy adversary.
Screenwriter David Coggeshall pulls the rug out from under his villain (and us) with a satisfying rustle towards the hour and savors the pungent flavor of white supremacy and class privilege as his plot spins in a tantalizing new direction.
Unfortunately, it’s tied tightly to the story revealed in the first movie and can’t deliver on its sadistic promise, reverting to slasher conventions to sever dysfunctional family ties in the most primitive way possible.
Isabelle Furhman resumes her chilling portrayal of the deceitful title role, staring soullessly into the camera as her manipulative master tricks the adults, who treat her like an innocent child.
Make no mistake, she’ll gouge your eyes out if she only has half a chance.
In 2007, 31-year-old Leena Klammer (Fuhrman) is a deeply disturbed patient under the care of Dr. Novotny (David Lawrence Brown) at the Saarne Institute in Estonia, where staff see through her childish facade and recognize the psychopath in their midst. Leena exploits the weakness of a smitten security guard to escape the facility and reinvent herself as Esther Albright, a suspected kidnapped missing American with similar facial features.
A staff member at the US Embassy in Moscow reunites Esther with her tearful mother Tricia (Julia Stiles): “Be ready for change. Four years is a long time in the development of a child!
The imperious matriarch of one of America’s wealthiest clans flies Esther by private jet back to Darien, Connecticut, in the arms of the girl’s delighted artist father (Rossif Sutherland) and older brother (Matthew Finlan) .
In the guise of Esther, Leena quickly acclimatizes to the trappings of wealth and attends sessions with child therapist Dr. Segar (Samantha Walkes).
However, inconsistencies in her memories and the nagging suspicions of Detective Donnan (Hiro Kanagawa) threaten to expose Leena’s diabolical deception.
Orphan: First Kill is a solidly entertaining yet predictable thread that happily ignores any costume department stain disposal issues to splatter Fuhrman with freshly spilled blood at every grisly moment.
The latest installment in the long-running Dragon Ball anime series arrives more than three years after Dragon Ball Super: Broly with director Tetsuro Kodama installed at the helm of a colorful adventure written by Akira Toriyama.
Goku (voiced by Masako Nozawa) and Vegeta (Ryo Horikawa) continue to train hard for the fight under Professor Whis (Masakazu Morita).
Meanwhile, Magenta (Volcan Ota) teams up with Dr. Hedo (Miyu Irino) to revitalize the Red Ribbon Army and get revenge on heroes Gohan (Nozawa again) and Piccolo (Toshio Furukawa) using two androids.
This evil plan results in the creation of Cell Max, an upgraded version of the Cell weapon designed by Dr. Hedo.
Dragon Ball Super: Super Hero was released in the UK as an original Japanese version with subtitles and an English dubbed edition.
Directed by Lee Haven Jones and written by Roger Williams, The Feast offers plenty of food for thought on the themes of greed and corruption.
Steeped in folklore and filmed in the Welsh language, this contemporary horror is set in the home of wealthy politician Gwyn (Julian Lewis Jones) and his wife Glenda (Nia Roberts). They host a lavish dinner at their house made of glass and steel in the Welsh mountains to seal a deal for mining in the area.
A mysterious young woman named Cadi (Annes Elwy) is hired as a waitress for the evening. Painfully shy and largely silent, she exerts an increasingly toxic influence over dinner.