Eager to shift thoughts away from The Troubles during the 1970s, music fanatic Terri Hooley (Richard Dormer, TV’s “Game of Thrones”) opens a record store, ‘Good Vibrations’, in the heart of one of Belfast’s roughest districts. As the shop gains a loyal following, Terri starts a small record label with the aim of launching some of the local bands, including The Undertones whose first single, ‘Teenage Kicks’, is championed by legendary Radio 1 DJ John Peel…. A heart-warming and hilarious true story, Good Vibrations is not a feel-good film – it’s a feel-great film!
2012 – Certificate: 15 – British/Irish Film
Rating Details: Strong language, once very strong, and drug use
8.5 out of 10
In 1981 I was selecting what universities might be desperate enough to entertain me with an offer of admission. This, you’re told, is an important decision that could affect your whole life and one you should make after due, diligent consideration. At my sixth form college we had folders and files bulging with all the propaganda, prospectuses and other marketing materials from all the universities and polytechnics in the country. At the bottom of one cabinet, filed away under U, was a folder containing a slim, A5 sized booklet, and that’s it. Unlike everything else, which was dog-eared, scribbled over and had pages torn from it, this little publication was in pristine condition, untouched, unread. In the early 80s The Troubles were in full swing in Northern Ireland and no self-respecting student from an okay suburb in north-west London was going to even consider the New University of Ulster. The Undertones was (and still is) a punk band from Derry, which is about 30 miles from Coleraine, where the main campus was for the NUU. Entirely on the strength of this geographical connection and much to the consternation of my parents, I picked the NUU as one of my five choices of university. In the end I got offers from three of these, including the NUU. Six months later, thanks to some less than stellar A Level results, it’s where I ended up. (In truth I think it would probably have take just about anyone from England, regardless of their stupidity levels, as it was so desperate for ‘overseas’ students.) This film explains why this happened and why my life has turned out the way it has. I’d like to think I’m a tiny, unwritten footnote somewhere that’s connected to this film. I still have the Good Vibrations price labels on a few records (I didn’t want to peel them off) and without consciously trying to collect them have most of the label’s early releases too. Some wonderful songs were released during that period. It’s hard to believe it’s almost ten years since John Peel died too.
I’ve never met Terri Hooley and I probably never will, but I think I’d like him if I did. He released the Undertones first single “Teenage Kicks” on his own little label that he started in his record shop in Belfast. He then got a copy to John Peel, who played it twice in a row on his show on BBC Radio 1. The rest is well documented history. If he’d not done this, I’d never have heard of the Undertones and that modest prospectus would have remained hidden in the blue file in the bottom draw. I think I still have it somewhere as I ‘borrowed’ it from the file; I don’t suppose anyone ever noticed it was missing. It’s quite an experience to watch a film that tells the story of someone who had such an unplanned effect on your own life. As a stand-alone movie it’s not perfect. Of course it has a montage of The Troubles and lots of characters who could only be from Northern Ireland. (When they weren’t busy marching around, shooting each other and blowing things up, the Northern Irish were some of the nicest and kindest people you could meet. Better than the English anyway!) In that sense it’s very clichéd, yet it’s still a really fun and enjoyable watch. The fact that it’s based on a true story just adds to its attraction. From my own knowledge of things, there are a number of scenes and touches in the film that really reflect what happened, although I’m sure there’s plenty of dramatisation too. An essential watch.
This is a film about someone who loves music. As such it features lots of great tunes, from reggae through to bands like the Outcasts, Rudi and of course the Undertones. It also contains absolutely the best music porn I’ve ever seen. For around 15 minutes it presents the story of “Teenage Kicks” and it couldn’t have been done better. It’s perfect and a brilliant and loving homage to it. After a couple of false starts the song finally bursts out on the screen and for 2 minutes and 28 seconds (more or less) we just get to experience the moment it was first played by John Peel. Of course, the band has written better songs since, but none will ever quite have the impact and resonance of “Teenage Kicks”. (They even managed to get some actors to play the band who mostly had a decent resemblance to the real people.) I must have about a dozen copies of it on various records and CDs. Of course, I already have a ticket for the band’s next gig in London, in nine months time.
The trailer is perfect. It contains “Teenage Kicks”.
Recommended for dreamers, musicians, music fans and anyone who’s ever fallen under the spell of any song.
No cats, chainsaws or decapitation.
Top badass moment? After the great built up, “Teenage Kicks” bursting out of the speakers provides THE most badass experience it’s possible to have. An iconic tune by the best band on the planet. Still gigging and still way ahead of their peers.
Sean Veil (Lee Evans) is an ultra-paranoid murder suspect who films himself around the clock to provide an alibi, in case he’s ever accused of another crime. When the police come calling to investigate a new murder, the one tape that can prove his innocence has mysteriously disappeared. Past and present collide as Sean strives to prove his innocence of this and all the other crimes that have been laid at his door. But the accusations and the tension mount and just when Sean thinks it’s all over, an unexpected twist finds him fighting for his life…
2004 – Certificate: 15 – UK/Irish Film
Rating Details: Strong violence and language
8.0 out of 10
A couple of months ago I started walking into work again, rather than driving. Regularly walking the 2.4 miles each way has turned me into a hyper-fit super-being, but it’s not without its drawbacks. Today I’d like to briefly consider the concept of Pavement Wars. My journey includes a significant section along the Oxford Road in west Reading, where I find myself walking ‘against the tide’, as most people are going in the other direction and into town. I’m used to the barbaric anarchy of rush-hour on the Tube, where a fallen body is considered nothing more than an annoying trip hazard; but I thought out on the open road (well pavement) of the Home Counties, things would be a little different. I thought people would lift their hats in polite greetings as they passed one another, whilst exchanging a few words of small talk, about the weather or cricket scores perhaps? Sadly it’s more like a pedestrianised version of Carmageddon, with the sort of manoeuvring that would lose a driver his or her license in a moment. Seriously, it’s like a war zone out there and I’m not winning. I’ve lost count of the number of time I’ve been forced into walls, bollards and the road, in an effort not to get mowed down by others’ irresponsible walking. But this guy is fighting back! Last Thursday, my path was blocked by two women coming in the other direction. Any decent human being, when walking next to a friend, would make sure they got out of the way if someone was coming in the opposite direction and the two of them were totally occupying the path. But not these two. And they both saw me coming along, I’m quite sure of that. Did they expect me to step out into the road to let them pass, even though I had my back to the traffic? Was I the innocent victim of bitchy office politics, which meant nether of them wanted to walk behind the other, in case this more submissive stance might have some bearing on an inter-departmental power-struggle? Perhaps my “Do You Like Waffles?” t-shirt wasn’t scary enough? Or were they just inconsiderate, stupid, thoughtless, brain-dead bimbos? Who knows? Whatever, this time there was going to be no hanging about waiting between the bollards for them to pass. I braced myself for the inevitable impact, which happened just about here. As we passed my arm briefly collided with the tall blonde’s. I suppose with hindsight it was probably the most exciting sexual caress she’s had for ages, but to me it meant only one thing; at last, I was a true Pavement Warrior! No longer will I cower in shop entrances, between bollards, behind bins or pavement furniture. Reading take note; there’s a new kid on the block, a new kid who’s no longer gonna be pushed around by people who think the sidewalk owes them a living. I’m ready for war. Are they? Given all that, it’s a shame I’m not about to consider a viewing of “Mad Max”.
In a thriller with more twists than a shop full of Curly Wurly bars (or an avenue of Corkscrew Willow if you prefer), comedian Lee Evans convincingly portrays a paranoid and socially inept guy (Sean) who films his every waking (and sleeping) moment. Fortunately, we’re spared most of the more ‘intimate’ moments of his life, but it does make for an original and interesting, although somewhat convoluted movie. I’m a bit stupid so I’m pretty sure I didn’t manage to follow everything, but it was still a really good watch; (despite the overuse of blue filters and a tiny, non-anamorphic 2.35:1 picture). So this probably means it’ll be a good watch next time too, as I still won’t know what’s going on; being an idiot does have its advantages. I did feel sorry for Sean; putting up with dodgy TV reporters, useless and greedy psychologists, a whole population that thought he was a triple murderer and cops that ‘cross the line’, is enough to send anyone a bit round the bend. The amount of plot twists in the last ten minutes are likely to send most viewers a bit round the bend too. His ‘underground house’ was interesting though.
The soundtrack is exactly that. There’re no dumb pop records put into the film to enable some sort of “as featured in” soundtrack to be released. It’s just decent music added into scenes to make them better in that way that only music can.
Recommended for police detectives, the paranoid, the tabloid press, everyone who hates CCTV and any innocents who’ve ever been accused of murder.
No cats, chainsaws or decapitation.
Top badass moment? In a film full of twists and turns, the fact that Sean managed to keep himself together enough to do what he needed to do, qualifies as badass.