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Reviews
Amazon.co.uk Review
Can we talk? Everybody is pretty well agreed that Great Britain's Ken Loach is one of our most important filmmakers. On the basis of his work with actors alone--often actors who are unknown until showcased in his films--he commands a place in the modern Pantheon. The problem is that he sounds terminally "worthy"; his films invariably reflect a commitment to framing harsh sociopolitical realities and steeping us in the fight for justice, a square deal or a square meal. They sound, in short, as if they're "good for you"--whereas the fact is that they are almost always damned good, period.
Can we talk? Everybody is pretty well agreed that Great Britain's Ken Loach is one of our most important filmmakers. On the basis of his work with actors alone--often actors who are unknown until showcased in his films--he commands a place in the modern Pantheon. The problem is that he sounds terminally "worthy"; his films invariably reflect a commitment to framing harsh sociopolitical realities and steeping us in the fight for justice, a square deal or a square meal. They sound, in short, as if they're "good for you"--whereas the fact is that they are almost always damned good, period.
My Name Is Joe makes for an excellent introduction to Loach country--partly because it's just a tad more immediate in its basic viewer appeal. Joe Kavanagh (Peter Mullan), out-of-work Glasgow housepainter, is a terrifically attractive fellow, and though he is also a recovering alcoholic, he seems eminently pulled-together and ready for yeoman service as a movie leading man. The main story line concerns his encounter with and growing attraction to a smart social worker (Louise Goodall). There is nothing star-crossed about their potential love, but each is tough enough to set limits till they've travelled over a distance of mutual ground. Meanwhile, Joe's status as role model among his more emotionally and economically precarious neighbours--an extended family of man--is good for a surprising number of lusty laughs and one fatal, criminal complication that could jeopardise his future. Peter Mullan won a well-deserved Best Actor award at Cannes in 1998, and subsequently directed a family comedy-drama of his own, Orphans. --Richard T. Jameson, Amazon.com
Special Features
16:9 Anamorphic Wide Screen
DVD 9
English
English
Region 2
Dolby Digital 5.1 English
Dolby Digital 5.1
Interviews
Theatrical Trailer
Interactive Menus
Scene Index
English
See all Reviews
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