Katell Quillévéré's family-based drama follows Suzanne, a teenage mother who falls for a gangster
A pompous, overwrought slurry of unintelligible psychedelia, gigantic egos and ridiculous costumes. Worth watching, just in case you ever took The Who seriously. Ken Russell directs
The Who's pomp-rock opera about fickle hero-worship tracks Daltrey's ascension from deaf, dumb and blind kid to penny arcade saviour. Russell's adaptation is as overblown as its plot-line.
After his father dies, young Daltrey falls into a funk. The only stimulation to which he'll respond is a pinball machine. He perfects his technique, playing from Soho to Brighton, beating John to become the game's undisputed wizard. His victory attracts a following who mistake his staring silence as spiritual depth and his status mushrooms from celebrity to deity before he's outshone by the next star emerging over the horizon.
Russell's hypertrophied direction actually manages to exaggerate the pretentious obesity of Townsend's vision. Momentary relief comes from turns by Keith Moon as the fiddling Uncle Ernie and Tina Turner as the sexy Acid Queen, while Daltrey showed enough talent to ensure another career when The Who's own bubble burst.
Overlong, over-indulgent, overdone. Ken Russell's take on The Who's shambolic rock opera could stand as the definition of his lack of restraint as a filmmaker.
BIFA-nominated films including the Film4-backed 45 Years, The Lobster, Macbeth, Amy and Ex Machina will be available in cinemas nationwide from 23 November in a special public screenings event. The
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