You Only Have To Forgive Once

I have a dog show today over at Newark as the winter season arrives and the events move indoors.

On the first course I forgot the course and we get eliminated after starting really well. Time to sack the handler. The verdict from home - poor little lamb, meaning the dog I assume. No sympathy for the handler.

On the second course MD demolishes the course by having loads of jumps down. Time to sack the dog.

On the third course I again forgot the course. Time to sack... hang on, the handler somehow retrieves the situation and manages a scrappy clear round which ends up to be good enough for 3^rd place overall.

The wait for our fourth course seems to go on and on... we are not going to make the early film showing we had planned. Having done our weekend race on Friday and therefore not having one on Sunday the plan is to get a rare Saturday night out. We can make the  8pm instead as MD and I soon crash out of our final run.

At Broadway they have Nottingham Brewery’s excellent Centurion ND on, which is what we take in to get us through the adverts. I didn’t realise I hadn’t had this one since I started trailing, so it’s number 104 on the list.

 
Tom Sherbourne (Michael Fassbender) is war veteran returning from WWI to Australia. Haunted by the experience, Tom is intent on withdrawing from the human race completely and he accepts a job as the lighthouse keeper on some desolate island somewhere off the coast of Australia called Janus Rock. 

Before he departs he is given a send-off on the mainland where he meets Isabel (Alicia Vikander), who sees something she quite likes under his ridiculous WWI moustache. Well I guess the post-war man market was probably a bit depleted, so she quickly expresses a desire to get withdrawn and desolate with him on Janus. The only problem is the lighthouse has a wives only policy, so they quickly get married.

It’s an odd match with Vikander very much the toy girl here. In real life she is 28, eleven years Fassbender’s junior, but here she looks about 18 whereas he looks every day of his real age. Which is somewhat sinister for starters. 

Still they start married life on the island and we get treated to scenes of idyllic sex as the waves lap furiously up against the lighthouse. My partner says filmmakers are incapable of making a film with Fassbender without putting a sex scene in for him but in his defence it was Alicia Vikander. What's the guy supported to do? Well, he could at least look like he's enjoying it.

Fassbender’s facial expression doesn’t change much from sad/gloomy during the whole film even when he is getting down to it with Vikander. She at least gives pleasure a go and, after this film, they became a ‘real life’ couple. So she obviously wasn’t faking.

Isabel gets pregnant but has a miscarriage. Then she gets pregnant again but has another miscarriage and it is at almost this exact moment that a rowing boat is seen bobbing up and down close to the lighthouse.

The boat contains a man who is dead and a baby who is not. It is later revealed that the man was German, as if this explains why he would leave his wife, put his baby into a rowing boat and head out on to the ocean before eventually ending up at a lighthouse a hundred or so miles from anywhere. There is no attempt to explain how the husband died while the baby survived this journey.

Isabel’s urge to have children is so great that rather than ask her husband to move back to the mainland where she could get some decent antenatal care, she persuades him not to report the incident, to bury the dead man and to steal the baby to raise as their own. Erm, somewhere of course there is likely to be a grieving mother? No matter, the infant Lucy is raised by them.

 

Four years later, Tom comes across a memorial for a missing man and baby which leads him to find out who the real mother is, namely Hannah Roennfeldt (Rachel Weisz). It really makes you wonder why nothing was in the local paper at the time or perhaps a few ‘missing’ posters? Why did no one say to the lighthouse keeper ‘seen any random rowing boats Tom?’ but implausible plot twists are de rigueur here. Tom promptly goes off to send a note to Hannah to let her know her baby is safe. Pillock.

Then the police gets involved and it all quickly boils down to a murder\kidnapping trial and a nasty custody battle over poor Lucy aka Grace who doesn’t know which mummy to turn to. Well she does and it’s not a popular choice.

There’s still time for more implausible plot twists as Isabel inexplicably puts her husband in jail for the alleged murder of the man in the boat and the film ends up tying itself in such a knot with its own twists and turns that the ending makes even less sense than what has gone before it. 

You’ve probably guessed by now that I didn’t enjoy it that much.

The tagline of this film is ‘you only have to forgive once. To resent, you have to do it all day, every day’. I have forgiven my partner for taking me to see this.

Afterwards it is ddisappointing to find that Flipside no longer run the Golden Fleece and the Fleece disappoints on the beer front. I end up ordering a Stout from the Marston's offshoot known as Revisionist not realising it was a ‘craft’ beer e.g. keg. I’m not sure whether to count this in my beer total but L says I should as I count bottles.

The Lincolnshire Poacher is better and has Titanic Cappuccino, so oddly it turns out to be good night for the trail with three beers added.

 
(Saturday 12^th November)

Embarrassing T-Shirts

There’s no parkrun this morning as L is feeling too injured. I had considered doing one with MD but after last night’s tight calf I think I best give it a miss. MD doesn’t look too bothered either. He’s probably worried that I’d wear my Sheffield Half t-shirt again. On the photos from Markeaton Park last week, the expression on his face appears to indicate that he is clearly embarrassed by the day-glow greenness of his partner’s t-shirt.

So it’s win-win with a lie-in instead. L is then at Pilates and I’m at the match as Derby have an early game at 12.30. In which they draw 1-1 with Sheffield Wednesday.

The earliness of the game allows us to take in an early film at Broadway. 

‘Eye in the Sky’ is a thorough examination of modern military warfare and the complex decision making that goes on behind the scenes. The title refers to the satellite and drone technology that enables everyone involved in these types of operations to see the mission unfold in glorious detail.

The film deals us a complex scenario which sees UK based Colonel Katherine Powell (Helen Mirren) in charge of an operation to capture terrorists in Kenya. The operation is almost entirely conducted via remote surveillance but for some local intelligence provided by Jama Farah (Barkhad Abdi) who is on the ground and even he has his own highly impressive mini-drone which he skilfully pilots.

The objective of the mission soon changes when things don't go as planned and the terrorists end up in a house in a highly defended suburb of Nairobi, where they appear to be planning a suicide bombing. The mission is now eliminating everyone involved with a Hellfire missile with the added political ramifications from the fact that two of the terrorists are British and one is American.

Throughout Powell in touch with her Lieutenant General Frank Benson (Alan Rickman) who is handling the politics of the operation in Whitehall. Lawyers stand by on all sides. Meanwhile in the US drone pilots Steve Watts (Aaron Paul) and Carrie Gershon (Phoebe Fox) are preparing to launch the missile from the relative comfort of their military base. 

That is until they spot a young girl (Aisha Takow) selling bread in the vicinity who will be killed if they go ahead. This reignites communications between the various parties as the consequences are once more kicked about and sent higher up for decisions to be made and/or avoided. Never has the sale of bread been so riveting.

Who knows if this is exactly how everything really works or not, and I wouldn’t really expect them to give us the full story in any case but it’s an impressive bit of film making and a superbly engaging film.

It is also a film which will be remembered as the last one to feature the great Alan Rickman who died in January.

Afterwards we eat at Broadway and then head up Mansfield Road to the Golden Fleece.

(Saturday 23^rd April)

Up The Rams

Another lie-in, this time to midday. L wanted to give her ankle a break (of the unbroken kind) and this is clearly the best way of giving it a rest, doing something not load bearing.

I tentatively suggest that this is perhaps also a good chance to stretch the wheels of her bike (puts on tin hat). So later L cycles to Harvey Hadden, does the bike track there and then the gym.

I walk the boys on the park, again and again without balls. They are seriously starting to wonder if something is up.

In the evening we head to Broadway for our second film in two days.

Now here's a quirky one. Rams is a snapshot of life in a remote Icelandic valley, an environment so harsh that seemingly only sheep and stubborn bearded old men can survive there.

The stubborn bearded old men are two brothers, Gummi (Sigurður Sigurjónsson) and Kiddi (Theodór Júlíusson). They live in neighbouring farmhouses but have not talked for forty years. Their only form of communication is the occasional written note which is delivered by border collie.

The film starts with them going head to head in the competition for the most highly-prized ram.

Kiddi wins with Gummi coming second. Kiddi’s celebrations are brief though when it turns out that the winning ram has scrapie. The outcome being that all the sheep in the valley will have to be slaughtered.

Kiddi refuses to comply with the slaughter. So he is arrested, his flock is forcibly destroyed and he goes on multiple drunken benders. Twice we see Gummi reluctantly forced to save his brother when he finds him lying motionless in the snow, drunk and about to freeze to death. On one occasion he scoops him up in his tractor's front loader and deposits him in front of the nearest hospital.

Gummi meanwhile kills his sheep himself against regulations, so that he can secrete a few ewes and his prize ram in his basement. At first he gets away with this but eventually they are discovered by the authorities.

When Kiddi learns what his brother has done, they start to become reconciled. Kiddi helps Gummi re-hide them and then when that doesn’t work, the two of them combine to drive them off into the mountains during a blizzard. A plan which doesn’t go too well due to the inclement weather, this time leaving Kiddi trying to return the lifesaving favour and attempt to save Gummi.

Quirky but excellent. Well worth seeing.


Afterwards we go for a few pints (rather appropriately maintaining the sheep theme) in the Golden Fleece on Mansfield Road, which has recently become Flipside’s second pub. Then it’s the traditional Sunday Indian.

(Sunday 28^th February)