Frankie Freako review – cheap and cheesy comedy horror channels 80s schlock

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Ineffectual office worker Conor calls on the services of a gremlin that looks like someone dipped a Muppet in latex, covered it in caustic soda, and ran a car over it a few times Canadian writer-director Steven Kostanski has been one of the creative forces behind a bunch of silly-sweet horror pictures such as The Void and PG: Psycho Goreman that appear to skew towards a younger demographic. Or perhaps his target audience is really the gen X crowd that never outgrew its affection for 1980s fare such as Critters or Gremlins, cheap and cheesy schlock reliant on practical special effects. Luckily, the latter happens to be Kostanski’s speciality; he’s also worked as a prosthetic FX artist on bigger budget films such as Crimson Peak and the TV series Hannibal. All of that comes together for this daft comedy horror farrago, seemingly set in the 80s, about a nebbishy Canadian office worker called Conor (Conor Sweeney). Conor’s beige jumper alone bespeaks a man deeply risk averse and afraid...
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The Old Oak review – Ken Loach’s fierce final call for compassion and solidarity

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A northern pub landlord confronts locals’ hostility towards Syrian immigrants in Loach’s latest – and possibly last – piece of politically trenchant cinema

A decade or so ago, the rumour was that Ken Loach was getting ready to quit. Then began a new parade of Conservative prime ministers in this country, each shiftier and more mediocre than the last; Loach decided he had more to say and do after all. What followed was a blaze of energy, anger and productivity culminating in a remarkable late surge – in fact, a trilogy, of which this might come to be seen as the final episode. Working with his regular collaborator, the screenwriter Paul Laverty, Loach has been taking on issues and stories that you don’t see on the TV news or on glitzy streaming services, and showed that film-makers could actually intervene in the real world. Loach got questions about poverty and austerity asked in parliament; he moved the dial.

Loach has also sought out the painful and unfashionable subjects, marching to where the gunfire has been loudest. With I, Daniel Blake it was the vivisectional experiment of austerity; with Sorry We Missed You it was the serfdom of the gig economy. Now, in The Old Oak, it is that ugly phenomenon from which London’s liberal classes have turned away in sorrowing distaste: immigrants housed in hostels all over the UK who are being abused and attacked by local people radicalised by social media.

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