BootDigest Such a frustrating disappointment

Vashirdfel Simply A Masterpiece

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

johnnyboyz I could never understand what everybody was supposed to be so 'proud' of when it came to homosexual identity, or LGBT rights. Was it the rise of the presence of the AIDS virus? Surely not. That society generally became more promiscuous? The fact that Judeo-Christian values copped one in the eye? Probably. Whatever the reason for the pride, it isn't answered in "Pride" - a colourful leftist wet-dream which is probably too long and, while ambitious, doesn't impact in the way it perhaps might have done if it were more focused and carried with it more of a directorial stamp.Homosexuality has, in essence, always been despised - irrespective of the era and irrespective of the civilisation. For centuries, it was outlawed around the world under religious dogma: Christianity; Islam; Hinduism... Then came the world's first atheist state in the form of the Soviet Union, whose women averaged four abortions in a lifetime but whose homosexuals were still criminalised. So much for socialist egalitarianism. In Cuba, run by the supposed poster-boy of the left at the time of this film's setting (the 1980's), Fidel Castro had homosexuals grossly maltreated.In the modern age, the ghost of Alan Turing looms large over western civilisation's moral compass when it comes to such people: a man with a mathematical mind so brilliant, it would be dishonest to say that it didn't contribute to the British war effort against the Nazi machine to the same extent as Wallace and Montgomery. Despite being a hero, he remained a pariah simply for being gay. All of this leads us to life in Britain in the penultimate decade of the last century, where "Pride" tells, firstly, the true story of young Mark Ashton (Ben Schnetzer) - an LGBT and Communist activist who took pity on the mining communities' treatment by the government - and the more synthetic narrative of a twenty year old rube named Joe (George MacKay), who lives at home in what looks like an affluent Conservative Party stronghold and is beginning to realise he's gay. Primarily, "Pride" is interested in Ashton's trying to get together a makeshift relief-effort entitled LGSM (Lesbians & Gays Support the Miners) in order to help said miners as they struggle out of work. 'But why should anyone care about them?' asks somebody. "Because miners dig for coal, which produces power, which allows gay people like you to dance to Bananarama till 3 o'clock in the morning." Eventually, a community in South Wales hear of the group and Matthew Warchus' film moves to tell the story of the two parties coming together.Where the film is at its strongest is during the earlier phases of the miners, initially led by Paddy Considine's Dai, and Ashton's LGBT troupe hooking up. Set at a time when the political dichotomy in Britain was not yet entirely broken, there are stark binaries between the two groups which make for intriguing viewing: the obvious physical disparity lies in the difference between the big, butch miners and Mark and his effeminate friends. The LGSM are more into their synth-pop, whereas the miners enjoy their slower, traditional guitar music. The miners are far from 'Conservative', but possess a small, close-knit community consisting of nuclear families whose children are suddenly being exposed to a brash homosexual subculture. It is still a tetchy issue. Indeed, one friend of Mark's refuses to do a damn thing for the miners on account of having been bullied for being gay when he lived in a mining community up north. Ideologically, two of Mark's friends are, ultimately, entrepreneurs and therefore capitalists, where the miners are ardent socialists and vote Labour. But was it not, after all, Antonio Gramsci who once wrote that the bloody, muddy experiences of World War One acted as the unifier of the despised classes so that they now all share the same goal of toppling capitalism/discrimination/injustice etc.?Where the film struggles is in its lack of any real substantive plot. Its secondary strand, that of Joe's emerging homosexuality and his shame in having to keep it from his loving, though traditionalist, parents is underdeveloped where it might have really been the explosive core of the film. The second act lacks coherence, and essentially consists of either group traveling to visit one another. Certainly, by the time it has resorted to characters rolling around in fits of giggles clutching sex aides, it has somewhat lost us. Irrespective, the film does well to capture what it felt like to be in Britain at the time with these various political factions co-existing. It is never cordially established, but I would guess many of those around Mark, being as metropolitan and from London as they are, would have found allegiance with the old Liberal Party more-so Labour when it was run by the likes of Foot and Benn. They are, therefore, more out of step with the miners than they perhaps realise. Warchus encompasses those from each of the three sides of the British political triangle of the time impressively: the struggling socialist communities living under Thatcherism; the Liberals who, whilst more capitalist than they'd care to think, utterly reject right-wing social attitudes and the Tories, with their housing estates characterised by detached properties; bourgeois gatherings; 'homophobia' and green and pleasant front lawns. Mark Ashton was a real person, and according to the Internet, was a member of the British Communist Party back when the Cold War was still on and the Kremlin itself was responsible for funding much of its activism. Was he even aware of the USSR's position on queer people? The film does not say. What it does have to say, however, is that he was a brave individual who stood for what he believed in and copped a lot of flak for it. Whatever your position on anything in life, there is something to be drawn from that and his tale depicted here.

Chappy Watched Wow. This was such a beautiful movie.It is a true story but it's not a story I knew anything about. While politics is a big part of the reason for the events of the film, it is nowhere near a political film.This movie is very story and character orientated and it not at all flashy, over the top or too Hollywood.I can't even begin to say how brilliant the cast is with the likes of Andrew Scott (Sherlock), Joseph Gilgun (Misfits), Dominic West (The Affair), Paddy Considine (The World's End), Imelda Staunton (Harry Potter) and Bill Nighy (Love Actually) but the one person who always drew my attention was Jessica Gunning, who played Sian. There was just something about her adorable, feisty, good-hearted character that was just captivating to watch.Just an amazing beautifully scripted and acted with both happy and sad moments. Wouldn't be something I watch regularly but will absolutely watch again sometime.Definitely give it a watch.

Michael Cooper Writing a light-hearted comedy-drama based around the homophobic politics of the 1980s and the UK miners' strike might sound like a concept doomed to failure. But Pride miraculously pulls it off, and in spectacular fashion at that. Directed by Matthew Warchus and written by Stephen Beresford, the film derives from the factual story of a group of lesbians and gay men in the 1980s, who raised funds for Welsh miners in an attempt to achieve solidarity. Surprisingly, despite the air of negativity that was prevalent during the decade in which it is set, Pride manages to maintain an upbeat and inspiring tone, without conveying itself to be preachy, which is something of an accomplishment. The feature centres on 20-year-old closet homosexual Joe (George MacKay). During his first visit to a gay pride march in 1984, he becomes inaugurated into a group of gay and lesbian activists led by Mark Ashton (Ben Schnetzer), who decide to support Welsh miners in an attempt to persuade them that they are on the same side, thereby forming 'LGSM': Lesbians and Gays Support the Miners. Before long, the group members find themselves in a traditional Welsh village to convince the local community that they demand similar from the government. However, events take an awry turn as one bigoted member of the community is hell bent on sabotaging their efforts. The majority of the comedy derives from the interactions between the gay characters and the villagers. Menna Trussler is particularly memorable as Gwen, an elderly lady whose interactions with the lesbian characters are not only hilarious but also strangely endearing. Needless to say, of course, Imelda Staunton and Bill Nighy shine in their roles, but it is the younger, main lesbian and gay ensemble that shines the brightest. MacKay and Schnetzer are perfect in their leading roles, and the acting, on the whole, is near-flawless. Pride is particularly commendable for its even-handed delivery of what is essentially a comedy on one hand, and a profoundly emotional drama on the other. It surprisingly refrains from enforcing a preachy one-sided anti-Thatcher commentary, essentially avoiding the subject of politics altogether. Instead, Beresford focuses predominantly on the personal and interpersonal exploits of the mostly fictionalised ensemble and, for the most part, succeeds. Gethin's (Andrew Scott) storyline, which involves his reuniting with his mother, is especially noteworthy in this respect, though it could be argued that it relies too heavily on a common 'gay-themed' plot to induce an emotional response. Likewise, Joe's clichéd 'coming out' storyline feels somewhat old and tired, but Beresford's varied and compelling use of characters, combined with Warchus' fast-paced direction, enables the film to maintain a semblance of freshness. It's nothing unique, but it's well-written, thoroughly engaging and ultimately uplifting. However, for a film that relies heavily on its characters and their circumstances to convey a touching and uplifting story, the emotional aspects of the film are at times surprisingly underplayed. The character of Joe, for example, though presented initially as the protagonist, is disappointingly obscured and overshadowed by the LGSM ensemble throughout the majority of the film, despite his particular storyline bearing the most potential in terms of poignancy. Consequently, this poignancy is never truly realised and his overall underuse makes the film's angle appear uncertain from the outset. Despite this, the film nonetheless maintains a feel-good tone that's full of heart, and makes a profound statement as a firm indication of the progression we've witnessed in the acceptance of LGBT people and their rights since the source basis of this feature. Sadly, the film's few shortcomings preclude it from being regarded as a masterpiece. That said, in spite of its flaws, Warchus' home-grown feel-good feature is undoubtedly a film to be proud of.

davideo-2 STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning In 1984, the gay rights movement is in full swing, and Mark Ashton (Ben Schnetzer) is a young homosexual who believes the answer is to join forces with another group of people fighting for their rights a bit further from home, in the shape of the striking miners. His plan is to send money from their struggle, to help them in theirs, but Mark hasn't contested the homophobic attitudes held by many miners that would see them throw his money back in his face. But he is persistent, and gradually they come to form an alliance together, while closet gay Joe (George Mackay) battles with his own demons.Very few battles, in the real world, are ever won on their own, by one great, powerful, almighty force. Hell, the only reason I'm not writing this review in German at the moment is because England was helped to win the war by America and Russia. A struggle to overcome terrifying odds is one thing, and battle is an important word when considering this dilemma, but one word is even more important and realistic when put into context: solidarity. That is the thing that ultimately secures victory, hopefully for the right people, in the real world, when people from different backgrounds are united together in one common cause. Pride, if nothing else, deserves some recognition for being one of the few films I know of that highlights this important truth, without trying to make one person or group of people the top dogs.Set at the beginning of the 1980s, when social attitudes were challenged and changing like no other, to the left and the right, it highlights an important turning point in modern culture, and brings an inspiring and engaging story to the screen. That said, sometimes the tone of the film and the style of the content feels more suited to the stage than the screen. It feels like something adapted from a musical, especially during some of the 'dancing' sequences, although it doesn't seem it actually was. Director Matthew Warchus doesn't always keep the narrative flow going in the smoothest or most coherent of directions, and so despite having an interesting sub-plot and numerous subplots on offer, sadly it sometimes loses its way.That said, a mostly young cast do a fine job of keeping the aspidistra flying, with support from older hands such as Bill Nighy and Imelda Staunton on hand to keep everything in perspective. Despite not being perfect, its still inspiring, interesting, and mostly fun to watch. ***