In the nine years since the release of Four Lions, Chris Morris’s incendiary feature film debut, his absence from both big and small screens has felt like an ill-timed loss. As a director, he’s taken on a handful of Veep episodes but as a writer, he’s starved us of new material which, for anyone familiar with his long and storied career, has been a tough blow. Because throughout his work, from The Day Today to Brass Eye to Nathan Barley, he’s perfected a brand of cultural and political commentary that’s both uniquely incisive and uniquely silly and given the world’s increasingly expedited scramble to the bottom, his outlook is needed now more than ever.
4 out of 5 stars.
Follow-up - Secrecy - Years - Year - SXSW
His follow-up has been shrouded in secrecy, filmed almost two years ago and now finally being unveiled at this year’s SXSW festival, a tantalisingly unknown quantity suddenly thrust into the spotlight. The past decade has offered plentiful options for Morris, territory so comically obscene that it’s almost beyond satire. It proved a struggle last year for Sacha Baron Cohen, whose much-heralded comeback show Who is America? tackled such idiocy head-on and felt tame in comparison, trying to shock us into submission without realising that we’ve now become virtually unshockable. Morris, who’s always avoided the easy road, has instead crafted a knotty, unlikely, humane farce that, while set in the US, doesn’t task itself with making broad, self-evident statements and avoids even a vague reference to the philanderer-in-chief.
In The Day Shall Come, a film “based on a hundred true stories”, we land in Miami, a city where poverty sits uneasily alongside gentrification, the extremes of both resulting in an underlying tension, one that threatens to boil over if Moses (newcomer Marchánt Davis) has his way. He’s positioned himself as a preacher and leader...
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