Patrick (2019)

aka De Patrick

2020 #221
Tim Mielants | 96 mins | digital (HD) | 2.39:1 | Belgium & Netherlands / Flemish, Dutch, French, English & German

Patrick

Patrick’s hammer is missing. More accurately, one of Patrick’s hammers is missing — he has seven, of different sizes, arranged in a neat row on a bespoke wall mount, and the middle one is no longer there. Patrick is the handyman at a nudist campsite run by his father, who is old and sick. The head of the residents’ council is a busybody; his wife is secretly sleeping with Patrick, not that Patrick seems to care. A famous musician Patrick has never heard of arrives to stay, followed by his pretty but frustrated girlfriend. Then Patrick’s father dies. But, most importantly, Patrick’s hammer is still missing. Fortunately, a former police officer friend turns up to pay his respects, and gives Patrick advice on how to find his hammer — so Patrick launches his investigation.

To sum Patrick up as “Agatha Christie meets the Coen brothers in a nudist camp” doesn’t feel too wide of the mark. Okay, there’s no murder, so perhaps mystery-genre fans could think of a better (though, unavoidably, less famous) author than Christie to sub in. But the fact remains that the missing hammer isn’t just a story hook to hang something else on: it’s a solid mystery narrative, with clues and red herrings and twists. Conversely, it’s not just a mystery, which is where the second comparison comes in. The overall quirky, just-left-of-reality, slightly-heightened tone evokes the Coens’ work, without (thank goodness) being a rip-off. It’s very much a comedy-drama, in that it’s not out-and-out seeking to provoke laughs, but it’s frequently absurd to the point of being laughable — although, with What We Do in the Shadows’ Jemaine Clement among the supporting cast, you can be assured of some genuinely humorous moments too.

One element that isn’t mined for amusement, to the film’s credit, is the nudity. Equally, if you’re the kind of person who hears “set in a nudist camp” and thinks “wah-hey!”, don’t get your hopes up. These are real nudists, not pretty movie ones: middle-aged to older, with lumpy flesh wobbling around all over the place. The one conventionally attractive member of the cast (Hannah Hoekstra as the musician’s girlfriend, Nathalie) remains clothed. Indeed, the positive aspect of how the film treats nudity is that… it doesn’t really treat it at all. It’s doesn’t use the nudity for laughs, nor does it sexualise it, nor does it linger on it, nor does it avoid it. It’s just there; a fact of life. This story takes place in a nudist camp, so people are naked — that’s that. Even if all sorts of bits flopping about strikes you as giggle-worthy at first, before too long you stop even noticing.

Anyone could have taken it

What is often visually appealing is Frank van den Eeden’s cinematography. There are some beautiful shots and scenes, from your obvious screen-cap-able pretty lensing (like a funeral where the whole camp are scattered around a smoke-filled forest), but the way the camera moves, with slow pans (like the one when Nathalie first visits Patrick’s workshop), or clever angles (like when Patrick has to climb out of a tipped-over caravan).

The combination of all of the above made me rather love Patrick. While the limits of a five-star rating system mean I’m only going to give it a 4 for now, it’s sort of a 4+, thanks to a litany of great shots and moments that spike above the overall quality of the film (which, I should make clear, is still high). It’s a movie that appeals to my taste: unmistakably absurd, but without revelling in that absurdity to the point where the wheels of momentum come off and it all falls apart. It satisfies as a mystery; as a pillorying of the politicking that goes on in small organisations; and as a character study of a man who just wants to find his hammer.

4 out of 5

Patrick is streaming on AMPLIFY! from today until 17th November. It’s on general UK release from 20th November.

It placed 16th on my list of The Best Films I Saw in 2020.

Disclosure: I’m working for AMPLIFY! as part of FilmBath. However, all opinions are my own, and I benefit in no way (financial or otherwise) from you following the links in this post or making purchases.

The Horrific Monthly Review of October 2020

Don’t be fooled by the title, dear reader: I’m not one of those people who spends all of October watching horror movies. But the world we live in is horrifying enough for that adjective to apply to pretty much any month this year, isn’t it?

So as England prepares — not for No Time to Die, as we’d hoped for from November — but for Time to Try Not to Die in Lockdown 2, let’s look back at the month that was the tenth in the seemingly-never-ending year that is 2020…


#219 Lancelot du Lac (1974), aka Lancelot of the Lake
#220 Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
#221 Patrick (2019), aka De Patrick
#222 Dick Johnson is Dead (2020)
#223 The Good Liar (2019)
#224 Driving Miss Daisy (1989)
#225 Some Beasts (2019), aka Algunas Bestias
#226 Luxor (2020)
#227 The American President (1995)
#228 Down with Love (2003)
#229 Puzzle (2018)
#230 Misery (1990)
#231 The Mole Agent (2020)
#232 Waxworks (1924), aka Das Wachsfigurenkabinett
#233 Vampires Suck (2010)
#234 The Face of Fu Manchu (1965)
#235 Tim’s Vermeer (2013)
#236 Crazy Rich Asians (2018)
Patrick

Tim's Vermeer

Crazy Rich Asians

.


  • I watched 18 new feature films in October.
  • That’s in the lower-middle for 2020 so far — 7th out of 10 months, to be precise.
  • Unsurprisingly, then, it fails to equal my 2020 average (previously 24.2, now 23.6).
  • It also fails to equal my rolling average for the last 12 months, but as last October was so poor (just four films), it still increases the average, from 19.9 to 21.1.
  • Continuing on the bright side, it surpasses the October average (previously 13.2, now 13.5).
  • #236 is also the furthest I’ve ever reached by the end of October, besting #222 in 2018.
  • You might think that makes 2020 a lock for my #1 year ever, but it’s not so simple (as my previous overviews of predictions have shown). There are 26 films to go to a new record — 13 per month for November and December, which sounds very doable (my worst month this year totalled 12), but it’s worth noting that the November average is 10.4 and for December it’s 11.2, so never say never.
  • As for the once-seemingly-possible target of #300, that would mean 32 per month in November and December. Literally, not impossible (I’ve managed over 30 in two consecutive months twice before), but also not likely (I’ve only managed over 30 in two consecutive months twice before). Time will tell…
  • This month’s Blindspot film was supposed to be An American Werewolf in London. For most of the year I’d had that singled out to be October’s pick, for obvious reasons. I considered watching it earlier in the month, but decided to leave it for nearer Halloween. Then as Halloween neared I thought, “why not save it for the day itself?” Because Halloween is the last day of the month and the best-laid plans are apt to be upended, that’s why not! So, yeah — oops. I’m aiming to watch it today to catch up quickly.
  • From last month’s “failures” I watched Crazy Rich Asians and The Good Liar.



The 65th Monthly Arbitrary Awards

Favourite Film of the Month
I watched a lot of films I liked this month — indeed, there was only really one choice for the “least favourite” category. But in terms of favourites, it was quite easy to single one out, too, because one film really blew me away: Tim’s Vermeer, a documentary about the point where art, technology, and obsession meet. It’s fascinating and genuinely awe-inspiring.

Least Favourite Film of the Month
I was able to watch a few screeners this month for films showing as part of AMPLIFY! Maybe it’s wrong for me to pick one of those here (shh, don’t tell anyone!), but, well, Some Beasts was easily the worst film I watched this month. Not because it’s badly made, but a final-act plot swerve struck me as wholly distasteful and poorly handled. More on that whenever I get round to reviewing it.

Most Layers in a Title of the Month
Before viewing, I wondered if Crazy Rich Asians was about Asians who were crazy-rich or rich Asians who were crazy. Turns out, it’s both! So many layers! (Two. That’s two layers.)

Most Penises of the Month
One of Borat’s most famous scenes may be a nude wrestling/chase scene between two men, but that’s got nothing on Patrick, a whole film set in a nudist camp. (Don’t let that turn you off / switch you on, mind — there’s a lot of good stuff in Patrick, and the nudity is fairly incidental.)

The Audience Award for Most-Viewed New Post of the Month
…goes to my latest TV column again, for the fourth time this year. I’ve gotta say, this one did have one of my favourite header collages I’ve put together (the entire thing uses mirroring! Me so clever). (The highest film-related post was a distant second, Bloodshot.)



At one point I was over a month ahead on my Rewatchathon goal for the year. That lead has been slowly eroded, and now I’m officially one film behind. Still, with just two months to go, it’s certainly not impossible that I’ll get there.

#40 Live and Let Die (1973)
#41 Mystery Men (1999)

As a Bond film, Live and Let Die will get my ‘Guide To’ treatment at some point. For now, I put some thoughts on Letterboxd.

Superhero comedy Mystery Men was included in my 100 Favourites series back in 2016, but I hadn’t actually watched it in a decade or more. I’m happy to report that I did still enjoy it. It takes a while to warm up — basically until the whole team has been introduced, which takes longer than you might think — but, once it gets there, it’s frequently gold. Will it make the next iteration of my 100 Favourites list? It’s more borderline than I might’ve expected. It’s not a perfect movie, but it is very enjoyable overall.


Big titles have continued to flee, and with a new lockdown cinemas will be closing again, but a few releases did sneak out in the meantime, like acclaimed horror Saint Maud, and… um… Cats & Dogs 3? Eesh. London Film Festival organised outreach screenings across the UK, but the only one that made it into the schedule at my local was closing-night film Ammonite. And in the sort-of-cinema column, Robert Zemeckis’s re-adaptation of The Witches went straight to premium streaming. I wouldn’t pay £16 for a rental of that anyway, so the mixed-to-poor reviews certainly didn’t sway me.

Another re-adaptation, The Secret Garden, finally had a cinema release, but having been sold off to Sky as a Sky Cinema Original, it was more readily accessible at home. This month the streamer also offered up Underwater, Seberg, and films not starring Kristen Stewart, like Waves. But Now TV finally stopped giving me good cut-price offers to resubscribe, so I likely won’t be able to consider watching any of those until next Oscar season, when I resubscribe to watch the ceremony.

The other two big streamers had some significant originals too. Netflix offered yet another re-adaptation of classic English literature, Rebecca, plus Aaron Sorkin’s latest, The Trial of the Chicago 7; plus David Attenborough bio/polemic, A Life on Our Planet, and another Adam Sandler thing, Hubie Halloween. Over on Amazon, the headline grabber was Borat Subsequent Moviefilm (as you might’ve noticed in my viewing list, I finally watched the original in preparation, but haven’t watched the sequel yet), and a quartet of original chillers from Blumhouse — Black Box, The Lie, Evil Eye, and Nocturne — which I don’t think have garnered great reviews, but which look interesting nonetheless. Amazon also boasted another quartet this month: the Indiana Jones series. I’ve been meaning to rewatch them forever — indeed, I’ve owned the Blu-ray set since 2012 and never watched it. I ought to get round to that before they turn up on 4K and I buy them again…

And talking of purchases, I’m still failing to stop myself buying tonnes more stuff. Indy may not be on 4K yet, but that other Spielberg-related ’80s geek trilogy, Back to the Future, did make its bow on the format this month. Of course I bought it. I nabbed an even bigger box set in Amazon’s Prime Day sale: the Universal Classic Monsters complete 30-film Blu-ray set, which includes 38 films (because, thanks to Universal’s lazy bundling of existing sets, there are seven duplicate movies in the set (whole discs could’ve just been taken out), and one film they only count as an extra, the Spanish version of Dracula). Other horror-ish pickups included Indicator’s new Fu Manchu set (officially out tomorrow; I’ve already watched the first (#234 above)); Japanese classic House; and another Universal / James Whale / Boris Karloff effort, The Old Dark House (which I watched on streaming back in June and loved). New releases included interactive DC animation Batman: Death in the Family, 88 Films’ latest Jackie Chan classic, Spiritual Kung Fu, and an import of Requiem for a Dream in 4K (it’s out in the UK later this month, but the import was cheaper). Finally, a few more to rewatch in 4K, thanks to a 3-for-2 offer: Bad Times at the El Royale, Die Hard, and Spielberg’s War of the Worlds. Whew!


Lockdown 2: Covid Boogaloo.

FilmBath + AMPLIFY!

In a mirror of this post from last year, I’m here again to blame my recent blogging quietness on FilmBath Festival. Yes, even in these Covid-struck days, we are putting on a film festival. It’s different — smaller, for one thing, with just nine films over five days (last year we screened dozens of features over 11 days). But, as if to make up for that, we have a New Thing…

AMPLIFY! is an online virtual film festival — which, in short, means you can enjoy it if you live anywhere in the UK. I won’t go into the full marketing spiel, but instead point you in the direction of the website. Here’s a fun bonus, though: if you want to order tickets (or, for best value, a festival pass), use the code “LoveBath” and you’ll get 10% off. (So we’re clear: I don’t get any bonus or benefit of kickback for plugging either festival. I’m just letting you know what I’m up to, and clueing you in to a cool thing.)

AMPLIFY!’s lineup features a bunch of UK premieres (including Viggo Mortensen’s directorial debut, Falling); previews (like thriller Rose Plays Julie, which screened at last year’s LFF but hasn’t yet had a wide release); timely documentaries (including The Mole Agent, about an octogenarian spy — yes, I said documentary); other special treats (including the new restoration of silent classic Waxworks ahead of its Masters of Cinema Blu-ray release); and stuff that you might not get a chance to see otherwise (like a strand of Catalan films). I’ve had a chance to see a couple of the films, and I’d recommend Patrick — a dark comedy mystery about a nudist camp handyman who’s lost his hammer. I rather loved it.

And if you are in the Bath region, the FilmBath schedule is online here (top tip: Nomadland is close to selling out already). It’s going to be a bit different to normal, so there’s information about all that in the FAQs.

Putting on two festivals has meant more work, of course, and the fact that AMPLIFY! is a collaboration between four festivals has introduced new challenges –– primarily to do with it being online, which none of us have done before (who had, before this year?) But we’re getting there. And when we do, normal blogging service will resume.