Pops

Pops tells the amusing, heartfelt story of a group of foster siblings who begrudgingly reunite after a period of distance. They come together to assist in organising what remains in the home of their shared father – the titular Pops – who has dementia. What makes this story different is our protagonist: an aspiring documentary filmmaker hoping to capture on camera the ongoing arguments, reflections and dynamics. What he may not anticipate, however, is just how much hostility there will be in response to the film being made, causing him to question his passion and role within the family. This is a sincere film which wishes to explore family issues with a specific yet light touch, and visually it is a gorgeous-looking world to exist in. With top-notch cinematography and sound; as well as a focused and often moving narrative; there is much to love about Pops.

You may be surprised to hear that the tone of the piece is relatively heightened and comedic – at least in its first two acts. There is an argument to be made that, in its former half, these characteristics of drama and comedy are competing; and for a while, comedy is the dominant force. The only problem one can identify with this picture is the fact that the dramatic elements feel slightly neglected at first – or, let us say, we are not given further reason to care about these individuals. By the end, though, we have plenty of reasons; and the comedy feels more naturally fused with the behaviours of the personas at play.

One aspect which filmmakers especially will love about Pops is how accurately it incorporates varying filmic formats and techniques, often with the intention of making a joke. This can be seen in the hilarious opening montage of our protagonist Nathan’s past documentaries. There remains an attention to detail – a real care for aesthetics –through the humour. But this all comes down to the fact that this is a technically accomplished and consistent work. A standout in the technical department is the lush colour grading. Despite the film’s mostly one-apartment, interior setting, there is such a vibrancy in the colouring; a richness in the shadows, comprised of subtle pinks and yellows. This can only be successful because of the balance and precision already present in the lighting and focus. It is an all-encompassing formal win.

This critic would argue that the most engaging sequence in the movie is that of an extended piece of dialogue between Nathan (Max Ferguson) and the character of Anthony (Alan Drake) as they sit in a stationary car after an argument has transpired between the group. With a worse script, a conversation as long as this would grind the story to a halt; but the fact that these two performances are as transfixing as they are, and the dialogue as well-considered as it is, means that we could stay in that car forever and I would be no less pleased.

If you enjoyed the recent dramedy His Three Daughters on Netflix, then this may provide you that style of story but with a decidedly British sense of humour. Director David Thackeray, and screenwriters Sam Bramley and Barry Ryan, have managed to bring their talents together and construct something special: a film with personality and visual flair.