Happy New Year, Colin Burstead

No bells no whistles, just a tv play style offering that's reminiscent of the applauded series of the 1970's and 1980's. I thoroughly enjoyed it!

I had high hopes for this film as I loved 'Kill List' and 'Sightseers' but unfortunately it just came across as an artier version of Eastenders filmed on wobblycam. The premise was interesting but it didn't go anywhere and soon descended into pointless bickering characters which is the mainstay of lowbrow soaps. Sure, that's what happens when families get together, but it would have been good if we were amused or surprised at some point. Perhaps Julia Davis should have written the script for it. As it is, it stands as a failed improv experiment. I hope Ben Wheatley's next effort will be better.

I thought it was a terrific film, with very natural feeling acting. The chemistry clicked perfectly between this ensemblée. I caught it on the BBC at Christmas and loved every minute. Well worth a watch.

I'm a bit marmite on Ben Wheatley at the minute. I loved Kill List and Sightseers, thought a Field in England was utterly dull, as was High Rise. His last film Free Fire I hated - I know it was a parody on shoot em ups but didn't work for me. But there's no doubt the guy's talent. I enjoyed this latest made for TV drama was well made and observed with great acting - but I was hoping to find something I really cared about. It seems to be a British take on the brilliant Danish dogma film Festen - but not in the same league. Still, it was an enjoyable if unremarkable New Year's Eve watch with an excellent ensemble cast. 6 out of ten

Happy New Year, Colin Burstead shows that family gatherings can be extremely awkward and in the cynical hands of Ben Wheatley that is taken to its bleakest point. Everyone is depressed, sad and has a grudge to bear and watching it all come to the surface in furious fashion is the kind of cringe heavy experience that's impossible to look away from.

This is a cast of surprising star power considering the low budget feel and whilst everyone is on point, its the two brothers who really stand out. Neil Maskell's instant deflated energy and his multiple dramatic outbursts make Colin desensitised in a very human way and Sam Riley makes even the most seemingly heartwarming moment feel cold and calculated.

Ben Wheatley plays squarely to his low budget strengths, choosing the best way to shoot everything with deliberately disorientating cinematography from Laurie Rose that makes every argument even more chaotic. Clint Mansell takes a really bold swing with his score, going for the exact opposite of what this genre usually sounds like by making something that's unexpectedly mediaeval.