Happy New Year, Colin Burstead

Ben Wheatley is a versatile director who will try his hand in any genre. This is not a guy who wants to be pigeonholed.

Happy New Year, Colin Burstead comes across as a modern Play for Today with Mike Leigh type improvisation. It was even co-produced by BBC Films.

The film aims to be Festen but is nowhere near as good.

I expected a dark tragicomedy and this fell way short. Maybe there was not enough time or money to work out the story.

Wheatley regular Neil Maskell is Colin Burstead who for various reasons is hosting a grand New Year's Eve party for his extended family at a country mansion that he has hired.

Colin believes in the importance of the family but yet seems impatient when they arrive. His demeanour is that of a man who is certainly not looking for a good time.

His dad is in financial trouble because he has lost money on a business venture. Colin gets upset when his philandering younger brother shows up, a man who abandoned his wife and kids.

Somewhere in here is a morality tale about broken, brexit Britain. I did not find it.

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

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.

Fractious family gatherings, especially those marking a holiday or life event, are a staple of Anglophone popular culture. What Ben Wheatley seems to have done in this comedy-drama is to take this situation, although with a larger than average cast, and assume the script for a comedy-drama would just write itself. But a New Year's Eve drinks party just isn't a sufficiently high-concept idea to sustain a satisfactory full-length movie without character arcs, dramatic tension, or a plot, which are sadly deficient here.

It is filmed in an exaggerated docu-soap style, with shaky camerawork, zip pans and sudden focus changes, which many viewers will no doubt find jarring or pretentious. It wasn't this, however, that I had a problem with, so much as the structure. With such a bewildering number of characters, little attempt to provide any back-story for them before the party, and no real central protagonist, it is difficult to care much about any of the people in this movie, and the dramatic potential of the set-up is largely squandered. For me, the only truly dramatic or intense moment was Colin's rant at his serial-adulterer, family-abandoning brother David, who has arrived with his German girlfriend, about a third of the way in.

I did not feel that the dialogue was particularly witty or incisive either - the only line that stuck in my mind was when Colin was setting up the sound system and says "we have to have a disco, because if they don't dance, they fight."

The themes of indebtedness and financial embarrassment are touched on and there's even a very perfunctory conversation between two characters about Brexit and party politics, but it doesn't go anywhere with these ideas, and in the subsequent Q&A I found the director's claim that he was making, as he put it, "a film about the 'now'", to be somewhat hollow.

The country house is a nice location visually, it has a consistent visual style and a strong cast, but I don't think I can give it more than 5/10.

The curious thing about this, from a young and supposedly edgy director, is how conventional it is - exactly the sort of thing that would be shown as a Christmas Play For Today 30-40 years ago, and has been done much better in films like The Family Stone. The characters' actions are often implausible, many of the characters themselves are superfluous (or there only to widen the demographic net) and, although if you persevere to the end it's not entirely negative, it is certainly drab and depressing. A lot of the dialogue sounds improv and, as another reviewer says, they seem to have thought that if they got a decent cast together and workshopped it something good would just magically emerge.

And what bloody awful musical taste the family has! We had to keep turning the volume down during the 'disco' scenes. I didn't mind the actual soundtrack music, though, and there are no 'Irish jigs' - it sounds more like the Elizabethan Session or something similar.