User reviews

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.

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.

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 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.

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!

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 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 big Wheatley fan, even though I think his films can be hit and miss. I had no anticipation for this film and watched it out of boredom really. The film has a constant underlined tension which you think will explode into a crescendo of violence that never happens. I look forward to rebecca.

It feels like director Ben Wheatley wanted to make a Mike Leigh film, but didn't want to bother with the hard work of lengthy rehearsals. It was a tedious film to watch. The characters didn't seem deep and their transformations seemed imposed by the writer rather than develop organically from the interactions with the other characters.

When a couple with a baby drive off at the end, there is no baby in the call. I'm pretty sure the couple didn't forget their baby, the screenwriter did.

Excellent acting /directing . Really enjoyed the film and I kept smiling at events and comments to the end . Even loved Sam Riley's song though I have a soft spot for him anyway . I shall look forward to the series .

45 minutes was as much of this as I could take.

What was he (Ben Wheatley, the writer/director) thinking? What were they (the BBC and whoever else provided the funding) thinking? What were the actors (Bill Paterson! Charles Dance!) thinking when they signed up for this? Didn't they read the script? What was I thinking watching this rubbish? Or writing about this rubbish?

Has this got any redeeming features? Irritating people, inconsequential plot, so (intentionally?) bad that it's supposed to be good?

Let's hope someone Mr Wheatley respects, takes him to one side and tells him that this simply isn't good enough: get some better ideas -- and preferably an experienced co-writer -- and don't come back until you've put together a decent script.

Easily the worst film I've seen this year. The characters are terrible. The story is terrible. There is no structure.

There isn't a purpose to any of the scenes and the dialogue is so pointless and painful. Also the music used is so out of place and mismatched with the scenes- particularly the Irish jig music.

It's like they wrote it while they were filming it, and not in a good improvised way.

Strong contender for worst film ever made. 1/10.

This little unheard of tragicomedy drama represents some of Ben Wheatley's best work to date. There's lots of characters here, and his script manages to integrate them all in interesting and sometimes amusing ways; the dialogue is sharp, with the actors adding bits and pieces when called for, and the tense family relations soon reaches a boiling point with appropriately awkward and tense confrontations after smart setup work.

As well as writer and director, Ben Wheatley also shows really impressive work as editor. Conversations are constantly cut up with other conversations, and the transitions are smooth, never losing us as the audience with the content of those exchanges, while also managing to keep us aware of where everyone is and what's on everyone's mind in a given moment.

Of course, when the focus is on dialogue, you need a good ensemble, and fortunately this British film is splendidly cast from top to bottom, with Neil Maskell demonstrating yet again why he deserves more leading roles with this incredible, impassioned display. Overall, 'Happy New Year, Colin Burstead' is an excellent acting, screenwriting, and editing showcase.

8/10.

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.

Has been great so far, needs some work, otherwise would be fine. (Sequel to 2018)

I have just created an account to say this film was the biggest load of crap ever. Completely wasted my time watching this, the storyline was stupid, there was no meaning to this film. Dont be like me and waste time watching it.

Wow bit triggered by these siblings family dysfunction.. the whole family need therapy and family systems therapy

The story line was good for the first 20mins, but got a bit sea sick with the hand held camera, had to turn over

Great acting does not a compelling story make. What a cast to use irresponsibly on such a random splatter. All I can think is that Wheatley dug out an old project where he thought he could write a pilot for an "Eastenders meets Dallas" soap and it would be called The B... Bursteads. One impressive point was you did get to know 12 characters in 90 minutes - but then several of the cast you didn't get to know at all, and you were left thinking "So why are they there?". The Charles Dance character, or at at least her motivation was desperately pointless - as was the former girlfriend of several of the guys, who, by coincidence, was working at the remote house.. well soapy. The song that the vilified son played and sang for his mother was cringeworthy in the extreme - and the follow on, of his German girlfriend's Liede was bizarre - and then it was midnight - thank god. Great acting but don't bother. Failed pilot, not taken up.