This is How Movies Should Be Made

The film may be flawed, but its message is not.

Mostly, the movie is committed to the value of a good time.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

An absolute feel-good film, beautifully crafted, filled with interesting and well-enacted historical detail, excellent cinematography, top-notch writing, pitch-perfect acting, and classy straightforward directing.Based on a true story, this gem of a film memorialises events which though politically significant are largely overlooked by history. We all remember the miner's strike of 1984-5, but how many people remember (or were ever even aware of) the pivotal role of the gay and lesbian community in that historic clash, or what transpired in British politics as a result of it?This is a terrific film on many levels; as a piece of entertainment it is well-paced and enjoyable throughout, lifting the spirits and raising an occasional tear. As a historical re-enactment it is well researched, enlightening, and nostalgic. As a political commentary it is thoughtful, articulate, intelligent, and avoids pretty much every potential pitfall, with not a sledgehammer to be seen.All in all, a very well-rounded piece of British filmmaking that ticks many boxes. Worth a watch. Or two. Or three...

Pride tells the story of a group of U.K. activists that form a group called Gays & Lesbians Support the Miners. They lead the charge in collecting money and materials to support miners during the strike of the National Union of Mineworkers in 1984. In the telling of this true story a good many of the actual people involved are present during some of the march sequences. Good acting all the way around and an enjoyable film.

The British film "Pride" is based on the true story of U.K. gay activists' work to help miners during their lengthy strike of the National Union of Mineworkers in the summer of 1984. It was a story that I had not heard of before. Director Matthew Warchus' was sure to bring some inspirational elements of the film on how two opposite polar groups can work together for civil rights and fair labor. But Warchus' was sure to implore us with the aforementioned concept a few too times to many; as worthy as the concept is. I am a big fan of 80's New Wave Retro music, so I was very proud of "Pride" to include some U.K. New Wave classics. The ensemble acting was commendable but not sensational; which included Ben Schnetzner as U.K. gay activist leader Mark, Dominic West as the flamboyant Jonathan, and Imelda Stanton as a Miner Committee Member. "Pride" is not the biggest pride film piece from the 2014 movie year, but it has enough activist gravitas to give it a shout. *** Average

Writing a light-hearted comedy-drama based around the homophobic politics of the 1980s and the UK miners' strike might sound like a concept doomed to failure. But Pride miraculously pulls it off, and in spectacular fashion at that. Directed by Matthew Warchus and written by Stephen Beresford, the film derives from the factual story of a group of lesbians and gay men in the 1980s, who raised funds for Welsh miners in an attempt to achieve solidarity. Surprisingly, despite the air of negativity that was prevalent during the decade in which it is set, Pride manages to maintain an upbeat and inspiring tone, without conveying itself to be preachy, which is something of an accomplishment. The feature centres on 20-year-old closet homosexual Joe (George MacKay). During his first visit to a gay pride march in 1984, he becomes inaugurated into a group of gay and lesbian activists led by Mark Ashton (Ben Schnetzer), who decide to support Welsh miners in an attempt to persuade them that they are on the same side, thereby forming 'LGSM': Lesbians and Gays Support the Miners. Before long, the group members find themselves in a traditional Welsh village to convince the local community that they demand similar from the government. However, events take an awry turn as one bigoted member of the community is hell bent on sabotaging their efforts. The majority of the comedy derives from the interactions between the gay characters and the villagers. Menna Trussler is particularly memorable as Gwen, an elderly lady whose interactions with the lesbian characters are not only hilarious but also strangely endearing. Needless to say, of course, Imelda Staunton and Bill Nighy shine in their roles, but it is the younger, main lesbian and gay ensemble that shines the brightest. MacKay and Schnetzer are perfect in their leading roles, and the acting, on the whole, is near-flawless. Pride is particularly commendable for its even-handed delivery of what is essentially a comedy on one hand, and a profoundly emotional drama on the other. It surprisingly refrains from enforcing a preachy one-sided anti-Thatcher commentary, essentially avoiding the subject of politics altogether. Instead, Beresford focuses predominantly on the personal and interpersonal exploits of the mostly fictionalised ensemble and, for the most part, succeeds. Gethin's (Andrew Scott) storyline, which involves his reuniting with his mother, is especially noteworthy in this respect, though it could be argued that it relies too heavily on a common 'gay-themed' plot to induce an emotional response. Likewise, Joe's clichéd 'coming out' storyline feels somewhat old and tired, but Beresford's varied and compelling use of characters, combined with Warchus' fast-paced direction, enables the film to maintain a semblance of freshness. It's nothing unique, but it's well-written, thoroughly engaging and ultimately uplifting. However, for a film that relies heavily on its characters and their circumstances to convey a touching and uplifting story, the emotional aspects of the film are at times surprisingly underplayed. The character of Joe, for example, though presented initially as the protagonist, is disappointingly obscured and overshadowed by the LGSM ensemble throughout the majority of the film, despite his particular storyline bearing the most potential in terms of poignancy. Consequently, this poignancy is never truly realised and his overall underuse makes the film's angle appear uncertain from the outset. Despite this, the film nonetheless maintains a feel-good tone that's full of heart, and makes a profound statement as a firm indication of the progression we've witnessed in the acceptance of LGBT people and their rights since the source basis of this feature. Sadly, the film's few shortcomings preclude it from being regarded as a masterpiece. That said, in spite of its flaws, Warchus' home-grown feel-good feature is undoubtedly a film to be proud of.