Press clippings

My Happy Ending review

There's a lot to admire here even if some of the movie shifts back and forth uneasily between comedy and drama.

Thomas Duffy, Film Book, 25th February 2023

My Happy Ending review

Andie MacDowell brings signature charm to the modest but insightful film.

Katie Walsh, LA Times, 24th February 2023

My Happy Ending review

Forget the happy endings; this whole journey is misguided.

Robert Kojder, Flickering Myth, 24th February 2023

My Happy Ending review

My Happy Ending can't even do a tearjerker right.

Katie Rife, Roger Ebert, 24th February 2023

My Happy Ending review

Andie MacDowell plays a screen and stage star facing a cancer diagnosis in this film directed by Tal Granit and Sharon Maymon.

Ben Kenigsberg, The New York Times, 23rd February 2023

My Happy Ending review

A harmless and mildly enjoyable comedy drama.

Camden Ferrell, Disappointment Media, 23rd February 2023

My Happy Ending review

This little chemo support group provides the heart of the film.

David Ferguson, Red Carpet Crash, 23rd February 2023

Review: Attack of the Hollywood Clichés!, Netflix

If you want conclusive proof that not everything Charlie Brooker touches turns to gold, check out Attack Of The Hollywood Clichés!, the one-off comedy special he has produced for Netflix. If you want an hour of escapist clippage and laughs you'll be satisfied, if you are hoping for anything close to his telly takedowns in Screenwipe think again.

Bruce Dessau, Beyond The Joke, 29th September 2021

Film stars revealed for Netflix show Attack Of The Hollywood Clichés

Richard E. Grant, Sanjeev Bhaskar, Four Weddings And A Funeral star Andie MacDowell and A Nightmare On Elm Street actor Robert Englund are among the film stars dissecting movie tropes in Netflix's upcoming Attack Of The Hollywood Clichés.

British Comedy Guide, 24th September 2021

How we made Four Weddings and a Funeral

"Honestly, I don't get why the rain scene is such a big deal. It's beautiful - and we were freezing filming it"

Simon Bland, The Guardian, 19th November 2019