Review: ‘Railway Children,’ starring Jenny Agutter, Sheridan Smith, John Bradley and Tom Courtenay

November 20, 2022

by Carla Hay

Zac Cudby, Beau Gadsdon, Austin Haynes, Eden Hamilton and Kenneth “KJ” Aikens in “Railway Children” (Photo courtesy of Blue Fox Entertainment)

“Railway Children”

Directed by Morgan Matthews

Culture Representation: Taking place in 1944, mainly in West Yorkshire, England, the dramatic film “Railway Children” features a predominantly white cast of characters (and a few African Americans) representing the working-class and middle-class.

Culture Clash: During World War II, four British children befriend and help a young African American soldier, who has deserted the U.S. Army and has gone into hiding. 

Culture Audience: “Railway Children” will appeal primarily to people who are interested in watching corny and sometimes unrealistic dramas that take place during World War II.

Pictured clockwise, from bottom left: Eden Hamilton, Austin Haynes, Sheridan Smith, Tom Courtenay, Jenny Agutter, Beau Gadsdon and Zac Cudby in “Railway Children” (Photo courtesy of Blue Fox Entertainment)

Even though the sappy drama “Railway Children” is told from the perspectives of children during World War II, it’s still no excuse for how the movie mishandles issues such as racism and military desertion. The movie’s last 15 minutes are atrociously mushy. Mostly, “Railway Children” is just lackluster and dull, until the last third of the film, where a plot development is crammed in to create a false sense of suspense. This plot development ends up falling very flat because of the way it’s unrealistically resolved.

Directed by Morgan Matthews, “Railway Children” takes place in 1944, mostly in West Yorkshire, England. Daniel Brocklehurst and Jemma Rodgers co-wrote the maudlin “Railway Children” screenplay. If people don’t know anything about the movie before seeing it, the movie’s title might give the impression it’s about vagabond kids who travel by railway. The movie’s actually not about that at all. It’s a sequel to the 1970 film “The Railway Children,” which is based on Edith Nesbit’s 1905 novel. “The Railway Children” was remade into a TV-movie released in 2000.

The children who are the central characters in “Railway Children” (formerly titled “The Railway Children Return”) actually aren’t homeless. Transportation by train is only a significant part of the movie’s plot in the beginning and near the end of the film. “Railway Children” is about three siblings whose mother has made them temporarily relocate from Manchester, England, to West Yorkshire, because a big city like Manchester is more likely to be bombed during the war. Their single mother, who is a nurse, has decided to live and work in Liverpool, England, until it’s safe for her to be reunited with her evacuated kids.

The opening scene of “Railway Children” shows the children’s mother, Angela Watts (played by Jessica Baglow), saying a tearful goodbye to her three kids at the train station in Manchester. She will not be going with them on the train. Eldest child Lily Watts (played by Beau Gadsdon) is about 14 or 15 years old. Middle child Pattie Watts (played by Eden Hamilton) is about 10 or 11 years old. Youngest child Ted Watts (played by Zac Cudby) is about 6 or 7 years old.

Angela tells Lily that because Lily is the eldest child, “You’re the parent now.” Pattie is wearing a dress, and she complains that she doesn’t like wearing dresses. After the children board the train, they meet some other unaccompanied children who have been sent away by their parents for the same reason as the Watts kids. The ticket taker on the train is aware that there are about 20 of these evacuated kids on the train.

During this trip, the kids are mostly obedient but get restless when they are told that the train won’t stop just anywhere for the passengers to use a restroom. The ticket taker gruffly tells Lily that everyone will have to wait until the train gets to the next train station, which has restrooms for people to use. Instead of waiting for that to happen, Lily secretly pulls the train’s emergency brake, forcing the train to stop.

The children then use this interruption to go in a field and relieve themselves. The train conductor suspects Lily pulled the emergency brake and accuses her privately, but she dares him to prove that she pulled the brake. Of course, he can’t prove it.

The main purpose of this scene is to establish early in the movie that Lily is a strong-willed, independent thinker who will break the rules if she thinks it’s for a good reason. Lily demonstrates this personality trait many times throughout the movie, especially when she makes a decision that could get her in trouble with the law. Lily also doesn’t abide by sexist gender roles where girls are expected to be weaker than boys.

When the evacuated kids on the train arrive at West Yorkshire, they are greeted by St. Mark’s School headmistress Annie Clark (played by Sheridan Smith) and Annie’s mother Roberta “Bobbie” Waterbury (played by Jenny Agutter), who live together and are both very welcoming to the kids. Agutter reprises her role as Bobbie, which she played in 1970’s “The Railway Children,” which was about three child siblings in 1905 who try to find out why their father disappeared. In the 2000 TV-movie version of “The Railway Children,” Agutter played the children’s mother.

In the “Railway Children” sequel, various families in the area have gathered at the school to meet the evacuated children and choose which ones they will take into their homes as foster kids. The Watts children don’t want to be separated, but that means no foster family wants to take all three of the Watts siblings together. Bobbie feels a great deal of sympathy for the Watts siblings, because they remind her of herself and her two siblings when she was a child, so she convinces a reluctant Annie to take the Watts siblings into their home.

Annie has an amiable and talkative son named Thomas Clark (played by Austin Haynes), who’s about 10 or 11 years old. Instead of being irritated that he has to share his living space with three kids he doesn’t know, Thomas adapts quickly and seems happy to have the company of kids close to his age. Thomas and the Watts siblings become fast friends and spend most of the movie hanging out together.

Thomas’ father is away, fighting in the war. Lily says that her father is doing the same thing. (As soon as she says that, it’s obvious she’s lying.) An occasional visitor to the household is Annie’s uncle Walter (played by Tom Courtenay), who lives in London and works as a political liaison for the Allies. Walter is a compassionate and wise person, but this character is very underdeveloped in the movie.

Another supporting character who is fairly one-dimensional is Richard (played by John Bradley), the manager of the local train station. Richard acts like a know-it-all and is somewhat impatient with kids. However, Richard likes Thomas enough to show Thomas the surveillance audio equipment that Richard keeps in the train station. Richard tells Thomas that he likes to eavesdrop on unsuspecting people to find out if anyone in town is a traitorous spy.

Unfortunately, the movie’s pace slows down considerably, as it lumbers along in showing how the Watts children have somewhat of a hard time adjusting to their new environment outside of their new household. At school, the Watts siblings are treated like outsiders by the classmates, except for Thomas. Four school bullies, led by a brat named Georgie Duckworth (played by Joseph Richards), try to attack Ted, Pattie and Thomas, but Lily sneaks up behind the bullies and is able to fight them off and scare them away.

“Railway Children” has repetitive scenes of Lily, Ted, Pattie and Thomas playing in an open field area that has some abandoned train cars. They uses these cars as “secret hideouts” when playing games with each other. Lily, Ted and Pattie are happy that they have a new friend in Thomas, but the Watts siblings miss their mother tremendously. Unfortunately, the movie depicts these emotions in a superficial way, as other issues get more importance in the story.

Life in the foster home is fairly tranquil, with occasional disruptions if the four kids are messy or don’t immediately do something that an adult tells them to do. One day, Annie gets a letter from the military with some upsetting news that she wants to keep a secret from the children. The information in the letter is eventually revealed, but the movie drags it out in a weak attempt to have some suspense.

About halfway through “Railway Children,” Lily, Pattie and Thomas make a very surprising discovery in their hideout area. A teenage American soldier named Abraham “Abe” McCarthy (played by Kenneth “KJ” Aikens) is hiding in one of the abandoned train cars. He has a gash injury on one of his legs. Abe tells the kids that he’s 18 years old and that he’s hiding because he’s on a secret mission for the U.S. Army.

Abe asks the children to bring him bandages and begs the kids not to tell anyone that he is there. Of course, all this secrecy means that Abe is probably lying. Eventually, the children find out the truth: Abe has gone absent without leave (AWOL) from the U.S. Army, which has sent the military police and other officials to look for Abe in West Yorkshire. Abe being a military deserter is not the only thing that Abe has lied about, and his other lie is very obvious to figure out.

Several U.S. Army soldiers are temporarily stationed in the area. The movie shows in heavy-handed ways that Abe has additional paranoia about being caught because he’s an African American and is expected to get harsher punishment than if he were white. More than one scene in the movie depicts white American soldiers harassing the African American soldiers, such as when a white American soldier berates and shoves an off-duty African American soldier for talking to a white British woman.

Abe wants to find a way to get on the next train out of town. Lily suggests that Abe get on the train going to Liverpool, where she says Abe can find her nurse mother to give him treatment. This naïve plan is taken very seriously in the movie, which doesn’t even show Lily giving Abe enough information to find her mother in a fairly big city like Liverpool. Meanwhile, Thomas gets very nervous about keeping Abe a secret, so Thomas starts to disagree with Lily about keeping this secret.

“Railway Children” is one of those movies where the kids have a secret plan to help someone and try to outsmart the adults in hatching this plan. Some viewers might find it quaint and charming how it’s all presented in the movie. However, it just comes across as cloying and pandering to people who want a formulaic and lazy movie that doesn’t take any risks and doesn’t try to deal with Abe’s issues in a realistic way.

For example, “Railway Children” makes it look like only the white Americans are racist, when the reality is that white supremacist racism can be anywhere, regardless of the nation. In the movie, Abe says he wants to leave the U.S. Army because of the racism he experiences in the Army. However, “Railway Children” doesn’t adequately address the reality that even if Abe made it back to the United States without getting punished by the U.S. Army, he would still be going back to a nation where racial segragation and other racist practices were legal. Abe talks a little bit about his family, but the British kids helping him don’t seem too interested in knowing what kind of life Abe would be going back home to in America.

All of those societal facts are shoved aside or buried because “Railway Children” wants to be an overly sweet movie about some kind-hearted kids who help a runaway teenager of a different race and nationality. There’s nothing wrong with children being depicted as naïve, but it’s wrong to depict the adults in this story acting like ignorant kids too, especially during a war that was mainly about freeing people from the hatefully bigoted tryanny of Nazi Germany. It doesn’t help that the acting performances in the movie are not very impressive, especially from Aikens, who delivers his lines of dialogue in an awkward and stiff manner.

“Railway Children” missed an opportunity to be a valuable lesson about World War II history and dealing with the harsh realities of war and bigotry. Instead, after a long, boring stretch where not much happens in the first two-thirds of the movie, the last third of “Railway Children” turns into a very clumsily staged runaway caper where everything is dumbed-down in service of being an absurdly sentimental story. Ultimately, “Railway Children” is one in a long list of movie sequels that are far inferior to the movies that spawned the sequels.

Blue Fox Entertainment released “Railway Children” in U.S. cinemas on September 23, 2022. The movie is set for release on digital and VOD on December 6, 2022. “Railway Children” was released in the United Kingdom on July 15, 2022.

Review: ‘Censor’ (2021), starring Niamh Algar

June 26, 2021

by Carla Hay

Niamh Algar in “Censor” (Photo by Maria Lax/Magnet Releasing)

“Censor” (2021)

Directed by Prano Bailey-Bond

Culture Representation: Taking place in early 1980s England, the horror film “Censor” features a predominantly white cast (with a few black people) representing the middle-class.

Culture Clash: A woman who works as a movie censor begins experiencing nightmarish visions related to a tragedy from her past. 

Culture Audience: “Censor” will appeal primarily to people who are interested in horror films that put more emphasis on creating unsettling atmospheres than providing easy answers.

Niamh Algar in “Censor” (Photo by Maria Lax/Magnet Releasing)

“Censor” is the type of horror movie that won’t satisfy people who are looking for a predictable ending, but it succeeds in immersing viewers into the psychological terror of a very disturbed mind. The movie has plenty of gory and bloody murder scenes, but what many viewers might find more frightening is being taken into a world where fact and fantasy are constantly blurred and play tricks on people’s sense of reality. Niamh Algar’s riveting performance in “Censor” elevates the movie’s tendency to be repetitive, which could have dragged down the story if not for Algar’s commendable acting.

Directed by Prano Bailey-Bond, “Censor” is her feature-film directorial debut, based on Bailey-Bond’s short film “Nasty.” Bailey-Bond and Anthony Fletcher co-wrote the screenplay for “Censor,” which takes place in early 1980s England, when the VHS video boom caused an increase in direct-to-video releases that could bypass the censors. Horror movies in particular benefited from the direct-to-video business model. And in England, these uncensored films became known as “video nasties.”

“Censor” takes place during a time when the British Board of Film Censors (which changed its name to the British Board of Film Classification in 1984) was adapting to the increasing distribution of videotapes sold directly to consumers as a new format for the movie industry. The BBFC, which is a non-governmental group founded by the film industry, works in a way that’s similar to the Motion Picture Association of America, by classifying or rating films, based on the minimum age that would be deemed appropriate to see those films.

In “Censor,” Algar portrays Enid Baines, a prim and proper spinster in her 30s who works for the BBFC. She takes her job very seriously and is a stickler for details. In an opening scene of the “Censor,” she has a conversation with her condescending co-worker Sanderson (played by Nicholas Burns) about a scene they watched in a horror movie that’s being evaluated for a rating classification.

Enid says to Sanderson, “The decapitation is ridiculous. It’s the eye gouging. It’s too realistic. Plus, I was trying to see who dragged her away.” Sanderson replies, “Does it matter? … I appreciate you analyzing this with clear precision, Enid. But someone perhaps got out of the cautious side of the bed this morning.”

Enid ignores Sanderson’s attempt to belittle her as uptight. Fortunately, not all of her co-workers are disrespectful. Enid also works closely with matronly Anne (played by Clare Perkins) and easygoing Perkins (played by Danny Lee Wynter), who both express concerns to Enid about her emotional well-being if it looks like she’s particularly disturbed by any of the violent content that she has to screen for her job. Enid experiences sexual harassment from a movie producer named Doug Smart (played by Michael Smiley) when he makes rude and sexist comments to her while he visiting in the office.

“Censor” doesn’t really show much of Enid’s home life, because viewers will get the impression that her life revolves around her work. However, there’s a tragedy from Enid’s past that has been haunting her. And a decision that her parents have made about this tragedy seems to set Enid off on a downward spiral of madness.

One day, Enid’s parents June Baines (played by Clare Holman) and George Baines (played by Andrew Havill) invite her to dinner at a restaurant to tell her some important news: They have decided to officially declare their missing daughter Lucy as dead. Lucy, who was Enid’s younger sister, disappeared in the forest of Chorleywood (a village in England), in 1958, when Lucy was 7 years old. Enid was about 12 or 13 at the time, and she was with Lucy on the day that Lucy disappeared. At the time, Lucy and Enid were living with their parents in Brimstead, Middlesex.

Enid has vague and fractured memories of Lucy’s disappearance. Because she could never fully remember what happened when Lucy disappeared, it has added to the tremendous guilt that Enid has felt ever since. Enid disagrees with her parents’ decision to declare that Lucy is dead, because Enid thinks there’s still a possibility that Lucy could still be alive. Enid also thinks that Lucy was kidnapped.

However, Lucy’s death certificate has already been made official. When Enid’s parents show Enid the death certificate, Enid has a hard time looking at it. Enid’s mother June tries to change the subject and asks Enid if she’s recently seen any good movies to recommend. Enid somberly explains to her mother what Enid’s job is: “It’s not entertainment, mum. I do it to protect people.”

The rising numbers of “video nasties” have created a backlash from certain people in the United Kingdom who want to blame these horror movies on an increase in crime. At the time, the U.K. (under Prime Minister Margaret Thatcher) was experiencing an economic recession and high unemployment, which is often linked to an increase in crime, but people often want to scapegoat violent movies and TV as the reason. Enid is about to experience this backlash firsthand.

One day, Enid and Sanderson are called into the office of their boss Fraser (played by Victor Franklin), who nervously tells them about a phone call that he got that day from a journalist doing a story about a high-profile murder case. A man was recently arrested for murdering his wife, eating her face, and then shooting and killing their two children. This disturbing crime is eerily similar to a scene from a horror movie titled “Derangement,” and the journalist is linking these murders to the movie. And just like in “Derangement,” the murderer claims to have no memory of committing the crime. The media gave him the nickname the Amnesiac Killer.

Fraser is unnerved because somehow, the journalist knew that Enid and Sanderson were the two censors who evaluated “Derangement” before giving it a rating. Fraser demands a complete internal investigation and for Enid and Sanderson to give him a step-by-step analysis to explain why they decided to allow “Derangement” to be approved for release. Fraser also sternly lectures Enid and Sanderson that if they have any doubts about the content that they evaluate, they should not approve it and ask for edits or reject the movie altogether.

While all of this drama is going on in Enid’s job and personal life, she and Perkins watch a movie that’s up for evaluation. It’s an untitled film from a director called Frederick North. And what Enid sees in the movie seems to push her off the deep end into an abyss of emotional despair. What follows for the rest of “Censor” are flashbacks or hallucinations about what might or might not have happened when Enid and Lucy were in the woods all those years ago.

There’s a tall, menacing hulk—who has the name Beastman (played by Guillaume Delaunay) in the film credits—who is shown lurking in the woods and enticing a young Lucy into his remote house. (Beau Gadsdon plays a young Enid in these flashbacks.) There’s a horror movie called “Asunder” that Enid gets from a video store that offers more pieces to this mind-bending puzzle. An actress named Alice Lee (played by Sophia La Porta) is the star of “Asunder,” and Enid becomes obsessed with her because she fears that Alice is in danger.

One of the more effective aspects of “Censor” is how cinematographer Annika Summerson contrasts the dull and drab hues of Enid’s everyday life with the psychedelic nightmarish hues of Enid’s visions that take place in the forest. If it isn’t obvious to viewers during the movie, it’s made very clear at the end of the film that the forest is a metaphor for Enid’s mind. And getting trapped there is an experience that is not for the faint of heart.

Magnet Releasing released “Censor” in select U.S. cinemas on June 11, 2021, and on digital and VOD on June 18, 2021.

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