User reviews

I completely understand why some people will struggle with this film. It doesn't appear to have a beginning middle or end, the characters are wholly unlikable and it's tragic. Unlike shaun meadows, there isnt a redemption arc in this film, but a sea of sadness. But in order to understand it one must view richard binghams photos. Richard was raised in the backdrop of thatcherism, like I was, which was a period of deep unrest for lower classes. He and his brother were raised by alcoholic parents and subjected to intense neglect. I always find it miraculous when people raised in such circumstances go on to break the shameful cycle of poverty and abuse and alter their and their own childrens fortunes. This film is searingly honest, beautiful and desperately sad. I love the way he uses gaze from pictures and jigsaws as a form of witnessing the children's more challenging circumstances. I've never seen it used this way. I also thought using benefits streets "white dee" as a stroke of genius a woman reviled for her own part in poverty, and a matriarch of an underclass community. I strongly suggest that you look at his photos first, as it will help you understand why richard continues to return to his parents and his childhood for inspiration. We often revisit the places that caused us pain in childhood as adults, as a method of healing, and I commend richard for doing this in full view of the public. It's incredibly brave.

Poverty and despair are depicted in painful, beautiful detail in this autobiographical debut film from Richard Billingham. The performances are subtly brilliant and the overall attention to detail makes this feel more like a documentary at times. As such there's not really a story here but a glimpse into the lives of a dysfunctional family at a very specific time and place. This is not easy viewing but stands as one of the best films I've seen in years.

When I realised the story was working-class centred, I felt optimistic as there is plenty of highly acclaimed films within this sub-genre that have been made in the past. The most notable directors making these are probably Ken Loach and Mike Leigh.

This film sees the directorial debut from Richard Bellingham, who seems to be showing his childhood from his upbringing in Birmingham.

What I liked about it the most was authentic look it had in every department. From the surroundings, to the sets, costumes and performances.

I was intrigued by the decisions in jumping from two timelines as wells as it got me wanting to know how the journey was going to develop into destination that we see in the opening scene.

The tone had mixes of comedy, strong British drama and some disturbing despicable moments.

The latter made it feel tricky to root for any characters as I just pityed them for the remainder of the film.

Then while the final act did mildly fill the gaps in the story from the opening scene, I just felt it could have been executed better and maybe be more impactful.

I didn't think much of it in the end. It is fairly solid throughout and there was nothing wrong in terms of the production department. The authenticity of the time period was the most impressive aspect and it was an interesting enough working-class story.

But finding it hard to feel sympathy for the characters and not feeling the story being completed made it also look a bit unfulfilled.

With many stronger directors out there showing similar stories, this particular feature I think could feel lost. But there is potential for a strong story to come out of Richard Bellingham both as a director and as a writer. So maybe see this a film as a work in progress.

Rating: 7/10

Firstly it's set in the Black Country - NOT Birmingham! Lots of very authentic scenes, very well done. A lot of people will struggle with it, but having been brought up around the same time, I can see the parallels.

It think it is unfair to think of Ray and Liz as wholly unlikeable because it is a surface level interpretation and it unsympathetic view on the audience's part to what drives the character's negligence. Clearly, they are two deeply flawed characters whose lack of humanity, or negligence, is driven by their constant battle to survive in a very bleak era.

There is nothing admirable about these two characters but the film definitely delivers a strong social message about the fate of the vulnerable in a society that ordinarily and continues to look down on them without remorse. In that sense, you begin to understand that Ray and Liz are the way they are because society has treated them cruelly and swept them out of view.

Richard Billingham's "Ray & Liz" is worthy to take its place next to the early films of both Terence Davies and Bill Douglas and like their films is largely autobiographical. It is a picture of Billingham's abusive, alcoholic family, his parents, Ray and Liz, and his extended family and naturally it's depressing but also not without a grim humour and as befits someone who has made his name as a photographer is full of images that might best be described as depressingly beautiful.

There is an old saying, write about what you know and in terms of world cinema it's those films that home in to a specific aspect of their country's national identity that work best. Britain has always been a class-conscious nation and that's probably why those films that dealt honesty with working class life and made in the early sixties, (the Kitchen Sink movies), that have remained freshest in the memory. It was something that Davies and Douglas knew only too well and which Billingham has now adopted.

This is a film in which every tiny detail is perfectly realised; the cheap artificial flowers, ornaments and paintings that Liz uses to brighten a home where the wallpaper is peeling off the walls and dogs pee on newspapers on the floor. Forget about something like "The Favourite", this is the best designed film of the year. It's also superbly played by its totally unknown cast. Ella Smith is particularly good as the neglectful Liz, someone perhaps more deserving of our pity than our scorn. Ray and Liz may be products of their society but Billingham, unlike Ken Loach, isn't really too concerned with the wider social picture but with the personal. This is his home movie and it's a deeply felt one.

An interesting film, with strong central performances, which nevertheless doesn't quite work. It captures the boredom and monotony of lives in many British cities in the 1980's. The cities that had been ravaged by the unemployment that had resulted from the neo-liberal policies of the Margaret Thatcher led Conservative Party.

The film is strongest in its portrayal of the eponymous central characters whose believability stems from them being unable and unwilling to change. It's refreshing to see a film that doesn't soften the edges of their characters by portraying them as having gleaned lessons from their actions resulting in them becoming better people.

Visually, the film is impressive, imbuing the audience with the same feeling of claustrophobia the characters possess. Sometimes the feeling is so oppressive it seems as if you are stuck there in the flat with them, almost overcome with the smell of stale cigarette smoke, spilt home brew and dog.

Despite a lot of positives, the film never feels as if it is the sum of its parts. The scenes work in isolation but put together never quite add up to a satisfying film. It more closely resembles a series of short films welded together that doesn't quite work as a cohesive whole.

Ray & Liz 2018 (on film4 ) it's a grim study of a family (2 boys) living in poverty with their parents. I'll say it again It's grim, the parents have little aspiration beyond the day to day existence but for the kids it's about surviving. The film made by the older of the two children, he clearly escaped the rut of poverty. It's immensely watchable in a fly on the wall kind of the way ( watch the film to see what I mean) Essential viewing for fans of social realism. 8/10.

This film's subject matter is very grim. It's a good piece of filmmaking with some excellent cinematography. But boy! It's so depressing.

If you're looking for a feel good film this is not for you. But if you can handle gritty realism you may very well enjoy it.

Having read the right up think i expected to see the confrontation of the children with the parents. Also reading a review after watching that recommends seeing the photographs of the writer/producer to help explain says it all. To me a film should stand alone from sitting down to the end. This film starts in one place, jumps to another minus 2 characters, ends in another. It wasn't that moving, yet could have been.

Definitely not a film for taking your partner on a first date Sadly there are families like this all around Britain.

Well done Richard for giving them a voice so authentically. Every actor was brilliant and like all good writing was given time to show their situation.

The child actors were amazing .little angels I wanted to wisk away to something better.

The parents needed to attend a 'SureStart' centre.

I hope this director gets the chance to further his career.

A worthy successor to the wonderful Ken Loach.

The beginning has a great twist to the plot however the narrative is all down hill once 30 minutes in. Bland plot, bland characters, can't even understand what they're saying half the time shot in 4:3 aspect ratio. No worth a seven star rating.

Dark, upsetting and slightly depressing, brought about by excellent actors, filming and direction. Like the genre of plays like the birthday party, entertaining mr sloane and abigails party it combines tragic with everyday people's lives.

The film had old 4:3 aspect ratio, and yucky 70s colour palette. It started ugly. Watched an old bloke in a horrid room being poor. After 13 minutes, film depressed me, and couldn't watch any more.

Note Saw "Jellyfish" instead and this is definitely worth watching. A real gem

Talented photographer Richard Billingham's stark, witheringly unsentimental autobiographical feature about a grossly dysfunctional northern working class family is a consistently downbeat, sporadically sardonic, frequently fascinating debut that most definitely doesn't spare the rod, nor spoil the child! Watching this unsettling, bravely unfiltered dissection of an increasingly dissolute family 'living' in abject squalor, while wrenching, ultimately proves to be a curiously edifying experience. Sadly, the decades separating the initial release of Ken Loach's no less astringent 'Poor Cow' and 'Ray & Liz' somewhat bluntly suggests that all too little has improved regarding the rudimentary living standards of the many impoverished UK residents currently faltering below the poverty line. 'Ray & Liz' is a claustrophobic Kitchen Sink drama, often lingering with uncomfortable intimacy within their more indelicate nooks and crannies, and yet, empathic cinematographer Daniel Landin's exquisite photography has a painterly, mesmeric quality, drawing you ever deeper into this damaged couple's crepuscular existence.

Truly awful portrayal of UK dysfunctional homelife. Long tedious shots just reinforce the awfulness.

As I work in the community as a mental health crisis nurse this is extremely true to life, even more so in the last 10 years I am very sad to say.

Well acted and directed but I have genuine concerns about the young child actors. A child of that age should not be allowed to witness such violence and brandish a knife, they do not have capacity to consent to this and shame on their parents and the production team.

I do not understand how the law allows young children to 'act' in such productions.

I would actually goes as far as to say that this is a Safeguarding issue.

The best image for telling the story of the poorest family.