bbewnylorac Not many cinemas will screen this independent little British drama. But it's a well made, heartfelt period piece that rewards your patience and attention. It's about a woman in the 1970s in working class Yorkshire who is determined to become a comedian, despite huge barricades she must overcome. Such as poverty, an abusive father, sexism, an abusive husband, and her own fear of failure. Somehow she knows that a better life is out there, and she manages to hang on to that dream, against the odds. In the lead role, Maxine Peake is great, as someone who won't take no for an answer, and is courageous in leaving relationships that aren't working. She is good at rising above people who treat her badly - e.g. when she visits her adult brother, and he and his wife are hostile to Funny Cow because the wife, for some unknown reason, dislikes Funny Cow. We see the spark of perseverance she had as a child, and she never loses that. The script, by Tony Pitts, is rich and taut. The pacing is good. Sometimes the accents are very thick but you do get used to them in the end. Alun Armstrong (New Tricks) is a joy to watch as Lenny - the crusty old vaudeville style comedian who Funny Cow latches on to as her mentor, even though, at first, he tells her that women can't be comedians. Paddy Considine has a meaty role as Funny Cow's intellectual boyfriend, who is kind and loving, but who she doesn't love. The film is a stylist's and costume designer's dream. Don't see this film if you're against smoking - all the characters drink like fish, and they smoke so much I almost started coughing. It's authentic to the period, though.

anthony WILLS Hugely entertaining while I watched it but I think it helps if you experienced the back-to-back streets and working men's clubs in the '70s, as I did when I was living in Leeds. I was however able to pick plenty of holes in it after the credits rolled. We weren't told what the abusive father and husband did for a living (perhaps they signed on at the job centre?), the larking about in the pub with her husband seemed a bit unlikely, her confessional sequences in the spotlight were a clumsy device, there was no follow-up to the old comic committing suicide in the toilets, we had to assume that she did so well in the clubs that she was able to buy a flashy car and a country house, the mother episodes were a bit superfluous and it did start to drag towards the end. But the performances were excellent: Maxine Peake deserves a BAFTA and the little girl who played her as a child was also terrific. Also every detail from hairstyles to dress to wallpaper was spot on. The talent show auditions were hilarious and worth the price of admission alone. Don't be too hard on it, it's a thoroughly British film with an Original Screenplay and I think it's an utter disgrace that only three cinemas in London are showing it.

unyan Maxine Peake is on top form as a conflicted maverick in seventies Yorkshire who rails against the endless stream of male violence ,human indifference and suffering with her dry wit. The film tips a huge nod to kitchen sink dramas like Saturday night Sunday morning and there's no flinching away from the racist /sexist/homophobic jokes of the era. This film is not for everyone but does provide lots of humorous lines and moments amid the relentless misery. Cameos agogo - even Corrine Bailey Rae gets a look in !

joey_d_49 How tired I am of seeing films showing how grim tis up North... Funny Cow is a story about a woman who's had a troubled time with the men in her life, namely her Father and Partner. It's a set up that's been told a thousand times before, though the premise of this version is that it supposedly leads our protagonist to comedy. The main thing missing from this story however was just that..comedy. Funny Cow shows she can crack a cheap laugh at points in the film, mainly one liners, and doesn't actually pluck up the courage to take the stage until the end of the film. Needless to say, she goes onto perform as if she's had plenty of experience and has the whole place roaring with laughter... zzz.The film was the most depressing film I've seen in a very long time. One dimensional characters, all with similar vices in alcoholism and addiction. Performances were stereotypical and obvious on the whole. The scenes of violence were tactless, we know it happens but do you have to be so blatant with it?! Not sure why Stephen Graham decided to sign on for this one. He's in two scenes as two characters, and the scene in which he is playing her Father is just ridiculous, seems to me a bad choice for an actor so often likable regardless of his morals. Paddy Considine also out of his range here, playing an upper class yuppy, very characiturish and unbelievable, a rare mistep for Considine.Peake does an OK job, but again not particularly likeable, and sometimes her choices seemed over the top and obvious. There is a smugness to her which I find hard to overlook.I really didn't find anything in the film worth taking home with me, in fact I felt angered when leaving because it truly felt like a story that doesn't need to be shown on film. If these are the sorts of films representing British Cinema, then no wonder people are staying home watching Netflix. Avoid.