Fackham Hall (2025) [Movie Review] — A glossy, good-natured period slapstick parody

Directed by Jim O’Hanlon and written by Steve Dawson, Andrew Dawson, and Tim Inman, Fackham Hall (2025) is a period slapstick comedy parody that lampoons the grand British-house melodrama. The ensemble cast includes Thomasin McKenzie, Ben Radcliffe, Damian Lewis, Hayley Mills, Tom Felton, Katherine Waterston, and Emma Laird, and the film aims to mine laughs from every familiar trope: sprawling estates, class collisions, star-crossed lovers, and RADA-ready delivery.

Story & Parody

A familiar story played for laughs

Set in 1931, the Davenport family clings to a 400-year ancestral home while the country around them fidgets with class tensions and economic hardship. When a runaway bride and a plucky pickpocket upend the family’s tidy plans, the resulting chaos sends servants and aristocrats alike into an escalating farce. The plot itself isn’t trying to be original — that’s the point — but the film’s choice of targets (incestuous heir presumptions, stuffy customs, and overpolished manners) alternates between affectionate homage and broad mockery.

Performances

Actors who get the bit — and sell it

The cast mostly understands the assignment. Thomasin McKenzie as the spirited Rose offers a grounded center amid the absurdity; Ben Radcliffe’s charming Eric Noone plays the cheeky romantic lead with just enough sincerity to keep the parody human. Damian Lewis and Katherine Waterston lean into aristocratic languor, and Tom Felton delights by skewering entitlement. Even Hayley Mills and other veterans elevate simple sight gags through precise timing. Comic parity is achieved because actors commit fully — no obvious winks to the camera — which helps many jokes land.

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Humor & Gags

A scattershot gag machine — some hits, some misses

Fackham Hall throws an all-out slapstick buffet at the screen: physical pratfalls, recurring sight gags, anachronistic wordplay, potty humor, and long-running verbal set pieces. When the film hits, it’s uproarious — the “who’s-on-first” inspired routines and Jimmy Carr’s delightfully dirty vicar bit are standout moments. But the screenplay also includes stretches of jokes that feel rehearsed rather than cinematic; a gag that works in a writers’ room may not translate to a sustained laugh on film. The tone swings between clever parody and plain silliness, yielding an uneven laugh-per-minute ratio.

Direction & Design

A lovingly crafted world with cinematic polish

Jim O’Hanlon’s direction keeps the pace brisk and the visual jokes clean. Production values are a big part of the film’s appeal: Rosalind Ebbutt’s costumes are sumptuous and era-appropriate, and the choice of the Knowsley Hall-like setting gives the film the authentic gloss it needs to parody effectively. Oli Julian’s score and well-timed sound cues add to the comic rhythm, supporting both cheeky asides and broader set pieces.

Strengths & Shortcomings

Why Fackham Hall works — and where it stumbles

Strengths lie in design, committed performances, and occasional sharply observed satire. The film’s affectionate ribbing of period drama conventions is at its best when it couples intelligence with physical comedy. Its weaknesses stem from comedic unevenness; a handful of jokes overstay their welcome, and the relentless gag tempo sometimes undercuts emotional texture and character stakes.

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Verdict

A middling but enjoyable parody for fans of the genre

Fackham Hall is not a modern parody classic, but it is a watchable, often entertaining send-up powered by talented actors and high production values. Fans of period dramas who enjoy affectionate mockery — and viewers who like their comedy loud and theatrical — will find much to enjoy. For those seeking razor-sharp satire or consistently fresh laughs, the film may feel lukewarm at times.

Final verdict: ⭐⭐⭐ (3/5) — a stylish, good-natured parody that hits enough targets to be worth a viewing.