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The Way review – Michael Sheen’s thrilling new drama is like nothing else on TV

The power and ambition of this Adam Curtis-directed, James Graham-written series about Welsh revolution is utterly innovative. It’s so fresh and different you have to take notice

T he BBC’s new three-part drama The Way is Michael Sheen’s directorial debut. It has been nearly a decade in gestation, this story of civil unrest fermenting in Sheen’s Welsh home town of Port Talbot – cradle of militant unionism and symbol of working-class fury and pride. It has been created with writer James Graham ( Brexit: The Uncivil War , Quiz , Sherwood ) and – slightly more unusually, documentary auteur Adam Curtis.

The opening episode is something so different and fresh that even if you can’t say you’re actively enjoying it (though I was), the power and ambition of it all, the unashamed idiosyncrasy that permeates the direction, the allusiveness of the narrative and its slightly dreamlike (or nightmarish) off-kilter quality surely makes you sit up and take notice. It has a clear, accessible narrative at its heart, for sure, but the sensibility is rare and all its own.

It’s a tale of civil discontent, sparked by the death of a youngster in a vat of molten slag at the steelworks and his father’s self-immolation – in grief, in protest, in some unspeakable combination of the two – thereafter. The union blames management and decades of underinvestment. Management offers to reline a furnace, a sop to the emotion of the moment, rather than a recognition of needs. “We didn’t realise we were buying a mood,” says one of the new investors, with a combination of bafflement and frustration.

The unfurling of the unrest plays out for the viewer mostly through the long-established local Driscoll family. The late paterfamilias was a committed striker in the 80s, the failure of which terrible feat of suffering and endurance is largely blamed by the family for his death. His son Geoff (the stalwart Steffan Rhodri, last seen in the excellent Men Up at the end of last year) takes an approach to communicating with the bosses that is more pragmatic/conciliatory/weak/treacherous – delete according to political proclivities. He is separated from his wife and family for reasons that become clear over the succeeding episodes, as does the specific bad blood between his son, benzos addicts and petty dealer Owen (Callum Scott Howells), and his police officer daughter Thea (Sophie Melville).

As the internet is shut down within the town, tensions rise, curfews are imposed and riots between townsfolk and police start to break out. The Driscolls become the police – and the media – scapegoats for it all, and are eventually forced, along with Owen’s eastern European girlfriend, Anna (Maja Laskowska), to flee their home and their town.

Threaded through this growing but none-too-incredible – especially to a post-lockdown audience also being assailed with headlines about coming redundancies at Port Talbot’s Tata Steel ( though business secretary Kemi Badenoch has extensive explanations about how government investment is actually saving the works ) – dystopian landscape are, presumably thanks mostly to the Curtis influence, potent illustrative clips of real-life news and CCTV footage. Through them the sense of dislocation increases, while the themes of the drama only become more closely knit. From Graham – and, I’d posit, Sheen’s powerful sense of Welshness and all that means historically as well as currently – come the more mystical, ancient touches. The importance the town places on the works’ pilot light never going out; the sword made of the first steel forged in the town, long before modern industry got there; the red-hooded figure appearing and disappearing; Sheen as Geoff’s father’s ghost and/or manifestation of his conscience, pursuing him as they make their escape. And then, as the Cambrian borders become increasingly policed, there is (garbed in a costume somewhere between pastor, Clint Eastwood nemesis and Matthew Hopkins’ finest) the Welshfinder.

It is a bravura opening episode – powerful, confident, ambitious, confrontational and unexpected. It conjures precisely the feeling of a town on the edge, a tinderbox for the powder keg that is an increasingly divided Britain as a whole. Then it pushes things a little further and if you squint just a tiny bit, you could be looking at the future. Maybe even a blueprint, if you were so minded. It feels like a drama fully in the tradition of Bleasdale, Loach, Alan Clarke and Jimmy McGovern, and if it occasionally falls victim to the last’s tendency to agitprop, that still leaves it head and shoulders above the usual fare.

It doesn’t quite meet the high bar it has set for itself over the remaining episodes. Although they gesture towards the issue of displaced persons and what is to be done with waves of desperate people, they become too much about the internal dynamics of the Driscolls and their family history to feel as innovative or thrilling as that which has gone before. But you can live off the first hour for quite some time to come.

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The Way review: The cast is a tremendous assembly of Welsh talent, but the show is a mess

New politically-minded series about an uprising among steelworkers is aesthetically and ideologically undercooked, article bookmarked.

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TV and politics go together like chocolate souffle and a bag of broken glass. Which is to say that effective television is about subtlety, the drawing out of subconscious resonances, the tug on personal memory, while politics is the opposite: explicit, exterior, and exogenous. It’s this contrast that makes the BBC’s new three-part drama, The Way , about an uprising among Welsh steelworkers – such a risk. Will these delicate ingredients work together?

The Port Talbot steelworks: a crucible of industry and discontent. Two workers die in quick succession – the first in a workplace accident, the second in a grief-stricken public suicide – and the spark is lit for a combustible series of protests. At the heart of the drama is the Driscoll family: Geoff (Steffan Rhodri), the plant’s cautious union rep, his estranged wife Dee (Mali Harries), a firebrand in the heart of the dissent, and their kids, recovering addict Owen (Callum Scott Howells) and copper Thea ( Sophie Melville ). Rounding out the Driscoll cohort is the ghost of Geoff’s father, Denny, played by Michael Sheen , who co-created the series.

Locally, Denny is venerated as a hero for his role in industrial action of yore, but for Geoff the truth of his father is altogether more complicated. “I love all those poems and songs they’ve written about being rational and sensible,” Denny sneers at his boy. As the unrest grows on the streets of Port Talbot, and the Driscolls find themselves at the centre of an international manhunt, these questions of legacy, integrity and pragmatism collide.

“I can see where I am,” Owen announces, in the show’s opening voiceover. “I can see where I’ve been, but I can’t see where I’m going.” That is the path of The Way , to try to illuminate the future for hard industry in a world that is being reshaped by technological advancement and foreign investment (or under-investment). It is a vision of a country fraying at the seams. Scenes of protestors clashing with riot police on the high street of the Welsh town are manipulated using deepfake software to justify a hard crackdown. Internment camps spring up, the Welsh-English border is closed, and the army is mobilised. Civil war seems to loom for this sceptred isle, and suddenly the prejudices of a nation so reluctant to take asylum seekers are laid bare. What happens if we need to escape? If our families have to pay smugglers to hide them in cargo trucks? If we must trust a small boat to ferry us across the Channel?

The Way is constructed as a “what if”, intended to expose our social reality. The drama is imbued with a sense of urgency, but one that is undermined by stuttering gear shifts. There is a creative tension between the desire to create a realistic alternative world (“what if the UK fell into social unrest and our citizens had to seek refuge on the continent?”) and an attempt to mythologise the situation with camp iconography, like an ominous Red Monk, an ancient sword, and the shadowy figure of The Welsh Catcher (Luke Evans). It is tempting to ascribe the depiction of social issues to Sheen – who has long been an activist for left-wing causes – and the visual lyricism to co-creator James Graham , whose drama Sherwood more successfully integrated elements of the Robin Hood story with modern malaise. What of the third wheel in the creative tricycle, cult documentarian Adam Curtis ? Well, there’s some signal hijacking by archive footage of everything from ghostly factories to Kenneth Williams, and a trippy teddy bear who tells Owen to head “out of the woods and into tomorrow”.

If that doesn’t make it clear, I’ll spell it out: The Way is a mess. No element feels wholly cohesive, from the strife on the factory floor to the strange paternity drama within the Driscoll unit. The cast is a tremendous assembly of Welsh talent – and the sight of Steffan Rhodri wielding a sword and charging down the streets of Port Talbot, a welcome one – but the material is thinly spread over this three-part series. Everything happens with unjustifiable rapidity, from the fomentation of insurrection to the total lockdown of the Welsh nation. And while the concept of attempting to extract human sympathy for the migrant crisis, by reversing the roles, is an interesting one (not unlike what Malorie Blackman’s Noughts & Crosses achieved for a school-age understanding of structural racism), it’s also totally unsubtle. “What would Polish people think of all these Welsh immigrants taking all of their jobs?” Owen asks his girlfriend Anna (Maja Laskowska) as they head for Europe. “They’d think: fair play,” she tells him. This feels like the sort of dumbed-down distillation of a complex situation that Sheen, Graham and Curtis would usually eschew.

“I want things back the way they were.” This is the slogan that the protestors take up. But what does it mean? The end of a surveillance state, a more compassionate welfare system, the return of British manufacturing. If that sounds like an incoherently nostalgic manifesto, then that’s because it is. The show is just as confused as its mutineers. Aesthetically and ideologically undercooked, The Way feels like it has been rushed out of the oven for an election year, before the souffle has started to rise.

‘The Way’ is available on BBC iPlayer

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The Way on BBC One review: Michael Sheen's directing debut ruins a good idea with cliché and stereotype

I deeply regret agreeing to review The Way, the BBC’s new three-part drama about a civil uprising in Port Talbot . It’s directed by Michael Sheen and everyone loves Michael Sheen, right? And the actors are all really good, too. Unfortunately, The Way is preachy and artless.

The story follows members of the Driscoll family from Port Talbot in South Wales who lead a revolt following a strike over the future of the steel works. From this initial crisis the family become fugitives in a Britain that appears to have turned into a police state overnight.

The character CJ from the sitcom The Fall and Rise of Reginald Perrin once said, “I avoid clichés like the plague” – well The Way is drawn to clichés like a moth to a flame. With only three hours to play with, the level of gratuitous referentiality is almost overwhelming. We get the symbols of political struggle rammed home within seconds: a demonic Margaret Thatcher mask; the Miners’ Strike, historic Welsh resistance; the scourges of privatisation and surveillance culture (a lot of the footage is “seen” through CCTV).

Next comes the cultural mythos: the fire of the Dragon; a literal and totemic sword in the steel works museum; the “red monk”, whose costume is a rather poor stand-in for the Guy Fawkes mask from V For Vendetta.

The cut-out characters never stop coming: the cowardly Westminster MP; the police officer torn between two worlds; the Polish migrant whose only purpose is to remind us how fragile life is; the Chinese factory owner who doesn’t care about the history of what he has taken on. There’s an utter shit of an English country gent who lives just across the border and says things like “Welshies” and “vermin”.

The way England and the English are portrayed in The Way makes crossing into Herefordshire seem like entering the Black Gate of Mordor. The final episode features an English middle-class dinner party, at which the full arrogance and anti-Welsh frippery of the hated colonialists is exposed over jokes about leek rationing. There is also a strongly implied contrast between English moral corruption and the salt-of-the-earth decency of the Welsh family.

Equally laboured is an attempt to imbue the story with magical realism. There’s a talking Teddy Bear in the woods who tries to distract troubled son Owen Driscoll from his destiny. Owen’s recurring sense of “drowning” is expressed by the visual metaphor of being underwater. The father figure, Geoff, is in regular conversation with his own dead father Denny, played by Sheen like The Lion King’s Mufasa to Geoff’s Simba, only in a bomber jacket. Then there are some Wizard of Oz allusions.

Within minutes we meet Simon the soothsayer/druid guy walking almost naked under the flyover. One irrefutable red flag is when a script uses lines from WB Yeats’ poem The Second Coming to convey apocalyptic seriousness. And you guessed it, the first words out of the soothsayer’s mouth are “Twenty centuries of stony sleep”. It’s not like there aren’t any good Welsh poets to choose from.

If this all seems rather poorly thought out, just wait until you see The Welsh Catcher and his Chitty Chitty Bang Bang cage full of poor Welsh kids – a villain played by Luke Evans who looks as if he’s just been kicked off the set of The Expendables.

Welsh Government’s subsidy scheme ‘will decimate farming communities’, PM warns

Hundreds of steel workers protest against job losses in South Wales

Steelworkers to vote on industrial action over Port Talbot job losses threat

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No doubt it was considered challenging to juxtapose the story’s ancient mythic aspirations with a bleak techno soundtrack, from which the viewer only ever gets a few seconds’ respite. It is used relentlessly over riots and car chases as well as quieter moments, which feels like being subjected to a three-hour long Aphex Twin video.

Honestly, I feel terrible for writing this, especially when Steffan Rhodri and Mali Harries are particularly convincing and bring nuance and depth to an otherwise bizarre viewing experience. The great shame of The Way is that the subject it attempts to tackle is an undeniably fascinating one, and had it been handled with the deftness and scope it deserved, the examination of an uprising inspired by years of social and economic neglect could have been profoundly shocking and engaging.

An exploration of the reality and psychology of refugees should have been an equally rich theme. What we have instead is not only an over-earnest mess, but a rushed one, too. The characters have no time to grow naturally, which contributes to the concertina effect of forced exposition, unrealistic dialogue (written by the usually excellent James Graham) and the crashing of blatant symbolism.

“Am I dreaming?” asks Owen.

“You mean a nightmare,” comes the reply.

Not only did this idea have huge promise, but it could barely have been more timely, with the winding down of the real steel works in Port Talbot and the controversy over its future set against the debate over green energy. These two strands are ripe for a drama rich with the subtleties of history, politics and dystopian satire. Sadly, The Way isn’t it.

The Way is available in full on iPlayer and episode is on BBC One on Monday 19 February at 9pm

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Michael Sheen, James Graham and Adam Curtis collaborate and miss with dystopian drama The Way — review

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Touching movie filled with mature themes, grief, drinking.

A Lot or a Little?

What you will—and won't—find in this movie.

The Way stresses the healing and inspirational pow

No heroes or villains here -- just ordinary people

The main character is forcibly escorted to a polic

In the background of one scene, a man is wearing a

Occasional swearing: "ass," "piss,&

The North Face brand is visible.

Many scenes show weary travelers drinking wine at

Parents need to know that The Way -- a drama about a father's grief after his grown son is accidentally killed during a journey in Europe -- isn't likely to have much appeal for younger kids or tweens. The subject matter is mature, the action much more internal than external, and the pace is…

Positive Messages

The Way stresses the healing and inspirational power of travel, friendship, and life's simplest pleasures. "You don't choose a life, you live one."

Positive Role Models

No heroes or villains here -- just ordinary people with lives in progress. This is a positive story about growth, transforming yourself, and respect for others. Flawed and/or struggling characters are shown coming to terms with their own weaknesses, anger, and selfishness. The generosity and open-heartedness of a distant culture (in this case Spanish villagers) is portrayed throughout.

Violence & Scariness

The main character is forcibly escorted to a police station after drunkenly resisting police officers. In other action scenes, he scuffles with a woman, and she slaps him; he also jumps in a turbulent river to retrieve his backpack, and he chases a young thief.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

In the background of one scene, a man is wearing a thong.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Occasional swearing: "ass," "piss," "hell," "son of a bitch," "Christ," and "crap."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Many scenes show weary travelers drinking wine at the end of each day, usually along with a meal. One sequence finds the main character getting very drunk, behaving badly, and ultimately being taken to the police station because of his conduct. A traveler from Holland frequently uses marijuana and offers it (as well as sleeping aids) to others on the journey. A woman smokes cigarettes heavily and talks about the need to quit.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Way -- a drama about a father's grief after his grown son is accidentally killed during a journey in Europe -- isn't likely to have much appeal for younger kids or tweens. The subject matter is mature, the action much more internal than external, and the pace is deliberate and reflective. Lots of wine is consumed during meals in the Spanish villages in which the story is set. One scene shows the drunken hero being taken to jail after a loud, angry rant. A principal character frequently smokes marijuana and offers it to his companions. Cigarette smoking is pervasive. A female reveals that she reluctantly "terminated" a pregnancy some years earlier. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

• Parents say (1)
• Kids say (2)

Based on 1 parent review

I dont really know

What's the story.

Stunned and saddened to learn that his only son has been accidentally killed while traveling in Europe, Tom Avery ( Martin Sheen ), a widower and successful doctor in California, flies to France to attend to take custody of the body. Tom and Daniel ( Emilio Estevez ) had been semi-estranged since Daniel quit graduate school to see the world and live a different life from that of his dad. When the heartbroken Tom arrives, he learns that Daniel had died at the beginning of a pilgrimage along the historical Way of St. James (Camino del Santiago), which stretches from France to the Atlantic Ocean across 800 kilometers of Northern Spain. Alone, embittered, and driven, Tom takes Daniel's ashes and vows to complete his son's odyssey. THE WAY follows that trek with Tom as he meets three distinctive fellow travelers and experiences a country, a people, and a way of life that may enable him to heal and fully bond with the son he loved.

Is It Any Good?

This touching film is marked by heartfelt performances from Sheen and a stellar cast. This, along with an inventive, sentiment-free story and the unforgettable beauty of the Way of St. James and the villages and countryside it passes, results in a profoundly affecting experience. Estevez has written and directed a film that feels natural, unforced, and authentic; he takes his time, with lots of it spent on character and the unhurried maturation of its leading man. But The Way is never preachy or slow.

Attention is paid to some of the sacred artifacts and churches along the road, but the movie is more inspiring than religious. Overall, The Way is an engaging film for parents and thoughtful teens that may encourage meaningful discussion.

Talk to Your Kids About ...

Families can talk about Tom Avery's journey. What did he learn about his son? What did he learn about himself? Do you think focusing on his physical trip is an effective way to tell the story of his emotional journey?

How does The Way portray the cultural role of alcohol use , specifically wine, in the Spanish villages of the story? How is it different from what you see in stories set in the United States?

How does this movie deal with stereotypes ?

Movie Details

• In theaters : October 9, 2011
• On DVD or streaming : February 21, 2012
• Cast : Deborah Kay Unger , Martin Sheen , Yorick Van Wagingen
• Director : Emilio Estevez
• Inclusion Information : Latino directors
• Studio : Elixir Films
• Genre : Drama
• Topics : Friendship
• Run time : 121 minutes
• MPAA rating : PG-13
• MPAA explanation : some thematic elements, drug use, and smoking
• Last updated : April 20, 2024

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The Way, My Way Reviews

This is a quiet, gentle, uplifting film about freeing oneself from the everyday and discovering the comfort of strangers - though not in the way Ian McEwan imagines.

Full Review | Original Score: 3/5 | May 28, 2024

The Way, My Way is a film that delivers exactly what the marketing is promising. This is a cheerful, modest and good-hearted movie – and I hope it finds the audience it deserves.

Full Review | Original Score: 3.5/5 | May 26, 2024

The journey appears as a ramble but slowly takes form as Bill nears his destination and brings new meaning to that lovely old cliche about how every ending is really a new beginning...a modest, finely etched, uplifting Australian film.

Full Review | Original Score: 3.5/5 | May 17, 2024

The Way, My Way is hardly riveting viewing -- but its softly inquisitive, life-affirming spirit is hard to hate.

Full Review | Original Score: 3/5 | May 16, 2024

The Way Review

13 May 2011

128 minutes

The Way is the story of a son’s wonderful gift to his father. And the film itself is Emilio Estevez’s gift to his father Martin Sheen, a soulful journey created to fulfil Sheen’s long-held dream of walking the historic Way Of St. James. It’s been trod by Catholics, seekers and trekkers for a thousand years. Besides its spiritual and scenic aspects it passes through Galicia, birthplace of Sheen’s father, Francisco, to whom the film is dedicated.

Estevez took inspiration from Jack Hitt’s collection of stories, Off The Road, and contrived the perfect, personalised excuse for father and son to make the journey together. And what good travelling companions they prove. Sheen’s Tom is a widower and affluent Californian opthamologist who is on the golf course when he gets the call that his son has died in a freak storm while hiking in southern France. Tom is bewildered as well as bereft. The two had parted unpleasantly, Tom insistent on choosing a conventional life and getting on with it while Daniel opted to wander the world, arguing, “You don’t choose a life, you live it.”

On a rare impulse, Tom decides to honour Daniel’s philosophy by completing The Way Of St. James. The physical demands of walking 800km and the unwanted company of fellow travellers are initially things Tom endures in his impatience to reach journey’s end. But along the way, nudged by visions of Daniel savouring a small incident, a gorgeous landscape, a moment, Tom finds himself looking inwards and letting himself experience the journey itself.

En route he attracts a band of inescapable companions, each with a tale to tell, including an exuberant, wining and dining, dope-smoking Dutchman (delightful Yorick Van Wageningen), a bitter Canadian (affecting Deborah Kara Unger) and a talkative Irish author (James Nesbitt) with writer’s block. Camaraderie, revelations and misadventures come with the blisters. Bedecked with an eclectic score, humour and tears, it’s a mood-piece as much as it is about characters. And although it is sedately paced (it is a long walk, after all), Sheen’s subtle performance — surly, uptight, cautiously poignant — builds in emotional impact, prompting one’s own reflections on the journey of life.

The Way Review: Michael Sheen’s First Series A Hit with Audiences?

• Last updated: March 4, 2024

Michael Sheen’s latest venture , The Way, has quickly become a beacon of excellence in the realm of TV dramas. Critics are lauding it as a groundbreaking series, with The Guardian praising its thrilling opening narrative and unlike anything else on TV approach.

Audience ratings echo this enthusiasm , as shown by high scores on IMDb and Rotten Tomatoes. At its core, The Way unfolds a captivating plot, rich in Welsh culture and talent, striking a chord with viewers for its innovative yet slightly unconventional presentation .

So, in The Way review: Michael Sheen’s first series a hit with audiences? Yes. Beyond the critics’ acclaim, The Way TV Series 2024 shines through its exceptional ensemble of Welsh actors, bringing a distinctive charm  to the series.

The opening episode is something so different and fresh that even if you can’t say you’re actively enjoying it (though I was), the power and ambition of it all, the unashamed idiosyncrasy that permeates the direction, the allusiveness of the narrative and its slightly dreamlike (or nightmarish) off-kilter quality surely makes you sit up and take notice. It has a clear, accessible narrative at its heart, for sure, but the sensibility is rare and all its own. – The Guardian

This BBC drama delves into complex themes with a finesse that’s both engaging and thought-provoking , setting a new standard for narrative storytelling. Its review stands as a testament to the series’ ability to blend traditional storytelling with innovative cinematic techniques, appealing to a broad spectrum of viewers.

The Way review – Michael Sheen’s thrilling new drama is like nothing else on TV https://t.co/R7aur3TaQM — Roxane Vacca Management (@roxanevacca) February 20, 2024

For those outside the UK eager to join this extraordinary journey, The Way series is accessible through BBC iPlayer abroad. This platform promises to deliver The Way and other UK hits to a global audience, ensuring no one misses out on this exceptional piece of television artistry .

However, per the reviews , it seems there is a recognition of the potential in the themes addressed by Michael Sheen in The Way, but a critique follows, suggesting the series falls short of effectively exploring these subjects.

Such criticism implies that while the foundational concepts and issues the series aims to delve into are significant and worthy of discussion, the actual treatment and portrayal within The Way might lack the depth, nuance, or effectiveness necessary to do justice to these topics.

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The Way review: Michael Sheen's drama is ambitious to a fault

The new drama is brimming with fascinating concepts, but bites off more than it can chew.

• James Hibbs
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For a show with a bold and timely plot, and an absolutely stacked cast, it's telling that most of the talk around The Way centres on the team behind the camera.

The series comes from a creative team made up of writer James Graham, known for his stage work and creating the BBC crime drama Sherwood , Michael Sheen, with the Good Omens star making his directorial debut here, and Adam Curtis, the documentarian turning his eye, for the first time, to drama.

It's a bold mash-up of creative forces, and one which is immediately evident on screen – these three people have all brought something unique to the table, and are clearly passionate about the project.

The collaboration makes for a series which is innovative, eye-catching and thought-provoking, but also a little messy and overblown. It really is ambitious to a fault.

The Way centres on the Driscoll family, made up of Geoff (Steffan Rhodri), his wife Dee (Mali Harries), their daughter Thea (Sophie Melville) and their son Owen (Callum Scott Howells).

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When a civil uprising starts in Port Talbot, and the Driscolls find themselves at the centre of it in different ways, the family, along with another young woman Anna (Maja Laskowska), decide to flee their home town, their home country and their way of life, becoming a form of refugees in the process.

That is, of course, just the story in a nutshell, but there is so much more going on throughout these three hours of television. The series explores modernity, culture, community, globalisation, family, technology, inequality, xenophobia, mythology, generational trauma and so much more.

In many ways it feels like a treatise on modern life and the human condition, one which uses the micro of a single family to explore the macro of... well, everything, all of human history and society.

It's not hard to see Curtis's influence here. Not only has the unconventional documentarian had an impact on the show's visual aesthetic, with archive footage being used to illustrate thematic underpinnings throughout, but his fingerprints are also all over the show's tone, and the heady discussions it's having with the audience.

Like Curtis's documentaries such as, most famously, HyperNormalisation, The Way is fascinating and thought-provoking, but can be somewhat impregnable, perplexing and overwhelming.

In some ways, this is balanced out by what we can assume to be Graham's focus on character and family dynamics, but in others, this just makes the whole thing even more packed with ideas, concepts and story points – it's absolutely brimming at the seams, and with only three hours to play with, this mean's something's got to give.

The end result leaves some of the show's explorations and story threads feeling incomplete and underdeveloped, and the central through-line of the family's journey feeling cluttered and without focus. It also feels as though it, at times, loses sight of its emotional hook, only recovering it in the show's final, admittedly powerful, moments.

Thankfully, for those tuning in specifically to see Sheen's directorial debut, they won't be disappointed. Here, he displays a strong command of tone, as well as a distinctive sense of both visual and narrative style.

The series flits between a foreboding, horror-infused atmosphere to comic family bickering and absurd character introductions with apparent ease, and yet still feels like a cohesive whole, even if it is overflowing in other ways.

As with so many actors-turned-directors, he also manages to get the most out of his cast, with each of the central plays delivering strong, nuanced performances. Particular shout-outs should go to Rhodri, Howells and Melville, each of whom have perhaps the most emotionally taxing roles and carry them off with aplomb.

Meanwhile, the series also sees a vast array of stars make limited, cameo-like appearances across the run, including Luke Evans, Patrick Baladi, Georgia Tennant and Danny Sapani, to name just a few.

These additional characters help to pad out the world, and the actors behind them give the show further prestige, but they can at times feel superfluous and distracting – once again, it's a case of the series at times doing too much, rather than honing in on the characters and ideas that are at its core.

Where the series is at its strongest is in its political storyline surrounding inequality, workers rights and the unstoppable march of 'progress', and how this intersects with and can dismantle a family's personal relationships.

This is where the series is most emotionally resonant and the most astute in its observations. It's when it veers away from this that it gets somewhat lost in the weeds.

In so many ways, The Way feels like it should be a slam dunk – all of the ingredients are there, the collaboration between the trio at the helm is hugely enticing and the performances are top drawer.

Unfortunately it never quite reaches the same heady heights of some of the best BBC dramas, certainly not for lack of trying, but its intellectual ambitions can get in the way of its greater point, and its emotional heft.

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Whatever you think of it (and my instincts tell me some viewers will absolutely love this show), it is still smart, innovative television, and deserves credit for its ambition and its flair.

As a dramatic experiment, it may not quite fire on all cylinders or coalesce perfectly. But as an advert for the concept of more experimental TV, and as a unique slice of cultural and intellectual interrogation, it is far more impressive.

The Way will be available to watch on BBC iPlayer from 6am on Monday 19th February, and will air on BBC One from 9pm the same day.

Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on.

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Movie Reviews

Tv/streaming, great movies, chaz's journal, contributors, black writers week, the old way.

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When the film “Butcher’s Crossing” began making its way along the festival circuit last year, it was promoted as being the first time that its star, Nicolas Cage , had ever done a Western. This revelation seemed so unlikely that I immediately went to IMDb to see if it was true or not. After all, considering the sheer number of films that Cage has done over the years and the number of genres he has dabbled in during that time, it didn’t seem plausible that Hailee Steinfeld could have more oaters to her credit than him. But, astonishing as it sounds, it turned out to be true. While Cage has done several films that have included elements and themes inspired by the genre (including " Prisoners of the Ghostland ," "Pig," and " Raising Arizona "), "Butcher's Crossing" was indeed the first time he had ever loaded up his metaphorical saddlebags and tackled the Western in a straightforward manner. 

Cage seems determined to make up for lost time because now comes director Brett Donowho 's “The Old Way,” his second stab at the genre and a far more traditional example than the more revisionist take found in his earlier effort. However, while that previous film—an environmentally conscious epic in which he played an Ahab-like frontiersman on an obsessive search for a hidden valley of buffalo that he can slaughter—was not without interest, "The Old Way" seems determined to prove that Cage’s previous avoidance of the genre was perhaps a wise move.

Cage plays Colton Briggs, a cold-hearted gunslinger going about his brutal and bloody business in the film’s prologue. However, when the story picks up 20 years later, he has left all of that behind. Now, he's married to the lovely Ruth (Kerry Knuppe), with whom he has a young daughter named Brooke ( Ryan Kiera Armstrong ), and runs the local general store in the nearby town. But, of course, as a slightly better movie once stated, just because he is through with the past doesn’t mean that the past is through with him. One day, after he is coerced into walking Brooke to school before opening up the store, Ruth is cornered by a quartet of men led by escaped convict James McCallister ( Noah Le Gros ). She doesn’t know them, but James certainly knows her husband—Colton killed his father right before his eyes when he was a small boy—and proceeds to brutally murder her as a way of sending a message to him.

When Colton and Brooke return home and discover what has happened, it doesn’t take long for him to shift into revenge mode to go off in pursuit of Ruth’s killers. The one hitch is Brooke's presence, and when his initial plan for taking care of her fails to go through, he winds up taking her along on his quest. Along the way, he teaches her to shoot and to take care of herself, and we eventually learn the explanation for their oddly frosty relationship dynamic—neither one is able to process emotions like grief and fear in “normal” ways. This may not be suitable for interpersonal relationships, but it can be an advantage when heading off on the kind of dangerous journey they have embarked upon. Eventually, the two arrive at the town where McCallister has holed up with his men to craft his elaborate revenge all those years ago.

The screenplay by Carl W. Lucas is an amalgam of bits cribbed from other Westerns (“True Grit” is perhaps the most apparent antecedent, especially in the too-loquacious-by-half dialogue) along with elements from the likes of “River of No Return” and “ Unforgiven ”). There are also moments that will remind Cage fans of his previous work—the previous attempt at taking care of Brooke is reminiscent of one of the more notorious scenes from “ Kick-Ass ,” and the basic plot will strike some as similar to the wonderful “Pig.” However, "The Old Way" never quite manages to knit these elements into a compelling narrative. Some of the plot contrivances—such as McCallister’s determination to pull off his wildly contrived and labor-intensive revenge plot instead of just shooting him when he has the chance, as he is advised to do by crusty cohort Eustice ( Clint Howard )—become silly after a while. (Suffice it to say, if you are in an Old West gang and the wisest and sanest counsel comes from the Clint Howard character, you might want to try applying to another gang.) There's one potentially intriguing element to be had in the emotional quirks possessed by Colton and Brooke, but the film never develops it to any significant degree.

"The Old Way" is also hampered by what is presumably its key selling point, the Cage performance. His work isn’t necessarily bad (although there are a couple of moments where he seems to be doing a dry run for his upcoming turn as Dracula, of all things), but his primary persona is so contemporary that he inevitably feels wildly out of place in what is meant to be a traditional take on the Western. (Since “Butcher’s Crossing” was more of a commentary on the genre than an example, his presence there wasn’t quite as odd.) As the bad guy, his oddness might have been a better fit (in fact, Le Gros at times seems to be actively channeling the Cage of old as the twisted villain). Still, as the hero—even one with as many quirks as his character contains—he never manages to be especially convincing. 

Perhaps if more Westerns were being made these days, “The Old Way”—which is more of a half-baked mistake than a total disaster—might have been a little palatable or at least easier to forgive. However, at a time when interest in the theatrical Western appears to be at an all-time low and when even a film as strong and vibrant as Walter Hill ’s masterful “ Dead for a Dollar ” barely inspires any notice, even a seemingly minor misfire like this, with a screenplay that bounces between portentousness and silliness, listless execution by director Brett Donowho, and a somewhat miscast star, winds up looming larger than it might otherwise have. The Western may not be entirely dead yet, but “The Old Way” is not exactly doing it any favors.

Now playing in theaters and available on demand and on digital platforms on January 13th. 

Peter Sobczynski

A moderately insightful critic, full-on Swiftie and all-around  bon vivant , Peter Sobczynski, in addition to his work at this site, is also a contributor to The Spool and can be heard weekly discussing new Blu-Ray releases on the Movie Madness podcast on the Now Playing network.

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Emilio Estevez is not only a consummate storyteller, but an effectively collaborative filmmaker. He finds stories and inspiration at every turn and then becomes a meticulous researcher to insure truth, authenticity and immersive emotion within the film. With THE WAY, the seed of the story came from someone dear to his heart – his father, Martin Sheen, compliments of his grandfather, Francisco Estevez, who served as Sheen’s own inspiration.

At the heart of THE WAY is the centuries old pilgrimage to Santiago de Compostela where the remains of the Apostle Saint James is entombed in a crypt beneath the main altar. An 800 kilometer trek, Camino de Santiago, or “The Camino” as it is commonly called, is the ultimate metaphor for life itself. It begins in the Pyrenees in southern France and ends in Santiago, Galicia, Spain. The reasons for the pilgrimage are personal to each individual and are as varied as the pilgrims themselves. Some walk for personal reflection or enlightenment, others for adventure. Typically, pilgrims carry a scallop shell to honor St. James. They also carry a Compostela, a passport which is stamped at each important stop along the journey before reaching Santiago at which point the pilgrim received a special certificate honoring their achievement.

Having heard about Santiago de Compostela for much of his life from his father, at age 62, Sheen determined to make the pilgrimage himself and did so in 2003 with his grandson Taylor (Emilio’s son) and a lifelong friend and actor, Matt Clark, who has a small cameo in THE WAY. On completion, he recounted the experience to son Emilio. It is Martin Sheenfs journey that inspired Estevez to tell the story of THE WAY; a story that touches four generations of the Estevez-Sheen family and one that this father and son could share on screen together by way of a fictional narrative setting.

Tom is a successful ophthalmologist. Living the good life in California, he is set in his ways and firm in his mindset. After the passing of his wife several years ago, Tom drifted apart from their only child, Daniel. As with most parents and children, Tom and Daniel didn’t see eye to eye on Danielfs life path. Tom wanted Daniel to finish his doctorate while Daniel, realizing the fragility of life, wanted to live life rather than study it. Taking off to trek around the world, Daniel rarely communicated with Tom, who had cloistered himself ever deeper in a routine of work and occasional round of golf with the guys. But then one day, Danny calls his Tom, only to leave a message with a secretary but no return number.

While on the golf course, Tom receives a call from Police Captain Henri in Jean Pied de Port, France. Danny is dead, killed during a storm while walking The Camino de Santiago. In shock and grieving, Tom heads to France to retrieve his son’s body and return to the States. But on inspection of Danny’s belongings and in speaking with Captain Henri, Tom makes a bold decision. He will complete the pilgrimage his son began…and so will Danny…as Tom determines to spread Danny’s ashes along The Camino.

Tom’s solitude and grief is soon interrupted as he meets, and is befriended by, other pilgrims along the way – the happy, outgoing and food-loving Dutchman Joost, a very unhappy and emotionally wounded Canadian woman named Sarah, and the egotistical Irish travel writer Jack – each with their own story or reason for the pilgrimage. As their bond deepens, so does Tom’s understanding of not only Danny’s quest for life, but his own.

Now his third film working with his son, Emilio, this is without a doubt, the crowning glory of Martin Sheen’s stellar career. As the private and introverted Tom, Sheen is glorious. With quiet dignity, he strips bare the raw emotion and confusion of a grieving father. You feel Tom’s wonder at discovering life, a sense of community, and a renewed sense of faith. Even in scenes with no dialogue (of which there are many), Sheen’s tacit earnestness is emotionally fulfilling and profound. And bear in mind, Sheen is now age 70. Not only did he again walk/hike The Camino for this shoot (and according to Sheen he has now walked enough kilometers on the way to earn 3 certificates), but in two critical scenes – rushing into a freezing river and floating downstream to retrieve Danny’s backpack and, chasing a young gypsy thief through the streets and alleys of Mexico – Sheen did his own stunt work.

Yorick van Wageningen illuminates the screen as the gregarious Joost. The joy and enthusiasm he brings to Joost is infectious. Equally impressive is Deborah Kara Unger. As Sarah, she is a contradiction of emotion, much of which is hidden and, like the character of Tom, is peeled away to the barest essence giving way to rebirth and healing. Ungerfs chemistry with Sheen, van Wageningen and James Nesbitt, who plays our Irish writer Jack, is compelling, likeable, believable. As for Nesbitt – wow! He introduces us to Jack with a frenetic, frenzied, fast talking monologue that just blows your mind. One look and you are hooked. And in one particularly effective sequence, he and Sheen just explode. Truly a perfectly cast ensemble group of very detailed, well written and structured characters.

And of course, I must mention Tcheky Karyo. As Captain Henri, Karyo brings the same kindness and gentility that we have seen from him in past roles. The peace and understanding that Karyo infuses into Henri sets the stage for Tom’s journey.

Emilio Estevez himself also appears as Danny. While there are some notable scene setting flashbacks, he also pops up along the Camino in the form of hallucinations to Tom. Most interesting is the facial expressiveness that Estevez brings in each appearance, speaking volumes as to the transformation taking place within Tom.

Written and directed by Estevez, this is truly his finest work to date. Estevez spent five years researching Santiago de Compostela and the Camino after his father suggested he write a film in which he could star and based on Sheen’s first 2003 Camino experience. After developing a strong narrative, honing in on the personal transformation that many often undergo on the pilgrimage, Sheen himself suggested scenes to Estevez to “liven up” the story. Some of Sheen’s contributions include the backpack in the rapids and the gypsy thief. Other light moments involving pilgrims met along this road well travelled often add humorous undertones of everyday events that are a welcome break from some prolonged scenes of trekking or very intense emotional hurdles. But at the heart of it all, is a journey – be it physical and/or spiritual – and the individuals who make that journey. The script and characters resonate within the audience.

The history that Estevez has interwoven within the story, is and of itself, fascinating. Celebrating that history, Estevez includes lensing of the Pilgrimsf Mass at the Santiago cathedral complete with the hoisting of the botafumerio (incense burner) which is then swung by men in the garb of medieval monks across the top of the cathedral. Awe inspiring to say the least. After seeing THE WAY, I would now like to see Estevez do a documentary on “The Making of THE WAY” complete with the backstory of all of the historical facts and points of interest…not to mention the logistics of the shoot.

The first American production on the Camino, THE WAY was shot over six weeks on location in Spain. Shooting in super 16mm, Juan Miguel Azpiroz’ cinematography is magnificent, serving as a wonderful travelogue showcasing not only the region, but some of the historical sites along the Camino. With a melding of intimate close-ups juxtapositioned against beautiful panoramic vistas, the visual impact is at times emotionally overwhelming. And as powerful as the exterior lensing, wait until you see the scenes inside the cathedral at Santiago, particularly a scene depicting Sheen’s Tom kneeling at the coffin of St. James with the silver tin carrying his son’s ashes. Chills and tears. Editing and pacing is relaxed and comfortable, boding well to balance the seemingly arduous physical trek before us.

Powerful. Profound. Personally transformative. Make your own pilgrimage to see THE WAY.

Tom – Martin Sheen

Joost – Yorick van Wageningen

Sarah – Deborah Kara Unger

Jack – James Nesbitt

Danny – Emilio Estevez

Captain Henri – Tcheky Karyo

Written and Directed by Emilio Estevez.

Site Development: SoCal Web Content

By Peter Travers

Peter Travers

The Way , written and directed by Emilio Estevez and starring his father Martin Sheen in one of Sheen’s best performances, depicts a spiritual journey. Words might scare off audiences out for cheap thrills. But open yourself up to this thoughtful, moving personal adventure and you’re in for a uniquely memorable experience. Sheen plays Tom Avery, a California ophthalmologist. Tom is also a widower long estranged from his only son, Daniel (Estevez), a wanderer Tom rejects for his lack of focus. When Tom learns that Daniel has died in a storm in the French Pyrenees, he leaves immediately to collect the body. Instead, he collects the truth about who his son was. Daniel had just started a pilgrimage along the Camino de Santiago, an 800-mile trek from the Pyrenees to the Cathedral of Santiago de Compostela in Spain, the burial place of St. James. But as we learn, the journey can be motivated by reasons outside a search for God. Even as Tom stops along the way to spread the ashes of his son (played Estevez in flashbacks), he is stubborn non-believer. But the loner eventually hooks up with three other pilgrims, a Dutchman (a splendidly funny Yorick van Wageningen) trying to drop weight, an emotionally wounded Canadian woman (Deborah Kara Unger), and a Irish writer (James Nesbitt) who tries to draw Tom out and record the story of father and son. Estevez keeps his touch light, with a minimum of pedantry. The Way is really a gift from this son to his father. Sheen, gradually revealing a man painfully getting reacquainted with long buried feelings, who gives the film its bruised heart.

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Michael Sheen’s The Way is audacious, intellectual TV

This collaboration between James Graham, Adam Curtis and the actor asks big questions, and has things to tell us about ourselves.

By Rachel Cooke

Well, this is something. Michael Sheen, the Welsh activist-actor, has got together with James Graham, whose plays include Dear England and who had a TV hit with Sherwood , and Adam Curtis, the cult (perhaps that should read occult) documentary-maker, and together they’ve made a strange but gripping drama called The Way , in which civil society breaks down in Port Talbot, and a man and his family suddenly find themselves refugees in their own land. As you might expect, it’s both hazily dreamlike and quite potently Welsh, a retro sensibility running right through it like a pattern in a pub carpet. The soundtrack, for instance, is straight out of the BBC’s Radiophonic Workshop, all hums and bleeps and fuzzy reel-to-reels. But it’s also quite thrillingly political, as if someone had lit a match beneath Newsnight and all the rest.

If you’ve been thinking about the miners’ strike after watching one of the films marking its anniversary, this is for you: though it’s set in the present day, everything that happens is rooted in the industrial strife of the Eighties. But it also looks to the future, its particular bleakness born as much of the internet as of urban decline (it was filmed before the recent announcement that Tata Steel is to close its Port Talbot furnaces, with the probable loss of 2,800 jobs).

It’s about the fraying of the British, the way people are losing their minds, and whether this is with good reason, or because they’ve been preyed on by populists and conspiracy theorists (it may be both). “What is it that rises up the same moment it falls?” a half-mad homeless man asks. Only later (there are three parts, all on iPlayer) do we learn that the answer to this riddle is: the people.

Sheen directs a fantastic band of actors (he also has a small part himself). When the plot gets creaky, they save it, so much conviction in their faces. In Port Talbot, a beleaguered divorcee called Geoff (Steffan Rhodri) is just about keeping it together. He works in the tiny museum at the steelworks, where he tells visiting children (an old story, this) that should the flame which burns at the furnace 24 hours a day ever go out, the town will fall. But only a paper separates myth from reality. When the plant’s Japanese owners talk of relining the furnace, what do they really mean? Geoff trusts them, but his union colleague Glynn (Mark Lewis Jones) does not, and after a series of eldritch happenings, he calls the men out on strike.

I know. This doesn’t sound very apocalyptic, and I would struggle to describe on paper how, exactly, things descend into chaos (you need to watch). But somehow, they do, quickly. Politics plays a part – the local Labour MP legs it, leaving the rhetoric to a rabble-rousing nationalist – and so does personal history. Geoff’s ex-wife, Dee (Mali Harries), and Glynn are stirred by the disappointments of the past: why can’t Geoff be as pure as his late father, Denny (Sheen), a miner whose daring acts in 1984 are still remembered? But perhaps it’s something deeper and more powerful that’s the ultimate trigger. Geoff’s son Owen (Callum Scott Howells) is depressed and isolated; he tells his GP he’s no longer able to feel anything. Faced with a mob, however, and he’s all feeling. What we’re looking at is a twisted version of EM Forster’s “only connect”.

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It might have been made on a budget, but this series is provocative – audacious, even – in a way television rarely is now: not for the sake of it, but because it has an intellectual heart. It reminds me, in a good way, of dramas I knew growing up: Edge of Darkness from 1985, say, or Alan Bleasdale’s GBH , from 1991 (Graham recently adapted Bleasdale’s Boys from the Blackstuff   for the stage). I like the uncompromising way it looks, especially the flickering clips – home movies or footage from surveillance cameras? – that must have come courtesy of Curtis, and I relish the intensity of its focus, the particular deployed in the cause of the universal. You’ll want to talk about it afterwards. It asks such big questions, and it has things to tell us about ourselves.

The Way BBC iPlayer

[See also: I was excited about The New Look – but the series is cringe inducing ]

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The Way review: Michael Sheen’s Welsh dystopia is too weird to work

Co-created by sheen, james graham and documentarian adam curtis, the way takes big swings - but ultimately fails to make any sense.

The plot of BBC One’s new drama The Way is not straightforward. After a strike at the Port Talbot steelworks spills into rioting, leading the Government to lock the whole country down, the Driscoll family are forced to flee Wales. Their journey takes them from danger towards the promise of safety, and from a family seething with petty resentments to a (comparably) harmonious unit.

The structure is not straightforward either. The three episodes splice archival footage of protests and retro TV programmes among its lingering pans and abrupt cuts. CCTV footage acts as an uncomfortable reminder that no matter how far they go, the Driscolls are under constant surveillance.

Co-created by cult documentarian Adam Curtis and writer James Graham ( Quiz , Sherwood ) alongside proudly Welsh actor Michael Sheen (who also directs for the first time and plays a ghost), the three-part series is surreal and disarming, yet also grounded in the real world. Not only does 2024 mark the 40th anniversary of the Miners’ Strike, but steel workers in Port Talbot are protesting proposed job losses right now; 6,400 jobs in British steel have been lost since 2015.

When we first meet the family, they’re going about their daily lives – struggling, but only in the small ways we all do: work, family, mental health. Geoff ( Steffan Rhodri ) works at the steelworks, where he is pained by striking colleagues stirring division. His police officer daughter Thea (Sophie Melville) is vaguely troubled by riddles from a local vagrant-cum-mystic when she and her colleague offer to arrest him, while we first see his wayward son, Owen ( Callum Scott Howells ), renewing a prescription for benzodiazepine. “I can’t remember the last time I felt anything,” he tells his GP. “Is that normal?”

The Way's Steffan Rhodri: 'A legacy of class struggle is part of being Welsh'

Little does Owen know, he’s got a lot of feelings coming his way. Whisked away to a shadowy detention centre after getting caught up in a protest, he goes into withdrawal without his pills. As more restrictions come into force, Thea commandeers a police van to smuggle the family – plus Owen’s girlfriend Anna (Maja Laskowska) – out of Port Talbot and into England. With Welsh people not allowed out of Wales and English vigilantes staking out the border, the Driscolls will be free – as long as no one finds out they are Welsh.

From Owen’s repeated dreams about being underwater (“There’s lots of stories about drowned villages and towns in Wales, for some reason,” says his dad) to the ominous events that are believed to herald the fall of Port Talbot (the pilot light at the steelworks going off; an old abbey wall falling down), The Way is shot through with myths that undercut the main story. But while those threads enrich the series, the purpose of other plot points is less clear.

A revelation about Thea’s parentage, for instance, delivers a jolt of conflict in the second episode – but ends up having little to do with the overall narrative. Similarly, an extended sex scene between two couples (freemason swingers, if you must know) is eminently fun, but ultimately irrelevant.

For a programme that can confidently claim more originality than most, such tangents are puzzling – then again, who said every story should always be neatly tied up with a bow? After all, a lot of The Way – from its concept to its eerie musical score – could reasonably be described as “weird” (no bad thing). Why should the plot be any different?

The Way is about how and why we tell certain stories, but it’s also about much more concrete, recognisable concepts – abuse of power, xenophobia, industrialisation, the ties we have to other people (whether we like them or not). In grappling with such big ideas in such an experimental format, it inevitably becomes a little muddled at times.

But the drama’s willingness to take big swings should be applauded, and the cast provides a stellar showcase of Welsh talent. Atmospheric, ambitious and unlike most other weeknight dramas – at least The Way charts its own path, even if there are a few stumbles along the way.

The Way is on BBC One tonight at 9pm. All episodes are streaming on BBC iPlayer now.

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The Way Parent Guide

Even if it is only vicarious, expect to feel like you have been walking for months, thinking about the bigger issues of life and sensing some greater spiritual meaning..

When Tom learns that his adult son has been killed while hiking a pilgrim trail called the Camino de Santiago (The Way of Saint James), the aging father heads overseas to collect Daniel's remains. Once there however, Tom decides to walk to French/Spanish path himself in hopes of finding a connection with his lost child.

Release date November 11, 2011

Run Time: 122 minutes

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The guide to our grades, parent movie review by donna gustafson.

Tom and his adult son Daniel (played by real life father and son Martin Sheen and Emilio Estevez) have never really been close. As a dutiful breadwinner, Tom has been kept busy with his ophthalmology practice, only taking a little time off for golf. Daniel meanwhile has dropped out of his graduate studies to travel the world because, in his opinion, a true anthropologist should experience culture.

Lines of communication are further challenged by Daniel’s decision not to carry a cell phone, making Tom dependent for news on his son’s whim and/or proximity to a pay phone. But when a call finally does come it is not Daniel on the other end of the line. Instead it is the Captain of Police from a small town in France (Tchéky Karyo) explaining Daniel has been killed in a terrible storm in the Pyrenees Mountains. He requests Tom come to make a positive identification and collect the body.

If Tom was expecting some quiet meditative moments, his hopes are soon dashed. The popular path across the mountaintops is crowded with hikers that look a lot like tourists, adventurous students, leftover hippies and athletic types. Few of these modern-day pilgrims show any reverence for the religious significance of the path they are following. Rather they seem to be enjoying the sort of communal living that goes with perpetual camping (one shamelessly stands in his skimpy underwear while laundering all his other clothes). And at the end of the day, they wash away the dust with ample helpings of alcohol.

Because of the spacing of nightly accommodations, Tom keeps bumping into many of the same people, some of whom prove to be extremely difficult to get away from. Joost (Yorick van Wageningen) for instance, is a gregarious Dutchman looking to shed a few pounds. He befriends the offish Tom by offering advice on the best food in the region, as well as illegal pills to improve sleeping on the trail and smokes rolled with more than tobacco to ease the tedium of the walk. Sarah (Deborah Kara Unger) joins the party despite her obvious dislike of men. The embittered Canadian claims her quest is to give up her cigarettes at the feet of St. James. (That may be the reason the chain smoker doesn’t appear to be in much of a hurry to reach the Cathedral.) The last cling-on is Jack from Ireland (James Nesbitt) who is suffering from writer’s block and sharing his misery by talking incessantly about the deep philosophical meanings of the most trivial things.

If the viewer is expecting a quiet meditative movie full of enlightening flashbacks and a metaphysical scene of reconciliation between father and son, this film may be a disappointment. Although Tom occasionally thinks he catches glimpses of Daniel along the path, this script stays in the realm of reality. Daniel is gone and all Tom has to help him put his loss into perspective is the long road and three imperfect strangers also seeking answers to questions they can’t put a voice to.

Perhaps it is this realism that makes The Way so powerful. While you get to know many personal things about each character, there are many facets to their flawed lives that remain a mystery. Though you begin to see some of the reasons each have made the journey, there are undoubtedly more you still don’t understand. And even the sense they have found some answers, comes without quite knowing what they are or when they were revealed.

Amazingly, the process of observing this eclectic group ponderously plodding through the beautiful European landscape has the ability to make the audience undergo a similar experience. Even if it is only vicarious, expect to feel like you have been walking for months, thinking about the bigger issues of life and sensing some greater spiritual meaning. The promise of traveling this ancient road seems to be an opportunity to contemplate your own course. And those who are willing to embark on this journey are wished, “Buen Camino.”

Release Date: 7 October 2011 (Limited)

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Donna Gustafson

The way rating & content info.

Why is The Way rated PG-13? The Way is rated PG-13 by the MPAA for some thematic elements, drug use and smoking.

Violence: A man identifies his son by briefly looking at his dead body at the morgue. A burning coffin is seen during cremation, and a bag of ashes is later given to a man. A brief scuffle occurs during an argument. A woman hits a man. A character is in mild peril when he enters a fast moving stream. A backpack is stolen.

Sexual Content: A man in thong underwear exposes his bare buttock while laundering his clothes. Vague references are made about sexual relationships between travelers. Characters urinate at the side of the trail (no nudity shown). An abortion is mentioned.

Language: Infrequent use of scatological slang, mild profanity and terms of Deity.

Drugs and Alcohol: Men smoke joints. A woman smokes tobacco cigarettes continuously. A character offers drugs to others. Characters drink frequently, occasionally to excess.

Page last updated July 17, 2017

The Way Parents' Guide

In a conversation between a father and son, Tom defends his sense of responsibility and workaholic tendencies by saying, "This is the life I have chosen." Daniel’s rebuttal for his more bohemian approach is, "I choose to live." How do you feel about their different opinions? Is one lifestyle better than the other? What are the pros and cons of each?

Did the movie leave you pondering your own life? What is it about the story and/or the way the movie is constructed that causes it to have that effect on the viewer?

Learn more about the Camino de Santiago , a trail followed by pilgrims for over 1000 years. This path has added significance for the Sheen/Estevez family, who come from Irish and Spanish descent. Learn more about what motivated this father and son team to make The Way here: http://www.theway-themovie.com/camino.php

The most recent home video release of The Way movie is February 21, 2012. Here are some details…

The Way releases to home video on February 21, 2012. Please check back for details on bonus extras

Related home video titles:

During her search to find her missing daughter, a mother discovers her adult child had a private life she knew nothing about in the movie London River . In Everybody’s Fine , a man tries to build ties with his grown children after he realize his deceased wife was the glue that held the family together. And fathers and sons have trouble understanding one another even though they reside in the same house in the films Mr. Holland’s Opus and October Sky .

The Way, My Way – REVIEW

For alternative viewing Aussie flick The Way, My Way is perfect for movie goers who are tired of all the blockbusters and desire a good simple human story to fill the void.

Based on the best-selling memoir by Bill Bennet, the story delves on an elderly man named Bill who one day awakens and decides to attempt the 800 km month-long Camino de Santiago pilgrimage route through Spain.

“I can’t think of anything ghastlier!” his wife of 41 years responds when he asks her to accompany him.

He has no idea why at his age he’s partaking such an exhausting challenge. He has no religious affiliations so why is he taking the walk? Perhaps to find himself or is it a male ego thing to prove that he’s not old?

Along the walk he meets many people and close friendships are formed. He discovers that people reveal their most inner fears to strangers – “What you’d never tell anyone and then you walk away having released something that has been bottled up inside you forever.”

Audiences travel alongside him in the comfort of the cinema and tune into their conversations as they discuss why they are doing the walk. Some stories are humorous, while others are tearful and dark secrets are also revealed.

The walk becomes a compulsion for Bill which quickly transforms into an obsession, but ultimately, it’s a life changing experience which he believes has transformed him into a better person.

What is interesting is that the author who wrote the memoir also wrote and directed the film. This should ensure that authenticity is maintained throughout with little if any dramatization.

There’s plenty of humour and playfulness in this light-hearted movie which at times seems like a mockumentary. There’s also an ongoing gag that should constantly arouse  laughter.

If audiences don’t recognize Aussie actor Chris Haywood portraying the pivotal character of Bill, they would be excused for believing that this wasn’t a conventionally scripted film, as it feels like a camera is simply following and filming random people along the walk.

The dialogue is also cleverly written so it appears that conversations are being spoken by real people and not actors.

Picturesque Spanish landscapes, vintage towns and cities are exquisitely captured on film, the cinematography being one of the selling points of this movie.

The Way, My Way is joyful viewing with laughter aplenty, but there will also be tears as we travel alongside Bill and discover why people take this therapeutic walk on the Camino, its healing powers and the miracles that may occur.

Last word: This is a rewarding cinematic experience. Support Aussie Cinema!

In Cinemas May 16

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The way: film review.

Emilio Estevez's "The Way" is an earnest film, its heart always in the right place, but it's severely under dramatized.

By Kirk Honeycutt , The Associated Press October 14, 2010 10:27pm

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TORONTO — Emilio Estevez ‘s The Way is an earnest film, its heart always in the right place, but it’s severely under dramatized. Consequently, the film comes off more as an amiable travelogue than a fully realized feature. With his father, Martin Sheen , heading a talented cast, Estevez’s film stands a chance for a limited domestic release although the film may be more at home on television or as a DVD.

The story sends four Catholic pilgrims down the Camino de Santiago or the Way of Saint James, a spiritual journey of hundreds of miles undertaken annually by trekkers to a Pilgrims’ Mass held at noon each day at a cathedral in northwestern Spain.

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The four meet and form a traveling companionship by chance although the film’s focus is on Sheen’s character, Tom. A Santa Barbara opthamologist and widower, Tom comes to the French town of St. Jean Pied de Port to collect the remains of his only son (Estevez), who died in the Pyrenees during a storm while walking the Camino. The distraught father decides to undertake the journey himself despite being something of a lapsed Catholic.

Along the way, he reluctantly acquires as traveling companions a free-spirited Dutchman ( Yorick van Wageningen ), who naturally takes and sells drugs; an Irishman (James Nesbitt), who naturally drinks heavily and is “blocked” as a writer; and a Canadian ( Deborah Kara Unger ), who doesn’t do anything naturally Canadian but is extremely bitter about life.

For that matter, Tom out does the Canadian in the bitterness department. His son’s death, of course, contributes to his sourness. Yet the film wants the journey to force all its characters to come to terms with the disappointments in their lives. So what ails Tom?

Estevez, who bases his screenplay in part on Jack Hitt ‘s book, “Of the Road: A Modern-Day Walk Down the Pilgrim’s Route in “Spain,” never makes up his mind. The film initially depicts Tom in Santa Barbara as an affable though physically lazy physician who gets out of his golf cart only to drive the ball down the fairway. In Spain, he suddenly is morose and tart yet strides down the Camino well ahead of his companions. He doesn’t seem to be the same man, mentally or physically.

While their moods can swing up and down, the four travelers pretty much enjoy themselves, eating and drinking their way across a picturesque route through small villages and pilgrim guest houses. You can’t help enjoying the sounds and sights yet yearn for dramatic developments. All you get is Tom nearly losing his son’s backpack, which contains his ashes, not once but twice.

It seems obvious the film should be about a father growing closer to understanding his estranged son after his death, but Estevez pretty much ignores the obvious. He steps from behind the camera now and then so Tom may “see” his ghostly son traveling with him. However, Estevez never permits Tom any deeper insight into their troubled relationship or epiphany about his own life. The nature of their estrangement is never even disclosed.

So the movie ambles along, never going more than skin deep into any of its characters’ psyches. The journey is never a dull although at 129 minutes it’s an unnecessarily long. Estevez’s crew does nothing to spoil the scenery or snap-shots of life along the Camino de Santiago. At least the Irish writer gets over his writer’s block. You only wish the same might have happened to Estevez.

Venue: Toronto International Film Festival Production companies: Elixir Films/Filmax Entertainment Cast: Martin Sheen, Emilio Estevez, Deborah Kara Unger, Yorick Van Wageningen, James Nesbitt, Tcheky Karyo Director/screenwriter: Emilio Estevez Based in part on a book by: Jack Hirt Producer: Emilio Estevez, David Alexanian, Julio Fernandez Executive producers: Alberto Marini, Stewart Till, Ramon Gerard Estevez, Janet Templeton Director of photography: Juan Miguel Azpiroz Production designer: Victor Molero Music: Tyler Bates Costume designer: Tatiana Hernandez Editor: Raul Davalos Sales: Icon Entertainment No rating, 129 minutes

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How to Truly Understand Walking a Camino. Movie Review: The Way, My Way

Movie Title: The Way, My Way

If you have ever wanted to know what all the fuss is about walking the Camino Frances in Spain, then this movie is for you. The photography is gorgeous – truly capturing the beauty of Spain, plus the personalities are real and the friendships are warm.

While The Way movie, starring Martin Sheen and Emilio Estevez, captured some of the feel of the path and kickstarted a massive influx of pilgrims, it was a Hollywood movie. This film is based on a true story.

But first, a little background…

Background & Connections:

I stumbled across Bill Bennett and his book , The Way, My Way , back in 2021. A few people had suggested that I should read his book as I was a dyed-in-the-wool camino addict and he lived in my own home town.

As you can imagine, his book really resonated with me (Camino Addicts of the World Unite! 😊) and I shared a review of the book with you here . Since that time, I have met Bill and his partner Jennifer in person, and we have formed a small camino group to share all things camino with pilgrims and would-be pilgrims. All the reminiscing is a lot of fun. Did someone say camino bore?

Bill walked the Camino Frances back in the Spring of 2013. Unbeknownst to us, we followed in his footsteps in the Autumn. He wrote a blog and generated a book out of his experience, while I kept a private journal and generated an impressive range of blisters and missing toenails due to poorly fitting footwear. I also collected some fantastic memories.

Unlike myself, Bill and Jennifer have had long careers in the film and television industries, and perhaps it was a natural progression for Bill to turn his book into a film . After a true labour of love, this film had its World premiere at the historic Mt Vic Flicks cinema on 16 April 2024.

I have never attended a World premiere before and we were exceptionally pleased and proud to be part of the sell-out audience. The audience was chockful of fellow camino addicts with a strong representation from the Blue Mountains Camino Supporters group and the Australian Friends of the Camino Inc . En masse, we all laughed at the appropriate parts of the film as so many of us had had similar experiences to Bill. Who hasn’t weighed their underpants in an effort to reduce the weight of their backpack?

As the credits rolled, Bill, Jennifer and Johnnie Walker (genuine camino royalty) took to the stage and the audience had the opportunity to participate in a Q&A. It was a great way to understand the mechanics of film making and what it took to bring it to life up on the big screen. One of the most interesting facts was that only four professional actors appeared in the entire film . Many of the ‘extras’ were actual pilgrims who just happened to be walking past the film set at the right time.

But, how does the Promotional Blurb describe The Way, My Way ?

Synopsis: The Way, My Way is the charming and captivating true story of a stubborn and amusingly self-centred Australian man who decides to walk the 800 kilometre-long Camino de Santiago pilgrimage route through Spain. He doesn’t know why he’s doing it, but one step at a time it will change him and his outlook on life forever. Based on Bill Bennett’s best-selling memoir of the same name, The Way, My Way has been described by Camino elder statesman Johnnie Walker as the most authentic film ever made about the Camino . Source

My Thoughts:

This is a wonderfully gentle movie . Don’t watch this movie expecting an action-packed blockbuster with twisting plots and suspenseful interludes. Likewise, don’t go to the cinema expecting sex, drugs, violence and excessive bad language. It is a joy just to sit and be slowly swept along on Bill’s journey.

At the World premiere this movie was definitely preaching to the converted and for me, it was a wonderful trip down memory lane. I loved seeing all the sweeping vistas and beautiful scenery. Many times I nudged The Husband whispering “ remember this?”.

I suspect that like many other pilgrims, I have watched almost every camino movie and documentary ever made. The beauty of The Way, My Way is that it is based on a true story and delivers an authentic, honest and true representation of what it is like to walk a camino in Spain. In particular, the film nails the human element of walking a camino – the friendships, the ebb and flow of connection with other walkers, as well as a small handful of people that it wouldn’t matter if you never met again.

I loved that many of the people in the film were real pilgrims who happened to walk through the film set, as well as many of Bill’s long-standing camino friends returning from all over Europe to star as themselves in the film. These are true camino friendships.

I highly recommend this film if you:

• Have walked a camino in the past and are in need of a camino fix. I guarantee it will give you itchy feet!
• Are thinking about walking a camino one day and would like to see what is ahead of you, or
• Would like a feel-good movie experience with breathtaking scenery and likeable characters. And Yes, there is a happy ending.

So, what are you waiting for? The movie opens across Australia in Hoyts cinemas on May 16, 2024. Keep your eye out for it in International cinemas too.

Buen Camino to you.

Filmmaker Bio: The filmmakers are Bill Bennett and Jennifer Cluff, one of Australia’s most experienced and respected producing teams, having made 17 feature films and numerous documentaries over a forty-year period. Bill has received Australian Film Institute Awards for Best Film and Best Director, he’s had two films in Official Selection at the Cannes Film Festival, four films in Toronto, and had three major international retrospectives.

Bill first walked the Camino de Santiago in 2013, then wrote a book about his experiences -  The Way, My Way  - which became a best seller. He’s since walked four more Caminos.

Jennifer Cluff is not only a producer but an actress, having starred in the classic ABC series Seven Little Australians. She’s since worked in theatre, television and film. She’s also a dramaturge and script editor, working on screenplays and novels for major publishing houses. She´s walked four Caminos . Source

Filmakers Blog or Website: https://www.billbennett.com.au/

Movie Website: https://thewaymywaymovie.com

Run Time: 1hr38minutes

Film Distribution: Maslow Entertainment

Released Nationally (Australia) : 16 May 2024

Book Available from: Amazon

#travelreads #longdistancewalking #travelinspo #thegreatoutdoors #armchairtravel #moviereview #walkinginspain #spain #epicadventure #caminodesantiago #thewaymywaymovie #caminofrances #onfootinspain #pilgrims #buencamino

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22 thoughts on “ how to truly understand walking a camino. movie review: the way, my way ”.

I thought Martin Sheen’s movie was also based on a true story.

As far as I know it wasn’t based on a true story although there are strong Spanish connections with Sheen and Estevez’s heritage. I think they walked through the region that their family came from.

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yes it is and it is a far better movie than this mashup from a narcissist that rehashes elements of The Way. 770 kms in 30 days with a dicky knee? I call BS…the lead actor is not very good and frankly we end up with an unrelateable unengaging film. I was on the Camino a month ago.

I think it’s great that we all like different things otherwise life would be very boring. Buen Camino to you.

Thanks for your review. Right place, right time to see a world premiere. Karen and I hope to see this movie. Trickily we will be in the SW of the USA doing lots of walks when it opens in Melbourne. Hope it has a long release. Cheers, Mark

Happy walking to you, Mark. I follow quite a few American bloggers and they have some fabulous countryside to walk in over there. Safe travels, Mel

I recently read about the movie and can’t wait to see it! After reading about Bill’s book on your blog, I ordered it on Amazon and really enjoyed it. We were last in a theater in 2017 to watch a movie and “The Way, My Way” will be the perfect return to the theater.

I like the synchronicity of that! Maybe you will be planning another camino soon? 🙂

I don’t wish to walk a camino, but I’m interested in watching others do it and seeing what it’s like. I’ll keep an eye out for its release in the States.

Definitely a great way to walk a camino in the comfort of your own home! 🙂

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Thanks for the review. I hope this movie will play in my region. I live in Pennsylvania USA. If not, I’ll eventually watch it on TV. Take care.

Fingers crossed it does reach your shores. I am not sure who/which distributor will pick it up internationally. Maybe it is country specific. Have a good weekend, Mel

I loved ‘The Way’ with Martin Sheen. While there’s definitely an element of ‘Hollywood’ about the film (it’s definitely not a documentary!), it is surprising that so many of the meaningful moments, e.g. the moving self-discovery, the forming of unlikely friendships, the tough sections of the trail leading to fond memories; are actually common experiences felt by all those who walk the Camino de Santiago. I’ll keep an eye out for The Way, My Way as it looks like a brilliant movie. Thanks for sharing, and have a good day 🙂 Aiva xx

Thanks for reading, Aiva and I agree with your comments on The Way. There is warmth in that movie and I could identify with many of its sentiments. I like The Way, My Way better because it features real pilgrims and it was shot sequentially. That appealed to my brain! 🙂

I enjoyed the film The Way so perhaps I will look out for this if it ever streams in the UK.

Do that. It will transport you to Spain…

You can say ‘been there, bought the t-shirt’, Mel. More than many can do. I was happy with your version.

The t-shirt, cap, socks, bandana and…. 🙂

Interesting thanks for this recommendation.

My pleasure. I hope you enjoy it if it comes to a cinema near you.

This sounds really fascinating, I must book in to watch this 🤗

I hope you enjoy it. It is a lovely piece of escapism. Have a great day.

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The Way: Movie Review

Hannah Goodwyn

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Martin Sheen, most known for his work on The West Wing , and his real-life son Emilio Estevez ( The Breakfast Club , The Mighty Ducks ) put their hearts and souls into their latest collaborative movie project - The Way . In the film, the father and son team take us on an epic journey set on the famous Camino de Santiago in northern Spain. And in most ways, the duo can call this one a success.

The Way sees Sheen in the lead role as Tom, an American doctor, who travels to France to identify the body of his son, Daniel, who died while walking on the Camino. Estevez occupies the supporting role as Daniel, but also put his time into writing, producing and directing the film.

Focused on pure storytelling, The Way comes across as genuine, heartfelt, and inspiring – calling on audiences to start living rather than letting life just happen.

THE MOVIE IN A MINUTE

Every parent’s worst nightmare comes in the form of a phone call to Tom. On the other line a stranger, a French police captain, reports that Daniel, Tom’s son, is dead. While walking The Way of Saint James, Daniel accidentally died during a fierce storm in the Pyrenees. Honoring his son’s commitment to walk the path, Tom embarks on the historical, 500-plus kilometer pilgrimage himself instead of returning home to California. Soon, Tom learns he will not be walking alone as he meets pilgrims on the Camino. Three in particular, an agnostic Dutchman, a moody Canadian, and a boisterous Irish writer, become his trail mates. The unlikely quartet bond together as they discover the lessons each learns along “The Way”.

THE GOOD AND BAD IN THE WAY

Centered on the Camino de Santiago, The Way hones in on Catholic traditions and thought. For a film set on one of the most spiritual trails in the world, The Way doesn’t say Jesus Christ is “the way, the truth and the life”. What it does is it looks at family - the troubled relationship between a father and son, and how grief and love met with determination compels a man in his 70s to trek hundreds of miles to fulfill his son’s dream. The Way also examines how much we need community, how unbelief limits us, and the transformation we can experience in the presence of God. Tom and friends have their individual reasons for walking, but the profound impact each experiences goes beyond what they even thought could happen.

Though the story has similarities with The Wizard of Oz , the script has an authentic feel to it. The complex characters push the narrative along. They pull you in and engage, and that in is part to the performances given by Sheen, Unger, Nesbitt, and van Wageningen. Sheen embodies the self-centeredness and despair of Tom well. It’s an emotional journey for his character, and the others, which puts you in an introspective frame of mind. This is a refreshing change of pace given the mindless summer popcorn movies that have dominated recently.

At two hours, The Way isn’t bum-numbingly long. However, it does drag a bit. The movie’s momentum is slow to start, but picks up as Martin Sheen’s character meets colorful characters on the path. The film's most meaningful moments are seen in the grand cathedral at the end of the trail and at the God-created setting where Tom finally lays Daniel to rest.

Rated PG-13 mainly for a scene showing the Dutchman smoking cannabis, The Way is definitely not something for the kids. Also, please note that even though foul language isn’t listed as a reason for the PG-13 rating, it is present in the film.

The conversation-starter nature of The Way and its propensity to look to faith and community as good, life-changing elements of society make it one to consider seeing at the theater. Young and old alike will walk away reflecting about life and God. Seniors in high school will be inspired to begin life with purpose and our senior citizens not to give up on living each day with passion.

About The Author

Hannah Goodwyn served as a Senior Producer for CBN.com, managing and writing for the award-winning website. After her undergraduate studies at Christopher Newport University, Hannah went on to study Journalism at the graduate level. In 2005, she graduated summa cum laude with her Master's from Regent University and was honored with an Outstanding Student Award. From there, Hannah began work as a content producer for CBN.com. For ten years, she acted as the managing producer for the website's Family and Entertainment sections. A movie buff, Hannah felt right at home working as CBN.com's More

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• Cast & crew

The Way: Chapter 2

Tom receives Jack's bestselling book recounting their shared experience. A disturbing secret is revealed, enraging Tom. He departs to find Jack and long-awaited answers. Tom receives Jack's bestselling book recounting their shared experience. A disturbing secret is revealed, enraging Tom. He departs to find Jack and long-awaited answers. Tom receives Jack's bestselling book recounting their shared experience. A disturbing secret is revealed, enraging Tom. He departs to find Jack and long-awaited answers.

• Emilio Estevez
• Martin Sheen
• Yorick van Wageningen

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