SKY CINEMA REVIEW: THE HUNT (2020)

SKY CINEMA REVIEW: THE HUNT (2020)

Directed by: Craig Zobel

Produced by: Jason Blum, Damon Lindelof

Written by: Nick Cuse, Damon Lindelof

Cast: Ike Barinholtz, Betty Gilpin, Amy Madigan, Emma Roberts, Ethan Suplee, Hilary Swank etc.

Music by: Nathan Barr

Cinematography: Darran Tiernan

*** MAY CONTAIN SPOILERS ***


RKO’s movie, The Most Dangerous Game (1932), based on a short story by Richard Connell, is a genuine B-movie delight with a great villain named, Count Zaroff, plus solid lead performances from Joel McCrea and Fay Wray. The simple, but ingenious story involves the Count hunting shipwrecked humans on his remote island. This thrilling premise has been adapted numerous times over the years and the latest one, produced by Blumhouse Productions, is called The Hunt (2020). Arguably, the best version of this story is the Japanese classic, Battle Royale (2000), where high school kids are charged with killing each other to win a prize: their life!

Craig Zobel directs The Hunt (2020) from a screenplay by Damon Lindelhof and Nick Cuse. While The Most Dangerous Game (1932) had big-game hunting and murder-as-sport as a theme, and Battle Royale (2000) was essentially about the control of juvenile delinquents, The Hunt (2020) instils the mayhem, traps and violent deaths with a lean toward political commentary. Reflecting the division of Trump’s Presidency and the left/right and North/South divide allows the witty script to deliver gags damning both sides of the political strata. All from rich capitalists to the liberal elite and right-wing conspiracy theorists are satirised mercilessly. Having said that, none of this gets in the way of the breathless pace of shootings, explosions, stabbings and bloodletting.

Overall, what The Hunt (2020) lacks in characterisation and plot credibility, it more than makes up with several tense and funny scenes. You’re never too far away from a gory end or biting punchline or the surprise death of a relatively well known actor. The cast and director do not take this movie particularly seriously, but I must say Betty Gilpin as Crystal Creasey was brilliant. Energetic Gilpin takes a thinly written character and provides much personality, as well as an impressive physical presence in the many well-choreographed fight scenes. Ultimately, The Hunt (2020) will excite those who want something undemanding for their Saturday night movie entertainment. I particularly enjoyed several of the cartoon kills in this comedic action thriller. I could take or leave the social commentary, because for me politics is the most dangerous game of all.

Mark: 7.5 out of 11


ALL 4 FILM REVIEW: DIEGO MARADONA (2019)

ALL 4 FILM REVIEW – DIEGO MARADONA (2019)

Directed by: Asif Kapadia

Produced by: James Gay-Rees, Paul Martin

Written by: Asif Kapadia

Music by: Antônio Pinto

Edited by: Chris King

Available platform: Channel 4 / All 4



Even if you’re not a fan of football, you cannot fail to have to heard of the Argentinian player that is Diego Maradona. If you don’t know him then he rose from the shantytowns of Buenos Aires to become one of the greatest footballers of all time. A wunderkind prodigy as a teenager, he became the most expensive footballer ever when he moved to Napoli from Barcelona. In Naples he would transform a club, normally in the shadows of giants from Milan and Rome, into a title winning team. Moreover, he famously led Argentina to World Cup glory in 1986, with one of the most scintillating individual footballing performances ever witnessed. I missed Asif Kapadia’s absorbing documentary when released at the cinema, however, with Maradona sadly passing away last week, I took the opportunity to watch it on Channel 4’s streaming platform.

Kapadia has shown himself as a master filmmaker in constructing narratives from archival footage. This engrossing style and expertly edited form is brilliantly demonstrated in Senna (2010) and Amy (2015), both winning several major awards. Once again Kapadia uses the same process. He combines interviews via voiceover with Maradona, his ex-wife Claudia, his trainer and many other people, with hundreds of hours of found film footage shot by Argentine cameramen in the 1980s. Moreover, further archival footage was discovered in the home of Maradona’s ex-wife in a trunk untouched for 30 years.



Kapadia and his editors weave such sources to create an absorbing portrait of an extremely complex personality. Indeed, many interviews comment on the football star having two distinct sides. One called Diego, a sweet-natured lad who became a phenomenon on the pitch and the other Maradona, a notorious, larger than life mega-star pursued by the media, football fans, women, gangsters and money people. Whether this schism contributed to Maradona’s battles with drug addiction and other controversies, it is difficult to say. What is clear though is, despite his flaws, love for partying, fiery temperament and questionable associations, the press in Italy and the rest of the world, were permanently in Maradona’s face, creating a pressure cooker atmosphere for him and his family.

Overall, I was totally transfixed by the documentary, Diego Maradona (2019). Having grown up as a teenager watching Maradona on the television, notably the infamous ‘Hand of God’ game against England at the 1986 World Cup, I was struck by huge waves of nostalgia. Even though Maradona’s Argentina defeated England, one could never fail to be in awe at his magical skills as a player. I love football and enjoyed many scenes showing the brutal and beautiful nature of the game. Lastly, Kapadia’s main narrative thrust involves Maradona’s rise and fall from grace during Napoli’s spectacular rise to the top of the Italian league. Yet, having scored the penalty that knocked Italy out of the 1990 World Cup, his once beloved Naples would turn on Maradona, leaving him friendless and without protection from the Italian law. Ultimately, the film stands as not only a complex tribute to a footballing genius, but also a cautionary tale of the trials and tribulations of worldwide fame and notoriety.

Mark: 9 out of 11


SIX OF THE BEST #27 – GREAT FILM ENDINGS!

SIX OF THE BEST #27 – GREAT FILM ENDINGS!

What makes a great film ending? Well, it helps to have an amazing cinematic story before it, building to an incredible twist, memorable shock or emotionally cathartic moment. In the latest effort in my occasional series Six of the Best, I have chosen six films with unbelievably brilliant endings. If you have your own suggestions, please feel free to comment.

*** CONTAINS MASSIVE SPOILERS ***


CASABLANCA (1942)

“I think this is the beginning of a beautiful friendship.”


INGLOURIOUS BASTERDS (2009)

“You know somethin’, Utivich? I think this just might be my masterpiece.”


PLANET OF THE APES (1968)

“They blew it up! God, damn you! Damn you all to hell!!!”


THE SHAWSHANK REDEMPTION (1994)

“Remember, Red, hope is a good thing, maybe the best of things, and no good thing ever dies.”


THE USUAL SUSPECTS (1995)

“The greatest trick the devil ever pulled was convincing the world he didn’t exist. And like that… he’s gone!”

WITHNAIL AND I (1986)

“I have of late, but wherefore I know not, lost all my mirth…”

ALL 4 DRAMA RESIDENCY – INCLUDING REVIEWS OF: THE ACCIDENT (2019), CHIMERICA (2019), KIRI (2018), NATIONAL TREASURE (2016) and more…

ALL 4 – DRAMA REVIEWS

So, I don’t get paid for doing this. I do it because I enjoy watching films and television and writing about them. It helps me to review stuff critically from both a creative perspective and absorb knowledge for when I make my own low budget films. Also, it’s something to do isn’t it; a hobby and means to immerse oneself in something that interests me. Lastly, one also learns much from the hours of viewing, especially if the narratives are grounded in reality, representations of history and social issues.

CHANNEL 4 has always been at the forefront of producing intelligent drama television built to inform, entertain and provoke thought. Their streaming platform called ALL 4 is a great place to catch up with Channel 4’s product and I have already reviewed many of their shows here on this site. Having said that, I thought I should put an even bigger effort to catch up with some of their dramas. After all, ALL 4 is — aside from watching a few adverts — is absolutely FREE! I’m glad I did because they have quality production values and are very powerful, skilfully tackling social themes and historical events. So, here are some quick reviews of Channel 4 television dramas both recent and not so recent with the usual marks out of eleven.



THE ACCIDENT (2019) – Mark: 9 out of 11

What I found from my All 4 residency was that many of the shows were written by Jack Thorne. He is a clever writer with a keen eye and ear for drama relating to everyday people’s lives. The Accident (2019) is set in Wales and concerns a small community whose lives are ripped apart by an explosion at a construction site. Many children are killed, but given they were trespassing the blame initially falls on both them and building company. The ensemble cast lead by Sarah Lancashire and Joanna Scanlan are uniformly excellent, as the impactful drama echoes actual events such as Aberfan and Grenfell Tower disasters.


CHIMERICA (2019) – Mark: 8 out of 11

Based on Lucy Kirkwood’s play of the same name and set during the 2016 American Presidency election, this political drama sees Alessandro Nivola’s once-lauded photographer attempt to locate the “Tank Man” from the 1989 Tiananmen Square protests. Part-redemption and part-historical expose, the writing is excellent as Cherry Jones and F. Murray Abraham easily steal the acting plaudits. I was more interested in the plight of Zhang Lin’s (Terry Chen) China-set parallel storyline than the photographer’s, but, overall, I was drawn into detective plot and human conflict throughout.



THE DEVIL’S WHORE (2008) – Mark: 9 out of 11

The wonderfully titled The Devil’s Whore (2008), features a fine cast of actors including: John Simm, Peter Capaldi, Andrea Riseborough, Michael Fassbender and Dominic West. The drama focusses on the historical era of Oliver Cromwell and Charles I, filtered through the eyes of Riseborough’s strong, yet scandalised heroine, Angelica Fanshawe. Peter Flannery’s excellent script is full of violence, political and religious intrigue and works well as both a work of entertainment and chronicle of key characters from the bloody English Civil War!


I AM. . . (2019) – Mark: 9.5 out of 11

Dominic Savage is a skilful and experienced filmmaker, who recently made the semi-improvised feature, The Escape (2017). It focussed on unhappy mother portrayed by Gemma Arterton, and while an interesting character study, it ultimately felt a little flat dramatically. Using the same improvisatory and documentary style with the anthology triptych, I Am. . . (2019), Savage casts Vicky McClure, Samantha Morton and Gemma Chan in three separate stories of women in various states of domestic plight. All of the narratives are brilliantly acted and directed, focussing on coercive relationships, gaslighting debt escalation and painful maternal inertia respectively, all delivered with tremendous emotional power.



FALLING APART (2002) – Mark: 8.5 out of 11

Mark Strong and Hermione Norris excel is this shocking drama about domestic violence. Seemingly the perfect couple, Pete and Clare fall in love and marry, only for Pete’s aggressive tendencies to come to the fore soon after the honeymoon period. Clare forgives Pete and blames work and herself and then finally thinks he may have a problem. An honest and bleak look at love gone wrong, there are many scenes that make one flinch and feel bad for those women trapped in similar situations.


KIRI (2018) – Mark: 9.5 out of 11

Sarah Lancashire is exceptional as the social worker hung out to dry when a fostered child, Kiri, is killed after a family visit to her paternal grandparents. Jack Thorne writes a subtle and compelling script which explores issues relating to: adoption, social care, race, class, and child murder. As well as Lancashire, Lucian Msamati, Paapa Essiedu, Wunmu Mosaku, Lia Williams and Sue Johnston give exceptional performances. Finally, what begins as a murder mystery drama unfolds into something far more complex, with an ending that leaves you stunned with its brave, narrative risk-taking.



NATIONAL TREASURE (2016) – Mark: 9 out of 11

Not to be confused with the Nicolas Cage film series, this searing drama, written by Jack Thorne again, springboards off the recent #MeToo and Operation Yewtree news events. Robbie Coltrane takes the lead as Paul Finchley, a once successful comedian of the 1980s and 1990s, now hosting a television quiz show, while his wife is portrayed by the exceptional Julie Walters. Finchley’s life and career is turned upside down when he is accused of rape and sexual assault, something he vehemently denies. The drama unfolds in an engrossing fashion as we flash back and forth between Finchley’s present day and past history. Again, a potentially sensationalist subject matter is dealt with mesmeric power, as it all culminates in a tense and emotional court case.


ON THE EDGE (2018) – Mark: 8 out of 11

Excellent set of short anthology dramas which focus on various issues affecting mostly younger people in Britain today. Issues explored include: knife crime, body shaming, race, neurodiversity, date rape, depression and social work. All are extremely well acted and directed, giving excellent examples of diverse drama Channel 4 excels at.

FX/BBC TV REVIEW – MRS AMERICA (2020)

FX/BBC TV REVIEW – MRS AMERICA (2020)

Created by: Dahvi Waller

Producers: Tanya Barfield, Boo Killebrew, Sharon Hoffman

Writers: Dahvi Waller, Tanya Barfield, Boo Killebrew, Micah Schraft and April Shih, Sharon Hoffman, Joshua Allen-Griffiths, etc.

Directors: Anna Boden & Ryan Fleck, Amma Asante, Laure de Clermont-Tonnerre, Janicza Bravo,

Cast: Cate Blanchett, Rose Byrne, Uzo Aduba, Elizabeth Banks, Kayli Carter, Ari Graynor, Melanie Lynskey, Margo Martindale, John Slattery, Jeanne Tripplehorn, Tracey Ullman, Sarah Paulson, and many more.

No. of Episodes: 9

Original Network: FX on Hulu / BBC (UK)

*** CONTAINS HISTORICAL SPOILERS ***


“Feminism has never been about getting a job for one woman. It’s about making life more fair for women everywhere. It’s not about a piece of the existing pie; there are too many of us for that. It’s about baking a new pie.” — Gloria Steinem

I just won’t ever understand this world and the people in it. We are capable of wonderful moments of love and compassion and just being good to one another, but equally just as capable of negativity, division and dispute. Take for example the Equal Rights movement. First proposed by the National Woman’s political party in 1923, the Equal Rights Amendment was to provide legal equality of the sexes and prohibit sex discrimination.

Initially failing, the E.R.A. was revived in the late 1960s, and throughout the 1970s tireless work was done to get it ratified. Here was a group of people striving for gender equality and generally fighting for better working conditions. This for me is a noble cause. However, unbelievably there were women, not just men, in America who were AGAINST the Equal Rights Amendment. Of course, it is a constitutional right to freedom of speech and to protest your point of view, however, arguing against something that is looking to improve lives is hard to credit.



FX’s historical biopic, Mrs America (2020) is set against the backdrop of the 1970s and it dramatizes the amazing fight by those individuals and groups seeking to ratify the E.R.A. across the disunited states of America. Leading political activists such as Gloria Steinem (Rose Byrne), Betty Friedan (Tracey Ullman), Shirley Chisholm (Uzo Aduba), Bella Abzug (Margo Martindale) and Jill Ruckelshaus (Elizabeth Banks) were just a few of the people struggling to get the E.R.A. over the line. While it seems like a no-brainer to me, the 1970s was clearly another country when it came to gender roles and the treatment of women. Thus, the amendment, while slowly gathering momentum in various states, faced much opposition. The mini-series represents the major source of opposition in ultra-conservative spokesperson, Phyllis Schlafly (Cate Blanchett), an activist and lobbyist who started the No E.R.A campaign group. The battles between her group and the feminist legion gives way to much incisive drama, comedy and entertainment.

Presented in nine brilliantly written, acted and directed episodes, Mrs America (2020) is television of the highest quality. The ensemble cast is one of the finest ever assembled in my opinion and there are so many amazing performances. Cate Blanchett is magnetically charismatic as PhylIis Schlafly. Blanchett gives a complex characterisation of a formidable woman who, while striving to be taken seriously in the world of law and politics, finds she is undermined by the men she is fighting for. Sarah Paulson also gives another nuanced and exquisite rendition of a housewife on a slow journey of self-realisation. There are just too many great acting portrayals to mention, but Tracey Ullman steals every scene she is in for sure.

Overall, Mrs America (2020) takes a potentially dry subject and infuses it with the intricacies of both political intrigue and powerful personality. The script fizzes with wit, style and verve, and is supported by an amazing soundtrack and some jaw-dropping acting. No doubt many liberties have been taken with the events for dramatic purposes. But if that means bringing to prominence this important struggle then I am all for it. Rather incredibly, the E.R.A., at the time of the programme’s release this year, still had not been ratified by the number of States needed to make it law. I know it’s too complex an issue to be resolved so easily, however should this political matter still remain unratified today? It remains a sad indictment of humanity that equality for all was seen as such a negative thing in the 1970s, especially by individuals it sought to protect.

Mark: 9.5 out of 11

NETFLIX FILM REVIEW: HIS HOUSE (2020)

NETFLIX FILM REVIEW: HIS HOUSE (2020)

Directed by: Remi Weekes

Produced by: Aidan Elliott, Martin Gentles, Arnon Milchan, Ed King, Roy Lee

Screenplay by: Remi Weekes

Story by: Felicity Evans, Toby Venables

Cast: Wunmi Mosaku, Sope Dirisu, Matt Smith, etc.

Cinematography: Jo Willems

***MAY CONTAIN SPOILERS***


Similar in spirit to the Jacques Audiard directed film, Dheepan (2015), the latest Netflix film release, His House (2020), takes the migrant experience as a key narrative driver, then filters it through exciting genre style. While Dheepan (2015) started as a story of survival before crossing over into thriller territory, His House (2020) superbly combines social commentary with the horror genre. Moreover, a key plot reveal later in His House (2020) is extremely similar to that found in Dheepan (2015). Nonetheless, it is a powerful film, both unnerving and thought-provoking in equal measure.

His House (2020) introduces us to Bol (Sope Dirisu) and Rial (Wunmi Mosaku), a refugee husband and wife seeking asylum in Britain from South Sudan. Having survived a treacherous journey from this war-torn part of the world, their young daughter is not so lucky. Alas, Nyagak (Malaika Agibaka) dies during a stormy boat journey. This incident and their social status immediately garners sympathy and empathy for the protagonists. Allied to this, on achieving probational asylum status their jaded case worker, Mark (Matt Smith), brings them to a rundown council estate to live in. It is to Bol and Rial’s credit that they accept their new abode with gratitude. Bol especially is keen to mix with the locals and fit into the British way of living. However, the two soon encounter indifference, racism and prejudice.

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As the narrative continues Bol and Rial have more to contend with than ignorant locals. Rial is resistant to integration as she desperately holds onto her Sudanese clothes and customs. While Bol is clearly trying to distract himself from the tragedy, Rial’s grieving takes the form of clinging onto the memory of her daughter and their Sudanese ways. This familial division is exacerbated by disturbing supernatural phenomena, as a strange dark spirit and the ghost of Nyagak both appear. Could it be grief and guilt manifesting such spectres? Or are they suffering from post-traumatic stress following their harrowing journey to Britain? Or has a genuinely evil spirit hijacked their attempts to build a home and find peace?

Declaring himself as a director to keep tabs on, Remi Weekes, has written and directed an excellent first feature film in, His House (2020). The pacing of the story is excellent as we get flashes of Bol and Rial’s past in Sudan, juxtaposed with their attempts to acclimatise in Britain. As someone whose life is extremely privileged when compared to that of such characters, I was both moved and fearful for the protagonists. This is not only down to an excellent script full of subtext, symbolism and dread, but also due to Sope Dirisu and Wunmi Mosaku’s compelling performances. Furthermore, you really feel the pain of the couple’s loss and suspense created by that which lurks within the stained walls of their apartment. While there are many tense moments, my one reservation with His House (2020) was there arguably wasn’t enough true horror moments. Having said that, the actual reality of Bol and Rial’s situation in losing a daughter, suffering British administrative red-tape and living amidst everyday prejudice, is far scarier than ghosts and monsters can ever be.

Mark: 8.5 out of 11

MY CINEMATIC ROMANCE #21 – SEAN CONNERY (R.I.P 1930 – 2020)

MY CINEMATIC ROMANCE #21 – SEAN CONNERY (R.I.P 1930 – 2020)


“There’s one major difference between James Bond and me. He is able to sort out problems!” — Sean Connery



Sadly, the great Scottish actor, Sir Sean Connery passed away at the age of ninety on the 31st October 2020. Born in Fountainbridge, Edinburgh in 1930, Connery walked a fascinating and winding road to the path of famous film actor.

With working class and traveller roots, Connery was a milkman, artist’s model, bodybuilder, Naval seaman and talented footballer, who would earn acting experience in many stage roles from the early 1950’s onwards. In 1957, Connery began to get supporting roles in film and television. But, that same year, he landed his first leading role in BBC Television’s production of Requiem for a Heavyweight. He would also be cast in a prominent role in Cy Endfield’s brutal thriller, Hell Drivers (1957).

According to an apocryphal story, it was Connery’s co-star, Patrick McGoohan, who recommended him to producers for the starring role of Ian Fleming’s James Bond. The Prisoner star and creator, McGoohan, had been offered the role of Bond and turned it down. Connery would eventually accept, and the rest is history.



One could debate the differences and variant aspects of the movie star, the film actor and the character actor endlessly, but the fact is, Sean Connery was ALL three. A versatile actor who could do tough guy, romantic lead, comedic foil, serious drama and action hero roles with equal brilliance, switching between such traits effortlessly. Moreover, he also inhabited each role with a magnetic charisma that one could not keep your eyes off. And there’s THAT voice and delivery! The voice of gravitas and steely sophistication that made you want to listen, whatever Connery may be saying. In short: he was greatest film actors and stars of a generation.

In keeping with the My Cinematic Romance series, I have picked FIVE of my favourite Sean Connery roles. They may not be his best, but they are films I love. In order to challenge myself I have picked just ONE film from the James Bond series. If you prefer other Connery roles then please feel free to comment. R.I.P – Sean Connery.


HELL DRIVERS (1957)

Hell Drivers (1957) is a film that certainly deserves revisiting. Not simply because it is an excellent action drama, but because it contains an incredible cast, with most of the players going on to have major parts in some iconic screen roles. Connery was an unknown when appearing in the ensemble as Johnny Kates, but he more than holds his own as a tough guy working in the cutthroat and granite-tough haulage industry.


FROM RUSSIA WITH LOVE (1963)

Having read Ian Fleming’s classic spy novel Casino Royale in the last few years, I have to say that the early adaptations of the Bond series were a tremendous representation of his vision of Cold War espionage. If Dr No (1962) was the starter and Goldfinger (1964) the dessert, for me, From Russia With Love (1963) was the main course of the first three films in the franchise. Facing S.P.E.C.T.R.E, who are hell bent of destroying Bond, Connery gives such a confident performance amidst thrilling plot and action. His scenes with Robert Shaw as Grant are pure machismo and menace, culminating in an exciting fight on the Orient Express.



HIGHLANDER (1986)

I should really pick Sidney Lumet’s The Hill (1965) for my next choice. That film is a brutal character study set in a military prison during WW2, where Connery gives one of his finest performances. Instead, I have chosen a 1980’s action film about immortals slicing each other to death, to a rock soundtrack by Queen. Nothing in this film should work, from the pop video effects, the crazy mullets and mix of modern and historical settings. But somehow it does. Connery was beginning to settle into the mentor role now and he brings, like Clancy Brown, absolute class to the film. Here, as Juan Sánchez Villa-Lobos Ramírez (an Egyptian with a Scottish accent), he guides Christopher Lambert through a heady mix of sci-fi nonsense, swashbuckling swordplay and brilliant action.



THE UNTOUCHABLES (1987)

Another mentor role, this time portraying Irish beat cop Jimmy Malone, who joins Eliot Ness’s (Kevin Costner) crusade to bring down Al Capone (Robert DeNiro). Even with DeNiro, Costner and a breakthrough role for Andy Garcia in the cast, Connery absolutely owns this film from start to finish. Brian DePalma helms the spectacular set-pieces with aplomb, but Connery delivers David Mamet’s hard-boiled dialogue with confident intensity. Connery’s Jimmy Malone is a superb character performance, delivered with honesty, toughness and poignancy, as Malone finally gets the chance to be a proper copper. Quite rightly, Connery would win best Supporting Actor at the Oscars. Along with his Academy Award, Connery also won two BAFTA Awards, three Golden Globes, and a Henrietta Award during his illustrious career.



INDIANA JONES AND THE LAST CRUSADE (1989)

How do you keep fresh and revitalise a film sequel? Well, by adding ingredients the filmmakers hope will differentiate and familiarise the franchise at the same time. The way George Lucas and Steven Spielberg did this with Indiana Jones and the Last Crusade (1989) was to open with a thrilling origin story of Indy (River Phoenix) as a teenage adventurer fighting baddies in the West. Moreover, they also introduced surprisingly halfway through, the original Doctor Henry Jones Snr. The film was already knockout brilliant and got even better when Sean Connery first appears as Indiana’s (Harrison Ford) father. While it could have been cheesy with our hero’s Dad on the adventure, it is anything but. There are character reveals galore throughout as we get both a great buddy-buddy double act, and a vulnerable Indy, unsure and lacking confidence in the presence of his formidable father.



THANKS TO UNRESTRICTED VIEW HORROR FILM FESTIVAL 2020!

THANKS TO UNRESTRICTED VIEW HORROR FILM FESTIVAL 2020!

Just a quick post to say thank you to the Unrestricted View Horror Film Festival for screening my short film You Have A New Follower (2020). They screened it online as part of their Little Terrors programme on Tuesday 27th October 2020. Loads of great shorts and features were screened in an amazing programme. Further, in this period of COVID-19, it is a testament to their talents and enthusiasm they continue to support independent filmmakers.



If you didn’t know, Unrestricted View was set up in 1997 by Felicity & James Wren in order to produce exciting and innovative new theatre, comedy & film. In 1999 UV became the resident company at The Hen & Chickens Theatre and remains so to this day. UV was also resident company at Lowdown at The Albany on Great Portland Street 2003-2011 and The Vandella in Shepherds Bush in 2012. Subsequently, they continue to run the Unrestricted View Film Festival and a separate Horror Festival too. This year’s event ran online from 26-10-20 to 1st November 2020. Check out their website here.

Here is the brochure for the festival at this link.


YOU HAVE A NEW FOLLOWER (2020)

You Have a New Follower (2020) is a psychological thriller/horror. The story concerns Astrid Nilsson, whose life begins to unravel when she is stalked by a mysterious hooded figure. It combines mystery, suspense and science fiction genres, while exploring themes of paranoia, anxiety and identity.



Directed by Tilde Jensen and Paul Laight

Written and produced by: Paul Laight

Cast: Tilde Jensen and Mitchell Fisher


 Please check out the TRAILER here:

CULT FILM REVIEW: ERASERHEAD (1977)

CULT FILM REVIEW: ERASERHEAD (1977)

Directed by: David Lynch

Produced by: David Lynch

Written by: David Lynch

Cast: Jack Nance, Charlotte Stewart, Allen Joseph, Jeanne Bates,  Judith Roberts etc.

Music by: David Lynch, Fats Waller, Peter Ivers

Cinematography: Frederick Elmes, Herbert Cardwell

***CONTAINS SPOILERS***





“In heaven everything is fine”, sings the ‘Lady in the Radiator’. Is it really, David, because during the course of your cinematic vision known as Eraserhead (1977), we witness all manner of things which demonstrate heaven is far from our reach. We see the scarred ‘Man in the Planet’, apparently controlling Henry Spencer’s (Jack Nance) fate with mechanical levers. There are also floating heads, blood-squirting chickens, weird alien-looking babies, an enigmatic femme-fatale, a shock-haired and shock-faced protagonist; all existing in an industrial abyss presented in bleak monochrome. If there is a heaven, no one’s getting there!

David Lynch’s debut feature film is a masterpiece of independent cinema. A surrealist, dystopian and anxiety-inducing collage of fantastic images and industrial sounds. Moreover, Eraserhead (1977) was a labour of love for the enigmatic filmmaker. Lynch took years to finish the production. So much so there is one scene where Nance’s character Henry, walks from a corridor through a door. While the edit is immediate, the filming dates were one year apart. Thankfully, Jack Nance didn’t get that famous quiff cut off. Moreover, money was tight. Lynch financed the film from doing part-time jobs, plus he received help from the American Film Institute, family members, and very good friends. There was no Kickstarter in those days.



While Eraserhead (1977) has many seemingly unconnected and bizarre images and freakish scenes, there are several powerful themes running through the film. Indeed, it is a Freudian classic with the nervous and anxious Henry, being lead from one challenging situation to another. The fear of responsibility and parenthood hangs heavy in Lynch’s psyche. Henry lacks confidence and sexual adequacy. Even when he attempts a relationship with Mary (Charlotte Stewart), his sanity is hanging on a thread. Mainly due to the fact their child is a sad, mutated monstrosity. But to Henry’s credit he attempts to love the child, even though such paternal care is doomed.

Lastly, given it had such a low-budget, took the best part of a decade to shoot and spent over a year in post-production, Lynch cinematic skills are meticulously represented in Eraserhead (1977). Kudos as well to the stark cinematography, Nance’s startling deadpan performance, plus Lynch’s incredible soundscape designed with Alan Splet. Ultimately, while it is a powerfully strange film, there is actually much method and heart in Lynch’s madness. The urban decay and freakish nature of Eraserhead (1977) taps into primal fears of bringing a child into a dark world. I, for one, can certainly identify with that.


FILMS THAT GOT AWAY #11 – WAVES (2019)

FILMS THAT GOT AWAY #11 – WAVES (2019)

Directed by: Trey Edward Shults

Produced by: Kevin Turen, Jessica Row, Trey Edward Shults

Written by: Trey Edward Shults

Cast: Kelvin Harrison Jr., Lucas Hedges, Taylor Russell, Alexa Demie, Renée Elise Goldsberry, Sterling K. Brown, Alexa Demie, Clifton Collins Jr., Vivi Pineda, etc.

Music by: Trent Reznor, Atticus Ross

Cinematography: Drew Daniels

*** MAY CONTAIN SPOILERS ***



“First your parents, they give you your life, but then they try to give you their life.”

― Chuck Palahniuk


Being a parent is an extremely difficult job and mostly impossible to get right. It is a rewarding and joyous experience, but can also be a frustrating one. Raising another human being in this world is a fluid and ever-shifting set of tasks. Once you have got past a certain age and seemingly resolved the issues of that time, their next period of growth provides a whole different set of puzzles. Whatever books you read or advice you take, or help you get, you will never be prepared enough to meet the challenge of being a parent. Even those who have had more than one child can attest that what occurred with the first child will not be the same for the next or the next after that. Every individual being is different and will have a varied set of intricacies.

In the majestic family drama, Waves (2019), for example, Ronald (Sterling K. Brown) and Catherine Williams (Renee Elise Goldsbery), are middle-class parents with successful jobs who provide a fabulous Florida home and upbringing to their teenage children. Their son, Tyler (Kelvin Harrison Jnr.), is smart, athletic and a popular student, while their younger daughter, Emily, is quieter but equally bright. Ronald pushes Tyler to excel in every way, in study, work and on the wrestling team. He’s doing it with best intentions, but it creates incredible pressure for the lad. So much so, when Tyler suffers a serious injury and a problematic romantic situation he mentally and emotionally breaks.



Waves (2019)

This is a tale of two children and their parents attempts to raise, guide and control them. Not control in a negative fashion, but out of love and desire to see they are on the correct path in life. But what the narrative illustrates is that even the most loving and comfortable families can have tragedy bestowed upon them via a mixture of spontaneously poor life choices, youthful emotional imbalance and the fickle finger of fate. Thus, some could argue that with subjects such as unwanted pregnancy, pushy parents and rebellious teenagers, the film is over-familiar and melodramatic in places. However, the acting, direction and cinematography render the film wholly cinematic. Special mention to the extremely talented cinematographer Drew Daniels, who also lit HBO’s stylish mini-series Euphoria (2019). The production’s choice of colour, lighting, lens differentiation and aspect ratio switches are another reason this fabulous film impacted me so much.

No disrespect intended to the films nominated for Best Picture at the last Academy Awards, but how Waves (2019) did not get on that list is beyond me. Maybe it didn’t qualify due to some technicality, but it was definitely one of the best films of last year. It’s a shame I missed it as Trey Edward Schults proves he is a formidable young director. Sterling K. Hayden is impressive as the father who thinks he knows best, but is ultimately as emotionally lost as his son. Taylor Russell as Emily is an absolute shining star in the role and Kelvin Harrison Jnr. is, following his mesmerising performance in Luce (2019), destined for great things. Lastly, I’m not sure how Waves (2019) got away from me on release, but I’m glad I finally caught up with this searing and complex drama.

Mark: 9 out of 11


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