Monthly Archives: March 2022

Apple TV, New Releases, Reviews

APPLE TV FILM REVIEW: THE TRAGEDY OF MACBETH (2021)

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APPLE TV FILM REVIEW: THE TRAGEDY OF MACBETH (2021)

Directed by Joel Coen

Screenplay by Joel Coen (Based on Macbeth by William Shakespeare)

Produced by: Joel Coen, Frances McDormand, Robert Graf

Cast: Denzel Washington, Frances McDormand, Bertie Carvel, Alex Hassell, Corey Hawkins, Harry Melling, Brendan Gleeson etc.

Cinematography: Bruno Delbonnel

*** SPOILERS ALERT ***

The Coen Brothers – Ethan and Joel Coen – are, as a filmmaking duo, one of the most original, imaginative, daring, and brilliant artists of my generation. I have watched all of their films many times at the cinema and at home, having completely connected with their distinct style and cinematic voice from their very first film, Blood Simple (1984) to their most recent release anthology Western The Ballad of Buster Scruggs (2018). As they’ve developed as filmmakers my admiration has grown exponentially over the years. They have worked within the studio system while maintaining their cinematic individuality and independent spirit.

Thus, it was a surprise when it was announced that Ethan Coen was taking a break from filmmaking, leaving his brother to venture out solo. Joel’s first production as a singular director is an adaptation of William Shakespeare’s famous Scottish play, The Tragedy of Macbeth (2021). With Denzel Washington cast in the lead and Frances McDormand portraying Lady Macbeth, Joel Coen certainly brought major talent to this prestige Apple production. Yet, given how familiar the play is to the world and the number of film, stage, radio and TV adaptations there have been, could the sole Coen breathe fresh life into this ancient tome?

If you haven’t seen or read Macbeth it is a tragedy first believed to have been performed in 1606. It deals with Macbeth’s journey from heroic warrior to murderous King to paranoiac and haunted mad person. Shakespeare’s themes are so absorbing in relation to the nature of ambition, fate and how a greedy lust for power will destroy a man’s soul and future. The play’s language is pure bewitching poetry and the gothic spirit which pervades the story clutches and squeezes at one’s organs tightly. Macbeth’s fate is sealed as soon as he believes the three witches prophecy on the battlefield. He is damned by his own hubris as well as his wife’s subtle manipulations. But how well does Joel Coen and his stellar cast capture such themes and character intricacies?

Firstly, the look of The Tragedy of Macbeth (2021) is astounding. Shot in brooding monochrome, shadows loom ominously creeping closer via Bruno Delbonnel’s striking cinematography. Moreover, the large sets dwarf the players given them a trapped feel. As though the walls are closing in on their souls as each fateful decision is made. The cast are uniformly superb too. Indeed, Coen makes a fascinating decision regarding the witches, having them portrayed in tremendously twisted fashion by one actor, Kathryn Hunter. Washington and McDormand are of course excellent. However, having such iconic actors in the leads did cause some disconnect with their respective characters. Plus, and I realise it is sacrilege to say this, but I always felt that Macbeth and his wife’s fall into insanity seemed to come too quickly in the latter acts. Lady Macbeth’s suicide in this adaptation felt particularly rushed.

My main tragedy of The Tragedy of Macbeth (2021) is that I did not enjoy it as much as many of the critics have. It is an incredibly wondrous film to look at. The sound also crackles and pops with howling wind, squawking birds, metal swords clashing and THAT sensational dialogue being delivered with majestic power by the cast. Yet somehow, despite the prodigious talent and excellent work presented by all I did not quite gel with it. I think it is probably my over-familiarity with the narrative, plus it was a very respectful adaptation. I would have liked to have seen more gore and action, rather than the restrained vision Joel Coen so expertly delivers here. Nonetheless, it remains another impressive addition to his amazing filmic curriculum vitae.

Mark: 8 out of 11

Articles, Cinema, Short films

EMERGING FILMMAKER’S NIGHT @ THE GARDEN CINEMA!

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EMERGING FILMMAKER’S NIGHT @ THE GARDEN CINEMA

As an emerging filmmaker for the last twenty years (and counting), I am always looking out for fresh presentations and potential collaboration in regard to film production. Most of all I love watching quality short films. Thus, I was thrilled to attend the ‘Best of EFN’ Screening and Networking Event on Friday 11th March 2022. Find out more about them here:

Website: https://www.efnfestival.org

Twitter: @EFNFilmFest

The event took place at The Garden Cinema in Covent Garden – a new fully independent art-house cinema in the heart of London. If you ever want a break from the standard multiplexes, then check out this stylish art-deco delight.

Their website is here: https://www.thegardencinema.co.uk/

Not only was it an incredible venue, but the night had an selection of some the best short films around. The line-up offered fine drinks, decent networking, a quality audience, a fun raffle, plus the finest shorts screened over the many great Emerging Film and Festival Nights.

SHORT FILM LINE UP

Films of Fury – Dir: Mila Araoz Ellis (2020) 12’57

The Sappho Project: fragment 147 Dir: Sari Katharyn (2021) 7’40

Moth Dir: Wai Ying Tiffany Tong (2020) 3′

Staying (Aros Mae) Dir: Zillah Bowes (2020) 19’23

Friends Online Dir: Samantha White (2019) 5’21

Vincent before Noon Dir: Guillaume Mainguet (2019) 17’

Crashing Waves Dir: Emma Gilbertson (2018) 3’39

Stationary Dir: Louis Chan (2019) 12’38

Single Dir: Ashley Eakin (2020) 14’09

All Stretched Out Dir: Alastair Train (2019) 3’33

—
EFN International Short Film Festival

Emerging Filmmakers Night (EFN) is a quarterly International Short Film Festival that showcases work by emerging talent.

EFN is a BIFA (British Independent Film Awards) Qualifying Short Film Festival

W.https://www.efnfestival.org

E.info@efnfestival.org

Short films, Star Trek

Our Star Trek fan film – THE HOLY CORE (2019) is an award-winner!

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THE HOLY CORE (2019) is an award-winner!

Big thanks to TREKLANTA.ORG for organising the 2020 BJO Star Trek Fan Film awards. Delayed due to COVID-19 the awards took place late in 2021 and I am so pleased that The Holy Core (2019) was nominated for a number of awards and won two.

The Holy Core (2019) won BEST ORIGINAL STORY OR SCREENPLAY
and BEST DRAMATIC PRESENTATION, LONG FORM!

Here are some photos of Paul Laight (me/writer), Gary O’Brien (Director, Editor/Production) and Philip Wolff (lead cast member) with our awards.

And if you have never seen the film you can watch it here:

Cinema, Reviews

CINEMA REVIEW: DEATH ON THE NILE (2022)

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CINEMA REVIEW: DEATH ON THE NILE (2022)

Directed by: Kenneth Branagh

Screenplay by: Michael Green

Based on: Death on the Nile by Agatha Christie

Produced by: Ridley Scott, Kenneth Branagh, Judy Hofflund, Kevin J. Walsh

Cast: Tom Bateman, Annette Bening, Kenneth Branagh, Russell Brand, Ali Fazal, Dawn French, Gal Gadot, Armie Hammer, Rose Leslie, Emma Mackey, Sophie Okonedo, Jennifer Saunders, Letitia Wright etc.

Cinematography: Haris Zambarloukos

*** MAY CONTAIN SPOILERS ***

Following the box office success of MURDER ON THE ORIENT EXPRESS (2017), it comes as no surprise there is a sequel to the classy Hercule Poirot train-set murder mystery. Once again Kenneth Branagh directs and stars as the Belgian detective and he has also assembled a wonderful cast of A-listers and solid character actors within the ensemble. I was especially pleased to see Annette Bening lend some gravitas to the glamour and whether the ultra-talented Rose Leslie could break out into bigger film roles. Gal Gadot and Letitia Wright also leave behind recent comic book films for an altogether more period setting. Lastly, who doesn’t want to see French and Saunders reunited on screen.

I have always loved Agatha Christie’s work be it in literary, radio, television or film mediums. DEATH ON THE NILE (1978), while a bit of a guilty romp, is a favourite of mine, especially as it was the first Christie adaptation I saw at the cinema. I must have seen that particular film about twenty times over the years. So much so I know the plot backwards. I guess the nostalgia for watching a film as a child and familiarity with the story create a kind of comfort film. Thus, another positive reason why I was looking forward to the new adaptation.

Kenneth Branagh as Hercule Poirot in 20th Century Studios’ DEATH ON THE NILE. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Agatha Christie truly knows how to create a masterful detective plot. In fact, she was a genius. What we now consider to be a cliched genre, the “whodunnit”, was practically invented and reinvented by Christie and this story has a devious plot and surprising ending. While the genre is familiar, I enjoy watching all the players in one location conflicting with each other. Of course, Poirot is an eccentric and brilliant detective, so even though I know he will solve the crime and how, paradoxically I still love the journey of it all. But what of this latest iteration? Well, all throughout I kept channelling the fury of Annie Wilkes! If it’s not broken, why are they howdy-doody trying to fix it!

If you have never read Death of the Nile, it truly is a wonderful detective story, tightly plotted and full of biting wit and observations from Christie. There is subtle critique of English types abroad and the negative impact money, lust and envy have on the human condition. But having said that there is an exotic location, crafty humour, witty dialogue and bright sunshine illuminating the bloody murder in the novel. This is where Branagh and his screenwriter get Death of the Nile utterly wrong for me. From very off they gloom the mood and tone, lose much of the fun and introduce too many different subplots which do nothing to enhance Christie’s original work. Her novel did not need changing!

Perhaps I was just too familiar with the material or Branagh’s confident/arrogance got the better of him. Aside from some highly suspect CGI with Bouc (Tom Bateman) on the pyramids, Death of the Nile (2022), looked fantastic. But it felt hollow and drained of joy. I mean, does it matter why Poirot grew a moustache and moreover why has he suddenly become so existential and sad? Gal Gadot felt too modern as the rich victim of the story and Armie Hammer is handsome yet bland. I enjoyed Sophie Okonedo’s performance, but her character was enjoyable comic relief in the 1978 version. Otterbourne is now given unnecessary depth and musical filler as a sultry blues singer. Lastly, Emma Mackey has some fine moments as the vengeful Jackie, but I thought overall the script served the actors badly. My advice is to watch the David Suchet or 1978 version instead of this sinking cinematic vessel.

Mark: 5.5 out of 11

Cinema, Six of the Best

SIX OF THE BEST #35 – REVENGE RECOMMENDATION FILMS!

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SIX OF THE BEST #35 – REVENGE RECOMMENDATION FILMS!

In series 10 of Curb Your Enthusiasm, Larry David opened a coffee store out of spite. It was done because he was having a personal dispute with coffee shop owner, Mocha Joe. Obviously, it’s a negative act and Larry David’s character is rich enough to carry out this vengeful venture. Safe to say Larry David’s plans eventually backfire and the spite store went up in smoke. But the comedic concept gave birth to much hilarity.

Now, I have no money so could not do anything that grand, but I find the idea of recommending certain films to people who have upset me quite amusing. This is what I call revenge recommendations. Of course, this is done for humorous purposes and I haven’t ever done this. But I thought it fun to list six films which could fit the bill. Films which are all very brilliantly made but in some way are, due to their extreme nature or different approach to storytelling, classed as “love them or hate them” examples of cinema.

Most importantly, when making revenge recommendations it’s important to sell them as films that are brilliant, even if you don’t like the films yourself. So, concentrate on the amazing cast or director or generally positive elements of the films; even if you have to lie. Finally, just remember, it’s just a bit of petty revenge to waste their time or annoy them. Hey, who knows, the person may even end up liking the film. Indeed, I like a few of these films myself after all.

*** CONTAINS MASSIVE SPOILERS ***

I’M THINKING OF ENDING THINGS (2020)

One of the films on this list I actually found really absorbing. However, this psychological drama has the potential to drive many people spare. Charlie Kaufman’s vision establishes a conventional relationship between Jessie Buckley and Jesse Plemons but the young woman is desiring to end things. Is it her life or her relationship she wants to end? Or is it both? Starts quite conventionally but ultimately a bizarre film that’s bound to infuriate and exasperate in equal measures.

LOST HIGHWAY (1997)

David Lynch is always a director whose films polarize audiences. Lost Highway (1997) is a great revenge recommendation because the noir mystery involving Bill Pullman’s musician sent to death row is weird, but actually quite coherent for a while. However, Lynch really pissed me off when he shifts character focus half way through, leaving me utterly confused. Thus, when recommending this remember to sell the great performance from Bill Pullman and brooding style and mystery. Just don’t say that Lost Highway (1997) makes no sense at all unless you’ve been smoking too much cheese like Lynch.

MOTHER! (2017)

While Mother! (2017) is technically a bravura tour-de-force in design, composition, cinematic experimentation and delivery I was utterly bored by, what is essentially, an indulgent, pretentious and nihilistic void of a film. Darren Aronofsky’s critiques Hollywood, fame, environmental disaster, and some kind of biblical allegory stuff and I wasn’t even shocked by the horrific denouement as I could not care less about any person or anything. But DON’T say this to the person you’re recommending it to. Just say Jennifer Lawrence and Javier Bardem are amazing and they HAVE to watch this film.

THE NEST (2020)

The most recent recommendation is a film I did not review on this site, because despite some sterling performances from Jude Law and Carrie Coon, plus absorbing direction from Sean Durkin, The Nest (2020), is ALL set-up and NO punch. It has no ending or catharsis! All throughout I felt a sense of dread and anxiety believing something horrendous was about to occur to these privileged 1980’s upwardly mobile characters. However, despite being thematically strong nothing of note really happens other than some rich people are going through some beautifully filmed and acted marriage issues. You can recommend this film to the hilt too as it was critically acclaimed and appeared on many reviewers top ten films of the year, I have no idea why?!

THE TRIBE (2014)

The Tribe (2014) is a truly breath-taking work of Ukrainian cinema. The story is set at a boarding school for deaf students and concentrates on a teenage boy whose life is dragged into a life of robbery, drugs and prostitution. Director Myroslav Slaboshpytskiy creates a grey and bleak vision of school life in the Ukraine and a succession of nihilistic set-pieces rip your guts out and stamps on them from a great height. Critically acclaimed and one of the films of the year, it is an ideal revenge recommendation because while the filmmaking is impressive, the narrative and subject matter are utterly depressing. The kicker though is that the actors are all deaf and communicate via sign language, but there are NO SUBTITLES! Expertly placing you in the same position as deaf people are situated within the hearing world, is commendable but a truly shattering experience.

TITANE (2021)

Titane (2021) starts promisingly but then soon descends early on into crazed violence. Then at the midpoint it delivers one of the most insulting plot shifts I have seen in recent years. Yes-yes it’s an arthouse film and an expression of Julie Decournau’s vision of humanity, but I DID NOT CARE!! I got the symbolism of human beings as machines and exploitation of women and that family represents death and blah-blah-blah! Yet, and I’m likely to be in the minority and Titane (2021) is one of the most narratively, emotionally and visually exhausting films I have seen in some time. Recommend in a vengeful way and ruin someone’s evening – ha-ha!