All posts by Paul. Writer and Filmmaker

Paul is a father, writer, filmmaker and office worker by day! He has been committed to a writing career from a very early age. In 1997, he graduated from Staffordshire University with a first class degree in Film, TV and Radio Studies. His 2nd year short film project THE ARTS FILE won a Stoke-on-Trent Young Filmmaker's award. Subsequently, he worked as a Production Assistant on a number of promos and successfully completed a work placement at Sky Movies. In 2002, he gained an MA in Feature Film Screenwriting from Royal Holloway College of London and since graduation has written several feature and many short film scripts. In 2005, he formed FIX FILMS and has written and produced TEN shorts to date. He has also had several short screenplays commissioned by the Mountview Film Academy and film director Jonathan Wolff. His work can be found here - www.fixfilms.co.uk. Most recently Paul wrote, produced and directed his own short horror film called FLATMATES (2018). He has subsequently written and directed three further shorts films called: MISDIRECTION (2019), TOLERANCE (2019) and YOU HAVE A NEW FOLLOWER (2020). His short films have had screenings worldwide at many film festivals. PAUL is a versatile and prolific writer with ideas in abundance and a very strong feel for structure, characterisation and dialogue. He favours thought-provoking and entertaining narratives with memorable characters, images and scenes. While he values all styles of film he tends toward genre movies as opposed to overtly "arty" cinema. Moreover, being involved in the producing, casting and crewing of low budget shorts has given him great experience and insight into the filmmaking process; improving his writing no end. Since 2008, Paul has been on the exciting merry-go-round that is the stand-up comedy circuit. He has done over 1000+ gigs to date. Venues include: Downstairs at the King's Head, The Comedy Pit, The Comedy Cafe, Soho Comedy, London Comedy Store, Electric Mouse Comedy, Streatham Comedy Club, Mirth Control, Comedy Heat, Lion's Den Comedy etc. He also ran two comedy nights: West End Comedy @ The Comedy Pub and West End Comedy @ The Brazen Head. He also used to be the resident MC at Electric Mouse's show at The Fox, Palmers Green and is now getting regular paid bookings as a comic and MC in and out of town. In 2014 and 2016 he performed at the Brighton Fringe Festival and Camden Fringe Festival in 2014. Recently he has performed open spots at club nights for the Banana Cabaret and Up the Creek comedy clubs in London. He is also a keen film and television seer and has a passion for all genres of movies from art-house to low-budget z-movies. He also loves television of all kinds notably great comedies and dramas. He is a budding essayist expressing his passion for his favourite films and programmes in this blog. Links Blog: www.thecinemafix.com Web: www.fixfilms.co.uk YouTube: www.youtube.com/c/FixFilmsLtd

CINEMA REVIEW: THE NORTHMAN (2022)

CINEMA REVIEW: THE NORTHMAN (2022)

Directed by  Robert Eggers

Written by: Sjón Eggers & Robert Eggers

Based on: The Legend of Amleth by Saxo Grammaticus

Produced by: Mark Huffam, Lars Knudsen, Robert Eggers, Alexander Skarsgård, Arnon Milchan

Cast: Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Björk, Willem Dafoe, etc.

Cinematography    Jarin Blaschke

*** MAY CONTAIN SPOILERS ***



Robert Eggers is a formidable cinematic talent. His dark visions of folklore and historical fable are steeped in impressive research and a striking attention to detail within his work. Artistically and thematically speaking, Eggers is a major talent, however, one could argue his narratives deny clarity preferring hazy ambiguity. His debut film The Witch (2015) is an arthouse classic, but I just did not connect with the characters, despite the filthy realistic strangeness. His follow-up, The Lighthouse (2019), is a claustrophobic, black-hearted and dirty descent into a watery hell. Both are bravura low-budget films which created two distinct periods. In both films you can almost feel the plague and scurvy in your mouth, presented as they are with such earthy authenticity.

Thus, unsurprisingly, Robert Eggers latest film is NOT a romantic comedy. The Northman (2022) is another obsessively researched and realised historical drama. But because of the reported $70 million budget, his vision of Vikings and blood and revenge and muscle and familial treason and murder screams epic, more epic and even more EPIC! Eggers script and story is inspired by the historical myth, The Legend of Amleth, a narrative which in turn is said to have influenced none other than the quite well known play, Hamlet. Here Eggers has a solid structure for the thunderous battles and mystical manifestations on show. Our hero, Amleth (Alexander Skarsgård), finds his father, the King (Ethan Hawke) murdered by his uncle (Claes Bang), while he is a boy. Fleeing his village he grows into a scary, ripped and roaring Viking warrior who has never even seen a carbohydrate. A hunger for bread and a desire for revenge on his uncle propels the story powerfully. Intense Amleth must locate his kidnapped mother (Nicole Kidman) and smash the man who did his family wrong.



Eggers is a brilliant film director. In Alexander Skarsgård he also has a battering ram of a physical specimen leading the charge from deathly pillage to bloody battle to fiery hand-to-combat with impressive purpose and power. Amidst the vengeance-fuelled fight sequences and Amleth’s confrontations with the seers and magicians of the land, his journey also encompasses love and marriage to Olga of the Birch Forest, a Slavic sorceress (Anya Taylor-Joy). While Skarsgård’s character is more muscle than charisma, Taylor-Joy breathes ethereal and sensual life into the middle act. Their collaboration battling against enforced slavery gives us something to root for above the familiar revenge plot. Having said that, Amleth is not the easiest of characters to warm to. Despite Eggers genius and Skarsgård’s brutalism I wondered if I really cared about his quest.

I would argue that this story was done far more successfully from an emotional perspective by Ridley Scott’s awesome Roman epic, Gladiator (2000). Russell Crowe was just phenomenal as Maximus and his performance was one of magnetic emotion and charismatic depth. That film had amazing action married to integral character development. However, there is a violent momentum to The Northman (2022), with Amleth’s quest charging like a juggernaut toward the jugular of his foes. Eggers’ image and colour system of Viking costumes, iconography, weaponry, plus human, godly and ungodly beings provide the depth when the characterisation feels thin. And wow, does he know how to stage a battle. Bones crunch, teeth crack, blood bursts and weapons sever, scorch and devastate. As the fire burns in Amleth’s heart and across the landscape, The Northman (2022) rages from the cinema screen with dominant visual ascendancy.

Mark: 8 out of 11


HAIL BRITISH CINEMA! REVIEWS OF: AFTER LOVE (2020), BOILING POINT (2021), CALIBRE (2018), COUNTY LINES (2019) & ROSE PLAYS JULIE (2019)

HAIL BRITISH CINEMA!

Tired of watching big-budget homogeneous Hollywood product dominated by superheroes, sequels, remakes, prequels and remakes of prequels to sequels? I kind of am. Not that I don’t love a genre blockbuster when it’s done well. However, from time to time it’s good to diversify and watch films with more depth.

BFI Player has some terrific new and classic releases from all over the world. So, of late I have concentrated on watching some of the newer releases made by British filmmakers. My homeland has always been rich in talented people both in front and behind the camera. This has meant an incredible array of actors, filmmaking artists and technicians being poached by Hollywood. This is not just an artistic decision but an economic one. There just isn’t the money here to make big budget films, however, that doesn’t mean there isn’t some cinematic gold coming out of Britain.

While there have been some very successful film studios in the past, the British film industry has the air of an independently driven environment now. Film Four, the BFI, Aardman, BBC films, Heyday, Baby Cow, Salon Pictures, Marv Films and Number 9 films are all production companies which inhabit the industry. However, it is difficult competing with the gigantic corporate film companies, especially those that dominate distribution at the cinemas.

Yet, here are several brilliant British films I have watched on BFI Player, Netflix and Amazon lately. They are low-budget, mostly independently produced and highly recommended. Check them out as they certainly offer a divergent and absorbing change from the standard generic product at the multiplexes. With marks out of the usual eleven.

*** MAY CONTAIN SPOILERS ***



AFTER LOVE (2020) – BFI PLAYER

Written and directed by: Aleem Khan

Main cast: Joanna Scanlan, Natalie Richard, Talid Arliss etc.

Joanna Scanlan is mesmerising as a Western woman, Mary Hussain, who converted to Islam when she married her childhood sweetheart. In the present, her husband dies suddenly and she discovers he had a secret history. Dealing with both grief and shock at this news, this beautifully acted and directed character study is quietly devastating and moving. Covering themes relating to family, religion, love and fidelity After Love (2020), deservedly won best film at the British Independent film awards. Scanlan, more synonymous with comedic roles, is outstanding and Aleem Khan is a filmmaker who is definitely going places.

Mark: 9 out of 11


BOILING POINT (2021)

Written by: Philip Barandini, James Cummings

Directed by: Philip Barandini

Main cast: Stephen Graham, Vinette Robinson, Ray Panthaki etc.

I’m not a big fan of one-take films generally as it is kind of an unnecessary gimmick, yet this fantastic restaurant-set drama makes full dramatic use of the technique. Stephen Graham is the Head Chef at a Dalston eatery and has to navigate a stressful shift with environmental health, marital, staffing, customer, financial and culinary issues all mounting up around him. There’s even a food critic in the venue. It is brilliantly acted and directed and extremely tense throughout. Graham is always a cracking watch, but Vinette Robinson, as his over-worked deputy, really brings the soup to a boil, serving up a tasty performance amidst the fine ensemble.

Mark: 9 out of 11


CALIBRE (2019) – NETFLIX

Written and directed by: Matt Palmer

Main cast: Jack Lowden, Martin McCann, Tony Curran etc.

This nerve-wracking thriller takes two former boarding-school friends, Vaughn and Marcus, portrayed by Lowden and McCann, on a shooting trip to the Highlands of Scotland and throws them into the pits of despair when tragedy strikes. Taut is not the word when a fateful shooting incident occurs, as a series of bad decisions places their fractious relationship at the mercy of the angry locals. Further conflict derives as Vaughn’s attempts to mature are countered by the reckless Marcus’ aggressive behaviour. Meanwhile, the film also pointedly comments on the corporate invasion of Scottish nature. Overall, Calibre (2019), had me on the edge-of-my-seat, not wasting a moment to raise the pulse. Finally, Lowden is superb, giving a nuanced performance in an impressively directed feature film debut.

Mark: 8.5 out of 11


COUNTY LINES (2019) – BFI PLAYER

Written and directed by: Henry Blake

Main cast: Conrad Khan, Ashley Madekwe, Harris Dickinson etc.

If you didn’t know ‘County Lines’ is the practice of trafficking drugs into rural areas and small towns, away from bigger cities. Traffickers often recruit vulnerable children, including those who have been excluded from school, as drug dealers. Part-thriller and part-cautionary tale, Henry Blake’s gritty and impactful film draws on his own experiences working in a pupil referral unit. Lead character, teenager Tyler (Conrad Khan), is groomed and drawn into a murky world of drugs, only to learn some harsh life lessons. Ashley Madekwe gives a fighting performance as the mother who fears her son is lost to the mean streets of London and Harris Dickinson’s charismatic dealer.

Mark: 8 out of 11


ROSE PLAYS JULIE (2019) – BFI PLAYER

Written and directed by: Christine Molloy and Joe Lawlor

Main cast: Ann Skelly, Orla Brady, Aiden Gillen etc.

Similar in style and tone to Lynn Ramsay’s intense You Were Never Really Here (2018), this poetic thriller takes a generic revenge narrative and delivers an eerie experience through haunting performances, direction, editing and musical composition. While the story moves at a glacial pace it retains power and purpose, as Ann Skelly portrays adoptee, Rose/Julie, a veterinarian student searching for her biological parents. Her detective work unearths devastating secrets which then precipitate twisted turns into thematically dark territory. Skelly gives a subtle but intelligent performance, while Orla Brady and Aiden Gillen also give emotional depth to their respective roles. Ultimately, despite the film delivering certain plot points too enigmatically, one cannot fail to be moved by Rose’s shocking journey of discovery.

Mark: 8 out of 11


Lest we forget. . .

SAINT MAUD (2019) – AMAZON PRIME

Written and directed by: Rose Glass

Main cast: Morfydd Clark, Jennifer Ehle etc.

The film is more than just a calling card for the extremely talented director, Rose Glass. Her grasp of the material is superb and the cinematography and shot composition support her dark vision brilliantly. The film may disappoint those who prefer conventional supernatural films, as it is more arthouse than classic horror. Moreover, it has much in common with searing character studies by Paul Schrader, such as Taxi Driver (1976), and the more recent, First Reformed (2017). Indeed, Maud’s voiceover permeates like a prayer to an empty sky bleeding into the powerful imagery to compelling effect. The true horror of Saint Maud (2019) is not in jump scares or one-dimensional monsters, but rather the slow descent into hell by a character who strives to be a saviour. Tragically though, Maud is a self-appointed Angel, whose mental fragility disintegrates under the weight of holy desire and biblical fervour.

Mark: 9 out of 11


APPLE TV FILM REVIEW: CODA (2021)

APPLE TV FILM REVIEW: CODA (2021)

Directed by: Sian Heder

Screenplay by: Sian Heder

Based on: La Famille Bélier by Victoria Bedos, Thomas Bidegain, Stanislas Carré de Malberg & Éric Lartigau

Produced by: Fabrice Gianfermi, Philippe Rousselet, Jerôme Seydoux & Patrick Wachsberger

Cast: Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, Marlee Matlin, etc.

Cinematography: Paula Huidobro

*** MAY CONTAIN SPOILERS ***



Simultaneously a feelgood film and tear-jerking emotional rollercoaster, CODA (2021) combines many familiar aspects from cinema including: Children of a Lesser God (1986), Billy Elliot (2000), Dirty Dancing (1987), and the more recent and arguably superior drama, Sound of Metal (2019). In fact, while it may seem progressive representing a family of deaf adults, the Rossi’s, and their hearing daughter, Ruby (Emilia Jones), the film feels like a Save-the-Cat-screenplay-template-box-ticker hitting wholly familiar beats and a well-trodden genre path. Coda (2021) is also a remake of a successful French-Belgian film, La Famille Bélier (2014). Having said all that, I loved Coda (2021). It is a terrifically entertaining, moving, funny and heart-warming story which, unsurprisingly won the Academy Award for best film.

Set in Massachusetts amidst the milieu of a working class deaf family, the Rossi’s, who run a struggling fishing boat and have to overcome the ignorance and prejudices of the hearing folk. Hitting the high notes at the heart of the story is Ruby Rossi (Emilia Jones). She is a brilliant character to root for; so human, enthusiastic and authentic. Ruby wants to sing but her family, father Frank (Troy Kotsur), mother Jackie (Marlee Martin), rely heavily on her to assist with business and family matters. Her proud brother Leo (Daniel Durant) desires the chance to take more responsibility and this makes him envious of the attention Ruby gets. Throughout, Coda (2021) spans many genres bringing family conflict, Ruby’s singing dream, young romance, everyday tribulations of a deaf family, as well as the plight of a fishing community into the mix. The fantastic screenplay balances all these elements superbly well.



Ruby’s emotional rites-of-passage arc anchors us through so many memorable scenes, proving pivotal as she ultimately finds her voice and independence. Emilia Jones gives a mature performance full of range and heart. Ruby’s embarrassment, shame, fear, anger, passion, guilt, humour, happiness and guts are all exposed on her journey as she fights against the tide of her own self doubt and commitment to family. Her family are well characterised too with Frank and Jackie providing humour, sympathy and pride as the parents who just don’t want Ruby to leave them. Troy Kostur deservedly won a best actor in a supporting role Oscar. Lastly, famous Mexican actor, Eugenio Derbez as Bernardo Villalobos, gives us a fresh take on the staple role of musical mentor.

Unashamedly melodramatic and occasionally cloying, Coda (2021), is a big-hearted familial comedy-drama which while predictable, contains many powerful messages. Following your dream, respecting those around you and loving your family are important missives especially in a world where political and military leaders remain hell-bent on war. Further, while I am not well versed in the world of the deaf community I felt that the representations here were sensitively managed and well-rounded. Sian Heder, as both writer and director, has adapted this story with care, humour and song. Ruby’s voice soars from her lungs, mouth and hands via the expressive sign language, culminating in a joyous experience that must be seen, heard and most importantly felt.

Mark: 9 out of 11


CINEMA REVIEW: THE BATMAN (2022)

CINEMA REVIEW: THE BATMAN (2022)

Directed by: Matt Reeves

Written by: Matt Reeves, Peter Craig

Based on: Characters from DC

Produced by: Dylan Clark, Matt Reeves

Cast: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, Colin Farrell, etc.

Cinematography: Greig Fraser

*** MAY CONTAIN SPOILERS ***



Three hours of darkness, shadows, fireworks, distorted sound and vision, dull emo-bluster, explosions, fist-to-fist combat, choppy chases, limp dialogue, sparse suspense, blaring sirens, mumbling delivery and humdrum sexual chemistry combine to an incredibly stylish yet boring experience. It may be the biggest box office hit of the year, but The Batman (2022) was interminable filmic disappointment for me. Bruce Wayne/The Batman is a miserable cipher here for the action on show. He is also arguably one of the worst detectives I have witnessed on the screen. Yet, be aware it is NOT the filmmaker’s fault. It is mine. I am a bad cinemagoer.

I am as jaded, and world weary as Robert Pattinson’s noir gumshoe in a costume on screen. Except I have earned it. I have lived through dead-end jobs, despair and disappointment. This film starts by asking us to follow Bruce Wayne’s Caped Crusader into the mean streets of Gotham to battle nefarious gangsters and a crazed, riddle-driven terrorist. But why do we care about him? Christopher Nolan and Christian Bale breathed vibrancy and commitment into the DC comic hero. His trilogy, though not faultless, made us root for the rich kid scared of flying rats. Going on a journey of discovery and finding himself an identity in the process, Bale’s Batman was a three-dimensional hero. Matt Reeves eschews all that with The Batman (2022), presenting familiar characters searching for some semblance of plot and characterisation in the dark.



The story is a breadcrumb plot as Pattinson’s suited vermin plods through scene after scene trying to work out who is killing the corrupt officials of Gotham City. There are fireworks and expertly designed action sequences although many of them are difficult to see amidst the cinematographic murk. Moreover, there isn’t really any empathetic characters here. I love a good cinematic anti-hero, but that requires personality and energy. This Batman has neither of those. Although the screen work of Jeffrey Wright, Paul Dano, John Turturro, Colin Farrell, Andy Serkis and Zoe Kravitz does breathe light and heat into the dull script. Farrell is The Penguin but essentially an Al Capone substitute. His excellent caricature gets buried and almost lost in obsidian and prosthetics.

But as I say, I am to blame. I am a bad superhero cinema person. I am saturated and fatigued by comic book film adaptations and TV shows from Marvel to DC to Vertigo and Image and Icon (yes I know this is Marvel too). I mean the best I can say is The Batman (2022) blasts away the rot that Affleck and Snyder implanted into the Batman franchise. Although that isn’t saying much. Because an obscene $200 million dollars was spent on this hollow vision of a wealthy emo-brat in a dark suit kicking the crap out of shadows. But remember this is my fault. I am old. I am cynical. I applaud Matt Reeves and his talented production team for delivering an impressive visual feast. It’s just a shame that in the bloated running time (15 minutes of that being end credits), they didn’t write any characters worth spending three hours with.

Mark: 7 out of 11


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

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


EMERGING FILMMAKER’S NIGHT @ THE GARDEN CINEMA!

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


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

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 REVIEW: DEATH ON THE NILE (2022)

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


SIX OF THE BEST #35 – REVENGE RECOMMENDATION FILMS!

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!

CINEMA REVIEW: NIGHTMARE ALLEY (2021)

CINEMA REVIEW: NIGHTMARE ALLEY (2021)

Directed by: Guillermo del Toro

Screenplay by: Guillermo del Toro, Kim Morgan

Based on: Nightmare Alley by William Lindsay Gresham

Produced by: J. Miles Dale, Guillermo del Toro, Bradley Cooper

Cast: Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, David Strathairn, etc.

Cinematography: Dan Laustsen

*** MAY CONTAIN SPOILERS ***



Guillermo Del Toro could probably have had his pick of film stories to choose from after the monumental box office and critical success of the majestic alternative love story, The Shape of Water (2017). But rather than build on the message of love and hope in that creature feature he has chosen to adapt the noir novel, Nightmare Alley by William Lindsay Gresham. In the process Del Toro has also remade the classic 1947 film of the same name, starring Tyrone Power.

Essentially a $60 million dollar B-movie, the film is one of the most opulently dark and beautifully designed films I have witnessed in some time. Light, shadow, wood, gold, blood, fire, sweat, skin, snow, and night all collide and collude in a stunningly presented palette from Del Toro and lead production designer, Tamara Deverell. This film is a moving painting with inspiration from geniuses such as Picasso, Dali, Matisse and Edward Hopper. While the look of the Nightmare Alley (2021) and cast are a constant wonder, I had a nagging thought while watching the film which made me question who the audience was for this film. Also, there were many story elements which did not gel for me.



Nightmare Alley (2021) opens with fire and death. Drifter Stanton Carlisle (Bradley Cooper) then finds himself drawn to the carnival arena. It is full of shadowy characters, oddballs and tricksters, portrayed with dirty glamour by the likes of Toni Collette, Willem Dafoe, David Strathairn, plus the more innocent, Rooney Mara. Stanton fits right in and is soon making a name for himself as a mentalist, fooling audiences with carefully rehearsed cues and memory tricks. The first half of the film is its narrative strength. Only after Stanton’s story leaves the carnival his journey twists into something more sinister, but less satisfying.

I enjoyed Del Toro’s stunning visual magic employed in Nightmare Alley (2021). However, while Bradley Cooper has terrific star quality I did not care for his anti-heroic Stanton Carlisle. Cate Blanchett is also alluring as the latter second act enchanter, but ultimately the film lacks real depth. Themes relating to masculinity in crisis, war, psychoanalysis, crime, grief, the afterlife and what it means to be a freak or outsider are there, but only skimmed. I mean the plot has some decent twists, but I did not entirely commit to the downward trajectory of Carlisle’s tale. Overall, as a morality tale Nightmare Alley (2021) is not as frighteningly tragic as it could have been. Carlisle gets what he deserves, and I felt little pity or horror for his end. Unlike another classic noir from some years back, Angel Heart (1987).

Mark: 8 out of 11