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CINEMA REVIEW: THE MENU (2022)

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CINEMA REVIEW: THE MENU (2022)

Directed by Mark Mylod

Written by: Seth Reiss, Will Tracy

Produced by: Adam McKay, Betsy Koch, Will Ferrell

Cast: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Reed Birney, Judith Light, John Leguizamo, etc.

Cinematography Peter Deming

*** MAY CONTAIN SPOILERS ***

I love cinema and films like The Menu (2022), as much as I love food and drink. Wow, some of the food shown on screen looked absolutely delicious, while some of it was that weird cuisine so gorged on by the pompous moneyed folk of this world. I must admit that I have had an unhealthy relationship with food. I have been an overeater and also overweight. I am a food addict, notably sugar and alcohol. I have attempted to control it with various dietary ventures. Low calorie, low carbohydrate, low sugar, running, gym, fasting, temperance and other (un)successful attempts at moderation have ensued. Presently, I am pretty fit from a cardio perspective, and twenty kilos lighter than I was ten years ago. But I could do much better.

I’ve always strived to eat healthily, but fine dining was never really for me. It was only when I met my wife eight years ago that I was introduced to gourmet dining and the dreaded tasting menu. Aside from the over-priced food, I just find those posh restaurants too pretentious for a working-class boy from Battersea. Yet, I would go out with my wife for a treat and eat at some wonderful restaurants in Edinburgh, Copenhagen, Cornwall, London and many more. Some were amazing and some I found were not really value for money. The personality cult of the celebrity chef continues to thrive also. Aside from enjoying Ramsay’s Kitchen Nightmares they’ve never really interested me. Yet, I was onboard while imbibing the skewered satire of The Menu (2022). Because it’s a sharply scripted horror film which comes to the boil slowly before delivering a killer set of courses throughout.

It’s best to experience The Menu (2022) without knowing too much. The surprises in the inventive script are a constant joy. The setting is an exclusive and expensive restaurant on a remote island called Hawthorne. The host, menu architect and epicurean is celebrity chef, Julian Slowik. Chef is portrayed with intense control and focus by Ralph Fiennes. Slowik finds himself worshipped by his kitchen acolytes, who adhere to his every demand. He is brilliant and to be feared, like many a charismatic cult leader before him. Eat your heart out, Gordon Ramsay.

Arriving by boat to the blighted isle are twelve restaurant-goers such as a team of rich finance guys, a once famous Hollywood actor (John Leguizamo) and his PA, a wealthy middle-aged couple, a food critic (Janet McTeer) and her yes-man assistant, plus the mis-matched couple, Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult). Tyler is a sycophantic fanboy of Slowik’s food and career, something that later comes to horrifying catharsis. Indeed, as well as the mysterious menu, many of the guests are harbouring a secret that this hell’s kitchen is more than prepared to burn.

Structured, unsurprisingly, around the courses of a tasting menu with titles separating each dish, the food delivered is both imaginative and beautifully presented. Margot’s character pushes back on what she considers to be both ostentatious and insubstantial food, much to Tyler’s annoyance. Their conflict intersperses the rising suspense that derives from Julian’s menu, which raises the stakes gradually, before events truly reach boiling point. In Slowik’s restaurant the customer is definitely NEVER right. Similar to Ready or Not (2019), The Menu (2022) is a fantastically twisted and funny genre film. Fiennes, Taylor-Joy, Hoult and Hong Chau are on terrific acting form. Further, the production design and cinematography make the visuals succulent and palatable. Ultimately, for those who love food, fear and vengeance, this film is certainly best served hot!

Mark: 8.5 out of 11

Articles, Film Festivals, Raindance

The 30th RAINDANCE FILM FESTIVAL!

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Raindance 30th Film Festival

Discover. Be Discovered.


Raindance Film Festival is the largest independent film festival in the UK. Holding the 30th festival in 2022, Raindance is based in the heart of London’s buzzing West End film district.

Raindance Film Festival is officially recognised by the Academy of Motion Picture Arts and Sciences USA, the British Academy of Film and Television Arts and the British Independent Film Awards. Selected shorts will qualify for Oscar® and BAFTA considerations.

Festival Sections:
– World-renowned programme of the best UK and international independent films.
– House of Raindance – talks and panels at Genesis Cinema
– Raindance VRX programme for virtual reality and new media
Networking events
– Attracting 16,000 visitors including 500 industry professionals into London.

The 30th Raindance took place between October 26 – November 5 2022 in Central and East London. I attended many of the amazing events.

Opening Night Gala and Film – Corner Office (2022)

The opening night Gala at the Waldorf Hotel, was a fantastic event and Jonathan Pryce and Vanessa Redgrave deservedly received Raindance icon awards.

The opening gala was preceded by the opening film. Starring the cast-against-type, Jon Hamm, Corner Office (2022) is a fine surreal comedy. He portrays an office worker who finds a room in the office which no other worker can see. Is he crazy or the sanest person in the company? Joachim Back directs a stylish and offbeat indie cinema treat!

House of Raindance at Genesis Cinema

At the wonderful Genesis Cinema, near Stepney Green in East London, the Raindance Film Festival created the House of Raindance and Backyard cinema marquee full of fantastic industry events and screening. These included: panels with industry professionals from TooFar Media, Paus TV, and Celtx; masterclasses with filmmaking experts and retrospective screenings of classics such as Pulp Fiction (1994), Memento (2000) and Old Boy (2003).

Closing Party and Film – Pinball: The Man Who Saved the Game (2022)

After watching over 15,000 feature and short film submissions, the Raindance programmers delivered an array of amazing cinematic works. Films screened from all over the world included: Erin’s Guide to Kissing Girls (2022), Iguana (2022), Pantafa (2022), Karaoke (2022), Little Axel (2022), Swallow (2022), Razorlight: Fall to Pieces (2022); and many shorts programmes including Raindance Film School Student Showcase, Queer, Horror, Radical Agendas and Transient Venture strands.

Having opened with a brilliant film, Raindance 30th Film Festival closed with another entertaining one too. It was the romantic, heroic and comedic 1970s period film, Pinball: The Man Who Saved the Game (2022). It’s the story of Roger Sharpe, the young midwesterner who overturned New York City’s 35 year-old ban on pinball machines. Influenced stylistically by Martin Scorsese, it is a niche but fascinating and bumping slice of American legal historia. Safe to say to the closing party at Genesis Cinema was flipping marvellous too.

See you next year at the 31st Raindance Film Festival!

Articles, Cinema, music, New Releases, Oscar Bingo

CINEMA REVIEW – ELVIS (2022)

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CINEMA REVIEW – ELVIS (2022)

Directed by Baz Luhrmann

Screenplay by: Baz Luhrmann, Sam Bromell, Craig Pearce, Jeremy Doner

Story by: Baz Luhrmann, Jeremy Doner

Produced by: Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick, Schuyler Weiss

Cast: Austin Butler, Tom Hanks, Helen Thomson, Richard Roxburgh, Olivia DeJonge, Kelvin Harrison Jr., Xavier Samuel, David Wenham , Kodi Smit-McPhee etc.

*** MAY CONTAIN HISTORICAL SPOILERS ***

Since 1992, Baz Luhrmann has directed only six feature films. Each of them, aside from the lower-budgeted, Strictly Ballroom (1992), is a gigantic and epic extravaganza, full of colour, imagination, verve, energy, music, poetry and larger-than-life characters. Even Strictly Ballroom contains many of the stylistic and formal elements which would become part of Luhrmann’s oeuvre. I pretty much feel this auteur’s excessive approach to filmmaking including the fast-cutting, opulent settings, big musical numbers, all-star casts, plus grandiose and melodramatic narrative delivery are always a wonderful spectacle to experience.

Arguably, adapting the American novel, The Great Gatsby (2013), in this periphrastic packaging, took away from the enigma and majesty of Fitzgerald’s classic. However, with Elvis (2022), Luhrmann and his incredible production team, marry such genius excessive style with the perfect subject matter: the King of Rock and Roll! Because in colliding the life, music and films of Elvis Aaron Presley with Luhrmann’s stunning methodology brings to the screen one of the best films of the year Indeed for Luhrmann, Elvis (2022), is evidently a stylistic, subjective and thematic labour of love, marking it as his best film to date.

I wasn’t even going to watch Elvis (2022) at the cinema. I’d recently seen Spencer (2021) on Amazon Prime and was happy to have streamed that. While that eerie adaptation was a valiant attempt to breathe life into the ghost of Diana. An elegiac attempt to explain the oppressive result of her naïve choice to land her Princess dream. With Kristen Stewart’s exceptional impression rescue breathing Diana’s tragic existence, I knew the story. I knew enough to care for someone whose mental health was discarded by the heartless Windsor’s. But the monarchy have been killing the working class for years, so why should I care deeply for one singular spoilt individual? Similarly, I pondered whether I wanted to watch another film about Elvis Presley. A God-given talented singer, heartthrob, actor, musician and legendary performer had a story I was already familiar with. But, I am so happy I overcame my ignorant prejudice because Elvis (2022) is a humdinger of a part-musical-part-biopic-part-drama-part-American tragedy.

Elvis (2022) is structured around the memories of shadowy manager, Colonel Tom Parker (Tom Hanks). He is suffering illness in his old age, close to hospital demise. Parker is a grotesque in a billowing gown, drifting around the nightmarish Vegas slot-machines as Elvis’ voice echoes within his mind. Is it the guilt or the morphine? The story flashes back to a younger Parker promoting country singers at a travelling Carny. Until that fateful day when he hears a miracle on the radio, a young singer who everyone thinks is Black. But he isn’t. In the markedly racist times of 1950s America (has it really changed in certain States or Police departments?), a Black singer won’t sell records like this white dude will. Seizing his chance Parker attends Elvis’ first gig and witnesses a phenomenon. An attractive, sexual, gyrating and angelic powerhouse with an incredible voice who sends sex-waved into the audience, especially the teenage girls.

A star is born, and it takes a star to play a star. Take as many bows as you want, Austin Butler. He is a genuine phenomenon in Elvis (2022). Of course, the wardrobe, postiche and make-up artists work wonders to help recreate Elvis’ iconic looks as the narrative flashes through various stages of Presley’s devastatingly successful career, Yet, Butler just lights up the screen, producing acting fireworks in a physically, spiritually, emotionally and musically astounding screen presentation. It is not an impression, but a tour-de-force for a relatively unknown actor who has jettisoned his career to glory.

Butler, lives and breathes the King. This rendition and great direction from Luhrmann make you feel tragic empathy for a career which was manipulated and controlled by grubby gambling addict, Parker. Hank’s portrayal of the Colonel feels unnatural and theatrical compared to Butler’s organic turn. Perhaps that was the intention? Deliver a pantomime villain to boo and hiss at. Although, Hanks’ cigar-chomping and jowly make-up made me think the evil touch of Orson Welles’, Captain Hank Quinlan, had somehow been resurrected.

I cannot praise Elvis (2022) enough as a cinematic biopic and musical spectacle. While the choppy editing style is jarring at the start, once the film settles down into a groove, Butler’s stunning incarnation shines through. Overall, I was enlivened by, not only the constant remixing of Elvis Presley hits, but Luhrmann’s choice to alloy gospel, rhythm and blues, rap, rock, pop, ballad and protest songs throughout the scintillating soundtrack. Much, quite rightly, is made of how much diverse music influenced Elvis’s formative life and how he connected with Black musicians of the era. Luhrmann also ensures we are aware of how much of a threat Presley was seen by the establishment due to the sexual nature of his sang satanic verses. Sent to Germany to prevent him demonising America, his comeback special after seven years in movies is one of the finest movie set-pieces I have seen in many a year. Funny, rocking, poignant, effervescent, beautiful and astounding, just like Elvis, the man and myth, and Elvis (2022) the film.

Mark: 10 out of 11

Articles, Book Review

[Book Review] HOLLYWOOD GAME PLAN – Carole M. Kirschner

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[Book Review] Hollywood Game Plan – Carole M. Kirschner

The sniping words of despotic Hollywood executive, Buddy Ackerman, in the scathing film satire Swimming With Sharks (1994), echoed around my mind.

“Because there are no story-book romances, no fairy-tale endings. So before you run out and change the world, ask yourself, ‘What do you really want?’”

It’s a vital life question. What is it you really want? If you’re drawn to the dream factory, to Hollywood, that celebrated capital of mythmaking and stardust where do you start? Well, Carole M. Kirshner’s Hollywood Game Plan is definitely for you. In a fabled town where apparently nobody knows anything, I have to say I knew so much more after reading this.

Who is Carole M. Kirshner I hear you ask? Because, like me, you may be dubious of such Hollywood guides which offer to demystify the process of getting ahead in the film and television industry. Never fear as the author has walked the walk and talked the talk in Hollywood, grafting her way up to a senior-level Hollywood executive for CBS and Steven Spielberg’s Amblin Entertainment.

Yet, Hollywood Game Plan is not the work of a jaded burnt-out hack. Rather, it’s a dynamic and positive journey structured from start to finish to help you achieve the goal of getting a job in Hollywood. If that is what you really want then read on.

One of the book’s major strengths is a well-designed spine that teaches the reader the basics, getting us prepared for the long Hollywood road trip ahead, training our brains for obstacles that may come our way, and not filling one’s mind with dreamy possibilities. There is hard graft ahead through research, networking, pitching, phone calls, interviews, more networking, staying positive, facing rejection, and having a never-say-die attitude. As the author states finding a full-time job in Hollywood is a full-time job in itself.

The writing throughout is punchy and unpretentious. There is real honesty that leaps from the words on the page. Moreover, I was especially impressed by the goal-oriented aim of the book. If you’re like me and enjoy hitting targets then Carole M. Kirshner’s chapter exercises really build what she calls that “Los Angeles Armour.”

Indeed, how to write a killer C.V., perfect a covering letter, find a mentor, write, and pitch your own personal history, and even how long to wait before you follow up on a hot lead are just a suggestion of the priceless advice in this book. It will most definitely get you ahead of the competition during the Darwinist task of moving up the Hollywood food chain.

Because it is survival of the fittest in Hollywood. You’ve got to work to earn your lucky break. There’s rarely such a thing as overnight success. As well as the target-based exercises there are many testimonials from professionals within Hollywood, including those who have taken Carole M. Kirshner’s Hollywood Game Plan course. These and the informative appendices at the back of the book provide an invaluable set of tools for the journey ahead.

So, in conclusion, ask yourself what you really want? If it’s a job in Hollywood and you’re out of shark repellent, barbed spears, and a protective underwater cage, you could do worse than arm yourself with Carole M. Kirshner’s enlightening book, Hollywood Game Plan.

Get your copy here.

Mark: 8.5 out of 11

Articles, Cinema, Six of the Best

SIX OF THE BEST #36 – FILM UNDERDOGS!

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Why the canine is considered to be the appropriate animal to represent a character who overcomes great loss and adversity is fascinating. On further digging one will find that etymological history of the term, Underdog, derives from the second half of the 19th century, where its first meaning was “the beaten dog in a fight”. Two dogs fight and the losing one is the underdog. Quite simple and obvious really. It makes sense then that the term has also been used in sporting and filmic language down the years. Here the underdog is a team or individual who faces an insurmountable opponent where defeat is most likely. To then gain victory against the odds makes the winning oh so much sweeter and glorious.

So, for my occasional Six of the Best series I’d like to explore and list some of the finest underdogs from cinema. I’d also like to consider certain conventions from within this subgenre. Clearly, I could just choose six films about sport, so I am going to work a bit harder and provide some less obvious choices too. Hope you agree.

** MAY CONTAIN SPOILERS **

ROCKY (1976) – The individual underdog!

The individual underdog is synonymous with sporting films. Cinderella Man (2005), Eddie the Eagle (2015), Rudy (1993) and The Karate Kid (1984) are just some of the fine narratives which have used the individual overcoming the odds to triumph. Obviously, though the greatest of all time is Stallone’s working-class journeyman, Rocky Balboa, rising up from the gutters of Philadelphia to seeing stars and finding love in the ring. Reflected in Rocky’s incredible journey is Stallone’s own underdog story of a struggling actor, who had to sell his dog, wrote a brilliant script, determined to play the lead, earned his break and became one of the biggest film stars of a generation.

REMEMBER THE TITANS (2000) – the team underdog!

Like the individual underdog sports film, cinema is brimming with crowd pleasers about a bunch of unlikely oddballs or losers joining forces to steal victory from the jaws of defeat. Usually, the team underdogs will overcome singular divisions, while learning about themselves to find formidable communal fighting spirit. The Bad News Bears (1976), The Mighty Ducks (1990), The Longest Yard (1974/2005), Miracle (2004) and the aptly named Dodgeball: A True Underdog Story (2004) are but a few of these excellent team films. However, Remember the Titans (2000) is one of the most powerful sporting team movies featuring Denzel Washington as T. C. Williams High School coach, Herman Boone, whose team not only overcomes sporting obstacles, but political ones including institutional racism and widespread bigotry outside and within the school system.

NIGHTCRAWLER (2014) – the villain as underdog!

Here’s a character which is incredibly difficult to write and even more problematic to define due to the paradoxical nature of their personality. If you’re doing bad things can you be considered an underdog? I mean is the underdog’s victory earned and can an audience root for the villain? I think one of the greatest underdogs and most unreliable of protagonists is Verbal Kint in The Usual Suspects (1995). But he was a trickster, genius and fake underdog. Jake Gyllenhaal’s Lou Bloom tops Verbal for me. At the start of the film, Nightcrawler (2014), he has absolutely nothing. But his conniving, planning and preparedness to go the extra mile and expand his media business via sabotage and eventually murder are an unforgettably dark underdog journey.

CAPTAIN AMERICA: THE FIRST AVENGER (2011) – the superhero underdog!

The superhero genre staple for both heroes and villains often finds a character acquiring by accident, fate or design abilities which transform them into beings of immense and fantastic power. The likes of Superman, Thor, and Wonder Woman are god-like superheroes, however, the likes of Steve Rogers, as Captain America, grew from humbler beginnings. Rogers is an admirable underdog because he doesn’t like bullies, his character never knew when he was beaten, he comes from working-class stock and he’s an anachronism as character tension comes from not fitting into the present. Rogers is not a god or scientist or billionaire, but the little guy with a big heart who becomes a hero.

ERIN BROCKOVICH (2000) – the legal underdog!

It’s a sad indictment of humanity and the capitalist system that there are so many films showing the evil wrongs corporations have perpetuated against people and the environment. Dark Waters (2019), Silkwood (1983), Class Action (1991) and Erin Brockovich (2000) are but a few of such stories where individuals fight against an unjust legal system which strives to protect the rich and powerful from accepting responsibility for the heinous damage they have wreaked. Erin Brockovich is an especially positive example of an individual who, despite her lack of education in the law, was instrumental in building a case against Pacific Gas & Electric Company (PG&E) involving underground contamination. Brockovich also overcame sexist attitudes in the workplace too which placed certain judgements on the way she behaved and dressed. Brilliantly portrayed by Julia Roberts in the film, Erin Brockovich is a true underdog hero of a generation.

SPARTACUS (1960) – the epic underdog!

Having recently read Kirk Douglas’ enlightening memoir, I Am Spartacus!: Making a Film, Breaking the Blacklist, I have to say it is one of the most excellent books about filmmaking and politics I have experienced. Douglas took up the cause of underdog screenwriter Dalton Trumbo, who having served prison time for refusing to name names to the Joseph McCarthy led House of Un-American Activities Committee, was blacklisted in Hollywood. Writing under a series of fake names, Trumbo scribed the screenplay to the epic Spartacus (1960), with Douglas as the eponymous hero who rises up from slave to Gladiator to leader, defeating the Romans in many battles before dying a martyr. One can see Trumbo’s underdog fight reflected in Spartacus’ epic journey and the fact that Douglas eventually placed Trumbo’s name in the credits of the film was testament to his powerful writing and unjust treatment by the nefarious American government.

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

Articles, Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #23 – CHRISTIAN BALE

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MY CINEMATIC ROMANCE #23 – CHRISTIAN BALE

“Essentially, I’m untrained, so I just go with my imagination and try to put myself as solidly as I can into the shoes of whatever person I’m going to be playing.” — Christian Bale

It’s easy to forget that Christian Charles Philip Bale was only thirteen years old when he was chosen out of thousands of young actors for a starring role in Steven Spielberg’s war drama, Empire of the Sun (1987). From there on in he has become one of the most formidable actors of a generation. Unlike many young actors he has not fallen by the wayside, but rather delivered a series of tour-de-force and award-winning performances in both independent and big budget Hollywood blockbusters.

So, for my occasional look at the major talents of cinema I have turned to one of the greatest actors of the last twenty-something years, and chosen five of his best roles to illustrate that. An intense and natural talent he has been in many outstanding films and some not so good. However, whatever role Christian Bale chooses he is usually never less than powerfully magnetic. I must say, I have not selected any of his portrayals of Bruce Wayne and that very fine Batman performance, notably from a physical perspective. Even though in, Batman Begins (2005), he created a stirring existential vision of a wealthy child growing out of grief into the dark saviour of Gotham City. I just think he has given five better acting transformations on screen. Here they are.

***CONTAINS FILM SPOILERS***

AMERICAN PSYCHO (2000)

Having tread water in a career-sense attempting to traverse the difficult bridge from child actor to the leading man we have come to know, Christian Bale got a break in Mary Harron’s adaptation of Bret Easton Ellis’s notorious novel, American Psycho. And boy – did he make the most of it! I watched the film again recently and I have to say, other than perhaps Leonardo DiCaprio (who was originally cast in the role), no other actor could have delivered such an unhinged, evil and funny (yes he’s hilarious) portrayal of the Wall Street banker-turned-serial killer, Patrick Bateman. It’s a dangerous and sick character who Bale somehow manages to make you despise, yet simultaneously humanise.

THE MACHINIST (2004)

Possibly the greatest Christian Bale performance that hardly anyone has seen. Oh you have seen it? Wow, what an intense performance Bale gives as lonely blue collar worker, Trevor Reznik. Reznik is a haunted man who cannot sleep. He is also anorexic as Bale reduced his weight to 62kg for the role, demonstrating, not for the last time, a dangerous method of obsessive physical transformation. It works too as the skeletal Reznik struggles to overcome a slow descent into madness, with Bale, once again, showing incredible commitment to his craft in this under-rated and haunting noir nightmare of a film.

THE FIGHTER (2010)

While Mark Wahlberg was excellent as the lead actor in David O. Russell’s profile of tough Massachusetts fighter, Micky Ward, Bale absolutely steals the thunder with an incredible acting performance as Ward’s half-brother, Dicky Eklund. As a study of the nefarious curse of addiction, Bale makes the charismatic, but unreliable, Ekland both a loathsome and somehow empathetic character. Because while his crack cocaine addiction drives him to make bad choices for both him and his brother, there is at his heart a loving person battling to win over his illness and make his brother a champion. A story about family and human beings overcoming the odds, Bale punches out another memorably flawed individual in The Fighter (2010), deservedly winning an Oscar in the process.

HOSTILES (2017)

This revisionist Western did not get nearly enough attention on release. Yet buried in here is another quietly intense acting performance from Christian Bale. His other Western, 3:10 to Yuma (2007) is the more entertaining film, but in Hostiles (2017), he gives a much more complex characterisation as Captain Joseph Blocker. The weight of guilt and pain and death hang heavy on Blocker following years of brutal conflict. Scott Cooper’s film conveys the depressing murderous times borne out of the greedy need for progress. Hatred and white man’s guilt drives his character as Bale’s soldier initially refuses to take Chief Yellow Hawk back to his homeland. Is it more because of the deaths of his own men on the battlefield or because he does not want to face up to his own crimes against the Native Americans? The film explores this question superbly with Bale at the heart of the conflict from savage beginning to bloody end.

VICE (2018)

While I agree with critics of Vice (2018), that it is cartoonish and simplistic, it is also a brilliant and scabrous work of satire. Yes, sure it’s preaching to the liberal and left-winged Hollywood choir, but it definitely presents a fascinating snapshot of Dick Cheney’s rise from alcoholic wastrel to powerful political figure. I mean let’s face it, Cheney, based on his reign in U.S. politics, is arguably one of the most dangerous men who ever existed. In Adam Mckay’s black political comedy Cheney is shown to be a manipulative puppet-master to Bush’s marionette President. McKay’s film, while certainly one-tracked, powers along picking apart one of the most shadowy political figures of recent years. But what about, Bale? Why take a role where he had to live on doughnuts for year to gain the weight required for the film? Well, because he likes to challenge himself and Bale should have won the Best acting Oscar! Rami Malek was decent as Freddie Mercury, but Christian Bale is astonishing. Fair enough, he takes a real person and delivers an emulation performance, but he also brings to Cheney to life with such intelligent style. Of course, the physical transformation takes the headlines, but in terms of emotion and mentality he really raises the bar. Cheney may be an enigmatic character but Bale brings menace, whispers and evil to the role. There is also a sly humour there too which makes Bale’s Cheney another unforgettable monster he’s brought to the screen.

Articles, Cinema

R.I.P – HELEN MCCRORY (1968 – 2021) – SIX GREAT SCENES!

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R.I.P – HELEN MCCRORY (1968 – 2021) – SIX GREAT SCENES!

“I’m heartbroken to announce that after a heroic battle with cancer, the beautiful and mighty woman that is Helen McCrory has died peacefully at home, surrounded by a wave of love from friends and family. ‘She died as she lived. Fearlessly. God, we love her and know how lucky we are to have had her in our lives. ‘She blazed so brightly. Go now, Little One, into the air, and thank you.” — Damian Lewis

Sad news that one of my favourite actors, Helen McCrory, passed away on the 16th of April 2021 from cancer.

Helen McCrory had an amazing career on stage, television and in cinema. She began studying acting at the Drama Centre in King’s Cross, London. After which she rapidly gained fabulous onstage notices, appearing in theatrical productions at the Donmar Warehouse, National Theatre and Almeida Theatre. It didn’t take long before she was starring in prominent roles on television and cinema screens.

An actress of immense quality and charisma, McCrory would bring a sophistication and heart and magnificent class to every role she inhabited. Her characters were always strong, independent and a little bit dangerous. In tribute, I have chosen six scenes which showcase her incredible talents. No words can describe how big a loss Helen McCrory is to the world and my condolences go out to her family.

*** THE FOLLOWING SCENES CONTAIN SPOILERS ***

HESTER – THE DEEP BLUE SEA (2016 STAGE PRODUCTION)

I haven’t even seen this production, but this excerpt from the play immediately makes me feel so much for Helen McCrory’s character. She gives such a beautifully magnetic performance.

ROSANNA CALVIERRI – DOCTOR WHO (2010)

I personally would have loved to have seen Helen McCrory star as Doctor Who. But she made a wonderfully dark-hearted villain in this episode. This scene is so brilliant as it builds slowly with two fine actors bringing both humour and pathos and stirring drama to their characters.

NARCISSA MALFOY – HARRY POTTER AND THE HALF-BLOOD PRINCE (2009)

Originally cast in the role of Bellatrix Lestrange, McCrory had to leave the role out due to pregnancy. Eventually cast as the wonderfully name, Narcissa Malfoy, Helen McCrory’s evocative voice and elegance perfectly enlivened the character.

TABITHA – INSIDE NO. 9 (2014)

Many of Helen McCrory’s earlier roles found her portraying strong young women, however, as she matured she grew even more powerful and was also cast in darker more gothic roles. Once such character was the enigmatic Tabitha in the awesome anthology series, Inside No.9 episode, The Harrowing.

POLLY GRAY – PEAKY BLINDERS (2013 – 2019)

The BBC’s flagship drama is a muscular-bleeding-tattooed-up-parade-of-masculinity, but it also presents a set of powerful female characters too who are just as deadly. Helen McCrory as tough-talking, Polly Gray, more than holds her own as a leader within Cillian Murphy’s gang.

MRS POOLE – PENNY DREADFUL (2014 – 2015)

One of my favourite television dramas of recent years had a some incredibly beautiful writing, a wondrous cast and the most elegant of bloody horror. Helen McCrory revelled in the role of Evelyn Poole/Madam Kali, stealing every scene with an over-the-top performance as the immortal uber-witch casting spells and wreaking havoc throughout.

Articles, New Releases, Short films, YouTube Video Articles

YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM YOUTUBE RELEASE

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YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM RELEASE

Hope you are well and safe!

Finally, I have decided to release my short film, You Have A New Follower (2020) on YouTube. It has been delayed due to the pandemic and other personal matters. It got several screenings at online and physical film festivals, however, not as many as hoped due to the outbreak of COVID-19.

I am very proud of the film as I have attempted to explore issues relating to mental health within the thriller genre. I hope it intrigues and interests you too. Below is link to the film and after that the credits and further film details.

You Have A New Follower (2020) – Fix Films Ltd

PITCH

“Watch your back…”

Astrid Nilsson’s life begins to unravel when she is stalked by a mysterious hooded figure.

You Have a New Follower (2020) is the latest short film from Paul Laight and Fix Films. It was shot in London and combines mystery, suspense and science fiction genres with dramatic effect. It’s a short, low-budget film which seeks to explore themes of paranoia, anxiety, and identity within the thriller genre.

CAST & CREDITS

Directed by: Paul Laight & Tilde Jensen
Cast: Tilde Jensen, Mitchell Fisher
Written and Produced by: Paul Laight
Camera: Petros Gioumpasis
Lighting: Sakis Gioumpasis
Sound: Marina Fusella
Editors: Oliver McGuirk, Petros Gioumpasis
Composer: James Wedlock
Sound Design: Simos Lazaridis
Location Manager: Melissa Zajk
Production Assistant: Lue Henner

SCREENINGS

The Fix Film Night, London – February 2020
Cineshots, London – March 2020
Lift Off Sessions, UK – March 2020 (Online)
Fabulosis Short Film Night, London – May 2020 (Online film night) Unrestricted View Horror Festival, London – October 2020 – (Online festival)
Horror of Damned, Italy – November 2020 (Online festival)
Lulea International Film Festival, Sweden – November 2020 – (Online in 2020 and hopefully in Sweden in September 2021)

Website: www.fixfilms.co.uk
YouTube: www.youtube.com/c/FixFilmsLtd

A FIX FILMS PRODUCTION © 2020

Articles, Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #22 – MARTIN SCORSESE

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MY CINEMATIC ROMANCE #22 – MARTIN SCORSESE

Cinema is a matter of what’s in the frame and what’s out.
— Martin Scorsese

I recently had a three-week career break while I was looking for a new job. I have since gratefully located employment and that would explain why I have not been as active on this blog as before. Because looking for work is more time consuming than an actual job! Anyway, aside from spending the day on the computer searching for gainful employment I also caught up on some TV shows and films that had been on my planner for a while. One of the those I watched was the HBO produced TV drama called VINYL (2016). Created, directed (first episode only) and produced by, among others, Martin Scorsese.

Vinyl (2016) was an incendiary, nostalgic and snorting cavalcade of 1970’s rock and roll music centred around a drug addicted record executive, portrayed by Bobby Cannavale, whose business and personal life are collapsing due to his addictive and self-destructive behaviour. Overall, the ten episodes were scintillating entertainment: loud, over-the-top, ballsy, in-your-face and darkly hilarious. The characters were despicable scumbags at best, yet Scorsese’s sensational style ensures the audience enthusiastically rubber-necks these human car crashes.

Alas, due to low ratings, poor critical response and the huge budget, HBO did not renew Vinyl (2016) for a second season. Thus, Scorsese’s blistering TV rock and roll creation was no more. However, in my latest piece in the My Cinematic Romance series, I have selected five of Scorsese cinematic classics. I could’ve, of course, chosen many, many more but have challenged myself to pick only ONE film from each of the last five decades of the master filmmaker Martin Scorsese. Don’t worry Marty – I thought Vinyl (2016) absolutely rocked. F*ck the critics! You are a true genius.

Vinyl – Co-Creator/Executive Producer Mick Jagger with Bobby Cannavale and Co-Creator/Executive Producer/Director of Pilot of Martin Scorsese on the set ©2016 HBO, photo by Niko Tavernise

TAXI DRIVER (1976)

Paul Schrader’s incredible screenplay about a lost soul travelling the mean streets of New York while on the edge of insanity, is given dark life by Scorsese’s evocative direction and Robert DeNiro’s fearless performance. One of the most memorably nightmarish thrillers and character studies of the 1970s; a period which arguably represents the most exceptional decade of American cinema. Having both the writer and director admit to substance addiction in the 1970’s, lends further to the monstrously illusory vision of urban decay within the pores of this amazing work of cinema.

RAGING BULL (1980)

Boxing champion Jake La Motta represented another morally complex vision of masculinity in crisis for both Robert DeNiro and Martin Scorsese. Both in and out of the ring he is man in pain who hurts those he loves and, above all else, himself. Each battering jab and uppercut and hook is felt by the audience via incredible editing and sound design. Overall, Scorsese delivers a brutal profile in stark black-and-white and a knockout box of cinematic tricks. Unsurprisingly, DeNiro won a Best Acting Oscar at the 1981 Academy Awards. Rather surprisingly, Ordinary People (1980) was winner of Best Picture. Go figure!

GOODFELLAS (1990)

As far back as I can remember, this has been one of my favourite films of all time. Ray Liotta’s voiceover introduces and tells the story of the rise and fall of gangster, Henry Hill, while expertly supported by Scorsese’s selection of memorable shots, music and sequences. Further, Scorsese’s major skill here is too, is to make us both enamoured and disgusted by the actions of these charismatic criminals and killers. There are so many classic scenes in this incredible epic and the cast of Liotta, DeNiro and scene-stealing, Joe Pesci, make it one of those films that can be watched over and over. Did I forget to mention that it also has one of the greatest cinema soundtracks ever!

THE DEPARTED (2006)

A truly remarkable remake of Infernal Affairs (2002), the film is shot and edited, as expected, with immaculate precision; crammed with unrelenting and bone-crushing thrills and violence. Thematically, it’s powerful too. Throughout, honesty and truth are obliterated by lies and death. Costigan and Sullivan are no more than pawns at the hands of a corrupt system that lets people down from a great height. This is literally the case where Martin Sheen’s Captain Queenan is concerned. An immense cast including DiCaprio, Damon, Wahlberg and scenery-chewing, Jack Nicholson, take a twisting Kafkaesque plot where criminals and cops collide; ultimately chasing their shadows and souls to a treacherous, bloody and bitter end.

THE WOLF OF WALL STREET (2013)

The Wolf of Wall Street (2013) feels like a greatest hits package combining all of the finer ingredients from Scorsese’s other films. You’ve got the classic swooning camera moves; the direct address to camera; cat-and-dog couples fighting as seen in Casino (1995) and Goodfellas (1990); the boat-in-peril sequence as seen in Cape Fear (1991); the multi-character voiceovers; the dumb criminals putting themselves in the shit; characters turning on each other and ratting each other out as seen in The Departed (2006); plus many more. But whereas Scorsese used to deal with outsiders, oddballs and working class criminals like Travis Bickle, Rupert Pupkin or Henry Hill, he presents via Jordan Belfort a white-collar criminal and venal member of the “Master-Race”, getting his just desserts in an incendiary morality tale of major power.