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Cinema, Netflix, Reviews

THE NETFLIX EQUINOX – HORROR FILM REVIEW ROUND-UP

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THE NETFLIX EQUINOX – HORROR FILM REVIEW ROUND-UP

Wow, Netflix just keep churning out the content; either original, bought and on hire. I just don’t know how they can make a profit; especially on their big-budget movies,which DO NOT get a cinema release. Perhaps it’s a loss leader gamble they hope will pay off in the long run? Nonetheless, Netflix remains a solid go-to-place for viewing pleasure.

So, over the last few weeks I’ve caught up on a number of horror films on Netflix; some good, some not too bad, and some dreadful. Anyway, here they are with marks out of the usual eleven.

**MAY CONTAIN SPOILERS**

APOSTLE(2018)

I felt that all the elements were there to make this a classic cult horror thriller and Dan Stevens was brilliant in it. However, his character was so rushed at the beginning I did not feel that connected to his drifter searching a religious cult for his kidnapped sister. Still, the film had some fascinating themes, searing gore and horror moments, which altogether made it well worth a watch.  

(Mark: 7.5 out of 11)

BEFORE I WAKE (2016)

Having been impressed with Mike Flanagan’s direction of The Haunting of Hill House (2018), I decided to check out his other films. Before I Wake tells the moving story of an orphaned boy fostered by Thomas Jane and Kate Bosworth’s grieving parents. This was a dream like and touching tale with a powerful element of horror which benefits from great performances by Bosworth and Jacob Tremblay.

(Mark: 8 out of 11)

THE BOY (2016)

Lauren Cohan stars in this gothic chiller which flirts between intriguing suspense and silly horror moments.  Cohan is Greta, an American nanny, who escapes to a big manor house in England, only to find herjob is to babysit a boy dummy for an eccentric old couple. Director William Brent Bell, despite the strange premise, gets a decent tune out of this story and I really enjoyed it; even when it goes pretty bonkers at the end.

(Mark: 7.5 out of 11)

GERALD’S GAME (2017)

Mike Flanagan directs again, this time adapting Stephen King’s psychological horror novel into a very satisfactory movie. Carla Gugino and Tony Greenwood play a middle-class and wealthy couple attempting to spice up their sex life with some role-play and bondage. Safe to say the “game” goes awry and Gugino must battle physical and mental challenges, plus a haunted past, in order overcome a grim and horrific ordeal.

(Mark: 8 out of 11)

HOLD THE DARK (2018)

Jeremy Saulnier directs this ponderous thriller which centres on a search for a missing child on a Native American reservation. Jeffrey Wright, as a wolf expert and novelist, does his best with the paucity of material as Alexander Skarsgard sleep-walks through another role. Saulnier holds back a key piece of the narrative for no apparent reason and aside from gratuitous shoot-out in the middle I was bored.

(Mark: 6 out of 11)

I AM THE PRETTY THING THAT LIVES IN THE HOUSE (2016)

Even the brilliant Ruth Wilson cannot save this horrifically slow and dull horror film which literally has NO story and hardly any scares. It is genuinely one of the worst and most pretentious films I have ever seen. 

(Mark: 2 out of 11)

THE INVITATION (2015)

Another hidden horror gem I found on Netflix, this moves slowly but with brooding dread and suspense. Logan Marshall Green portrays, Will, a grieving ex-husband invited with his girlfriend to a dinner party thrown by his ex-wife. Soon the dinner takes a strange turn of events as the odd behaviour of the hosts raises his suspicion and paranoia. Overall, this is a compelling movie directed withsubtle aplomb by Karyn Kusama.  

(Mark: 8 out of 11)

JIGSAW (2017)

Another attempt to re-do one of the best low-budget horror films ever made in Saw (2004), fails to engage or horrify. It is really just a pointless retread of everything we’ve seen before and while there’s some decent gore in it, the characters are paper-thin and one for franchise completists only.

(Mark: 5 out of 11) 

MALEVOLENT (2018)

Even the very talented Florence Pugh cannot save this bang-average medium-in-a-haunted-house story. The screenwriter Ben Ketai has some decent horror credentials but this one did not really make much sense narratively or emotionally. Lastly, Pugh’s brother in the film was so dislikeable that I could not wait for him to die horribly. 

(Mark: 5 out of 11) 

THE VAULT (2017)

This was almost a decent horror thriller as it had such a great premise. Bank robbers –includingFrancesca Eastwood and Taryn Manning – hold up a bank only to find ghosts haunt the Vault and are intent on hurting the criminals. Despite the horrific monsters in the basement and James Franco’s intriguing turn, the script doesn’t make much sense until the reveal at the end. But by that time I was too confused to care very much.

(Mark: 6 out of 11) 

Articles, Cinema, Short films

MOUNTVIEW FILM ACADEMY RETROSPECTIVE #1 – THE BLACK ROOM (2008)

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MOUNTVIEW FILM ACADEMY RETROSPECTIVE #1 – THE BLACK ROOM (2008)

A rather indulgent post this!!  

Between the years of 2008 and 2011, I did some screenwriting work for the Mountview FilmAcademy; a filmic extension of the Mountview Academy of Theatre Arts. Based in London, they would produce a number of student acting projects including many low budget short films. Notable Mountview Alumni include: Craig Parkinson, Eddie Marsan, Lois Chimimba, Connie Fisher, Douglas Henshall, Rebecca Trehearn and many more.

Writers would be shuttled in and given a remit to create short films using specified actors,locations and length of film.  In 2008, I wrote a film called THE BLACK ROOM. It featured some talented actors and was directed by Jonathan Wolff. It’s a black comedy farce, concerning a writer who is struggling so much to write a period drama he starts to go a bit mad.

Watching the film back after ten years is interesting from a creative perspective. I actually think it works really well still and the story holds up despite the very low budget. Indeed, in places I still think the short film is pretty funny; echoing, on a very minor level, Charlie Kaufman’s meta-textual work in the film Adaptation (2002). Anyway, here it is:

Articles, Cinema, Six of the Best

SIX OF THE BEST #15 – BILLY WILDER

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SIX OF THE BEST #15 – BILLY WILDER

Samuel “Billy” Wilder is arguably one of the finest screenwriters that ever put fingers to typewriter; and certainly one of the best writer-directors of all time. Indeed, until Woody Allen surpassed him he was nominated for best screenwriter at the Academy Awards TWELVE times! Overall, he would win six Oscars plus a special Academy Award.

Wilder was born in 1906 in Austria Hungary; in an area which is now part of Poland. Having moved to Berlin in his twenties, Wilder served an apprenticeship as a writer on a newspaper. However, he soon got work as a screenwriter in the German film industry and a star was born. The rise of the Nazis caused Wilder to move again, to Paris and then latterly to Hollywood. There he would have an incredible career in movie-making spanning over thirty years, writing, producing and directing over thirty-odd films, many of the classics of cinema.

So, in keeping with the remit of this occasional series I have decided to pick out six of Wilder’s best films and explain why they are just brilliant. To be honest I could probably pick out twenty of the best where Wilder is concerned, but will stick to six!

**MAY CONTAIN SPOILERS**

Double Indemnity (1944)

For any screenwriters out there Wilder’s work is often a technical and intricate joy. Character, dialogue, plot and twists are all combined to create an incredibly deep texture within the work. Double Indemnity was adapted from James M. Cain’s devious noir novella and found Fred MacMurray and Barbara Stanwyck plotting to kill her husband for the insurance money. Wilder worked on the screenplay with Raymond Chandler and while the two didn’t hit it off their collaboration produced one of the classic film noirs of the period. The film was nominated for seven Academy Awards and confirmed the star status of both Stanwyck and MacMurray. As MacMurray’s desperate voiceover reveals the events of the story we are pulled into a web on deceit and murder which show human nature as greedy, vicious and unforgiving.

The Lost Weekend (1945)

It is worth noting that Wilder’s success would perhaps not been as successful if not for his partnership with producer and writer Charles Brackett. They worked on many successful films together and The Lost Weekend was one such triumph. Based on Charles Jackson’ novel about an alcoholic writer teetering on the edge of self-destruction, Ray Milland’s character found himself awash in an existential and drunken haze. Wilder’s work as a screenwriter is again brilliant as he takes a very unsympathetic character and makes him both human and empathetic. This is down to both Milland’s fine performance and Wilder’s key direction; both would win Academy Awards. Overall, it’s a tragic struggle which reflects those individuals who constantly battle against the booze. Many see alcohol as a friend but it can quickly turn into an enemy without warning or notice.

Sunset Boulevard (1950)

Working from an original story Wilder and Brackett turned the eyes and ears inward toward the Hollywood machine; asking the question: what happens to the Hollywood legends after their star has crashed and burned. The answer was the character of Norma Desmond, a silent movie star craving a comeback and refusing to accept her career is over. Gloria Swanson is absolutely terrifying as the ageing screen goddess, as she spits out famous lines such as: “I am big; it’s the pictures that got small!” Meanwhile, William Holden is also superb as the cynical writer beaten down by his own world weariness within the Hollywood system. The classic opening scene of his limp dead body lying face down in a swimming pool as he recounts how he came to be there is one of the most iconic images in all cinema.

Witness for the Prosecution (1957)

I probably could have gone for a number of Wilder’s movies including: Ace in the Hole (1951), Stalag 17 (1953), Sabrina (1954) or The Fortune Cookie (1966), which was the first film to place Walter Matthau and Jack Lemmon on screen together; however, I’m a sucker for a good Agatha Christie story. Witness for the Prosecution features two stunning acting turns from Marlene Dietrich as the wife of the murder suspect, and Charles Laughton as the barrister charged with defending him. In his final film Tyrone Power plays the accused Leonard Vole, who is on trial for murdering a wealthy widow. Laughton’s eccentric barrister defends him but he has help on the way from an unexpected source. Wilder directs his cast with wit and suspense, making the most of Agatha Christie’s dynamite plot which has two grand and unexpected twists at the end.

Some Like It Hot (1959)

Arguably the best film comedy ever and also one of the best films of all time, Some Like It Hot, on paper, shouldn’t really work. Two male musicians dress up as women to go on the run from the mob is as silly an idea as you could get. However, with Billy Wilder and I.A.L Diamond’s intricate script, Tony Curtis and Jack Lemmon so good in the leads, plus an effervescent Marilyn Monroe at the height of her star power you get all-round cinematic gold. Combining gangster, comedy, musical and romance elements the film fizzes with style, humour and song, as the complex plot involves hilarious identity and gender switches. At one point Curtis’ Joe has split himself into three parts. Ultimately, Wilder and his collaborators have created almost a perfect movie featuring one of the finest end lines in cinema history.

The Apartment (1960)

While Some Like It Hot veered toward comedic farce, The Apartment is a somewhat more mature and darker-themed comedy. Once again starring Jack Lemmon, he portrays C.C. Baxter, a downtrodden office worker whose apartment is used by executives for their extra-marital dalliances. While these liaisons see him gain promotion he begins to doubt his actions and his conscience gets the better of him. The guilt is especially heightened when he begins to fall for Shirley MacLaine’s elevator operator, Fran. Fighting back against the corporate bosses does him no favours but it does bring him closer to Fran. Both a satire against odious men and their sexist practices, plus a touching romance, Jack Lemmon illuminates the screen all hang-dog expressions and nagging angst. MacLaine too shines in a sympathetic role as a woman treated like a perpetual door-mat. The film won five Oscars and once again proved the genius of Billy Wilder.

Cinema, New Releases, Reviews

WIDOWS (2018) – CINEMA REVIEW

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WIDOWS (2018) – CINEMA REVIEW

Directed by: Steve McQueen

Produced by: Steve McQueen, Iain Canning, Emile Sherman, Arnon Milchan

Screenplay by: Gillian Flynn & Steve McQueen

Based on: Widows by Lynda La Plante

Starring: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Robert Duvall, Liam Neeson

**MAY CONTAIN SPOILERS**

Widows Film Poster

I was really looking forward to this new film from acclaimed and highly talented filmmaker Steve McQueen. Firstly, his previous directorial releases including 12 Years a Slave (2013), Shame (2011) and Hunger (2008) were all fierce works of drama. Secondly, the story is based on Lynda La Plante’s excellent British television series from the 1980s; plus it has a fantastic ensemble cast led by Viola Davis, Liam Neeson, Colin Farrell, Daniel Kaluuya and many more. So, why was I slightly underwhelmed by the end of the film? I mean all the cinematic elements were of the highest quality, yet, for me, it just did not catch fire.

Liam Neeson and Viola Davis

After the death of her husband, Harry Rawlins (Neeson), Viola Davis’ Veronica, decides to use his plans to attempt a daring robbery enlisting the help of the other crime widows. The stakes are high as Harry’s last job pissed off some dangerous people and they want their money back. Transplanting the action from the La Plante’s tough London setting to contemporary Chicago retains the gritty backdrop of the original. Indeed, Gillian Flynn and Steve McQueen’s script keep the beats of the heist plot and structurally the film is very sound. However, the addition of political subplots involving a district Alderman Election between Colin Farrell’s Jack Mulligan and Brian Tyree Henry’s Jamal Manning, while adding extra flavour to the mix, at times, slow down the pace of the heist narrative. Even a subplot flashback involving Viola Davis’ son, while adding important empathy for her character, felt like it was from another film. Thus, a movie can be about many things; however, I just felt that a lot of the themes were at a surface level of emotion.

Daniel Kaluuya and Brian Tyree Henry
Daniel Kaluuya and Brian Tyree Henry in Twentieth Century Fox’s WIDOWS. Photo Credit: Courtesy Twentieth Century Fox.

The acting and direction in the film is excellent. Viola Davis, Michelle Rodriguez, Elizabeth Debicki and Cynthia Erivo are all brilliant; although, Erivo’s character seemed to be introduced slightly late for me. Yet, I wanted the film to be even more about the women’s struggle in this traditionally masculine world. Maybe I’m being harsh as the filmmaking is really good, but it got bogged down by too many sub-plots. Moreover, where suspense could have been gained when Debicki’s character goes to buy guns we get a throwaway scene played for humour. The male characters are generally portrayed as corrupt, psychopathic or simply evil; especially where Daniel Kaluuya’s psycho turn is concerned. Brian Tyree Henry is a very interesting actor too and I have watched a lot of him in the TV show Atlanta. However, his impact on the story is slowly dissipated throughout.

Cynthia Erivo, Michelle Rodriguez, Viola Davis, Elizabeth Debicki

Overall, Widows is a very solid genre offering from Steve McQueen and his team. All the elements are there for a barnstorming crime thriller with racial and political elements as texture. Plus, while I knew of a couple of decent twists from the original the script delivers them very well. However, there were also several plot-holes within the story which could not be reconciled. I guess with my expectations high I was expecting the doors to be totally blown off due to the incredible talent involved. However, they remained firmly on their hinges by the time the credits rolled.

Mark: 7 out of 11

Cinema, New Releases, Reviews

SCREENWASH – OCTOBER 2018 – FILM REVIEW ROUND-UP

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SCREENWASH OCTOBER FILM REVIEW ROUND-UP

I watched a load of films in October due to the London Film Festival mainly. I also wrote a lot of reviews too and realise that, with not enough hours in the day, or desire to read the ramblings of a narcissistic cineaste most people may not have had the time to read them all.

So, I have consolidated all my October reviews into one post and made it a quick and easy reference point for films currently out or coming out in the future. Here are quotes from the reviews with the usual marks out of eleven!

A SIMPLE FAVOUR (2018)

“Director Feig is able to blend the comedy, noir and thriller very well. While I would have preferred the tone to be darker we may not have got Blake Lively’s stunning comedic turn as the bitchy femme fatale, and that is worth the admission fee alone.”

(Mark: 8 out of 11)

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A STAR IS BORN (2018)

A Star Is Born (2018) is a great cinematic experience. The story is familiar but the performances, direction and the songs all combine to create a very emotional journey; making a fine example of classic Hollywood storytelling at its best.

(Mark: 9 out of 11)

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BAD TIMES AT THE EL ROYALE

“Overall, Drew Goddard deserves praise for delivering a very sharp script. . . mainly style over substance, ultimately this is a satisfying B-movie-pulp-fiction-violent-extravaganza with twists that provide an entertaining blast in the noir night sky.”

(Mark: 8 out of 11)

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BALLAD OF BUSTER SCRUGGS (2018)

“… feels like Coens-lite, without the existential depth of No Country for Old Men (2007). However, the Coen’s films improve with each viewing as you’re laughing so much you miss the philosophical happenstance occurring between the lines.”

(Mark: 8.5 out of 11)

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BORDER (2018)

“. . . is very brave filmmaking with fascinating themes relating to: ritual and child abuse; nature versus nurture; good versus evil; and how those humanity believes to be outsiders should not be treated as monsters but respect and love.”

(Mark: 8.5 out of 11)

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DOGMAN (2018)

“Overall, this film made me feel really sad. This is a haunting character study of the outsider; a man who is literally like a dog. He is faithful, loyal and eager to please but ultimately let down by the human cruelty of those who exploit him.”

(Mark: 8.5 out of 11)

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THE FAVOURITE (2018)

“Lanthimos’ direction of his three stellar leading actors is superb; with Olivia Colman delivering one of the most memorable performances of the year. Weisz and Stone are also quite brilliant in a devilishly quirky Machiavellian and lustful tale.”

(Mark: 9.5 out of 11)

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FIRST MAN (2018)

“. . . is methodical, slow-burn and restrained in performance and shows Chazelle’s expert range. It is a wonderfully striking film. The visuals and scientific renditions relating to space travel are incredible and contains a moving human story at the heart.”

(Mark: 8.5 out of 11)

First Man

THE NUN (2018)

“. . . has lots of shadows, darkness, blood, screams and a gruesome supernatural monster but, despite Farmiga’s committed performance, makes little narrative sense and suffers from poor characterisation.”

(Mark: 5 out of 11)

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PETERLOO (2018)

“Peterloo is a long epic with a plethora of dialogue heavy scenes. Yet, I was enthralled as the language and passion of such discourse is very eloquent and heartfelt. The sheer scale of the filmmaking itself is also impressive. . .”

(Mark: 9.5 out of 11)

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THE PREDATOR (2018)

“. . . is a mash-up of: science fiction, action, war, spy, and TV-movie-of-the-week tropes.  It moves at such an alarming pace you get an explosive film which, while moving rapidly, does not make much logical sense.”

(Mark: 7 out of 11)

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VENOM (2018)

“What works is the connection between Brock and his extra-terrestrial host. . .  it’s turned into something of a comedy double act; albeit with Venom biting the heads off baddies. Tom Hardy’s rat-a-tat spats with his parasite make it worth a watch!”

(Mark: 7.5 out of 11)

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Cinema, New Releases, Oscar Bingo, Reviews

FIRST MAN (2018) – OSCAR BINGO #2 AND FILM REVIEW

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FIRST MAN (2018) – OSCAR BINGO #2 AND FILM REVIEW

Directed by: Damien Chazelle

Produced by: Wyck Godfrey, Marty Bowen, Isaac Klausner, Damien Chazelle

Screenplay by: Josh Singer

Based on First Man: The Life of Neil A. Armstrong by James R. Hansen

Starring: Ryan Gosling, Jason Clarke, Claire Foy, Kyle Chandler, Corey Stoll, Ciarán Hinds, Christopher Abbott

Music by: Justin Hurwitz

Cinematography: Linus Sandgren

Edited by: Tom Cross

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I’m probably not the best person to review this film. I do not like flying. I am not a fan of the concept of space travel. I’m firmly in the camp that we should sort our problems out on Earth first. Plus, the geo-political reasons of the era for going into space, such as the Cold War including the “space-race” with the Russians, seem such an alien concept to an idealist as me. Rather naively I just wonder why they couldn’t have just got on with each other.

Having said I am very much aware that in terms of scientific breakthroughs and sheer feat of human achievement, NASA, its staff and the astronauts involved, deserve unlimited praise for their work. Aside from the financial cost and loss of lives, getting into outer space remains an amazing feat of science and technology. But, what of Damian Chazelle and Ryan Gosling’s rendition of Neil Armstrong – is it all that? I will consider the film with a view to its Oscar potential while reviewing the movie as entertainment too.

**CONTAINS HISTORICAL SPOILERS**

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BEST FILM CHANCES – 7/10

As a work of technical excellence First Man is a wonderfully striking film. The visuals and scientific renditions relating to space travel are incredible. The human story works mainly as a biopic from Armstrong’s perspective as he, and his team, prepare to go into space. Moreover, it also works well as a study of grief and obsession. Armstrong is shown, via Ryan Gosling’s minimalist presentation, as an intelligent and steely individual who buries his life in his work to overcome a deep family loss. Given we already know how the story ends then it is to the film’s testament that the drama is maintained throughout. The dangerous nature of space travel and lives lost while shooting for the moon are powerfully highlighted. Yet, when we reach the lunar destination suspense had peaked before that point. Thus, the story relies on the stunning visuals more than drama to carry it to towards the final credits.

BEST DIRECTOR CHANCES – 8/10

Chazelle, as he showed with Whiplash (2014) and La La Land (2016), is a young film director of some force and intelligence. Having directed Miles Teller and J.K. Simmons with an aggressive jazz-style, he would imbue La La Land with an optimistic, colourful and uplifting energy. First Man is completely different though. It is methodical, slow-burn and restrained in performance and shows Chazelle’s expert range. Here is a filmmaker who designs his films dependent on the subject matter. First Man is a confident cinematic work and Chazelle creates his own vision while also echoing the likes of Terence Malick and Stanley Kubrick.

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BEST ACTOR – 8/10

I’m a big fan of Ryan Gosling. He has been in a number great films of recent years such as: Bladerunner 2049 (2018), The Nice Guys (2016), Drive (2011), Half Nelson (2006), Lars and the Real Girl (2007), Blue Valentine (2010) and more. He is a crafty performer as he doesn’t seem to be doing much. His acting style is like an iceberg; little on the surface but extreme depth below. This makes him perfect for a role such as Neil Armstrong and Gosling’s rendition is pure cinema. His face rarely moves but in his eyes and stillness a real gravitas is brought to the screen. I would expect he will go close to winning the Oscar if only for his accumulation of impressive acting work.


BEST SUPPORTING ACTRESS – 8/10

Claire Foy delivers a sterling performance as Janet Armstrong. She is shown to be a caring mother but also a fiery protector of her husband. Foy’s acting actually transcends a mildly underwritten role as her intensity deserved more scenes than she is given. Nonetheless, it confirms Foy as an actor of some power and magnetism.

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BEST SCORE CHANCES – 9/10

The best scores, in my view, not only stand alone as fine works of music but also blend with the visuals to excellent effect. Justin Hurwitz’s score for First Man is a wonderful achievement and surpasses his work on La La Land in my view. While the moon landing is an incredible visual feat and silence is used to great effect, Hurwitz’ score never fails to shine throughout.


BEST TECHNICAL AWARDS – 9.5 out of 10

In terms of technical achievement in emulating the era in space and on Earth, First Man, is unforgettable. I’d fully expect it to win some or all technical awards for editing, sound, visual effects, design, etc. – it truly is a technical marvel!

Mark: 8.5 out of 11

Cinema, Film Festivals, New Releases, Reviews

LONDON FILM FESTIVAL REVIEW – THE FAVOURITE (2018)

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LONDON FILM FESTIVAL REVIEW – THE FAVOURITE (2018)

Directed by: Yorgos Lanthimos

Produced by: Ceci Dempsey, Ed Guiney, Lee Magiday, Yorgos Lanthimos

Written by: Deborah Davis, Tony McNamara

Cast: Olivia Colman, Emma Stone, Rachel Weisz, Nicholas Hoult, Joe Alwyn

Cinematography: Robbie Ryan

**SPOILER FREE REVIEW**

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The London Film Festival organisers were very keen to impress we keep our phones off during the screening of The Favourite. Thus, I infer that the filmmakers are also keen that no spoilers are given away; something I will respect during this review. From the marketing blurb I have culled online, The Favourite:  “sees Yorgos Lanthimos (The Lobster (2015), The Killing of a Sacred Deer (2017)) on rollicking, virtuoso form with Olivia Colman, Emma Stone and Rachel Weisz revelling in the wit of his 18th century royal court life.”

Unlike The Lobster and The Killing of a Sacred Deer, Lanthimos is not working from an original screenplay he wrote with Efthymis Filippou; instead he’s taken an adaptation by Tony McNamara and Deborah Davis. Conversely, it is not as eccentric a premise as those previous films and structurally it is actually quite conventional. The story itself sets Rachel Weisz’ Duchess of Marlborough as advisor to Olivia Colman’s Queen Anne in the early 1700s; while Emma Stone’s fallen “Lady” enters the fray and attempts to gain the Queen’s favour while usurping Weisz’ character.

The-Favourite

Historical films relating to Machiavellian scheming, sexual misadventure and political intrigue are legion. Dangerous Liaisons (1988), A Royal Affair (2012) and the recent Love and Friendship (2016) are but a few examples; however, none of them are as absurd, surprising, funny, moving and as crazy as The Favourite. But, this is not a parody of period dramas. Instead, Lanthimos brings his own directorial vision to the story with his often ludicrous switches in tone, while skilfully maintaining a strong emotional balance and intrigue throughout. His use of the fish-eye lens creates a distorted effect making the characters seem trapped by their surroundings and circumstances. Furthermore, the lighting is quite wonderful too with natural and candle light dominating the proceedings.

Lanthimos’ direction of his three stellar leading actors is superb; with Olivia Colman delivering one of the most memorable performances of the year. Her Queen Anne is both pathetic and empathetic at the same time. Anne is to be pitied, laughed at and laughed with throughout. While I genuinely have little sympathy for royal figures, Anne is humanized with great power by the performance. Preying and manipulating her are Weisz’ and Stone’s characters. Weisz’ is, in particular, quite brilliant as we never quite know if her decisions regarding the war against Spain and the increased taxes are to benefit her or the Queen. Moreover, I know Stone won an Oscar for La La Land (2016), but she is even better in this film. Her eyes light up at each devilish choice her character makes; revelling in the skulduggery as ambition fuels her desires. I must add that Nicholas Hoult is quite brilliant too in a supporting role.

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Overall, The Favourite (2018) may not be appreciated by those who prefer their period dramas to be played straight, as it were. The language and behaviour of the characters is often foul and crude but while seeming anachronistic it is paradoxically authentic too. Lanthimos’ interpretation of the screenplay is rather complex. He seeks to humanize, satirize and ridicule life in the Royal Court but without us ever hating the characters. The narrative asks for understanding but also critiques their choices. You kind of wish Weisz and Stone would show some solidarity but ultimately they are narcissistic players craving power, much to the detriment of their sickly Queen — portrayed by the astounding Olivia Colman.

Mark 9.5 out of 11

 

Cinema, Film Festivals, New Releases, Reviews

LONDON FILM FESTIVAL REVIEW – PETERLOO (2018)

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LONDON FILM FESTIVAL REVIEW – PETERLOO (2018)

Directed by: Mike Leigh

Produced by: Georgina Lowe

Written by: Mike Leigh

Starring: David Bamber, Alastair Mackenzie,  James Dangerfield, Eileen Davies, Liam Gerrard, Bronwyn James, Philip Jackson, Rory Kinnear, Nico Mirallegro, Maxine Peake, Pearce Quigley, Tim McInnerny plus many more.

Music by: Gary Yershon

Cinematography: Dick Pope

Production company: Film4 Productions, British Film Institute, Thin Man Films

**CONTAINS HISTORICAL SPOILERS**

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Peterloo (2018) is a film of voices, of speech, of reform and of freedom. It is Mike Leigh’s thirteenth feature film production and clearly a labour of love for him, his production team and the army of actors who put their hearts and souls into this powerful work of cinema. Four years in the making, this historical document, as well as paying tribute to those who campaigned for the vote in the 1800s, is also a passionate love letter to Northern England and the proud working classes of the era.

The film begins in 1815 at the battle of Waterloo and then brings us into the factories and streets of Manchester and surrounding Northern areas. As with many Mike Leigh films you can feel the palpable authenticity in the settings, accents and places the characters live. Leigh also cuts to local magistrates who hold up the draconian laws designed to keep the poor in their place; handing out savage justice such as the death penalty to one man for stealing a coat. We also visit London and experience those ruling classes who inhabit the Houses of Parliament and Royal palaces, lording over the oppressed workers.

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The character strokes are broad at first before Leigh further develops their personalities. The dialogue is delivered formally initially as the characters educate the audience regarding various laws affecting them. This seems jarring but also serves the documentary and historical nature of the piece. As the narrative strands build steadily to the fateful march the editing throughout cross-cuts between the ruling, working and legal classes representing their differing perspectives. The march was intended to be a peaceful demonstration; a plea for Parliamentary reform and the desire to be heard. Surely, that’s the right of everyone in a civilised society?  Well, not in 1819.

With the film driven by a whole host of wonderfully written speeches, it could be argued, Peterloo, lacks the warmth and humour of Leigh’s other more personal films. However, there are some formidable performances amidst the huge cast. Maxine Peake is earthy and convincing in her representation of a mother struggling to make ends meet. Rory Kinnear brings an intelligence and pride to the confident character of Henry Hunt; a wealthy landowner committed to reform and repeal of the onerous ‘Corn Laws’. As is the case with Leigh’s other films the acting is uniformly impressive because you know months of planning and rehearsal would have been committed to the production.

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The film is also shot beautifully by cinematographer Dick Pope. There is a strong leaning toward a naturalistic lighting palette. Interiors are often bathed in sunlight shining through windows onto the shadowed faces of the characters. His camera is placed ideally to capture the rural and industrial locations of the era. There’s also some wonderful framing within arches and factories. Lastly, Leigh’s meticulous approach to authenticity reveals the machinery from the time, such as the looms and printing presses. Similarly, you can almost feel the reality of the epoch through the excellent costume design.

The final act brings us to the fateful day itself. Mike Leigh handles the massive crowd scenes expertly and shows the injustice and barbarism brought about by the cavalry and law enforcements attacking up to 80,000 people who are protesting for change. Having spent a few hours establishing the characters and their relevant causes the emotional impact of the attacks by the ruling classes is palpable. This is ultimately very powerful cinema which resonated with me because it reminded of the historical events down the ages where people have been murdered or injured while trying to make their voices heard.

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Peterloo may not be for everyone as it is a long epic with a plethora of dialogue heavy scenes. Yet, I was enthralled as the language and passion of such discourse is very eloquent and heartfelt. The sheer scale of the filmmaking itself is also impressive even if the narrative lacks a specific personal focus throughout. Mike Leigh’s approach is very clear as it represents the working class as victims to an oppressive regime which has no regard for human suffering. Indeed, it should be every person’s basic right to have a voice and given past and current social and political events Peterloo contains a message that remains very valid today.

Mark: 9.5 out of 11

PETERLOO (2018) will be released in the UK on 2nd November 2018

Cinema, New Releases, Reviews

BAD TIMES AT THE EL ROYALE (2018) – MOVIE REVIEW

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BAD TIMES AT THE EL ROYALE (2018) – MOVIE REVIEW

Directed by:    Drew Goddard

Produced by: Drew Goddard, Jeremy Latcham

Written by: Drew Goddard

Starring: Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Cailee Spaeny, Lewis Pullman, Chris Hemsworth

Music by: Michael Giacchino

Cinematography: Seamus McGarvey

**MAY CONTAIN SPOILERS**

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Expectations are a fascinating thing. Based on the prior screenwriting work of Drew Goddard and his amazing debut feature film, the genre-bending horror film, Cabin in the Woods, I was really looking forward to this crime thriller. With a terrific cast of actors in place and an intriguing setting of a hotel split between the United States of Nevada and California there promised to be cinematic fireworks. There were indeed fireworks but, like fireworks, the film paints bright and pretty colours and bangs loudly in the sky yet somehow felt hollow afterwards. This comes from those darned expectations, I guess.

There are seven main characters in the film; all of whom have secrets to keep. They range from: John Hamm’s vacuum-cleaner salesman; Lewis Pullman’s hotel employee; Dakota Johnson’s mysterious femme fatale; Jeff Bridges’ shady priest; plus a couple of other devils who enliven proceedings later in the film. All the characters are seemingly unconnected but soon fate and fortune take hold as Goddard weaves his screenwriting magic. Before you know they are all at each other’s throats jousting verbally and physically; double and triple crossing, resorting often to extreme violence. What Goddard does superbly well is place these various characters in a form of narrative hell or purgatory. He looks into the heart of humanity and finds blood and darkness at every turn.

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Bad Times at the El Royale main strengths are the brilliant script, skilled cast and a wondrous production design. Indeed, the rich neon colours and lighting glow amidst with the foreboding darkness surrounding the hotel.  In terms of performance, Jeff Bridges is just great; in everything! Dakota Johnson and Cynthia Erivo also excel and breathe emotion into their archetypal characterisations. John Hamm is ever the solid player; but Chris Hemsworth’s grand entrance in the second act, almost steals the show with his messianic “Jim Morrison” grandstanding. All told the ensemble has a scream within the clever pyrotechnics of the screenplay.

Overall, Drew Goddard deserves praise for delivering a very sharp script. Structurally, we cleverly move back in time to fill in back-stories. Events are also from multiple perspectives heightening the twisting nature of the narrative. While mainly style over substance the film still manages to critique the racism of the late 1960s setting; satirises celebrity scandals, and also has a dig at religious cults. So, ultimately this is a satisfying B-movie-pulp-fiction-violent-extravaganza with twists and turns galore, that provides an entertaining blast in the noir night sky.                                                                                            

Mark: 8 out of 11 

Cinema, Film Festivals, New Releases, Reviews

LONDON FILM FESTIVAL REVIEW – BORDER (2018)

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LONDON FILM FESTIVAL REVIEW – BORDER (2018)

Directed by: Ali Abbasi

Produced by: Nina Bisgaard, Peter Gustafsson, Petra Jonsson

Screenplay by: Ali Abbasi, Isabella Eklöf, John Ajvide Lindqvist

Based on: Border by John Ajvide Lindqvist

Starring: Eva Melander, Jorgen Thorsson, Ann Petrén, Sten Ljunggren

Music by: Christoffer Berg, Martin Derkov

Cinematography: Nadim Carlsen

**SPOILER FREE REVIEW**

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If you go down to the woods today you’re sure of a big surprise. Indeed, one of Border’s many strengths is the constant way co-writer and director Ali Abbasi invokes the strangeness of John Ajvide Lindqvist’s original short story to constantly shock and move us. Because while linear in structure and reliant on structural beats from the rites of passage, romance, fantasy and crime genres, Border, is one of the most original and interesting films you could see all year.

We open with the lead protagonist, Tina, working for the Swedish Border Agency. She is a seemingly sad and isolated individual with, what she believes is, a chromosome deficiency in her genetics. Her features leave her open to cruel ridicule from members of the public. However, she is excellent at her job. In fact, her hook is the ability to literally smell fear or guilt on the people coming through customs. Subsequently, Tina’s superiors start to use her to investigate more serious crimes.

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As this is occurring Tina meets Vore, a man with a similar “condition” to her and this is when her life really begins to spiral into very dark and exciting places. Similar to another film I saw called Beast (2017) the film is, at its heart, about sexual awakening and breaking free of the constrictions of society and family. Eva Melander, beneath the very convincing prosthetics, gives an outstanding performance of a woman finding out an incredible truth about herself and her past.

As a character study this film is very powerful. Tina’s world is turned upside down and she is faced with some horrific choices at the end. Arguably, the crime element of the story doesn’t quite meld with her rites of passage journey. Moreover, some of the fantasy elements from Scandinavian folklore required further research after the fade out. Yet, this remains very brave filmmaking with fascinating themes relating to: ritual and child abuse; nature versus nurture; good versus evil; and how those humanity believes to be outsiders should not be treated as monsters but instead with respect and love.

Mark: 8.5 out of 11