Category Archives: Netflix

THE HAUNTING OF HILL HOUSE (2018) – NETFLIX REVIEW

THE HAUNTING OF HILL HOUSE (2018) – NETFLIX REVIEW

Based on: The Haunting of Hill House by Shirley Jackson

Created and Directed by: Mike Flanagan

Screenplay(s) by: Mike Flanagan, Liz Phang, Scott Kosar, Meredith Averill, Jeff Howard, Rebecca Klingel etc.

Executive producer(s): Mike Flanagan, Trevor Macy, Darryl Frank, Justin Falvey, Meredith Averill

Production company(s): Flanagan Film, Amblin Television, Paramount Television, Netflix

Starring: Michiel Huisman, Carla Gugino, Henry Thomas, Elizabeth Reaser, Oliver Jackson-Cohen, Kate Siegel, Victoria Pedretti, Lulu Wilson, Mckenna Grace, Timothy Hutton etc.

**SPOILER-FREE REVIEW**

hohh_105_unit_03033r-h_2018

Shirley Jackson’s The Haunting of Hill House is often proclaimed as one of the creepiest horror novels of all time. Made for the cinema twice, most memorably in 1963, by acclaimed director Robert Wise; who was perhaps so scared by the content his next film would be the musical Sound of Music (1965). Jokes aside, the novel is considered a classic and so genre filmmaker, Mike Flanagan, took on the task to bring it television over ten compelling episodes.

As Netflix produce a hell of a lot of original content I find it difficult to keep up with. However, I heard some decent buzz about The Haunting of Hill House, so decided to watch it before spoilers were plaguing the internet. From Jackson’s novel Flanagan has expanded the Hill House universe to bring an older ghost story bang up to date. Rather than centre on a seemingly disparate set of characters like the original, he has made the protagonists part of the same family. Therefore, the show is a confident mix of family drama, psychological and frightening horror.

Haunting-Hill-House-Cast-Character-Guide

Flanagan and his writing team structure the episodes on a back-and-forth spine which finds the Crain family, at first moving into Hill House as a young family. Mother and father are portrayed by Carla Gugino and Henry Thomas (later Timothy Hutton) respectively, and together they have five young children, the oldest Stephen being around thirteen years old. We then bounce from the past to the present to show the children grown up, working through various angst and dramas as adults. Safe to say, pretty much all their problems are caused by that fateful summer spent renovating Hill House.

Arguably, the biggest character of them all in the programme is the house itself. It is a foreboding presence which infects the lives of all the characters in youth and adulthood. Conversely we are drawn into a rich tapestry of: ghosts, suicide, despair, death, addiction, therapy, marriage, lies, hallucinations, mental illness, death and divorce. Throughout, we are plunged into Hill House’s bag of spooky tricks as the family are terrorized insidiously by the property.

haunting-of-hill-house-long-take-episode.jpg

Over ten brilliantly written episodes Mike Flanagan, his excellent cast and superb production team deliver some breath-taking horror moments. There’s also some chilling set-pieces, swooping camera-work, macabre monsters and really moving character monologues sprinkled within the scares and drama too. Most importantly, because of a careful and slow-build narrative, you really care what happens to the Crain family. This is also down to some excellent performances by the young children and older cast members.

screen-shot-2018-10-10-at-11-40-10

I would argue that the usual Netflix format of ten episodes finds the story stretched during certain periods. Indeed, while the storytelling and horror pay-offs are brilliantly imagined, some editing would have made them feel even more powerful. Yet, as he demonstrated with horror films Oculus (2013), Hush (2016) and Gerald’s Game (2017), Mike Flanagan is a skilled filmmaker who has brought Shirley Jackson’s seminal novel to the screen with chilling acumen.

Mark: 9 out of 11

LONDON FILM FESTIVAL REVIEW – THE BALLAD OF BUSTER SCRUGGS (2018)

LONDON FILM FESTIVAL REVIEW – THE BALLAD OF BUSTER SCRUGGS (2018)

Directed by: Joel Coen & Ethan Coen

Produced by: Joel Coen & Ethan Coen, Megan Ellison, Sue Naegle, Robert Graf

Written by: Joel Coen & Ethan Coen

Starring: Tyne Daly, James Franco, Brendan Gleeson, Bill Heck, Zoe Kazan, Liam Neeson, Tim Blake Nelson, Tom Waits and many more.

Music by: Carter Burwell

Cinematography: Bruno Delbonnel

**SPOILER FREE REVIEW**

1535740329680

Soon to be appearing on the streaming behemoth Netflix, the Coen Brothers latest film is a difficult one to recommend to those not familiar with their quirky vision of humanity and existence. Set within the Western genre the film presents six stories seemingly unconnected but those which resonate resoundingly on the theme of death. The stories are called:  The Ballad of Buster Scruggs; Near Algodones; Meal Ticket; All Gold Canyon; The Gal Who Got Rattled; and The Mortal Remains respectively.

The closest film this anthology resembles from recent times is the riotous black comedy Wild Tales (2014). Moreover, if you ever saw the Coens’ eccentric mid-life crisis comedy A Serious Man (2009), you may recall the prologue which depicted a short stand-alone piece about a ghostly dybbuk visiting a woman at night. Indeed, that story was seemingly unconnected to the film which followed, however, the Coens’ are such skilled storytellers you sense there is a link be it symbolically or thematically.

screen-shot-2018-09-12-at-12-21-31-pm.png

Overall, The Ballad of Buster Scruggs is a genuine mixed bag, in a good way. Their mischievous alchemy combines genres – within the Western setting – such as: musical, comedy, horror, crime, thriller and even romance. Moreover, the filmmakers have reached into their decades of film experience and cinematic bag of tricks to deliver an entertaining and memorable collection of: characters, songs, bloody deaths, jokes, landscapes, snappy dialogue, dark humour and spitfire action.

The cast are uniformly brilliant and as well as some familiar faces there are some newer actors added to the Coens’ stable of performers. Bill Heck, especially, in the story The Gal Who Got Rattled, impressed in his role as a likable cowboy. Overall, and in a similar vein to Hail Caesar (2016), this feels like Coens-lite, without the existential depth of say No Country for Old Men (2007) or humanity of Fargo (1996). However, the Coen’s films often improve with each viewing as their work is so full of stylish depth. Quite often, you’re laughing so much you miss the philosophical happenstance which is occurring between the lines.

Mark 8.5 out of 11

DARK (2017) – NETFLIX TV REVIEW

DARK (2017) – NETFLIX TV REVIEW

Created by: Baran bo Odar, Jantje Friese

Director: Baran bo Odar

Writer(s): Baran bo Odar, Jantje Friese, Martin Behnke, Ronny Schalk, Marc O. Seng

Starring: Oliver Masucci, Karoline Eichhorn, Jördis Triebel, Louis Hofmann, Maja Schöne, Stephan Kampwirth, Shani Atias, Daan Lennard Liebrenz, Mikkel Nielsen, Andreas Pietschmann, Deborah Kaufmann etc.

Cinematography    Nikolaus Summerer

Original network:    Netflix

Wiki-background

**SPOILER-FREE REVIEW**

Where do you start with this clever German science-fiction-family-drama-murder-mystery-serial-killer-historical-thriller-drama?  Because over ten fascinating episodes it is challenging, baffling and mind-blowing in equal measures. Does this mean it’s any good? Well, on the main, it is well worth a watch, especially if you like labyrinthine narratives concerning time-travel paradoxes, death, human corruption and familial conflict.

Set in the fictional German town of Winden, Dark begins in 2019 before later on moving around in time covering at least another two separate timelines. I will admit I do not want to give spoilers away on this but if you like on-screen jigsaws which span different years and various versions of characters as children, adults and the elderly then this is for you. Indeed, over the ten episodes the creatives behind the show take you on a gruesome, stylish and splintered journey into the characters’ past, present and future.

cklpdvydxo201.png

Dark is grim, weird with loads of death. It opens with the suicide of a man and a teenager from the local school has also gone missing. Further disappearances occur which baffle the police while at the same time dead birds drop out of the sky. Yet, this is to all intents and purposes a normal town with regular families, school, police and oh, a Nuclear power station. So, if you’ve seen the recent Netflix show Stranger Things you’ll recognise we’re in similar Stephen King type horror territory. Having said that, Dark doesn’t actually worry about you liking these intense characters the way King and Stranger Things does. Although you do root for some of them they are a humourless bunch. But, who can blame them given what’s about to happen to their town and it’s the weirdness and mystery that keeps you watching.

Dark-4-cropped-1260x800

Centred around four families within Winden called: Nielsen, Kahnwald, Doppler and Tiedemann, who all have secrets to hide. As these secrets are revealed the intriguing writing gives us more and more mysteries and at times I felt lost. However, with a multitude of strands pulled together during the last couple of episodes I was fully on board this incredibly rich genre mix of horror, drama and science-fiction. The style is also very alluring with darkness, light, rain, stark landscapes and photography creating a thrilling mood, along with the haunting score. Finally, there were still loads of questions which remained at the end but I’ll certainly be back for Season 2 in the future.

Mark: 8.5 out of 11

SCREENWASH MOVIE REVIEW ROUND-UP – SUMMER 2018 – including: Alone in Berlin (2018), Call Me by Your Name (2017), Leave No Trace (2018), Testament of Youth (2014) and many more.

SCREENWASH MOVIE REVIEW ROUND-UP – SUMMER 2018

I watch a lot of stuff. It keeps me out of the pub and my liver safe from further harm. In between a July dominated by the World Cup in Russia, over the last few months I’ve been mainly re-watching Star Trek (OST) and catching up with the first two seasons of Mad Men in my downtime. But, in the last month, I decided to have a break from those fine shows and catch up with some movies via Netflix and Sky. I also include some quick reviews of a few films I saw at the cinema too. All reviews are, as usual marked out of eleven.

ALONE IN BERLIN (2016) – NETFLIX

Emma Thompson and Brendan Gleeson give subtle and compelling performances in this excellent WW2 drama. They portray a German couple who have lost their son in the fighting and retaliate by waging a ‘quiet’ war distributing anti-Hitler leaflets.

(Mark: 8 out of 11)

Alone_In_Berlin___Quad_artwork

ANON (2018) – SKY CINEMA

Clive Owen stands out in this under-cooked sci-fi drama inspired by Philip K. Dick and Black Mirror. He’s a future cop where crime is contained by point-of-view surveillance techniques. The idea is stronger than execution as it falls apart in the final act. (

Mark: 6 out of 11)

CALL ME BY YOUR NAME (2017)SKY CINEMA

Luca Guadagnino’s direction is exquisite, while Armie Hammer and Timothee Chalamet are exceptional in their portrayal of romance in 1980s Italy. A fantastic soundtrack and beautiful scenery cannot save the characters who I found narcissistic and tedious.

(Mark: 6 out of 11)

call

CARGO (2018) – NETFLIX

Martin Freeman leads the cast in this Australian horror film which finds his kind father at the mercy of outback zombies. It’s a slow moving film which offers characterization over gore, effective moments of tension and the always dependable Freeman.

(Mark: 7 out of 11)

DEEP WATER HORIZON (2016) – NETFLIX

This is an intelligent disaster movie about one of the biggest oil spills ever. BP’s drilling practices are criticized as the slow-build direction gives way to explosive action at the end. Overall, the excellent cast and script make this a very compelling drama.

(Mark: 7.5 out of 11)

GIFTED (2017) – SKY CINEMA

Chris Evans takes a break from both battling Hydra with an altogether more everyday fight. He plays guardian and uncle to a gifted child (brilliant Mackenna Grace) who finds himself in a bitter custody battle for the child, in a very touching human drama.

(Mark: 7 out of 11)

GODS OF EGYPT (2017) – NETFLIX

This is a really bad attempt at creating a Star Wars like franchise in mythical Egypt. Gerard Butler shouts throughout as though he’d swallowed the Brian Blessed guide to acting! Terrible waste of $150 million and my precious time.

(Mark: 4 out of 11)

HAPPY DEATH DAY (2017) – SKY CINEMA

Groundhog Day (1993) meets slasher film as College super-brat portrayed by Jessica Rothe finds herself dying again and again in various horrific ways. Turning detective she must solve her own murder in this derivative but well executed horror movie.

(Mark: 7 out of 11)

happy-death-day

HITMAN’S BODYGUARD (2017) – NETFLIX

Ryan Reynolds’ cynical performance and Samuel L. Jackson’s sparky turn make this assassin-action-film very watchable. Reynolds has to get Jackson to The Hague to testify against a nasty dictator; cue bullets, car chases and one-liners galore!

(Mark: 7.5 out of 11)

JURASSIC WORLD: FALLEN KINGDOM (2018) – ODEON CINEMA

In Fallen Kingdom Bryce Dallas Howard and Chris Pratt, once again pits their wits against mighty prehistoric creatures. J. A. Bayona brings a gothic style to the final act but ultimately, despite the incredible effects on show, the narrative feels tired.

(Mark: 6.5 out of 11)

LEAVE NO TRACE (2018) – CLAPHAM PICTUREHOUSE

The intense Ben Foster and brilliant newcomer Thomasin Mackenzie act their hearts out in this subtle family road movie. Opting out of society they play father and daughter attempting to stay ahead of the authorities in a very touching and heartfelt drama.

(Mark: 8.5 out of 11)

Leave-No-Trace-quad

THE LIMEHOUSE GOLEM (2017) – NETFLIX

Bill Nighy, Olivia Cooke and Douglas Booth are acting stand-outs in this watchable murder mystery set in Victorian London. The cinematography is impressively moody, however, the narrative runs out of steam by the time the twist kicks in.

(Mark: 7 out of 11)

OCEANS 8 (2018) – ODEON CINEMA

An excellent ensemble cast including: Sandra Bullock, Anne Hathaway, Sarah Paulson, Helena Bonham-Carter etc. cannot save this by-the-numbers heist film. It looks gorgeous but was low on jeopardy and ultimately, I didn’t care about the characters.

(Mark: 6.5 out of 11)

TESTAMENT OF YOUTH (2014) – NETFLIX

Alice Vikander is outstanding in this heart-breaking story of the impact of World War One on Vera Brittain and those she loves. Based on a seminal work of literature, it features themes relating to: war, death, pacifism, violence and the struggle of women combatting everyday prejudice. It’s very touching story, stellar cast and deeply empathetic characters which make it a highly recommended period drama.

(Mark: 9 out of 11)

Testament-of-Youth-Poster

WHAT HAPPENED TO MONDAY (2018) – NETFLIX

Always interesting Noomi Rapace stars as septuplets in hiding during a dystopic future that allows one child per family. The intriguing premise starts well but gives way to O.T.T violence which detracts a tad from an otherwise entertaining sci-fi film.

(Mark: 7 out of 11)

THE NETFLIX PARADOX: RANDOM THOUGHTS, including reviews of: ANNIHILATION (2018), MUTE (2018), OZARK (2017) and more.

THE NETFLIX PARADOX: RANDOM THOUGHTS ON A MODEL including quick reviews of: ANNIHILATION (2018), BRIGHT (2018), MUTE (2018), OZARK (2017), and others etc.

I first subscribed to Netflix around four years ago when my Sky TV dish was out of action. Being a film and TV addict, Netflix was a godsend and easily fixed my desire for continuous viewing. It was cheap and had loads of older and not so older content including: drama box-sets, comedy, new film releases and classic cinema. Then, a couple of years ago Netflix decided to begin producing its own original content and many of the shows released have been excellent.

There’s SO many great shows to mention but programmes such as: It’s Always Sunny in Philadelphia, Daredevil, Jessica Jones, Black Mirror, Mindhunter, Breaking Bad, Making a Murderer, Better Call Saul, American Horror Story, Doctor Who, Stranger Things, Fargo, American Crime Story; plus the back catalogue of: stand-up comedy specials, documentaries, BBC, ITV, Channel 4 and US cable shows I’ve re-watched all make Netflix a brilliant virtual online video shop. In fact, given the amount of output I have NOT seen one might say there are TOO MANY shows with not enough time to consume them all.

Of late they have released a number of, what one would class as, proper cinema films such as: Okja (2017), Beasts of No Nation (2015), Cloverfield Paradox (2018) and many more. But rather than being given the chance to watch them on the big screen they have gone direct to the streaming platform. I think this is a shame as experiencing a film in the cinema can enhance the enjoyment. It cannot save a poor story yet it would be great to have the choice to see these films on the silver screen. I wonder how sustainable it is though. Surely a big budget film makes its profits from cinema-goers as well as subsequent DVD and BLU-RAY sales. How do, aside from subscriptions, Netflix make their money back on big budget products? And should I care?  I probably shouldn’t worry at all. I’m just an ordinary Joe who at the moment is binge watching Mad Men and Star Trek (original series onwards) and only have to pay a tenner a month for the privilege.

Ultimately, the Netflix streaming model grows bigger and bigger and their model may prove revolutionary and make going to cinema a thing of the past. I doubt that but you never know. They once said sound wouldn’t take off and look what happened there. Anyway, enough of the random debate, during the last few months I’ve continued watching some of Netflix’ biggest releases and here’s a few quick reviews of said product with the usual marks out of eleven.

netflix-80-films

ANNIHILATION (2018)

Alex Garland is a brilliant writer and his debut film Ex Machina (2014) was a stunning sci-fi character drama. His second film is an adaptation of a book by Jeff VanderMeer. In it a group of scientists venture into an apparent alien invasion in order to investigate a weird landscape called “The Shimmer”. Slow and meditative with flurries of monstrous action, Annihilation, was brilliantly made but Garland’s steady pace does the story no favours and I failed to connect with the characters or narrative. Natalie Portman and Jennifer Jason Leigh stand out amidst an excellent cast but while beautiful to look at the film left me cold. (Mark: 7 out of 11)

annihilation-crop

BETTER CALL SAUL (2017) – SEASON 3

We are now onto Season 3 of Vince Gilligan and Peter Gould’s legal prequel to Breaking Bad and once again it proves itself a brilliantly written character drama. Still working under his original name, Jimmy McGill continues subtle battle with his big-shot lawyer brother Chuck, portrayed superbly by Michael McKean. With Jonathan Banks and Rhea Seehorn again provide fantastic acting support, this is always an absorbing watch as Bob Odenkirk again steals the show as the cheeky ducker-and-diver-lawyer. (Mark: 9 out of 11)

bcs

BRIGHT (2017)

David Ayer follows up the almighty mess that was Suicide Squad (2017) with a kind of remake of his early millennial classic Training Day (2001). But rather than Denzel Washington and Ethan Hawke doing battle with gangs and crooked cops we get Will Smith and Joel Edgerton doing battle with orcs, dwarves, elves and crooked cops. It’s a bloody weird mix of magical fantasy and buddy cop drama but I was pretty entertained by it all and Smith and Edgerton were worth watching despite the meshing of two unlikely genres. (Mark: 6.5 out of 11)

bright

MUTE (2018)

Duncan Jones’ directorial follow up to the disappointing Warcraft (2017) is another massive fail all round. Everything about it fails to entertain despite a cast including the brilliant Paul Rudd and Justin Theroux. Alexander Skarsgaard portrays an Amish mute hunting down his missing girlfriend in a futuristic Berlin setting. Aside from the pristine Bladerunner style visuals there is no real reason for the futuristic setting and the noir story just does not add up to anything in terms of drama, proving ultimately to be both illogical and in poor taste.   (Mark: 4 out of 11)

mute

OZARK (2017) – SEASON 1

This is a fantastic crime drama featuring an enthralling narrative and brilliant acting from both Jason Bateman and Laura Linney. Bateman plays an accountant who has to go on the run with his family to Ozark, Missouri while working for a murderous Mexican drug cartel. I won’t give anything else but this is up there with Breaking Bad at times with its violence, twisting plots and dark humour. Bateman, who directs many episodes too, is like a metronome of perfect delivery as his Marty Byrde flies by the seat of his pants staying one step ahead of: the local gangsters, religious nuts, the FBI and the aforesaid Cartel. (Mark: 9 out of 11)

ozark-season-2-release-date-770x433

THE PUNISHER (2017 – SEASON 1

Marvel’s latest TV offering in conjunction with Netflix suffers similarly to other shows in that it struggles to stretch the story over 13 episodes. Having said that, any show starring John Bernthal, literally bursts off the TV screen with machismo, crunching physicality and some sensitivity too. Set after the events of Daredevil (S2), Frank is off the grid trying to overcome the grief of losing his family but it’s not long before he’s battling military bad guys looking to finish him off. The script has some depth too as in delves into the horror of post-war stress disorder and those soldiers disregarded by society. Yet it’s Bernthal’s brutal performance that holds the interest through this very watchable series. (Mark: 8 out of 11)

punisher

THE SINNER (2017) – SEASON 1

Starring Jessica Biel and Bill Pullman this expertly crafted six-part crime drama begins with a cracking opening episode that pulls you right into its grasp. Biel portrays Cora Tannetti, a mother and wife, who suddenly finds herself in the midst of a criminal investigation that threatens to tear her life apart. Pullman, the sympathetic police detective with dark secrets of his own, investigates the crimes and attempts to uncover the truth. This is a twisted tale full of sexual tension, religious fervour and sudden violence; and aside from one gaping plot hole it had me gripped throughout. Biel and Pullman are especially committed to their roles as the script, based on Petra Hammesfahr’s novel, goes to some very dark places.  (Mark: 8.5 out of 11)

sinner

SCREENWASH: FILM REVIEW ROUND-UP including: CHRISTINE (2016), I, TONYA (2017), LADYBIRD (2017) etc.

FILM REVIEW ROUND-UP – MARCH 2018

Rather coincidentally I have watched a number of films recently with female lead protagonists and hopefully this harks a more progressive move toward equality in leading roles. As a humanist myself I applaud any movement which proclaims and pursues empowerment and equality to every human being. For far too long people have been oppressed, including women, and we must rid the world of prejudice and negativity based on gender, race, sexuality, health, shoe size, hair colour and looks in general.

Thus, in mild tribute to yesterday’s International Women’s Day I am reviewing some very different films where female characters are to the fore. In these reviews I will consider the characters and their strengths and place in their given setting and world; as well as my own subjective appreciation of the films. As usual the marks are out of eleven.

AMERICAN HONEY (2016) – SKY CINEMA

Andrea Arnold is an incredibly talented filmmaker and her films Red Road (2006) and Fishtank (2009) were bleak, honest and brilliant representations of working class British life. In American Honey she tackles the on-the-road-under-belly-working-class representations of American life with mixed results. Sasha Lane portrays Star, a young, transient and energetic character attempting to find hope, love and money on the oily, grimy roads of the USA. She joins a rag-tag troupe of magazine sellers led by Shia LaBeouf and Riley Keough, who drink, smoke pot and fuck while crossing various States! Star’s character is naïve and feisty, and as she falls for LeBeouf’s charismatic Jake, she finds her life choices coming into question. Overall, this is a beautifully shot and directed film and Arnold gets some very interesting performances from an amateur supporting cast, but the film is TOO LONG and many of the characters are just too unlikeable and stoned to care about. With editing Star’s journey could have been even more fascinating but despite some enthralling scenes I struggled to connect. (Mark: 6 out of 11)

american-honey1

CHRISTINE (2016) – SKY CINEMA

Christine Chubbuck was a Sarasota TV news journalist who became infamous for an incredibly sad act she carried out live on TV. I won’t reveal what is was for fear of spoilers BUT safe to say it was not pretty. Rebecca Hall portrays this complex character with an artistic and haunted beauty; with Christine’s character totally infected by stark depression. She just does not fit in as she seeks artistic more human stories at work and clashes with her ratings-seeking boss, portrayed sympathetically by Tracy Letts. Michael C. Hall as the handsome news ‘anchor’ also tries to connect with Christine but her mood swings, paranoia and punishing work schedule pushes her away from those around her. Family, friends, and colleagues all rally round but ultimately Christine’s depression defeats her. Rebecca Hall is brilliant as Christine and this is a very absorbing, character study which sticks in the heart and mind. (Mark: 8.5 out of 11)

CHRISTINE

GHOST IN THE SHELL (2017) – SKY CINEMA

The ubiquitous Scarlett Johansson once again takes on an impressive kick-ass futuristic female role which finds her “ghost” inserted in to a computer-powered “shell”. Despite incredible visuals and fight scenes and Scarlett again proving a dominant screen presence the film is a let-down from a narrative and script perspective. There is a decent story in there as Johansson’s Major uncovers a nefarious murder plot being carried by evil corporations (is there any other kind?); but while looking pretty and carrying some impressive special effects this is an underwhelming adaptation of the original Japanese anime cult classic. (Mark: 5.5 out of 11)

I, TONYA (2017) – CLAPHAM PICTUREHOUSE CINEMA

Tonya Harding was an incredibly talented and driven ice skater who went on to represent the USA at the Worlds and Olympics.  She was also the first American female skater to perform two triple axel jumps in the same set. However, she also surrounded herself with and married fucking idiot men who ruined, along with her poor decisions, her career. As portrayed by Margot Robbie, Tonya is a potty-mouthed, bitter, energetic, unlikeable person yet effervescent and funny. Off the ice she continually chooses to go back to her abusive husband Jeff Gilhooly (impressive Sebastian Stan); while on the ice she skates with passion, determination, and brilliance. Steven Rogers script and Craig Gillespie’s direction present the story in mockumentary form with some comedy sketch-style cutaways which on occasion take away from the emotional core. Alison Janney is formidable as Harding’s hard-faced, pushy mother. However, it is her aggression and abuse which, while creating an incredible sportsperson in Tonya, also crushes all the love from the mother-daughter relationship. (Mark: 8.5 out of 11)

i-tonya2

LADY BIRD (2017) – CLAPHAM PICTUREHOUSE CINEMA

Greta Gerwig’s very personal rites of passage character study is a breezy, touching, emotional and funny hop through the life of Christine “Lady Bird” McPherson, as she navigates from High School to College. Lady Bird is a complex representation of young womanhood as her character is irrational, bitchy, kind, irritating, neurotic and somehow kind of loveable. Saoirse Ronan, Tracy Letts, and Laurie Metcalfe excel in a great ensemble cast and Gerwig’s script begins like a train with a flurry of very quick and funny scenes involving Lady Bird, her family, school friends and objects of desire. Later, notably with Lady Bird’s strained relationship with her mother, the film tugs at the heart strings to enthralling effect. Lady Bird has received a lot of critical acclaim and deserves much praise as Gerwig shows she is going to be a directorial talent to watch out for.

(Mark: 8 out of 11)

ladybird2.jpg

PERSONAL SHOPPER (2016) – NETFLIX

Another ambiguous, cerebral arthouse film from filmmaker Olivier Assayas containing both thriller and ghostly elements. The haunted Kristen Stewart plays a grief-stricken individual who is both a psychic and personal shopper. Stewart’s character Maureen is a lost soul working a job she hates searching for closure.  While attempting to connect psychically with her deceased brother she is also stalked by an unknown person or “force”. As a character study the film works very well but I would have preferred the ghostly element of the story to play out emotionally as the other story did not successfully merge for me. I guess it’s open to interpretation but it felt like the filmmaker was telling two stories which did not hold together successfully. Stewart though imbues Margaret with a cold, distanced but powerful empathy and her fear and paranoia drives the story, notably in a couple of very creepy scenes. (Mark: 7 out of 11)

Charlie Brooker shines darkly again! BLACK MIRROR (Season 4) – Netflix Review

BLACK MIRROR – SEASON 4 – TV / NETFLIX REVIEW

Created by: Charlie Brooker

Producer(s): Barney Reisz, Charlie Brooker, Annabel Jones

Distributors: Endemol UK – Netflix

Season 4: 6 Episodes

Writer(s): Charlie Brooker plus William Bridges (USS Callister)

Directors: Toby Haynes, Jodie Foster, John Hillcoat, Tim Van Patten, David Slade, Colm McCarthy

Cast: Jesse Plemons, Cristin Milioti, Jimmi Simpson, Michaela Coel, Billy Magnussen, Rosemarie DeWitt, Brenna Harding, Andrea Riseborough, Kiran Sonia Sawar, Andrew Gower, Georgina Campbell, Joe Cole, Maxine Peake, Douglas Hodge, Letitia Wright etc.

landscape-1513012385-black-mirror-4

Technology: the final frontier; allowing humans to boldly go where no human has gone before.  Indeed, one of the most incredible elements of our world is the technological breakthroughs we have made over the past century or so. We have: electricity, nuclear power, robots, driverless vehicles, television screens, computers, mobile phones, satellites, GPS tracking, drones, 3D printing, smart home air-conditioning, Hadron Colliders, huge space-ships which travel beyond the stars, WI-FI, the world-wide-web connecting everyone with anyone, holograms, the social media phenomenon, virtual reality head-sets, software algorithms, x-rays, gamma knifes, DNA, cloning, MRI scans, Hyperloop tube trains, Sat-Nav, Google, immersive video-games; plus many more medical, military and industrial inventions which make our lives so easy today.

But with such wonderful and fantastic discoveries there is always a dark side. While we may create a medical breakthrough which cures on the one hand we’ll ultimately invent some new weapon or means with which to kill ourselves. So while technology is mainstay of our existence it also can feed our obsessions and thus become an extension of our poor choices, violence and insanity. The scariest thing is we think technology is absolutely necessary and we cannot live without it. I mean, all we really need to survive is water, air, food, shelter and perhaps, as The Beatles sang, love. For all its’ positives, technology is an addiction and can be used to do wrong and cause harm.

callister

Charlie Brooker’s sublime anthology series Black Mirror is now in its 4th Season (2nd on Netflix). It taps into the fear factor technology brings and presents nightmare scenarios that more often than not possess a prescient twist. Who can forget the very first episode of BM which had Rory Kinnear’s Prime Minister having to fuck a pig as a means to pay a hostage ransom?  The subsequent tabloid news that our then former Prime Minister David Cameron had, allegedly, stuck his member in a pig’s mouth suddenly made BM incredibly prophetic. This season is another televisual triumph with an incredible array of acting, directing and production talent with each episode offering the feel and scope of a cinema release. I’ll be honest being a massive Charlie Brooker fan I would probably enjoy a video of him dancing in a tutu whilst juggling tomatoes; however, I can confirm these six episodes were beyond brilliant too.

black_mirror_hang_the_dj

Within the fabric of each episode Brooker holds a mirror up to the future and invariably it will come back black. However, the touching love story of San Junipero (from Season 3) offered some light in the BM universe and similarly Hang the DJ (officially 3rd in the Season 4 list) contained a wonderful love story at its’ heart with Georgina Campbell and Joe Cole giving humorous and touching performances. It also contains a Truman Show (1998) style ending and a twist that I thought was absolutely fantastic. Indeed, what appears to reflect the dystopic controlling techno-world of romance apps becomes something entirely real and beautiful by the end.

While Hang the DJ offers hope, the remainder of the episodes are bittersweet, brutal and unforgiving in their rendering. Actually, I suppose the Star Trek pastiche USS Callister has a kind of optimistic ending and is bloody funny in its affectionate satire of Trek archetypes and monsters. However, Jesse Plemons downtrodden Silicon Valley programmer holds a dark secret during his immersive Virtual Reality gaming experiences. Full of Star Trek references and themes, the clever script merges ideas relating to gaming and DNA technology with fantastic sci-fi meta-textual moments.

black-mirror-arkangel.jpg

Arkangel also has an element of brain implanted software which enables a neurotic mother (Rosemarie DeWitt) to track and view her daughter’s every move on a computer screen. Despite the revolutionary software used this story is based wholly in familial reality as the relationship between mother and daughter becomes strained as she enters her rebellious teenage years. The danger of “helicopter” or overbearing parenting becomes too apparent in satisfying soap operatic story.

Brooker relates many of his scripts in genre territory so the more outlandish or fantastic ideas are grounded with an identifiable cultural identity. The horrific murder plot of Crocodile unfolds in true Hitchockian fashion as an insurance adjuster tracks down the details relating to a vehicle accident but tragically stumbles on something altogether more deadly. The ending of this story is particularly far-fetched, as Andrea Riseborough’s architect gets deeper and deeper in the mire, however, Brooker must be praised for taking risks with his twists.

black-mirror-metalhead

Rather simpler is the pursuit thriller Metalhead, presented in crisp black and white, as a woman (the brilliant Maxine Peake) attempts to survive in a dangerous land full of robotic guard-dogs. It’s mainly a tense one-hander and the future never looked so drained of hope and colour. The final episode Black Museum was even more grisly as Douglas Hodge shows Letitia Wright’s tourist around his grim parade of exhibits. Brooker’s writing is as strong as ever and the horrors of the entwining anthology stories are shocking and powerful. It’s a dark, dark episode which contains the fantastic idea of uploading one’s digital soul into a loved one’s to share their consciousness. This plays out with both horror and humour in a compelling end to the season.

black_mirror_black_museum

Being a total Charlie Brooker and Black Mirror fan; a big lover anthology stories; plus a fanatic of horror and tales with a twist it’s obvious to say I loved this seasons offerings. They are clever, dark, funny, sickening, silly, romantic, scary, twisted stories full of satire and warnings about the dangers of technological progress. Ultimately, though it is not science or computers or mechanics which are the danger; but rather humans use and abuse of said technology. Because, for all our ingenuity and invention we more often than not use machines negatively and Black Mirror reflects that (im)perfectly.

Mark: 10 out of 11