Category Archives: New Releases

Cinema, New Releases, Reviews

SOLO: A STAR WARS STORY (2018) – MOVIE REVIEW

Leave a comment

SOLO: A STAR WARS STORY (2018) – MOVIE REVIEW

Directed by: Ron Howard

Produced by: Kathleen Kennedy, Allison Shearmur. Simon Emanuel

Written by: Jonathan Kasdan, Lawrence Kasdan

Based on Characters: by George Lucas

Starring: Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo, Paul Bettany

**MAY CONTAIN SPOILERS**

SOLO-ew-han-tall

Anyone for another round of Star Wars bingo?

In a particularly biting satirical swipe at George Lucas and Steven Spielberg, the South Park episodes Free Hat (Season 6) and the latter episode The China Probrem (Season 12), criticized the filmmakers for digitally altering their beloved Indiana Jones films on re-re-re-re-release. The China Probrem took the barbs even further (too far one could argue) by showing a lascivious Lucas/Spielberg raping Indiana Jones. I mean, Indiana Jones and the Crystal Skulls (2008) wasn’t great but to suggest its sexual assault on one’s childhood memories and a beloved character did have me spewing out my metaphorical popcorn in shock.

Moreover, South Park further lambasted the avarice of corporate culture, specifically Disney, and their purchase of Lucasfilm in the excellent episode from Season 16 Obama Wins! All this proves is that controversial and offensive satire cannot and will not change the Panzer-like “progress” of the Mickey Mouse machine. They own many of the biggest film franchises and absolutely will not stop until they have our money. What can you do? Do you rebel against the Disney Death Star or do you join the dark side?  After all, it could be fun.

https___blueprint-api-production.s3.amazonaws.com_uploads_card_image_781516_8bbb702d-8411-43df-b628-7a2fdc7820d0

Indeed, after all the apparent production shenanigans reported on the set of Solo (2018) – notably the “sacking” of Phil Lord and Christopher Miller – I can advise that this latest Star Wars prequel is a lot of fun. That darned elephant in the room still haunts the film though and that is the nature of prequels. Whatever danger you put your protagonists in you know they are going to survive; thus, tension is very often lost within the action and drama. Having said that Star Wars fans will have a lot of joy ticking off HOW Han Solo’s early life began and how he originated into one of the best characters of the whole science-fantasy series.

Characterisation is in fact one of the strengths of the film in my view. Solo comes from sewers of a guttural world and chances and gambles his way through the story but with strong motivation. His devotion to Qi’ra (Emilia Clarke) is a powerful spine with which to hang the excellent action set-pieces on. Their romance and the chemistry between Clarke and Ehrenreich is palpable throughout and drives the story into interesting areas. Alden Ehrenreich, I think, is a bona fide movie star. He shone in Hail Caesar (2016) and does so as Han Solo. Whatever the difficulties were on-set I think his likeability and acting style brings handsome energy and humour to the role. I especially loved the gambling-fly-by-the-seat-of-his-pants nature of Solo’s character which owes much to Lucas’ original scripts.

Overall, Solo is a very entertaining join-the-dots prequel that ticks off all the by-the-numbers Star Wars scenes, tropes and characters including: the Millennium Falcon, Chewbacca, the Empire, Lando, the Kessel Run, plus many more to keep the fans happy. Lastly, Solo works very well as both an origins story and a fantastic fusion of heist and Western films. The supporting cast all deliver in a positive way, notably the charismatic Donald Glover and always reliable Woody Harrelson. While you can often see an element of chaos in certain scenes I think the steady directing hand of Ron Howard has delivered a franchise film which will safely keep Disney’s gravy train on track. In fact, both prequels have been, in my humble opinion, better than The Force Awakens (2015) and The Last Jedi (2017), because Solo (2018) and Rogue One (2016), actually have narratives which made some emotional sense.

(Mark: 8 out of 11)

Cinema, New Releases, Reviews

LEAN ON PETE (2017) – CINEMA REVIEW

5 Comments

LEAN ON PETE (2017) – CINEMA REVIEW

Directed by: Andrew Haigh

Produced by: Tristan Goligher

Screenplay by: Andrew Haigh

Based on: Lean on Pete by Willy Vlautin

Starring: Charlie Plummer, Chloë Sevigny, Travis Fimmel, Steve Buscemi

Music by: James Edward Barker

Cinematography: Magnus Joenck

lean-on-pete-01.jpg

More times than not I go to the cinema to escape the nagging existential doubt I have in respect of life. I watch movies, even the movies based in some believable reality to escape MY reality, my work, my everyday life. Sometimes, though you find a film which will not allow you to escape. It is so relentlessly realistic in its representation of the human spirit that it does not allow you to get away. You are stuck; imprisoned by the misery and hopelessness one can feel with life. Lean on Pete (2017) is such a film.

Adapted and directed by Andrew Haigh, Lean on Pete is a tunnel-focussed character drama based in the dustbowl plains of Portland, Oregon. The lead protagonist is Charlie Thompson who is portrayed with an incredible maturity by Charlie Plummer. The director Haigh and Plummer deserve much praise for creating such an empathetic and troubled character. I mean he’s a good kid who works hard. He jogs everyday in order to keep his fitness up so he can return to playing football at school. Yet, his life suffers from ennui, poverty and family discord. Put simply: Charlie was born with no luck. His mother left when he was a baby and he’s brought up by a father (Travis Kimmel), who loves him, but is somewhat of a nomad; moving from a different job to a different location to a different women every few years.

Lean on Pete

Movement defines Charlie. He’s either running down roads or walking or driving or leading the horses out. He gets a job working with irascible horse race trainer portrayed by the excellent Steve Buscemi and befriends a rundown racehorse called ‘Lean on Pete’. Charlie becomes, against the advice of everyone, attached to the horse and this affection will drive his actions in the tragic latter half of the film. This is no Disney-kid-befriends-animal-rites-of-passage-fairy-tale but rather a depressing and harsh neo-Western where the American dream is a distant memory.

Overall, it’s a strange thing to say that, while brilliantly filmed by cinematographer Magnus Joenck and directed by Andrew Haigh, Lean on Pete, is a tough film to recommend due to the relentless existential misery on screen. However, there is hope there in Charlie’s character as he won’t give in and just keeps moving trying to find some light at the end of that tunnel we call life.

(Mark: 8 out of 11)

Cinema, New Releases, Reviews

SCREENWASH – WORLD CINEMA SPECIAL including reviews of: THE SQUARE (2017), ISLE OF DOGS (2018), JULIETA (2016) etc.

Leave a comment

SCREENWASH – WORLD CINEMA REVIEW SPECIAL!

Technically speaking all films made can be labelled World Cinema because all films made were made on this Earth or World. As yet we know of no movies from other planets, so World Cinema has come to refer to films made in a foreign language or language other than English. I mean what do people from other countries call films made in English?  And does it matter. All this fluffing is really a means to introduce a selection of films from various countries other than the United Kingdom (another debatable term these days), that I have watched at the cinema, on DVD or streamed off the box. As usual I accompany my reviews with marks out of eleven.

**A SUGGESTION OF SPOILERS**

THE INNOCENTS (2016) – FRANCE / POLAND

Brace yourself for a truly heart-breaking and tragic WW2 narrative. This film inspired by true events finds a young French doctor assisting a nunnery and the various occupants who became victim to vicious rapist Soviet soldiers. This is a grim story that is shot and directed with great pathos and compassion. It brought a heavy heart and a tear to the eye as the heroic women battle against the dogs of war, while bringing new life into this retched world.

(Mark: 8.5 out of 11)

ISLE OF DOGS (2018) – JAPAN / USA

Put aside ridiculous millennial online accusations of cultural appropriation and submerge yourself within Wes Anderson’s rich narrative and stop-motion tapestry. I’m not always a fan of his story subjects but he is a master of style and form. Isle of Dogs is no different and was a wonderful cinematic experience. Set, obviously, in Japan we concentrate on, hence the title, a bunch of stray dogs dumped on a wasteland left to die. This is much darker than prior Anderson films but full of the imagination, wit, colour and brilliant technique, containing funny gags and twisting drama throughout.

(Mark: 8.5 out of 11)

JULIETA (2016) – SPAIN

I only really got into Pedro Almodovar’s cinema in the last few years and Julieta, while not as complex in terms of structure as other films, is just as emotionally effective.  It concerns our eponymous protagonist who on chancing an encounter with her estranged daughter’s former school mate finds her past colliding disastrously with her future. Emma Suarez and Adriana Ugarte portray the older and younger versions of Julieta as she reflects on the events which tore her life apart. Containing some beautiful filmmaking and one incredible cut halfway through, this is mournful, meditative and mature storytelling of the highest order.

(Mark: 8.5 out of 11)

L’AVVENTURA (1960) – ITALY

Michelangelo Antonioni is rightly lauded as one of the great Italian auteurs. He has directed some incredible films including: Blow Up (1966), The Passenger (1975) and the film L’Notte (1961). I watched L’Avventura on a Sunday morning and perhaps I wasn’t in the mood but it did not connect with me. I found it slow and pretentious and while the mystery of a missing socialite had some element of suspense the rich, narcissistic characters bored me. The acting from Monica Vitti was especially impactful and the scenery was beautiful, however, Antonioni’s existential narrative was a let-down. It was especially surprising to find that historically the film had been voted one of the best films ever made.

Mark: 7 out of 11)

THE ONE-ARMED SWORDSMAN (1967) – HONG KONG

I recorded this one on Film Four on a whim having been drawn in by the fact it was directed by the Shaw Brothers Studio. Their films were of course a massive influence on Tarantino’s Kill Bill (2003/4) duo of kung-Fu revenge films. The One-Armed Swordsman I found to be slightly cheesy due to the dubbing but overall an excellent wuxia epic with loads of great sword fights and a very effective narrative. Ultimately this is Great Expectations with weapons as a young servant child is adopted by a rich family only to grow up disrespected by his adopted siblings. Gang warfare rages in the rural territories and the young man grows up to be a fighter of some repute; even with only one arm. Both a tremendous action film and effective socialist critique of the ruling classes I found this an entertaining, funny and emotional wuxia classic.

(Mark: 8.5 out of 11)

THE SQUARE (2017) – SWEDEN / FRANCE / GERMANY

The 2017 Cannes Palm D’Or winner is half brilliantly funny arthouse satire and half sub-Haneke allegorical mid-life crisis thriller. Written and directed by Ruben Ostlund this is bravura cinema of the highest order as we find Claes Bang’s museum curator bumbling through various work, romance and private disasters.  Throughout there are some wonderful digs at the nature of modern art and how essentially people will believe any old crap to be art if it is put in a gallery. There are a number of hilarious satirical set-pieces including the “Tourette’s” scene and the “performance ape-ist” scene. While a tad overlong and bogged down slightly in the lead protagonist’s personal life this is a wonderfully, funny film with some great commentary on modern art, mocking of the bourgeoisie and a warning re: the rise of social media.

(Mark: 9 out of 11)

SHIN GODZILLA (2016) – JAPAN

Having seen Hollywood appropriate their Gojira creation for two films in 1998 and 2014, the Japanese released their own resurgent version in 2016. Part-disaster-part-monster-part-social-commentary this creature feature is actually pretty good. It is driven structurally at first by a flurry of government meetings where hundreds of officials spend their time in meetings rather than actually solve anything. Clearly, this is a critique of Japanese government bureaucracy and the movie works well on that level. The characters who later come to the fore are left behind somewhat and the romantic subplot is poorly done.  Yet, when the Godzilla monster brings Tokyo to the edge of destruction the effects, while a bit wonky in places, are a riotous mix of laser CGI and man-in-suit-green-screen shots.

(Mark: 7.5 out of 11)

Cinema, New Releases, Reviews

AVENGERS: INFINITY WAR (2018) – MOVIE REVIEW

Leave a comment

AVENGERS: INFINITY WAR (2018) – MOVIE REVIEW

Directed by: Anthony Russo, Joe Russo

Produced by: Kevin Feige

Screenplay by: Christopher Markus, Stephen McFeely

Based on: The Avengers by Stan Lee, Jack Kirby

Starring:  Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Don Cheadle, Tom Holland, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Anthony Mackie, Sebastian Stan, Danai Gurira, Letitia Wright, Dave Bautista,  Zoe Saldana. Josh Brolin, Chris Pratt etc.

**SPOILER FREE**

marvel_studios_avengers_infinity_war_official_trailer_7

The reward for Marvel fans and cinemagoers committed to watching every single film – from Iron Man (2008) to Black Panther (2018) – is a gigantic, breath-taking, explosive, colourful, dark, epic, fantastical end-game blockbuster. Unless you have been stuck on a desert island or on a digital detox, Infinity War (2018) is the culmination of decades of comic-book and cinema storytelling coming to a head in one incredible feat of spectacle and super-hero conflict.

The film opens pretty much immediately after the end of Thor: Ragnarok (2017). The Titan Thanos (Josh Brolin) has hunted down Thor, Loki and the Hulk in order to obtain the Tesseract and the Infinity Stone within it. In fact, he is after all six Infinity Stones in order to gain twisted, yet in his mind, logical control over the Universe by killing half its inhabitants. Thanos’ characterization as a villain is given the most narrative power throughout and via him we get some nuance and subtext.

avengers-infinity-war-01

While brilliantly rendered, in look, by the army of special effects, and performance by Brolin, I kind of felt we were missing an element of mania and a committed statement of intent. I knew why Thanos was doing what he was doing but aside from an opening speech about destiny his mission lacked the political or social context compared to say that of Hydra from The Winter Soldier (2014) or Erik Killmonger from Black Panther (2018).  Nonetheless, lack of political context is a mild gripe because spectacle in terms of power and storytelling is what Infinity War is all about.

Thanos’ quest for domination was still a pretty decent structure to hang the story beats on and the writers should be applauded for trying to create a rounded super-villain. Because, allied with the incredible set-pieces and locations across the various galaxies, a major strength of Infinity War’s screenplay was the pace, power and interplay between the multiverse of characters and plot strands which were fantastically juggled by the directorial and editorial teams. This was epic storytelling, not just in length, but in scope. As we cut between Dr Strange, Iron Man and Spiderman on their particularly deadly mission; we also cut between Thor, The Guardians of the Galaxy, Vision, Wanda the Scarlet Witch, Captain America and their respective advnetures. There are so many different elements at play there is little breathing space, yet with a whip-smart script full of one-liners any plot deficiencies are masked expertly with perpetual motion and punchlines.

Spider-Man-Iron-Man-Doctor-Strange-Avengers-Infinity-War

Visually, the film is also extremely strong with bright funky new suits for the Hulk, Tony Stark and Peter Parker. Moreover, the locations in space and on Earth from the dark lands of Vormir to the verdant pastures of Wakanda are rendered beautifully on the screen. All manner of magical weapons, space-ships and military hardware explode and destroy and whizz-bang throughout. There is SO much crammed into the film that it’s a major coup that it worked so well. At one point I felt like I was watching three films in one echoing the great ensemble films I grew up with such as The Great Escape (1963). While the now obligatory end-game battle sequence echoed the likes of: Spartacus (1960), Braveheart (1995), The Return of the Jedi (1985) and more recently HBO’s epic Game of Thrones (2011 – )

Capture-5-1024x429.png

In terms of performance it’s difficult to pick out any one stand-out as the ensemble cast were uniformly impressive. My particular favourites were Benedict Cumberbatch as Dr Strange, Chris Pratt as Peter Quill and Zoe Saldana as Gamora, all giving memorable performances. Saldana’s Gamora arguably had the most powerful moments of stillness and pathos especially in her tragic backstory. Drax (Dave Bautista) and Tom Holland’s Peter Parker nailed their comedic patter too; the former’s deadpan literalism raising many laughs throughout. I also thought the details in look and voice given to Thanos’ Black Order stood out; notably the wonderfully named Proxima Midnight (Carrie Coon) and Corvus Glaive (Michael John Shaw).

Black-Panther-and-Wakanda-army-in-Avengers-Infinity-War-1

In conclusion, Avengers: Infinity War (2018) overall was spectacular blockbuster filmmaking which entertained me thoroughly for over two-and-a-half-hours. It could be argued that the army of special effects technicians, plethora of Disney and Marvel executives, array of Hollywood acting and filmmaking talent and the obscene amount of money spent has churned out YET another soulless super-hero film but wow didn’t they do it in style!!

(Mark: 9.5 out of 11)

Cinema, New Releases, Reviews

BEAST (2017) – CINEMA REVIEW

Leave a comment

BEAST (2017) – CINEMA REVIEW

Directed by: Michael Pearce

Produced by: Kristian Brodie, Lauren Dark, Ivana MacKinnon

Written by: Michael Pearce

Starring: Jessie Buckley, Johnny Flynn, Geraldine James

Cinematography: Benjamin Kracun

A3_Jessie-Buckley-Moll-and-Johnny-Flynn-Pascal-in-Beast.-Photgrapher_Kerry-Brown_low-res-696x418

With Marvel’s juggernaut Infinity War (2018) smashing through the Cineplexes this week it takes a brave distributor to release a low budget British thriller at the same time. Nonetheless, Beast (2017) is here secreting paranoia, sexual tension and animal magnetism amidst the super-hero saturation. Beast is the debut directorial feature of Michael Pearce and he certainly demonstrates a lot of talent in the writing and filmmaking stakes. He also gives us arguably one, if not two, film acting breakthrough roles in the casting of the incredible Jessie Buckley and equally alluring Johnny Flynn.

Beast is a slow-burner of a film. It moves at its own pace and quite often this works to heighten the suspense and on other occasions it perhaps slows the story too much. The central character is Buckley’s Moll Huntington, a coach tour guide living on the island of Jersey.  Her middle-class life seems safe and comfortable but beneath the surface her controlling Mother (Geraldine James) and religious background make her feel trapped and isolated. Beneath Moll’s quiet surface is an anger and sexual energy waiting to break out. When she meets Johnny Flynn’s handsome “bit of rough” Pascal Renouf, Moll’s rebellious nature is released as she fights against her mother and her middle-class upbringing.

beast-2017-005-jessie-buckley-on-floor-under-michael-flynn

Simultaneously, Jersey is under threat from a serial killer who is brutally murdering teenage girls. Thus, the film presents two main plots: a coming-of-age romantic drama, plus a police thriller full of suspense. Writer-director Michael Pearce weaves these strands, on the main, very successfully as the police become more and more certain Pascal is the murderer. Moll’s love and loyalty to Pascal then becomes twisted and her turmoil drives the story into very dark places. I would say, however, the police investigation side was not as successful as Moll’s character study. In fact, there were a couple of plot-holes which let the story down, as did a tad long running time. Yet, these are minor gripes in a beautifully shot and rendered cinema release that makes the most of the Jersey shore, dirt and forestation.

Overall, Beast deserves a lot of praise for the intense acting of Buckley and Flynn. Their relationship crackles with sexuality on the screen and Buckley excels in many scenes when the rage inside her just explodes. Flynn, who was unrecognizable from his role as young Albert Einstein in the show Genius (2017), has an off-centre charm which captures the outsider perfectly. Geraldine James, as Moll’s mother is also on formidable form too. Yet, Jesse Buckley’s owns this film as the complex protagonist; while filmmaker Pearce must be commended for creating a slow-burning and intelligent psychological thriller which stays with you once the credits have rolled.

(Mark: 8 out of 11)

Cinema, New Releases, Reviews

SCREENWASH HORROR REVIEWS: A QUIET PLACE (2018) & UNSANE (2018)

8 Comments

SCREENWASH HORROR REVIEWS: UNSANE (2018) & A QUIET PLACE (2018)

Many of us like to be scared and thrilled and made tense, especially if it is in the darkened recesses of the cinema. Because as the adrenaline and stress levels rise we know, at the back of our minds, we’re safe. Nothing can actually harm us because it’s happening on a screen. Yet witnessing characters in danger of harm or death can be an exhilarating and cathartic experience for many. Indeed, watching films of the horror or thriller genres is subconsciously akin to a near-death experience; as facing the reaper from a position of relative safety is part of the excitement of going to the movies.

I do love a good horror or thriller – I really do! So was really pleased when two decent ones came out at the cinema last week. Thus, here are two reviews for the price of one of Unsane (2018) and A Quiet Place (2018); both with the usual mark out of eleven.

A QUIET PLACE (2018)

Directed By: John Krasinski

Produced by: Michael Bay, Andrew Form, Brad Fuller

Screenplay by: Bryan Woods/Scott Beck & John Krasinski

Starring: Emily Blunt, John Krasinski

AQP-1

Without hardly any fanfare or major marketing campaign this superior monster film has crept up and, in a similar fashion to Get Out (2017), really got audiences flexing their “word-of-mouth” muscles. In fact, while it doesn’t have the socio-political dimension of Jordan Peele’s Oscar winner, I actually think it’s an even better horror film. Throughout A Quiet Place my heart was literally living in my mouth as my fingers and knuckles clenched and whitened during the whole tense escapade.

The story is quickly and economically established via a brilliant opening scene full of dread and silence. Emily Blunt and John Krasinski’s “every-couple” and their three children are surviving in a post-invasion period where monstrous creatures have wreaked havoc on Earth. Using sound to hunt humans must remain absolutely silent or: NO MORE HUMANS!!  This simple but ingenious premise drives the story and action as the lean and powerful script delivers some incredible moments of horror and suspense. The real-life husband and wife acting team bring a believable humanity to the characters and Blunt especially is phenomenal in her reaction and character work.

Mark: 9.5 out of 11

UNSANE (2018)

Directed by: Steven Soderbergh

Produced by: Joseph Malloch

Written by: Jonathan Bernstein/James Greer

Starring: Claire Foy, Joshua Leonard, Jay Pharoah, Juno Temple

unsane-photos-claire-foy-6

Unlike A Quiet Place this Steven Soderbergh directed thriller focusses on a different kind of monster; that which lives silently in the recesses of the mind. Claire Foy portrays, the unlikely named Sawyer Valentini, a financial analyst who after visiting a psychotherapist finds herself plunged into a horrific ordeal on a psychiatric ward which threatens her sanity.

This is a gripping story which, despite a few plot-holes, raises the tension and drama by making us unsure as to whether Foy’s character is a reliable or unreliable narrator. Soderbergh, who apparently shot much of the film on an IPhone 7, is an expert filmmaker as we feel trapped and claustrophobic during the lead protagonist’s hellish nightmare.

Like his previous film, the brilliant Side Effects (2013), the film also has important points to make about the Healthcare system in the United States, and overall I was drawn in by Foy’s excellent performance. I also liked the fact that she was kind of unlikeable too as the uncertainly whether to believe her paranoiac delusions propelled this fascinating low-budget-B-movie narrative.

Mark: 8 out of 11

Cinema, New Releases, Reviews

JOURNEYMAN (2017) – CINEMA REVIEW – including PADDY CONSIDINE Q & A

2 Comments

JOURNEYMAN (2017) – CINEMA REVIEW

Directed by: Paddy Considine

Written by: Paddy Considine

Starring: Paddy Considine, Jodie Whittaker, Paul Popplewell, Anthony Welsh

UK Release Date: 30-03-18 

**SPOILER FREE REVIEW**

Journeyman-teaser-poster

“There wasn’t a dry face in the house,” opined a member of the audience following the screening of Paddy Considine’s low-budget, big-hearted boxing narrative. We laughed at the minor malapropism because for ninety-two minutes our emotions and heart-strings had been poked, pulled and ultimately yanked apart in what was one of the empathetic and compassionate human stories I have seen in some time. I mean, I’m no hard man but it still takes a lot for me to be moved to tears, yet, Paddy Considine’s film had me welling up throughout.

The story begins with World Champion Matty Burton (Considine) and the build-up to his fight with brash, unbeaten and mouthy prospect Andre Bryte (Anthony Welsh). Burton is an experienced fighter branded a fraud by the belittling Bryte but he takes it all in his stride preparing to allow his fists do the work. Supporting Burton is his wife, Emma (amazing Jodie Whittaker), and the two have a young child together. The opening montage establishes Burton’s life showing he has everything to fight for including: family, friends, pride, career and community.

journeyman-2018-jodie-whitaker-paddy-considine

What begins with the makings of a standard sporting genre movie is transformed following Burton’s fight with Bryte. After which Considine and Whittaker take centre stage in a deeply moving portrait of a family coming apart due to tragic circumstances. Their performances as two characters battling to stay in love, together and just fighting to keep going is remarkable. There are so many startling scenes and moments which punch and wind you; in particular, the long-take that holds on Considine while on the phone to his wife moved me beyond words.

journeyman-movie-1

Following the screening Paddy Considine took questions from the editor of Total Film and the audience. It proved to be one of the best Q and A’s I’d experienced. Considine is a passionate writer, director and actor with a clear vision of the projects he loves to work on. His love of boxing as a craft was clear as he both acknowledged that while creating champions, fame and wealth, it’s also a brutal sport which can damage lives. Ultimately, Journeyman is honest and raw and reflects such battles in and out of the ring. This is not a traditional boxing film but rather a sensitive and compelling love story; and while it may be a small independent British feature it’s more epic than most big-budgeted movie releases of recent years.

 (Mark: 9.5 out of 11)

Cinema, New Releases, Reviews

YOU WERE NEVER REALLY HERE (2018) – CINEMA REVIEW

5 Comments

YOU WERE NEVER REALLY HERE (2018) – CINEMA REVIEW

Directed by: Lynne Ramsay

Produced by: Rosa Attab, Pascal Caucheteux, James Wilson, Lynne Ramsay Writer: Lynne Ramsay (Based on: You Were Never Really Here by Jonathan Ames)

Starring: Joaquin Phoenix, Ekaterina Samsonov, John Doman, Judith Roberts

Music by: Jonny Greenwood

Editor: Joe Bini

**CONTAINS MILD SPOILERS**

You-Were-Never-Really-Here-1-e1516304691921

Lynne Ramsay’s latest film will not be for everyone; be warned it has some very disturbing sequences relating to abuse and violence. The pitch is simple and accessible: a hired gun hunts down a kidnapped girl.  But the delivery is twisted, violent, fragmented, mesmerising and thoroughly hellish. The story beats along the same drum as the action thriller Taken (2009), but unlike Liam Neeson, Joaquin Phoenix’s Joe has a slightly different set of skills to work with. They are both ex-military but Joe’s past actions haunt him to the point of near-suicide and his preferred weapon is a trusty hammer from the local home improvement store.

It was fascinating seeing Lynne Ramsay taking on a narrative so full of such familiar genre tropes. This story covers aspects such as: kidnapped children; nefarious US government corruption; paedophile rings run by the rich; post-traumatic stress disorder; and the lone wolf ‘soldier’ seeking redemption. Indeed, the film crossed over into territory covered by the likes of: Man on Fire (2004), Hardcore (1979), and the aforementioned Taken trilogy. However, through Ramsay’s skewed and compelling direction I Was Never Really Here is an altogether different beast; spiritually evoking the seminal Schrader scribed story of Taxi Driver (1976). Similarly,  I Was Never Really There is an existential anti-thriller which asphyxiates the audience with: close-ups; canted frames; blurred and obscured shots; oblique angles; claustrophobic urban locations; jolting violence; blinding light; eerie shadows; and jumpy cutting which shreds the nerves throughout.

JOAQUIN

The fragmented narrative delivery adds further to the viewer’s creeping tension and developing sense of dread. The character of Joe is essentially in a psychological nightmare, haunted by several events from his past; during his childhood and while in the military and FBI service. Ramsay and her editor Joe Bini cut and chop us into the past before slamming us back to the present abruptly. The effect is to place us in Joe’s disturbed mind-set, creating a psychologically unhinged trip into the heart of darkness. It takes a special filmmaker to manufacture such feelings via the editing dialectic; and I hadn’t felt such nervousness in the cinema since experiencing Dunkirk (2017).

youwereneverreallyhere2

Ramsay is ably supported in her vision by an incredibly eerie soundtrack from the genius that is Jonny Greenwood. His score scratches under one’s skin like a junkie curse while somehow managing to cling to melody too. Of course, the film would not be so compelling if it was not for Joaquin Phoenix’ battered, bearded bear of a performance. He invokes the naked pain and desperation of the character in his huge frame and determined shark eyes. When faced with an enemy he is a brutal killer but altogether gentler and, dare I say it, fun, while looking after his beloved mother. Overall, this is a nihilistic, gory, scary, unsettling and stunning work of cinema; and while it treads a familiar narrative road it’s presented with such dark energy and meticulous care one cannot fail to be moved.

(Mark: 9 out of 11)  

Cinema, Netflix, New Releases, Reviews

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

2 Comments

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)

Cinema, New Releases, Reviews

A vibrant addition to the Marvel Formula – BLACK PANTHER (2018) – MOVIE REVIEW

Leave a comment

BLACK PANTHER (2018) – MOVIE REVIEW

**CONTAINS MINIMAL SPOILERS**

blackpantherpostercollage

The Marvel Franchise bus shows no sign of slowing down. Indeed, I’m wondering which driver (i.e. director) will be the first to get a puncture and crash their respective bus, because even though we are well past saturation point the successful formula is still sweetly cruising along without the threat of breaking down. Even slightly lesser known heroes such as Dr Strange (2016), Guardians of the Galaxy (2014) and Ant-Man (2015) have all made loads of money, and corny vehicular metaphors aside, surely it is only a matter of time before Marvel’s monopoly on Superhero movie success flails. However, Black Panther (2018) is most certainly NOT the film that causes the decline.

The crafty Marvel producers have kept their products fresh by often changing directors, handing the reins to arguably more quirky, indie-flavoured filmmakers such as: Joss Whedon, James Gunn, Taika Waititi and now Ryan Coogler. Thus, along with the standard heroes-versus-villains-end-of-the-world storylines, massive battle set-pieces and fantastical worlds and characters on show, such directors add an element of humour, characterization and diversity to proceedings.

black-panther-chadwick-boseman-letitia-wright-lupita-nyongo.jpg

The Black Panther story spine follows the Marvel formula very closely establishing our hero, T’Challa, in grief following the death of his father (events and characters from Captain America: Civil War (2016) are linked cleverly) returns home to take over as Chief of Wakanda. Despite his heart hanging heavy with sorrow he must face those that challenge his throne in ritual combat. Chadwick Boseman is excellent as T’Challa providing the character a regal poise as well devastating strength in the fantastically orchestrated fight scenes. In some ways though, compared to the other characters, T’Challa is more of the pivot with which the other livelier characters to bounce off. These include: the effervescent Letitia Wright, who portrays the tech genius, Shuri, sister of T’Challa; the fierce warrior Okoye, powerfully brought to life by Walking Dead star Danai Gurira; plus the subtle strength of Lupita Nyong’o as the intelligent and proud Nakia. Other supporting roles are brilliantly realised by: Forest Whitaker, Martin Freeman, Angela Bassett, Andy Serkis and rising star Daniel Kaluuya.

mld-24055_r_wide-1429668783d6a53bd74009c63fa5eb9693d76dea-s900-c85

What is a hero without a villain though? Despite the false flagging of Serkis’ heinous Ulysses Klaue as the primary bad-guy, the true meat of the story is provided in Michael B. Jordan’s angry and vengeful Erik ‘Killmonger’ Stevens. He not only presents a vicious threat to Wakanda and T’Challa, the writers and Jordan’s performance actually evoke much empathy for his deadly crusade with a multi-faceted characterization and back story. In fact, it’s one of my slight criticisms of the film that Stevens’ story was so strong he should have been introduced much earlier in the first act. However, when he does enter the play the film takes off in a very dramatic direction full of conflict and power.

MLD-24087_R.JPG

Ryan Coogler directed the brilliant indie film Fruitvale Station (2013) and followed it up with the impressive genre film Creed (2015) which successfully blew a hurricane of power, pathos and pizazz into the Rocky franchise. Similarly, Coogler and his writing partner Joe Robert Cole have infused the Marvel franchise with an intelligent storyline which covers themes relating to: colonialism, politics, revenge, military might and technological progress versus tribal tradition. It is a rich and vibrant film which successfully marries the futuristic with the historical and rural with industrial. I especially loved the references to the British museum and the infamous colonial “thefts” of ancient relics from Africa and the world over. Overall, Black Panther, while working within a well-trodden formula also pays homage to James Bond films too. Nonetheless, it still represents a fresh voice within the Marvel Universe with a finger on the pulse of African politics and diasporic history too. Finally, above all else it remains an impressive work of entertainment with pulsating set-pieces, cracking car chases, stunning score and bone-crunching bulletproof battles.

(Mark: 8.5 out of 11)