YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM UPDATE
Last year I wrote and filmed a new short film called You Have a New Follower (2020). It is now completed and it is now being prepared for submission to film festivals. Here are the details, credits and a trailer to watch.
Astrid Nilsson’s life begins to unravel when she is stalked by a mysterious hooded figure.
You Have a New Follower (2020) is the latest short film from Paul Laight and Fix Films. It was shot in London and combines mystery, suspense and science fiction genres with dramatic effect. It’s a short, low-budget film which seeks to explore themes of paranoia, anxiety, and identity within the thriller genre.
ASTRID NILSSON – Tilde Jensen DAVID MARKER – Mitchell Fisher
CREDITS AND CREW
DIRECTED BY: Paul Laight and Tilde Jensen WRITTEN AND PRODUCED BY: Paul Laight CAMERA: Petros Gioumpasis LIGHTING: Sakis Gioumpasis SOUND: Marina Fusella EDITORS: Oliver McGuirk, Petros Gioumpasis COMPOSER: James Wedlock SOUND DESIGN: Simos Lazaridis LOCATION MANAGER: Melissa Zajk PRODUCTION ASSISTANT: Lue Henner
THE CINEMA FIX PRESENTS – TWELVE FAVOURITE TV SHOWS OF 2019!
Bit late with this one, but following on from my twelve favourite films of 2019, here are the twelve favourite television shows I watched. I must admit I am still way behind on many AMAZON shows and don’t have APPLE TV+ or DISNEY +, so there’s probably loads of good TV stuff I have missed. For comparison I include last year’s favourites here:
FAVOURITE TWELVE TV SHOWS OF 2018
Atlanta (2018) – Season 2 – Fox
Billions (2018) – Season 4 – Showtime / Sky Atlantic
Black Mirror (2017) – Season 4 – Netflix
Bodyguard (2018) – BBC
The Deuce (2018) – Season 2 – HBO – Sky Atlantic
The Handmaid’s Tale (2018) – Season 2 – Hulu / Channel 4
Inside No. 9 (2018) – Season 4 – BBC
Killing Eve (2018) – Season 1 – BBC
Patrick Melrose (2018) – Showtime / Sky Atlantic
Vanity Fair (2018) – ITV
A Very English Scandal (2018) – BBC
FAVOURITE TWELVE TV SHOWS OF 2019
Now, this was TOUGH! Television productions just got better and better! I cannot believe I had to leave the following off the list. Yet, here are the honourable mentions: Afterlife (Season 1), Billions (Season 4), Black Mirror (Season 5), Euphoria (2019), Ghosts (2019), The Handmaid’s Tale (Season 3), Line of Duty (Season 5), The Loudest Voice (2019), My Brilliant Friend (2018), Ozark (Season 2), Stranger Things (Season 3); and the baffling genius of Watchmen (2019). But I decided to limit myself to twelve favourite shows and here they are:
CHERNOBYL (2019) – HBO / SKY ATLANTIC
“… an incredible TV drama. This tragic event teaches us to never take anything for granted. We have built our own gallows.”
DARK (2019) – SEASON 2 – NETFLIX
“… confused in a good way and totally immersed in the Tenebrae. You will be lost — searching for the light — yet you will be astounded too .”
ESCAPE AT DANNEMORA (2018) – SHOWTIME / SKY ATLANTIC
“… These are not likeable characters, but the Showtime production delivers as compelling a character drama as you’re likely to see all year.”
FLEABAG (2019) – SEASON 2 – BBC
“… Waller-Bridge takes familiar themes and situations and spins comedic and dramatic gold from them. Deserves all the praise and awards going.”
FOSSE / VERDON (2019) – FX / BBC
“… If you’re interested in the life and work of Fosse and Verdon then you will absolutely love this warts and all biopic. Rockwell and Williams are incredible.”
GAME OF THRONES (2019) – SEASON 8 – HBO / SKY ATLANTIC
“… despite the incredibly disappointing final episode, it was all about the journey rather the final destination. Winter has come and winter has gone and it’s one I will never forget!”
IT’S ALWAYS SUNNY IN PHILADELPHIA (2019) – SEASON 13 – FX / NETFLIX
“… The season takes joy in referencing the #MeToo and Time’s Up and Inception. The latter becoming a hilarious meta-textual delight. By the thirteenth episode,I had thoroughly enjoyed the scatter-gun chaos!”
MINDHUNTER (2019) – SEASON 2 – NETFLIX
“… with gripping narratives, great direction, memorable performances and the production team’s accurate eye for period detail in mind, I just did not want the latest season ofto end.”
SUCCESSION (2019) – SEASON 2 – HBO / SKY ATLANTIC
“… Ultimately, this is Shakespearean television of the highest quality. Succession (2019), is what we would get if Billy Wilder did TV.”
UNBELIEVABLE (2019) – NETFLIX
“… thoughtful, suspenseful and, at times, heartfelt drama. It highlights the shocking nature of sexual crimes against women and the very different ways police departments handle such situations.”
THE VIRTUES (2019) – CHANNEL 4
“… a more individual focused, personal and painful character study. Stephen Graham is absolutely amazing as the character of Joseph.”
WHEN THEY SEE US (2019) – NETFLIX
“… Beautifully written, acted and directed, this is an incredible work of television. It combines both a fascinating style and a brutal vision of the struggle of these characters experience.”
THE CINEMA FIX PRESENTS – TWELVE FAVOURITE FILMS OF 2019!
So, here are my TWELVE FAVOURITE FILMS I watched last year at the cinema, at film festivals and on streaming platforms such as Netflix, Curzon and Amazon etc.!
It was another very good year full of entertaining and thought-provoking cinema. If I have missed any films out it’s because I did not enjoy them as much as you — or have not seen them yet. If I have missed any must-see films then please point out any glaring omissions.
For comparison here are my FAVOURITE FILMS OF 2018:
A Quiet Place (2018)
A Star is Born (2018)
The Favourite (2018)
First Reformed (2018)
First Man (2018)
Game Night (2018)
Phantom Thread (2017)
Sorry To Bother You (2018)
The Shape of Water (2017)
12 FAVOURITE FILMS OF 2019
So, here are the films I enjoyed watching most of all last year. Films I also really liked but narrowly miss out on this list are: Doctor Sleep (2019), Green Book (2018), Harriet (2019), Little Women (2019), Paddleton (2019), Ready or Not (2019), The Report (2019) and Vice (2018).
AD ASTRA (2019)
“James Gray’s existential space epic finds Brad Pitt journeying into the abyss of space with tremendous results.“
AVENGERS: ENDGAME (2019)
“…the Marvel production team deserve so much credit for bringing this multi-stranded story home in such a thrilling fashion.”
“…With incredible scenes of documentary realism the director Nadine Labaki has delivered a powerful piece of cinema.”
DOLEMITE IS MY NAME (2019)
“… it’s a testament to the ability, talent and infectiousness of EddieMurphy. Comedian and B-movie star, Rudy Ray Moore, is a part he was born to play.”
THE FAREWELL (2019)
“… Awkwafina provides subtle brilliance in her role as Billi, yet, Zhao Shuzhen steals the show as the effervescent Nai-Nai in this funny and moving drama.”
THE IRISHMAN (2019)
“… Netflix have an absolute monster of a gangster film here, with Scorsese once again delivering a very special cinematic offering.”
JOJO RABBIT (2019)
“… Taika Waititi just manages to balance parody and pathos in this risky, but brilliant rites-of-passage comedy-war film.”
“… marrying Taxi Driver (1976) with a DC comic-book super-villain is a masterstroke; making it one of the most compelling films of 2019.”
KNIVES OUT (2019)
“… Rian Johnson is back on the form with this breathless murder mystery, which works brilliantly as fast-paced, witty and intricate film entertainment.”
MARRIAGE STORY (2019)
“… an emotional and funny relationship drama that’s full of standout scenes, with Adam Driver and Scarlett Johansson on top form.”
ONCE UPON A TIME IN HOLLYWOOD (2019)
“… a near three-hour arthouse classic, especially if you like films about film and TV making, driving, feet, cinema-going, Los Angeles, more feet; and hanging with the marvellous DiCaprio and Pitt.”
“… Jordan Peele skilfully delivers another great horror film, thanks to clever writing, masterful film production and an incredible cast.”
Produced by: Guy Ritchie, Ivan Atkinson, Bill Block
Story by: Guy Ritchie, Ivan Atkinson Marn Davies
Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant etc.
**MAY CONTAIN SPOILERS**
THE GENTLEMEN (2020)
Having dipped a big foot in the Hollywood studio pool with franchise hits like Sherlock Holmes and most recently Disney’s live action version ofAladdin (2019), Guy Ritchie is back to the crime genre where he made his mark. His reboot of The Man From Uncle (2015) was very under-rated, and while his King Arthur: Legend of the Sword(2017) didn’t quite work as a swords and geezer epic, Ritchie remains an excellent genre director and almost always produces very entertaining movies.
With Lock, Stock and Two Smoking Barrels (1998), Snatch (2000) and Rock N Rolla (2008), Ritchie excelled at carving himself a name in fast-paced-twisting-crime stories. They are full of hard nuts, femme fatales, dodgy geezers, businessmen, travellers, assassins, gamblers, plus working- and upper-class types all trying to outwit and out do each other in a variety of dodgy dealings. The films also feature fine ensemble casts, crunching violence, colourful language and cracking soundtracks. All of this combines to create fine entertainment all round. It may lack subtlety, suspense and emotion, but crime has never been so much fun.
The Gentlemen (2020) continues Guy Ritchie’s decent form in the gangster comedy genre. Matthew McConaughey is the “Kingpin”, Mickey Pearson, whose underground marijuana empire is about to come under threat from various rival gangs. The plot is essentially a story of a capitalistic hostile takeover with added bullets, punch-ups, YouTube viral videos, boxers, junkies and copious use of the C-word.
Ritchie may not be everyone’s cup of tea, but he certainly knows how to put together a movie. Using lashings of music to compliment the freeze frames, voice-overs, whip-pans, flashbacks, flash-forwards, close-ups, canted frames, slow motion and anything else that smashes the story along is fine by me. Plus, don’t forget the over-the-top, but ever quotable zinging dialogue and the unreliable narrator that is Hugh Grant’s weasly tabloid newspaper investigator. Grant is the standout performer here along with Colin Farrell and Charlie Hunnam’s cool but deadly fixer and second-in-command. Able support also comes from Jeremy Strong, Michelle Dockery, Eddie Marsan and Henry Golding.
Overall, The Gentlemen (2020) is not a particularly subtle film. In fact, many may find the language rather offensive in this age of the woke generation. Don’t get me wrong I’m all for political correctness and equality, but sometimes it’s just great to have a laugh and Ritchie provides this in many hilarious scenes of action and dialogue. There’s an element of substance provided in regard to the destruction drugs can cause and very mild analysis of England’s class system. However, such themes only skim the surface in what is a wonderfully irreverent, over-the-top, violent, offensive and entertaining crime comedy.
STAR WARS: THE RISE OF SKYWALKER (2019) – MOVIE REVIEW
Directed by: J.J. Abrams
Produced by: Kathleen Kennedy, J.J. Abrams, Michelle Rejwan
Screenplay/Story by: J.J. Abrams, Chris Terrio, Derek Connolly, Colin Trevorrow – based on characters created by George Lucas
Cast: Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Naomi Ackie, Domhnall Gleeson, Anthony Daniels, Lupita Nyong’o, Keri Russell, Richard E. Grant etc.
Music by: John Williams
**SPOILER FREE REVIEW**
The J. J. Abrams directed Star Wars: The Force Awakens(2015) reboot broke not only the internet, but also box office records worldwide. It was a safe, entertaining and impressive spectacle which combined a mix of older characters we knew and loved, plus some bright young new things too. The action was breathtaking and brilliantly done, however, the story was a retread of A New Hope (1977) (with a female Luke), plus a series of glaring plot holes. Still, loads of action and great bad guys made this a fun blockbuster.
Director Rian Johnson’s, sequel Star Wars: The Last Jedi (2017) was, of course, another massive hit across the galaxy too. However, having watched it again recently, I felt it was racked with inconsistencies in tone and suffered weak storytelling. Indeed, the whole trilogy ground to a virtual standstill with Rey’s central story standing still and Poe and Finn’s mission proving to be a redundant decoy and wild goose chase rolled into one. Furthermore, I was shocked that a meta-filmmaker like Rian Johnson was given the Star Wars gig. To me, his filmmaking choices are too genre subversive and so it proved. Because, while The Last Jedi (2019) had some memorable moments, (mostly Adam Driver) and Luke’s emotionally charged arc, yet overall it failed as a Star Warsstory.
Thus, it was not surprising when genre specialist, J. J. Abrams, was brought back to save the trilogy with The Rise of Skywalker (2019). In returning to the safe, fast-paced, spectacular blockbuster style of The Force Awakens (2015), we may have lost idiosyncratic moments of character and humour, but at least this story has plot cohesion, punchy pay-offs and emotional impact. What The Rise of Skywalker (2019) also has is incredible visual set-pieces throughout. The J. J. Abrams led production army of special effects wizards have given us some memorable light-sabre and space battles. One in particular on the moon of Endor, that finds Kylo-Ren (Adam Driver) and Rey (Daisy Ridley) facing off, took my breath away.
Another major strength of this final episode is that Rey’s narrative arc is finally given the development it should have got in The Last Jedi (2017). Daisy Ridley’s performance too in this film is excellent. While she was a bit lightweight in the first two films, I felt she really came into her own here. This is helped by the revelation as to who her real parents were. Having said that, Abrams and his co-writers desperately scrabble around in the first hour of the film trying to set this up. At times the pace was too hectic. However, once it settled and all the flashbacks and back stories were in place, Rey’s character faces a very ominous choice. Conversely, her deadly psychic link with Kylo Ren continues to be a fascinating duel of mind, spirit and body. These developments are assisted by another compelling performance by Adam Driver. Kylo Ren’s internal struggle comes to the fore too, with a number of heart-pounding pay-offs at the end.
I’m also pleased to say that Poe (Oscar Isaac), Chewbacca, and Finn (John Boyega) are given a real meaty mission to get their teeth into. One that in fact links to the main story and themes of the whole film too. The standard plot McGuffin here is a Sith “wayfinder”, which the rebel team and Rey set out to recover. Let’s be honest, it’s no more than a “Treasure Hunt” plot structure, however, at least it allows for the more emotionally charged aspects of the story to develop and leads us perfectly to the incredible battle sequences in the final act. Moreover, plot predictability aside, there are other weaknesses in the film. I didn’t mind the CGI-driven rendition of Leia Organa (Carrie Fisher), however, by the ninth episode in the franchise I felt maybe they’d waited too late to introduce new aspects of the Jedi mind-trickery. But, hey it worked well in the story and was so cool that you just accept ‘the force’ as is.
Ultimately, The Rise of Skywalker (2019) is a return to genre form following the idiosyncratic subversion of The Last Jedi (2017). In fact, it was so entertaining it is the most enjoyable one (excluding the prequels) of the new trilogy. Despite a rapid start to the narrative, which tries to recoup the ground lost by the prior film, once it finds a rhythm there are some amazing action set-pieces, impressively cinematic visuals and thrilling emotional moments. While it may adhere to cookie-cutter, franchise genre expectations, overall, The Rise of Skywalker (2019) is delivered with incredible force and made for perfect holiday blockbuster entertainment.
Produced by: Amy Pascal, Denise Di Novi, Robin Swicord
Cast: Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Timothee Chalamet, Meryl Streep, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel, Chris Cooper etc.
Cinematography: Yorick Le Saux
**MAY CONTAIN SPOILERS**
It’s Boxing Day and you’re nursing a slight Christmas Day hangover, plus your brain is still trying to piece together the crazy jigsaw that was HBO’s Watchmen (2019). You now want a story that’s a bit more comforting; something that will make you warm and snug and feel safe. Step forward Greta Gerwig, Louisa May Alcott and an incredible cast of fine actors in the latest adaptation of the classic novel, Little Women (2019). It’s a perfect Christmas film full of romance, love, spirit, passion and just a little bit of pathos and heartache.
Set in Massachusetts at the time of the American Civil War, this splendid old chestnut of a story covers the lives of four teenage sisters — Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlan) and Amy March (Florence Pugh). They live with their Marmee (Laura Dern) and the story criss-crosses various years and narrative events as they search, find, lose and find again happiness, sadness and love. While the sisters prove to be very different personalities and clash often throughout the film, ultimately, it’s a film about solidarity, strength, sisterhood and family bonds.
It’s interesting Gerwig would choose something so safe for her next film project following the acclaim she correctly received for writing and directing Ladybird (2017). However, it’s not surprising either. While the title states these women are little, they are in fact anything but. Ronan as Jo and Pugh as Amy are especially energetic and larger than life. Both strive for artistic excellence and attempt to gain control over their personal and working lives in a traditionally patriarchal society. Jo’s desire to be a successful writer drives the story along impressively as Gerwig determines a meta-structure through her character. Indeed, Jo’s scenes with Tracy Letts’ publisher and editor are particularly amusing amdist some of the losses the March family suffer.
Amidst the familiarity of the text, Gerwig does attempt originality in her cutting between past and present events. While cross-cutting becomes slightly distracting from the emotions of the narrative, you can see how Gerwig wanted to stamp her own identity. The device also allows some wonderful juxtaposition of shots, emotions and camera movement. My one criticism would be that because the characters looked of a similar age in past and present, you did not always know what year you were in. Ultimately though, I really enjoyed this high-class film production. Greta Gerwig is an incredibly talented filmmaker and obtains exceptional performances from all the cast, especially Ronan and future stars, Florence Pugh and Timothee Chalamet. The film was so warm and safe, my Christmas Day hangover, like my heart, all but melted.
Writers: Damon Lindelhof, Nick Cuse, Lila Byock, Christal Henry, Carly Wray, Cord Jefferson, Stacy Kuffour-Osei, Claire Kiechel, Jeff Jensen
Directors: Nicole Kassell, Stephen Williams, Andrij Parekh, Steph Green, David Semel, Frederick E. O. Toye
Cast: Regina King, Jeremy Irons, Don Johnson, Jean Smart, Tim Blake Nelson, Louis Gossett Jr., Yahya Abdul-Mateen II, Hong Chau, Andrew Howard, Tom Mison, Frances Fisher, Jacob Ming-Trent, Sara Vickers, Dylan Schombing, and James Wolk.
Maybe I am imagining it, but I think we are now entering a different kind of TV narrative storytelling. Perhaps it has always been there? However, I am sure I can now see through the ‘Matrix’ of the internet’s all-powerful influence. My point is that we are moving away from traditional television storytelling which is solely interested in telling an emotionally whole and linear narrative. Is television that has a predictable soul and a beginning, middle and end — in THAT order — disappearing? Or am I just choosing to ignore the saturation of standard dramas involving cops, criminals and medics to watch more complex TV stuff?
Recent television shows such as Legion (2017), Westworld (2016), Dark (2017) and now Watchmen (2019) take stylish, cinematic and transgressive structural and thematic approaches to narrative. One could accuse them of being postmodern fakery or postmodern genius; or both. There does appear to be a movement toward over-complicated-clickbait-viral-trailer-led-ADHD-TV which fragments and shatters its’ story lines. The creators want us to experience their productions not in the traditional beginning, middle and end standard, but rather through shifting timelines, unreliable narrators and a blurred sense of what is right and wrong.
Damon Lindelhof, who is a brilliant writer and very experienced TV creative, does tend toward the pretentious and over-complex in his work. Having said that his recent production The Leftovers (2014 – 2017) contained some absolutely sensational thematic explorations of the apocalypse, damaged humanity and religious fervour. For his latest project HBO has given him a truckload of money to emulate and remix Alan Moore and Dave Gibbon’s seminal 1980’s comic book Watchmen. The original itself was a subversive tome of genius which subverted the mythology of comic book and superhero storytelling.
The main action is set in 2019 Tulsa, but also spans decades of alternative U.S. history and locations on Earth and not on Earth. If you don’t know the original source material or have not seen Zach Snyder’s valiant adaptation Watchmen (2009), you will be very confused initially and throughout. Because Lindelhof’s approach to this alt-world version of masked cops, criminals and vigilantes is via a chopping meta-storytelling structure. The various plots events and character histories are delivered via flashbacks, flash-forwards, narcotic visions, hallucinogenic dreams, splintered timelines and even a TV show within this television show. It’s a very stylish smorgasbord, splashed with crazy characters, witty hard-boiled dialogue, wild science fiction twists, lashings of violence, pockets of substance, cinematic visuals, high class production values and a cast to die for.
Yes, but Paul, what’s it actually about? How about love, hate, racism, superheroes, corruption, giant squids, cloning, rogue scientists, good versus evil, vigilantism, revenge, megalomania, transcendent beings, war, violence, rogue politicians, superheroes, masked identities, nuclear threat; and that the United States continues to be sown with the seeds of intolerance, blood and death. Watch the Watchmen (2019), take your time and piece the crazy jigsaw together for yourself. If not, and you prefer to play it safe, there’s always Law and Order for those who want something less mind-blowing.