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TV REVIEW: LEGION (2017)

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TV REVIEW: LEGION (2017) – SEASON 1

DIRECTOR(S): Noah Hawley, Michael Uppendahl, Larysa Kondracki, Tim Mielants, Hiro Murai, Dennie Gordon

WRITER(S):  Noah Hawley, Peter Calloway, Nathaniel Halpern, Jennifer Yale  – based on Marvel’s Legion created by Chris Claremont & Bill Seinkiewicz

CAST:  Dan Stevens, Aubrey Plaza, Rachel Keller, Jean Smart, Jeremie Harris, Jemaine Clement, Bill Irwin

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**REVIEW CONTAINS SPOILERS**

Noah Hawley is a postmodern auteur par excellence. He takes established genre output and influences from film, television and literature, before translating them through his creative persona to breathe paradoxical original life into his productions. For example, he actually had the creative courage to take one of my favourite films Fargo (1996) and turn it into a brilliant and quirky television series. Similarly he has done the same with Marvel’s comic-book-X-Men-based-anti-hero Legion.

Of course the superhero/heroine genre has become massive business at the box office. I loved Nolan’s Batman trilogy and personally am also a big Marvel and Avengers fan, believing the Captain America trilogy to be representative of the height of the genre model. Meanwhile, the X-Men franchise also has some fine entries too notably X-Men: First Class (2011) and Days of Future Past (2014); and Netflix’s Daredevil (2015) has also given us two seasons of gritty and energetic delight too. Yet arguably some of the more intriguing Marvel adaptations have been the lesser known products such as: Ant Man (2015), Doctor Strange (2016) and the effervescent Guardians of the Galaxy (2014). Now, FX’s sensational television series Legion (2017) proves to be the most mind-boggling and consistently brilliant of the lot.

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It features a talented ensemble cast led by the intensely brilliant Dan Stevens portraying a mentally disturbed young man called David Haller. The pilot episode’s opening sequence establishes his issues from a young age through teenage-hood right through to the now as he finds himself in a psychiatric hospital being treated for schizophrenia. Patients he connects with mostly are Aubrey Plaza’s eccentric and wild Lenny Busker and the more sensitive Sydney Barrett (Rachel Keller). Syd cannot stand to be touched – a character quirk which is soon to be revealed more than a phobia – yet her and David fall for each other. This romance propels one facet of the multi-stranded narrative; at the same time providing the story with much empathy and heart.

The main thrust of the narrative though is totally cerebral. While David finds himself in the middle of a war between mutants and the shady government agency called Division Three, we essentially spend many of the episodes in David’s troubled mind. There events unfold in a whirling cavalcade of images, characters and monsters all battling for supremacy of his brain. At times I could not work out what was happening yet I felt compelled, like last year’s HBO production Westworld (2016), to persist and the rewards and payoffs in the final episodes are indeed legion. Because the show, no doubt propelled by Hawley’s creativity and the original source material, is brimming with stunning ideas and visuals that literally burst out of the screen.

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The cast are incredible. Dan Stevens cements himself as one of the best emerging actors and he is destined for stardom in my view. Aubrey Plaza, who was great at laconic sarcasm in Parks and Revelations is wildly over-the-top and entertaining in her devious role; while Rachel Keller is the polar opposite: doe-eyes cute, vulnerable but with steely determination to protect David. My favourite supporting character was Flight of the Conchords’ comedian Jemaine Clement as a far-out scientist lost to the astral plane. His delivery and deportment just made me laugh out loud amidst the madness on show.

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This is as imaginative and original take on the superhero/mutant/X-Men genre you are going to find. Many people lost their shit over Logan (2017) but that is pedestrian compared to Legion. It also very cleverly melds themes relating to: mutation, special powers, telekinesis, split-personality, disassociation and schizophrenia expertly while wearing its’ influences neatly on its sleeves. Indeed, if you’re a fan of One Flew over the Cuckoo’s Nest (1975), I’m a Cyborg But That’s Okay (2005), Clockwork Orange (1971), Eternal Sunshine of the Spotless Mind (2004) , Inception (2010) and the work of David Lynch, then you’ll love Noah Hawley’s masterful Marvel adaptation.

(Mark: 9.5 out of 11)

 

 

 

Cinema, New Releases, Reviews

CINEMA REVIEW: THE LOST CITY OF Z (2017)

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CINEMA REVIEW: THE LOST CITY OF Z (2017)

TITLE: THE LOST CITY OF Z (2017)

DIRECTOR: James Gray 

SCREENWRITER:  James Gray (based on the non-fiction book by David Grann)

CAST:  Charlie Hunnam, Robert Pattinson, Sienna Miller, Tom Holland, Angus Macfadyen

**MAY CONTAIN SPOILERS**

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I’m not a great traveller myself. Boats and trains aren’t too bad but I can’t stand flying. If I feel the need to experience the world I am more than happy to either Google a place or vicariously familiarise myself with other worlds and cultures by absorbing it through TV or indeed at the cinema. Moreover, stories about explorers, adventurers, mountain climbers, adrenaline junkies and the like are not always my favourite kind of sub-genre film. Obviously, if it is a story well told then I am open to all genres but more often than not the obsessive and narcissistic characters in pursuit of thrills or far flung places can leave me cold. Not so with James Gray’s epic adaptation of The Lost City of Z which focuses on soldier, surveyor and explorer Percy Fawcett’s dogged search for definitive archaeological proof of a historical Amazonian civilisation.

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The story begins at the turn of the 20th Century where Percy Fawcett (Hunnam) is a mid-ranked officer in the British Army. Keen to find some serious military action he’s disappointed to be given the job of surveying and mapping the uncharted borders of Bolivia and Brazil. Accompanying him is his guide and aide-de-camp Henry Costin (Pattinson) and what begins as a punishing journey into the heart of darkness becomes, over the course of the film and subsequent expeditions, an obsessive ‘Holy Grail’ type quest for Fawcett. The drama in the jungle gives us Fawcett’s encounters with: the elements, piranhas, rapids, illness, wild animals, starvation, dehydration, cannibal natives and even an Opera concert at a plantation deep in the forest. However, the conflict back in Blighty is just as resonating as Fawcett battles the naysayers who question his belief that the indigenous tribes may have been in anyway civilised or cultured. Indeed, as a historical critique of the old British Empire and their inherent racism the film makes some interesting points.

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I watched the film at the Picturehouse Central on a 35mm print and it really added to the old-fashioned, poetic and golden feel of this attractive sprawling epic.  Charlie Hunnam, Robert Pattinson, Tom ‘new Spiderman’ Holland and Sienna Miller all provide excellent performances. Hunnam – who I know from his sterling work on Sons of Anarchy – stood out especially and given the right script choices he’s likely to become a bona fide movie star. His Fawcett is a complex, confident but honest man who, while obsessed with his pursuit of the Lost City, loves his family and stands on the side of the righteous. The director James Gray and his filmmaking team, above all else, deserve special mention for delivering a beautifully shot, acted, paced and edited historical drama. Indeed, this fascinating material deserved more screen time and it was so mesmeric I could easily have watched this film for hours.     (Mark: 9 out of 11)

Reviews, Television

SCREENWASH – TV DRAMA REVIEW ROUND-UP including BLACK MIRROR, BROADCHURCH, LUKE CAGE etc.

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SCREENWASH – TV DRAMA REVIEW ROUND-UP

While going to the cinema is one of my favourite things to do the quality of television dramas has risen in quality to almost cinematic levels at times. Plus, there’s nothing quite like a box-set binge too for one’s enjoyment.  Here are a few TV dramas I’ve caught up with over the last few months with marks out of 11.

**CONTAINS SPOILERS**

AMERICAN HORROR STORY: HOTEL (2015) – NETFLIX

Minus Jessica Lange alas, this one had Lady Gaga to fill the void as the writers introduced a whole new set of monsters, murderers, rapists, ghouls, vampires, junkies and deviants. Set in a H.H. Holmes-style horror hotel, one can always rely on American Horror Story for over-the-top blood-letting, devilish characters trying to out-do each and pitch black humour throughout. While sickening to watch at times it never takes itself too seriously and is recommended to proper horror fans. On the whole its narrative takes second place to the demonic style; pop video vignettes and decadent shenanigans featuring historical serial killers and fantastical blood-sucking beasts.   (Mark: 8 out of 11)

BLACK MIRROR (2016) – SEASON 3 – NETFLIX

This is a must-see TV programme for anyone who likes brilliant drama which has intelligent writing and a scorpion twist in the tale of every story. Six stand-alone episodes all provide an insight into the dark recesses of technology and how it can impact humanity.  Social media, videogames, virtual reality, internet bullying, techno cryogenics, military mind experiments and cyber-terrorism are all filtered through Charlie Brooker’s devious imagination. A great ensemble cast of actors are seen within the anthology series including: Bryce Dallas Howard, Mackenzie Davis, Kelly Macdonald, Michael Kelly, Gugu Mbatha-Raw, Jerome Flynn and many more make this one of the best TV programmes of last or any year. If I had to choose the stand out episodes were San Junipero and Shut Up and Dance. (Mark: 10 out of 11)

BROADCHURCH – SEASONS 1 & 2 – ITV ENCORE

The 3rd season of this police procedural drama is on ITV now so I thought I’d do a quick catch up of the first two seasons. It begins with the death of a young boy and the subsequent police investigation, plus the impact this has on his family and coastal community of Broadchurch. The first season is first and foremost a terrific “whodunit” as various members of the town are all plausible suspects. Moreover, the brilliant acting duo of Olivia Colman and David Tennant spark off each other throughout the investigation. Writer Chris Chibnall deals expertly with the emotions too as the family – including Jodie Whitaker as the mother of the tragic child – are put through the wringer by the crime. The second season is almost as gripping as the child killer faces trial and Tennant’s character obsessively investigates a historical crime which blotted his police career. Overall, it is an excellent drama with many twists and a superb ensemble cast of British actors. (Mark: 9 out of 11)

LUKE CAGE (2016)– SEASON 1 – NETFLIX

Luke Cage’s reluctant superhero had previously popped up in the Marvel series Jessica Jones and the action follows up from there. He’s a humble man trying to keep a low profile but given he is virtually indestructible it’s not long before trouble finds him in the guise of Harlem gangsters Cottonmouth (Mahershala Ali), Diamond Back (Erik LaRay Harvey) and Alfre Woodard’s crooked politician Mariah Dillard. Luke Cage is decent show with a lot of style, soul and terrific musical performances. The script draws attention to many important historical black figures from history, while the direction harks back to 70s’ Blaxploitation films. Mike Colter in the lead lacks a certain charisma but has power and likeability. Overall the story felt padded out over 13 episodes by some unnecessarily long dialogue scenes and while the fights scenes were strong they lacked the wow factor of say the brilliant Daredevil show. (Mark: 7.5 out of 11)

SONS OF ANARCHY – SEASONS 4 & 5 – NETFLIX

While it’s pretty binary in its tough guys and dolls representations I’m still digging my catch-ups on this neo-Western-hard-assed biker drama.  The main reasons to watch the show are the performances of Charlie Hunnam as the ever-conflicted Jax and Maggie Siff as his “old lady” Tara. Katey Sagal and Ron Perlman are also excellent as the matriarch, Gemma and grizzled patriarch, Clay.  The twisting serpentine plots of Seasons 4 and 5 find, aside from other gangs and the law, new rivals in the way such as: the Mexican Cartel, businessman Damon Pope and SAMCRO themselves splinter into civil war after Clay’s skulduggery upsets the groups’ dynamic. The seasons are full of the usual grim violence, motorcycle pursuits, gunfire, black humour and lashings of naked flesh. It’s soapy at times but full of great dramatic twists making it very watchable television.  (Mark: 8 out of 11)

QUARRY (2016) – SEASON 1 – SKY ATLANTIC

Pitched somewhere between Fargo and the Rockford Files this violent 1970s set thriller was a brutal watch at times. The story finds a recently returned Vietnam veteran, Mac Conway (Logan Marshall-Green) carrying out hits for a murky businessmen called The Broker (Peter Mullan) in order to clear a debt. As a troubled character, suffering from post-traumatic stress, Conway is a fascinating anti-hero and the thrills come from the hellish danger he finds himself in from episode to episode. Essentially, his whole world turns to shit and the only way out of it is to become a reluctant killer. Like Luke Cage music is featured very prominently, notably dirty blues, jazz, rock and soul; while the style is muddy water noir throughout. Marshall-Green is a dead ringer for Matthew McConaughey but is a fine lead and he, Mullan and gay hitman Damon Herriman make this bloody show most watchable. (Mark: 8 out of 11)

 

TABOO – SEASON 1 – BBC

Tom Hardy produced and starred in this flagship BBC period drama which ran over eight dark-hearted episodes recently. I have to say that it was sumptuous and stylish affair which oozed quality and class throughout. Hardy himself, looking very Bill Sykes in his long black coat and battered top hat, portrayed James Delaney, a man on a mission to get back his fathers’ estate and battle the East India Company for crimes against his body and soul. Hardy’s naked muscular body is something you see a lot of amidst the faux mysticism, American spies, gluttonous Royalty, gap-toothed prostitutes, tattooed ragamuffins and Oona Chaplin as Hardy’s cuckolded sister hiding a terrible secret. The supporting cast are absolutely brilliant especially: Tom Hollander, Michael Kelly, Jesse Buckley, Jonathan Pryce, Stephen Graham and Edward Hogg. Overall, it was more style than substance and the revenge plot was dragged out and did not make much sense really. Still, the smoke-and-shadows style plus the brooding Hardy made it worth a watch. The score by Max Richter though was probably the best thing in the whole show; both majestic and black in equal measures. (Mark: 8 out of 11)

Cinema, New Releases, Reviews

MOVIE REVIEW: KONG: SKULL ISLAND (2017)

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MOVIE REVIEW: KONG: SKULL ISLAND (2017)

**THERE BE SPOILERS AHEAD**

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Of late I have watched a plethora of heavyweight Oscar-driven dramas such as: Arrival (2016), Manchester by the Sea (2016), Fences (2016), Hacksaw Ridge (2016) and Moonlight (2016) and the cinema-going experience was in danger of becoming far too thought-provoking a place to be. I mean I like using my brain but I was seriously getting over-worked here. Even feel-good films such as La La Land (2016) were pretty complex in their whip-bang delivery, while the bio-pic Hidden Figures (2016) dealt with issues of racial segregation and empowerment during the space race. Thankfully, my brain can take a rest from such challenging dramas as first John Wick 2 (2016) and Kong: Skull Island (2017) have come to save the day with some good old-fashioned-fast-paced-B-movie-bloody-genre-action.

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Kong director Jordan Vogt-Roberts and platoon of screenwriters have constructed a thrilling monster movie which is low on plot but high on pyrotechnics in a cinema blast which they should have called APOCALYPSE KONG!!  The story, if you can call it that, involves John Goodman’s murky conspiracy theorist embarking on a “surveying” mission of an island which rarely shows up on radar. Plus, it looks like a skull on a map AND pretty much every boat or plane which goes near it vanishes. So, enter at your peril!

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Personally, I probably would not choose this as a holiday destination yet Goodman manages to gather an army consisting of United States marines who’ve just that day finished fighting in Vietnam. These battle-weary veterans led by Samuel L. Jackson, Shea Wigham and Toby Kebbell should probably go home but Jackson’s Lieutenant-Colonel Packard has some old testament vengeance business he needs to re-enact. Meanwhile, anti-war photographer Brie Larson and SAS mercenary Tom Hiddleston also join the crew too along with a generic bunch of scientists and military grunts all destined to be Kong fodder!

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Now, I wasn’t a massive fan of the most recent Godzilla (2014) film –  my review here testifies – as it did not have enough of the monsters or action and was WAY too serious. Skull Island is a totally different beast altogether. You get monsters galore from the get-go and of course Kong is the King, as he finds his eco-system invaded by humans and their big weapons so he fights back with hairy, muscular abandon. The humanity and humour of the film is provided mainly by John C. Reilly’s WW2 soldier who has gone bamboo with the natives and his story arguably has the most emotion. But the real stars are the tree-monsters, subterranean creatures, Pterodactyls, giant Squids and Spiders, which along with Kong, leap out of the screen at regular intervals dining on humans for breakfast, lunch and supper.

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Overall, the film wears its’ Jurassic-Park-Hell-In-the-Pacific-Lost-World-Predator-Apocalypse-Now-Godzilla influences on its gigantic jungle sleeves. So it’s safe to say I had a lot of fun taking my brain out and watching the fireworks and monsters in this B-movie behemoth. The story is uneven and characters paper-thin but the gorgeous imagery, fun action set-pieces and a very attractive cast including Hiddleston, Larson and Corey Hawkins, plus the off-kilter mania of John C. Reilly make it worth the admission alone. (Mark 8 out of 11 – for the monsters and mayhem mainly.)

Cinema, New Releases, Reviews

SCREENWASH ROUND-UP! REVIEWS OF: FENCES, MOONLIGHT & SPLIT

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SCREENWASH CINEMA REVIEWS OF: FENCES, MOONLIGHT & SPLIT

**CONTAINS SPOILERS**

FENCES (2016)

Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character Troy Maxson and his long-suffering wife, Rose; portrayed with significant humility and pathos by Viola Davis. Great support comes also from Mykelti Williamson as Troy’s mentally impaired brother, Gabriel.

Troy’s character is very charismatic and he delivers some hearty yarns from his past, but he’s also bitter and a drinker and, while he has had a hard life, he bullies everyone around him. His sons and more importantly his wife Rose put up with it but eventually he grinds everyone down, pushing them away with his boorish “I-know-best” arrogance and aggression. With her quiet power Viola Davis more than matches Denzel Washington’s grandstanding and Rose’s heartfelt speech toward the end of the film is a stunning retort to her husband’s continual tirades and emotional neglect.

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I’ve seen some criticisms of the film stating it is too “stagey”. Well, as it is based on a play that is understandable, yet, August Wilson’s words are a thing of beauty and therefore deserve focus. I think, while directing, Denzel Washington could quite easily have opened up the settings and had conversations on the street, but the decision was made to “fence” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall the performances alone make the film feel cinematic. (Mark: 9 out of 11)

 

MOONLIGHT (2016)

Barry Jenkins low-budget contemporary drama is another brilliantly acted character memoir; although when compared to Fences it benefits from a more complex structure and cinematic style.  Split into a trio of linear timelines from the same characters’ lives we get three different actors representing the life and changes which occur in Chiron’s existence; with chapters named, Little, Chiron and Black.

Each section draws us into the characters’ world as Chiron searches for meaning, identity and direction as to who he really is as a person. With his father absent Little Chiron (Alex Hibbert) cannot find satisfaction via his mother, an angry and lost woman portrayed brilliantly by Naomi Harris. Small for his age he is also at the mercy of school bullies and while a random meeting with a local drug dealer, Juan (Mahershala Ali) provides Little with a mentor to connect with it doesn’t sustain. Ali as Juan, like most of the performances, delivers a subtle realisation of a character trapped by his life choices and perhaps sees some redemption in ‘Little’. Alas, due to his lifestyle and ‘job’ he is clearly not the role model ‘Little’ needs.

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In the second and third sections Chiron’s relationship with his best friend Kevin comes to the fore both in terms of some powerful drama and intimate sexual connections. Barry Jenkins framing, colour design, use of music and editing choices all commit to create a poetic and fragmented style, further drawing me into Chiron/Black’s story. Chiron’s continual search for identity and meaning in the world reflects the most essential of human needs: the search for identity and love. Overall, this is a film of harsh and beautiful moments and each segment was layered with so many emotions and so skilfully told that I wanted to see more of the characters. (Mark: 9 out of 11)

SPLIT (2016)

Split (2016) is an altogether different film about the search for identity. In fact the lead character portrayed devilishly well by James McAvoy has TWENTY-THREE different people battling around his mind and something is about to give. Let me say that a film like Split won’t be challenging the Oscars because in essence it is a terrifying B-movie thriller, however, McAvoy gives a performance of such quality it reminded me of Anthony Hopkins as Hannibal Lecter in his cannibal pomp. McAvoy’s twisted ability to switch between the many personalities was a real guilty pleasure as he earned his acting fee over and over and over again.

The story concerns three girls, Casey, Marcia and Claire (including an excellent Anya Taylor-Joy) who are kidnapped and imprisoned by the various personalities in Kevin Crumb’s head. Some – including OCD driven Dennis – are more dominant than others and attempt to wrestle total control, which is where McAvoy’s sly switches are a real joy to watch. As a cat-and-mouse plot bleeds out we also get some intriguing back-story flashbacks into Casey traumatic past. These events really add colour to the main narrative and ramp up the tension and suspense. The scenes between Kevin, his personalities and sympathetic Doctor Fletcher (Betty Buckley) also add some dark humour to the story. By the end though all humour is gone and we get a stunning and believable supernatural turn as Kevin’s mind unleashes an altogether different personality.

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Writer/Director M. Night Shyamalan’s dalliance with big-budget-franchise-Hollywood-pictures – including: After Earth (2013) and The Last Airbender (2010) – did not do his career any favours. But with Split he is back on terrific form as he takes a simple abduction plot and renders it full of horror, twists and fantastical ideas. While I did not enjoy his previous film The Visit (2015) – mainly due to the stupid kid rapping throughout a decent horror story – this one is highly recommended for psycho horror fans and for McAvoy’s performance alone. (Mark: 8.5 out of 11)

Reviews, Television

WESTWORLD (2016) SEASON 1 – HBO TV REVIEW

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WESTWORLD (2016) SEASON 1 – TV REVIEW

**CONTAINS SPOILERS**

HBO’s Westworld was presented, previewed and marketed, like the fantastical flagbearer Game of Thrones before it, as the premium, high-end, star-studded television event of the year. Indeed, in my honest opinion it lived up to the hype and certainly turned out to be one of the shows of the year!

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Everything about Westworld screamed cinematic quality! Of course it’s origins spring from Michael Crichton’s classic sci-fi film Westworld (1973) where the robot hosts started killing the rich guests on holiday at an ‘A:I’ driven amusement park. The formula would then be amped up in Jurassic Park (1993) and its sequels, where instead of sentient androids, we had dinosaur clones attacking the staff and guests. This televisual delight developed – by Jonathan Nolan and Lisa Joy – twists and turns that simple, yet ingenious premise, into a whole new machine; utilising the influences of Crichton, Kubrick, Arthur C. Clarke, Rod Serling, Harlan Ellison etc. as well as incorporating a number of their own concepts too.

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HBO have pumped $100 million dollars into ten sumptuous looking episodes and the filmmakers took the brilliant decision to shoot on 35mm film. This creative choice gives us exquisite cinematographic vistas of the West while at the same time enhancing the inner sheen of the hi-spec-steam-punk engineering on show underneath the actual “amusement” park itself. Allied to this we get a whole host of A-grade movie and character actors who bring a depth and gravitas to the proceedings.

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Leading the stellar cast is Anthony Hopkins as the established overlord Dr Robert Ford. His presence is felt throughout the park and initially staff and hosts seem to answer to him. Hopkins is terrifically understated in his performance but underneath the iceberg surface is an incredibly complex character who, while a technical genius, responds to human beings coldly. He sees them as obstacles to his grand narrative which seems to be written and re-written from episode to episode. While oddly unsympathetic his enigma drives the show, with his character attempting to control the hosts, staff and his environment while writing and rewriting the past and present.

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Working for Ford are an army of techs and security personnel responsible for guests and hosts alike. The most honest, it would appear, and one we root for is Bernard portrayed with subtle distinction by Geoffrey Wright. His velvety voice alone is enough to project emotion and meaning within every syllable uttered. Representing the corporate personnel are a fine supporting cast, notably, Sidse Babett Knudsen and Luke Hemsworth.

Similarly, the simulacrum hosts are expertly cast with: Evan Rachel Wood, Thandie Newton, James Marsden, Rodrigo Santoro and Clifton Collins Jnr etc. bringing a glamour, edge and depth of performance to the paranoid androids. Obviously there are visitors to the park and these roles are dominated by the magisterial Ed Harris and younger bucks Jimmi Simpson and Ben Barnes.

Overall, I found the show an incredible science fiction experience. The opening theme is a haunting gift to the ears, while the incredible imagery of the opening credits are a feast for the eyes.  Visually and aurally the series was crammed with wondrous sounds and vistas and the soundtrack was fabulous too including dark naked tunes by the likes of: The Cure, Radiohead and Soundgarden.  Violence, action, nudity and sexuality are freely on show but this is just skin for the rich narrative and themes which power the twisting story. Indeed, the themes ask us to question everything, like: who is human and who is a host? Should we, the audience, care about a character when they’re a robot?  And most importantly: when are the robots going to start killing the guests?

Halfway through though I must admit I was close to discontinuing and shutting down as I was struggling to connect emotionally with the characters. However, I realised this was a cerebral challenge; a puzzle or maze, which – much like Jonathan Nolan and his brother Christopher’s other work including: The Prestige (2006), Memento (2000) and Inception (2010) – I’ll try and solve. I’ll be honest not all of it hung together satisfactorily on first watch, however, on further views each episode’s timelines, narratives, flashbacks, flash-forwards, memories and dreams combined brilliantly, and I soon realised all the pieces were there to successfully put the puzzle together.

With its state-of-the-art effects, incredible design, brilliant actors, brutal violence, complex plots and classic Western genre setting, this postmodern masterpiece transcends genre and the storytelling process itself. Because at its core processing Westworld is about: the nature of narrative and controlling your story: past, present and future. Oh, that and lots of killer robots. So, overall, Westworld is a place I will certainly be coming back to time and time and time again.  Some might say the whole Westworld experience was a-MAZE-ing!

Cinema, Film Festivals, Reviews

2016 BFI – LFF – THE BIRTH OF A NATION  (2016) – REVIEW

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2016 – LONDON FILM FESTIVAL – THE BIRTH OF A NATION  (2016)

SPOILER FREE REVIEW

TITLE:  THE BIRTH OF A NATION (2016)

DIRECTOR/PRODUCER/WRITER: Nate Parker

CAST:  Nate Parker, Armie Hammer, Penelope Ann Miller, Colman Domingo, Aja Noomi King

STORY:  At the turn of the 1800s a charismatic preacher must decide between a life of slavery or to stand up and fight against his brutal captors.

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REVIEW:

This drama, written, produced, directed and starring by Nate Parker has, since its release at the Sundance Festival, created a whole host of controversies. There is a historical rape prosecution of which Nate Parker was found innocent of in 1999; there are accusations of historical inaccuracies in the story; plus the passivity of female characters within the narrative has been criticized too.  Not surprising though because any film about slavery, rape, abuse and murder is bound to set the cultural world, internet, film industry, social media, historians etc. alight with debate.

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Personally, when I watch a film I prefer to judge it purely on whether it has entertained, informed, provoked thought and created emotion. The filmmakers’ personal history or whether a film meets certain quotas on political correctness or even whether the history has been altered to suit a narrative are important factors but not my main viewing considerations. Of course, if it is an exploitative piece of crap then I would call it; but mainly I ask myself: did the film entertain me and is it a good story done well?

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Well, inaccuracies and controversies aside I was thoroughly moved and taken with emotion by The Birth of a Nation. It is ambitious, independent filmmaking which takes a figure from history that stood up against oppressors and fought back against the injustices that befell him and his people. In little over two hours we get a microcosmic view of the character of Nat Turner and the horrific period he lived in and get a short, sharp and shocking drama. Turner is shown to be an intelligent, proud and spiritual force who inspires those around him to fight against the brutality all around.

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You cannot underestimate Parker’s vision and determination to bring Nat Turner’s ‘story’ to the screen. On such a relatively low budget (reported to be £10 million) it is an admirable and risky project to pursue and deliver. Not as startlingly stylistic as the big-budget-spaghetti-slave-Western Django Unchained (2012), The Birth of a Nation is a heart-breaking narrative which posits the power of the scriptures and damns the beast of humanity which allowed free people to be stolen from their country and made to serve others.

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Overall, the film works as a lower-budget epic in the vein of Braveheart (1995) and Spartacus (1960), while covering similar ground thematically as Oscar winner 12 Years A Slave (2013). It may not have the artistry of Steve McQueen’s directed epic, but it is still an important film about a fascinating historical figure. Whether it is accurate or not the film still made compelling viewing and Parker deserves all the praise he gets for such an assured debut.

Articles, Reviews

2016 BFI – LFF – MANCHESTER BY-THE-SEA (2016) – REVIEW

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2016 BFI LONDON FILM FESTIVAL – MANCHESTER BY-THE-SEA (2016)

SPOILER FREE REVIEW

TITLE: MANCHESTER BY-THE-SEA (2016)

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DIRECTOR: Kenneth Lonergan (You Can Count on Me (2000)

SCREENPLAY: Kenneth Lonergan (Analyze This (1999), Gangs of New York (2002)                

CAST: Casey Affleck, Michelle Williams, Kyle Chandler, Lucas Hedges etc.

STORY: A distant and emotionally disconnected man must face family and friends following the death of his brother.

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REVIEW:             

Kenneth Lonergan, Casey Affleck and Michelle Williams should take a very long bow for their writing, directing and acting work in this moving and emotional, yet at the same time, humorous character drama.

Casey Affleck plays a seemingly unassuming handyman who buries anger and despair deep within his heart. Initially, he seems passive, yet during his interactions with one of his customers and during a bar brawl he reveals a volcanic tension simmering under the surface of his psyche. When his older brother passes away he returns to Manchester-by-the-Sea in Massachusetts and is forced to confront past tragedies plus take care of his brothers’ estate and teenage nephew.

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This is one of those films which moves at its’ own pace and in scenes of quiet drama, sporadic violence and subtle flashbacks, Lonergan builds a truly formidable narrative and character study. Moreover, Affleck portrays a lost soul with such exquisite pathos you could feel his characters’ pain jump out from the screen. His scenes with Michelle Williams genuinely made me want to cry because they were so sad.

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Ultimately, this is Affleck’s film as he haunts the screen with a truly award-winning performance. As well as the dark drama there are many witty lines and scenes too in what is one of the best films I have seen in 2016. If you prefer your films as real and raw as possible and are happy to experience a few hours without explosions or special effects, then watch this everyday story of humans trying to cope with their past, present and future existence.

 

 

Short films, Star Trek

‘CHANCE ENCOUNTER’ UPDATE: #STARTREK TRAILER REVEALED

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‘CHANCE ENCOUNTER’ UPDATE: STAR TREK TRAILER REVEALED

Greetings.  As you may or may not know I have been working on a Star Trek fan film with my movie-making partner Gary O’Brien.  It’s a non-profit fan production which we have made on a shoestring. Having written an original screenplay and shot the brilliant script, we have now reached the post-production stage.

This is where Gary’s editing and F/X skills now take over and I am now proud to announce the release of a website – www.startrekshortfilm.com – plus the trailer below:

We have a lot of work to go but the shoot was an absolute blast and I thank the actors and crew for their brilliant work.  Here are some stills of the production days where, amidst the hard graft, creativity and endeavour, a fantastic time was had by all.

This is our 9th short film to date – for all our productions do check out our website: www.fixfilms.com. Further updates to follow. Live long and prosper!

Star Trek and all related marks, logos and characters are solely owned by CBS Studios Inc. This fan production is not endorsed by, sponsored by, nor affiliated with CBS, Paramount Pictures, or any other Star Trek franchise, and is a non-commercial fan-made film intended for recreational use.  No commercial exhibition or distribution is permitted. No alleged independent rights will be asserted against CBS or Paramount Pictures.

Cinema, Reviews, Television

SCREENWASH REVIEWS– AUGUST 2016

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SCREENWASH REVIEWS – AUGUST 2016

A quick smash through the stuff I’ve been watching on TV, Netflix, Sky and at the cinema for the month of August. I shall be keeping it brief as going on holiday to Maine tomorrow. Also, there are not as many reviews as usual as having been filming my own short film this month; all the details can be found here: http://startrekshortfilm.com/. Moreover, I am in the midst of slogging through the Danish original version of The Killing (2007), which is excellent but also very long and time-consuming.  As usual, in tribute to Spinal Tap, marks are out of eleven.

BETTER CALL SAUL (2016) – SEASON 2 – NETFLIX

Are there any better character drama shows around than this one? The writing and acting in Season 2 was just brilliant. I also enjoyed the direction as the characters and situations are allowed to breathe and evolve as opposed to whizz-bang-smash-cut-resolution. Cast including: Bob Odenkirk, Rhea Seehorn, Jonathan Banks and the exceptional Michael McKean make it a joy to watch. (Mark: 9.5 out of 11)

BAD MOMS (2016) – CINEMA

By-the-numbers-chick-flick which is actually funnier than I thought it would be thanks to fine comedic turns from Kathryn Hahn and Christina Applegate. Bush-baby lookalike Mila Kunis is decent enough too as the mother-of-two who decides she just cannot stand anymore of her turbulent family life!  (Mark: 7 out of 11)

COMPUTER CHESS (2013) – DVD

This film directed by Andrew Bujalski was shot on analogue video cameras in black and white and has mainly non-professional actors playing IT freaks and geeks who enter a computer chess programming competition. It’s frankly a barmy-indie-geeky-mumble-core-curio that is kind of unwatchable but must be praised for sheer originality and experimental style. (Mark: 7 out of 11)

CRIMSON PEAK (2015) – SKY CINEMA

Guillermo Del Toro’s beautifully shot gothic horror/romance stars Mia Wasikowska who is swept off her feet by handsome Tom Hiddleston.  It’s your basic haunted house story with a Murder She Wrote murder mystery thrown in; the star of the show is the cinematography and costume/set design. Jessica Chastain provides eerie glamour as Hiddleston’s enigmatic sister but the whole thing could’ve been mined for many more scares. (Mark: 7 out of 11)

HOMELAND (2011) – SEASON 1 – NETFLIX

This is an absolutely sensational contemporary drama starring the incredibly good Damian Lewis and Claire Danes as soldier and CIA agent dealing with the aftermath of his return from imprisonment by al-Qaeda. Throughout the story fear and suspense are so powerful as the plot twists and the dramatic noose tightens the story constantly wrong foots you. Brilliantly written and acted this is politically astute and one very intelligent thriller. Highly recommended. (Mark: 10 out of 11)

THE LONG GOOD FRIDAY (1979) – DVD

Classic gangster film starring the imperious Bob Hoskins as Harold Shand: an upwardly mobile cockney gangster who in seeking to legitimise his “corporation” finds himself having a VERY bad day. Amidst all the colourful language, violence and explosions we have an adroit examination of the politics of the day and a portent to fast-approaching “greed is good” mentality of the 1980s. Often copied but rarely bettered; it has some great British actors and spot-on working class dialogue throughout. (Mark: 10 out of 11)

OUTCAST (2016) – FOX

Intriguing horror fable from the creators of The Walking Dead combined family drama with a demonic possession storyline. Starring Patrick Fugit, Brett Spiner and Philip Glenister, it started really well with some great scares and interesting characters. However, my interest waned as the plodding pace and lack of narrative clarity made me NOT care. It’s well made and acted but I doubt I will go back to the second season. (Mark: 5.5 out of 11)

PATHS OF GLORY (1957) – BFI CINEMA

Quite rightly Paths of Glory has been proclaimed a masterpiece and one of the greatest anti-war films of all time. It’s filled with the now-iconic tracking shots of bloody battle, plus many tremendous performances. Overall, I have watched this classic many times and having seen it on the big screen recently I can testify that it has lost NONE of its grandstanding power. . (Mark: 11 out of 11) For my full review see here:

RED SHIFT (1978) – DVD

Play for Today adaptation of Alan Garner’s pretentious novel which analyses various human relationship dynamics, cosmology and love in Roman, medieval and English Civil times. Artsy and impenetrable, it may be the work of genius yet I found it, on the whole, unwatchable to be honest. Sometimes I think people think things are clever because the writer has not defined meaning precisely thus leaving the themes open to interpretation. I just found it tedious. (Mark: 5 out of 11)

UNBREAKABLE KIMMY SCHMIDT (2015) – SEASON 1 – NETFLIX

Kidnapped by a charismatic cult leader and tricked into living in an underground bunker for fifteen years, naïve but tough Kimmy Schmidt is released into a very different world.  Ellie Kempner is brilliant as the indefatigable Kimmy who moves to New York to start a new life and meets a whole host of rich and poor narcissists and eccentrics.  The jokes come thick and fast throughout but the premise wore thin as the episodes went on but overall a very funny comedy.  (Mark: 7.5 out of 11)

UPSTREAM COLOR (2013) – DVD

Shane Carruth’s mind-bending and pretentious film is both ambitious and brave and incredible for the budget it was shot on! Artsy and impenetrable, it may be the work of genius yet I found it, on the whole, unwatchable to be honest. Sometimes I think people think things are clever because the writer has not defined meaning precisely thus leaving the themes open to interpretation. I just found it tedious. A wonderful premise and intriguing themes give way to a lack of care for the characters. Sorry. (Mark: 6 out of 11)