Having successfully hit our Kickstarter target for funding our latest short film goes into pre-production. And we have some exciting news in regard to casting!
If you didn’t already know Chance Encounter is the 9th short film from Fix Films. The film itself is a 15 minute romantic drama, with a gentle and life affirming tone to it. Essentially it is a love story, dealing with the decision between spending a life with a devoted partner, or embarking on a dream career. There is also some intrigue, as two key characters investigate, pursue and attempt to make sense of the unusual actions of the leading man.
Our first actress – Ayvianna Snow – has been cast in the leading role of Rose Tennant and very talented she is too.
We are very excited about the project – please do check out the latest update video the director Gary has made. Expect more updates to come.
May was a decent month of viewing with some things old, some things new and nothing blue watched at all. So, here are my TV, film and comedy reviews for the month of May – with marks out of 11 as usual.
THE AFFAIR (2014) – SEASON ONE – NOW TV
Very much a “first world” problem drama starring the excellent Dominic West, Maura Tierney and the effervescent Ruth Wilson, it shows the events an extramarital affair causes to two different families. The acting and writing are just superb as West and Wilson’s sexually charged attraction spills into duplicity, body heat and suspense. The storytelling is excellent too as each episode shows multiple events from different perspectives and the characters are both irritating and intriguing with their wonky moral compasses and poor life choices. The Affair is highly compelling and keeps you gripped throughout. (Mark: 8 out of 11)
ARRESTED DEVELOPMENT (2003 – 2004) – NETFLIX
How the hell did I miss this cracking comedy first time round beats me?! The hilarious show centres on the disastrous Bluth family who are all narcissistic egoists all trying to manipulate each other in some financial or emotional way. Even the sanest of the lot Michael Bluth (Jason Bateman) is a flawed “hero”, although he is positively angelic compared to the other members of his family including failed magician Gob (Will Arnett), pill-popping matriarch Lucille (Jessica Walter), deluded Lindsay (Portia De Rossi) and imprisoned father portrayed with sociopathic insouciance by Jeffrey Tambor. The brilliant ensemble cast (including among others: David Cross, Michael Cera, Henry Winkler, Liza Minnelli, Tony Hale etc.) hit the rapid-fire gags and deranged scenarios out of the ballpark; as the show perfectly encapsulates the very epitome of a dysfunctional family. (Mark: 9.5 out of 11)
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (2007) – BLU RAY
Andrew Dominik’s moody Western is one of the BEST films I have seen in the last 10 years. It was a box-office flop but everything about it screamed greatness to me: stunning cinematography; wonderful cast; beautiful vistas; elegant pace; resonating themes regarding notoriety; and so on and so forth. Sam Rockwell excels in a supporting role as Charley Ford who gets caught between the eerie homo-erotic hero-worship-then-rivalry of his brother Robert (stunning Casey Affleck) and eponymous Jesse James (never better Brad Pitt). The film moves at a glacial pace, building character and suspense, while in between, the sporadic bursts of violence startle and raise the pulse in an altogether memorable cinematic experience. (Mark: 10 out of 11)
CAPTAIN AMERICA 3: CIVIL WAR (2016) – CINEMA
Historical reviews on this very blog have been favourable about Captain America and his exploits; in fact he is probably my favourite Marvel Avenger I’d say. His last outing Captain America: Winter Soldier (2014) was one of my films of the year, so I had high hopes for Civil War. The final film in the trilogy delivers a cracking rollercoaster ride filled with tremendous action, set-pieces and plot twists. As usual the army of Marvel effects technicians deliver an array of computer-generated mastery with a cacophony of colour, explosions, chases, fighting and bone-crunching sound effects.
The strong narrative involves a number of strands which link the prior two films as Steve Rogers protects his brainwashed buddy Bucky Barnes from the US government and allied Avengers attempting to bring him to justice for his crimes. Moreover, Iron Man, Black Widow, Vision and others face off against Captain America and his team in order to make the Avengers more accountable for their actions. This culminates in THE BEST ACTION SEQUENCE of the year as the Avengers have a battle royale on an airstrip in Germany. Overall, it’s a brilliant film which has welcome cameos from Ant-Man and another new Spiderman; while also introducing the all-action nobility of the Black Panther. Again the Russo Brothers direct with whip-cracking pace and humour, making this easily the blockbuster of the year. (Mark: 9.5 out of 11)
GOTHAM (2015) – SEASON 1 – NETFLIX
TV boxset watching is often like a cultural version of Stockholm syndrome. Some programmes grab you immediately while others you have to watch enough of before you give in to their demands. With that in mind, it took about 11 episodes before started enjoying Gotham. It began poorly with terrible dialogue and hammy acting and the Batman canon timeline, tone and characters are all over the shop. However, by the end it had won me over as a trashy guilty pleasure mixing horror, comic-book, crime, Western and fantasy genres. Highlights are the succession of violent cartoon villains and young versions of villains-to-come while Ben Mckenzie (Gordon), Robin Lord Taylor (Penguin), Sean Pertwee (Alfred) and Corey Michael Smith (Edward Nygma) steal the show. (Mark: 7.5 out of 11)
GREEN ROOM (2015) – CINEMA
This was an excellent sophomore feature film from writer/director Jeremy “Blue Ruin” Saulnier, as we find a punk band pitted against neo-Nazis in the back beyond of Portland, USA. It borrows heavily from George Romero and John Carpenter but the filmmakers and cast create a really nasty horror-show as the death of a rock fan spirals totally out of control. A fine cast including: Alia Shawkat, Joe Cole, Anton Yelchin, Amanda Poot, and an against-the-grain-playing-nasty Patrick Stewart. Despite the stupidity of the band and Nazis I was gripped throughout and there is some terrific gore and box-cutting violence and recommended for those who like their thrills rare and bloody. (Mark: 8 out of 11)
IT’S ALWAYS SUNNY IN PHILADELPHIA – SEASON 11 – NETFLIX
Oh the man-children, Dennis, Charlie, Mac and Frank – and not forgetting bird-girl Dee – are back for another season of anarchic derring-do at Paddy’s Pub and beyond. As a massive fan of this very naughty show I was very much looking forward to the mayhem of Season 11; and they did not let us down. In this season we had episodes: parodying 80s ski films; Charlie capturing a Leprechaun; the gang getting trapped on a Christian cruise; Charlie and Mac move to the suburbs; Dee gets involved in porn; a whole episode, rather scarily, shot from Frank’s point-of-view; and all manner of other bizarre incidents and behavior. The gags explode like fireworks throughout the series as things go south and very dark; more often than not ending in chaotic hilarity. (Mark: 9 out of 11)
LINE OF DUTY (2013 – 2014) – SEASONS 1 & 2 – NETFLIX
Very solid cop drama written and produced by Jed Mercurio, this story of cops investigating cops has an excellent British cast across two seasons including: Lennie James, Craig Parkinson, Neil Morrissey, Adrian Dunbar plus leads Martin Crompston and Vicky McClure. It’s tightly plotted with some brilliant twists and great suspense as you never quite know who’s on whose side. Special mention for Keeley Hawes who is a revelation as the cop being chased in the second season; as her acting is so brilliant, you never know if she’s good, bad, manipulative, a victim or just plain evil. (Mark: 8.5 out of 11)
LIVING DAYLIGHTS (1987) – PRINCE CHARLES 007 RETROSPECTIVE
The Living Daylights, for me, is a very fine Bond film and Dalton is an incredibly under-rated 007. He only did two films but brought a pathos, depth and unpredictability to the role that Moore severely lacked. Bond is a stone-cold-killer-burnt-out-anti-authoritarian-adrenaline-junkie who has seen death a thousand times over; and Dalton plays him as such. Connery, Craig and at times Brosnan got this over in their performances but none as much as Dalton. The film works brilliantly on the big screen too and stands the test of time as both a sterling Bond film and cracking espionage action thriller.For my full classic review clink on this link: (Mark: 9 out of 11)
NOSFERATU (1979) – SKY MOVIES
Werner Herzog’s atmospheric and moody adaptation of Stoker’s Dracula works brilliantly as both a horror film and homage to Murnau’s silent classic of the same name. Bruno Ganz excels as the unlucky Harker, sent to Transylvania to complete a property deal for his firm. Moreover, Klaus Kinski is chilling as the vampiric Count hell-bent on sucking the blood out of anyone who gets close. This has some exquisite cinematography plus an ethereal and dream-like style which makes this a memorable horror classic. (Mark: 8 out of 11)
OF MICE AND MEN (1992) – DVD
Steinbeck’s classic novel about two itinerant drifters is one of the best stories I have ever read. This film version directed and starring Gary Sinise, with John Malkovich as the tragic Lennie Small, is a touching rendition of the depression-set story. It’s such a brilliant book that any screen version will pale in comparison but Sinise and Malkovich excel in their respective roles and it’s great to see Steinbeck’s rich, authentic and grim tale of existence brought to life and death. (Mark: 7.5 out of 11)
SON OF SAUL (2016) – SKY MOVIES
This is a heavy-as-hell-Hungarian-holocaust drama deserved won Best Film in a Foreign Language at the Oscars. The story focusses on the intense Saul (Geza Rohrig) and his search for a Rabbi to give his son the Kaddish to allow him a correct Jewish burial. It is a harrowing experience, presented in a 4:3 screen ratio and pretty much all over-the-shoulder of the protagonist. These stylistic choices narrow the focus on Saul’s tireless journey through the camps in vain pursuit of said Rabbi. Amidst his search death, fire and flesh bleed through the landscape and the whole experience is gruelling, overwhelming and upsetting. (Mark: 8 out of 11)
YAKUZA APOCALYPSE (2016) – SKY MOVIES
This film from insane Japanese director Takeshi Miike is just mental. I enjoy Asian cinema films and Miike’s previous movies such as Audition and Ichi the Killer were excellent just-the-right-side-of-bizarre spectacles, yet this is an unwatchable mix of martial arts, horror, and gangster and monster movies. Recommended only for the brave, foolhardy or clinically insane. (Mark: 3.5 out of 11)
THE WATER DIVINER (2014) – AMAZON PRIME
A muddled mix of war, family, romance and period drama genres from debutant director and star Russell Crowe, The Water Diviner, boasts some wonderful scenery and highly moving scenes, notably in the WW1 Gallipoli flashbacks. However, Crowe the director is let down by a hamstrung script plus the miscasting of Olga Kurylenko who just seemed too glamorous to fall for Crowe’s recently widowed character searching for the bodies of his three dead sons. While it fails as a movie epic there’s enough to recommend it as a matinee rental on a wet Sunday afternoon while nursing an uber-hangover. (Mark: 6 out of 11)
WILD (2014) – NOW TV
Reese Witherspoon as Cheryl Strayed is excellent in this road-movie-true-story-drama as she trudges the Pacific Crest Trail in order to exorcise the demons of her past and somehow redeem her soul. It’s very well directed and structured by director Jean-Marc Vallee and screenwriter Nick Hornby and works really well as a pathos-driven character study; as well as stunningly shot travelogue with wonderful vistas. (Mark: 7 out of 11)
While it’s not a terrible film in terms of action, theme song and the villainous Christopher Walken, Roger Moore’s final outing as James Bond, A View To A Kill (1985), is on the whole a kitschy let-down. A geriatric Moore planks woodenly through the dramatic scenes and the joins between him and his wiggy stunt-doubles are plain to see. Even Roger Moore admitted, in an interview, he was “400 years too old to play Bond.”
While Moore is my least favourite Bond there were some highlights during his tenure, notably: Live and Let Die (1973) and The Spy Who Loved Me (1977), plus his battles with arch-henchmen Jaws (Richard Kiel) and some fine gadgets were always memorable. However, I found his performances too cheesy and his Bond lacked the charisma and steel of the inimitable Sean Connery. Eventually, his performances and films overall slipped into parody and Moore’s 007 was rightly retired.
After A View to a Kill, Pierce Brosnan was all set to take over. But due to a last-ditch contract renewal of TV show Remington Steele – which ironically benefited from the publicity of Brosnan’s Bond casting – the role was taken by an actor of some standing, namely Timothy Dalton. Moore’s blonde, safari-suited playboy would be replaced by a brooding, angry, dark-haired Welshmen who had trod the boards at the Royal Shakespeare Company and played iconic roles such as Heathcliff and Mr Rochester in film and television.
Dalton’s debut Bond was The Living Daylights (1987) and having watched most of the Bond films a few years ago – when they were replayed on Sky in 2012 – this one stood out as a right cracking espionage thriller. It was annoying because in the past I had wrongly dismissed it due to Dalton’s short career as Bond. But the Prince Charles Cinema in London began a 007 retrospective this year, screening the entire Bond series, thus I decided to experience it on the big screen for the first time.
After years of fun but hollow and almost satirical spy performances from Moore, Dalton gave a darker more nuanced tone in The Living Daylights. The film opens with a thrilling skydive and chase involving a training exercise gone wrong and culminates in Bond battling an unknown assassin on top of an exploding truck. As Bond parachutes to safety atop a passing yacht you soon realise we’re in safe hands with Dalton as he’s tough, athletic and very realistic. In fact, from research I gather he did many of his own, less dangerous, stunts in order to assure authenticity.
The plot of The Living Daylights is one of its major strengths. There’s no one single pussy-stroking-scarred-megalomaniac threatening to take over the world but more of a corporation of villains, from Joe Don Baker’s over-the-top-military-nut-with-a-Napoleon-complex, Whitaker, to Jeroen Krabbe’s Georgi Koskov; a devious Russian triple-agent attempting to reignite Cold War tensions between the KGB and British Secret Service. There’s also a formidable henchman called Necros played with physical prowess and Aryan superiority by Andreas Wisniewski.
Bond enters the fray when he is sent to take down a sniper sent to kill Koskov. In a plot twist, very much faithful to the energy of Ian Fleming’s original short story, he spares the baited “assassin”, a cellist named Kara Milovy portrayed with naive charm by Maryam d’Abo. During the “assassination” attempt on Koskov Bond senses something is wrong and spares Kara’s life. This sets in motion some wonderful cat-and-mouse espionage set-pieces and chases through the streets of Vienna and on the ski-slopes of Austria. Indeed, the relationship between Kara and Bond, while starting from a deadly position, provides a key romance and subplot but never feels forced. I especially enjoyed the integration into the story of Kara’s cello which is used throughout as a means to bring the two together; notably during the early “sniper” scene; plus when they trick KGB agents in Vienna; and when it’s employed as a makeshift snowboard while escaping capture.
The “cello ski-slope” stunt is just one of the brilliant action sequences in the film. Other great action scenes are the gadget-heavy car chase featuring the Aston Martin which precedes it plus a heart-stopping stunt at the end involving the huge cargo plane. Bearing in mind this is before any kind of computer-generated imagery was used in cinema, the feat of the stuntmen hanging out of the plane on a net while fighting just took my breath away when witnessed on the big screen. Within the action there’s a lovely pay-off too as Bond eventually uses the ticking time-bomb he set to blow up an Afghan bridge to defeat the Soviets.
Of course, while Bond is ultimately a cartoon-action-spy-thriller there are some interesting socio-political points made. Whitaker, Koskin and Necros’ nefarious plans involve using Soviet funds to pay for a huge opium purchase from the Mujahedeen in Afghanistan and in turn use the profit to buy more weapons and further the Cold War conflict. The film suggests certain Governments, Military and Secret Services often manufacture wars and assassinations for their own political and economic needs and Bond himself is the “Lone Ranger” policing the world against these crazed, avaricious warmongers. While I really like the Daniel Craig Bond era, on the main, his films do lack a certain political depth in regard to current topical events; desiring to avoid accusations of political incorrectness no doubt.
Compared to the Moore films it could be argued there’s a lack of humour in the Living Daylights. I think this is incorrect though as there’s some nifty laughs and fine one-liners throughout; it’s just Dalton plays it dark and deadpan. Yet there is also playful invention in the film, for example, I loved the way Koskin defects by being shot down a huge pipeline. Furthermore, Necros has a cheeky line in unlikely disguises and accents, while Dalton himself has some cracking puns, especially when Necros is literally given “the boot” during the final aerial punch-up. Right at the end during Cara’s cello recital we get the most risqué joke of the film as the Mujahedeen turn up adorned in full “terrorist” garb saying they “got held up at the airport.” In today’s po-faced, politically correct climate we probably wouldn’t get satire like that because it is arguably xenophobic and proffering certain derogatory Middle Eastern stereotypes. However, it gained a massive laugh while I was watching.
The Living Daylights, for me, is a very fine Bond film and Dalton is an incredibly under-rated 007. He only did two films but brought a pathos, depth and unpredictability to the role that Moore severely lacked. Bond is a stone-cold-killer-burnt-out-anti-authoritarian-adrenaline-junkie who has seen death a thousand times over; and Dalton plays him as such. Connery, Craig and at times Brosnan got this over in their performances but none as much as Dalton. The film works brilliantly on the big screen too and stands the test of time as both a sterling Bond film and cracking espionage action thriller.
The traditional capitalist Hollywood machine model that has dominated the moviemaking industry remains in place like a fiscal contagion. Indeed, the money-people, financiers, studio bosses and banks that control the higher end of the cinema market are mostly beyond the reach of the struggling low-budget filmmaker. Some indie filmmakers battle the snakes and move up the ladder but more often than not they fall to their death into a pit of deathly vipers.
In the past there was purity to raising funds for the independent filmmaker. David Lynch made garden sheds when making Eraserhead (1977). Rebel filmmaker Roberto Rodriguez, allegedly, sold his body to science to raise the money for El Mariachi (1992) and the Coen Brothers shot a no-budget trailer for Blood Simple (1984) before approaching the Hadassah, the Zionist women’s charity, for production monies. Meanwhile, Terence Malick’s classic Badlands (1973) was funded by his own money and by doctors and dentists he had pitched the film idea to.
Oh, how times have changed; sort of! Aside from using bank loans, inheritances, student loans, government grants and maxing out credit cards there is an alternative to raising project budgets. Because now artists, filmmakers, writers, dancers, jugglers, mimes, comedians and authors in general can now reach out to the internet with their “begging” bowl via the plethora of online sites such as: Kickstarter, Indiegogo, Crowdfunding and many more.
As an independent filmmaker with eight films produced I personally like the romantic idea of working and saving and, on occasions, asking friends for loans to make my films. However, my attitude has shifted – because I’m broke – therefore me and my filmmaking partner Gary O’Brien have begun a Kickstarter campaign for our latest production called: Chance Encounter: A Star Trek Short Film. Click for the LINK:
CHANCE ENCOUNTER: THE STAR TREK STORY!
This is a universal love story set in outer space within the Star Trek television series world circa Next Generation era. It concerns two characters that randomly meet and have a big impact on each other’s lives. While I love sci-fi stuff with aliens and ray-guns this is a gentler story which favours character interaction and themes of loss, love and fate over special effects and monsters. We are not asking for massive donations and believe this to be a fantastic film to invest in.
Please watch our video and invest in our film; any amount will help us achieve our goal. Failing that I may be forced to sell a kidney or lung in order to hit the target.
IMPORTANT: “Star Trek” and all related marks, logos and characters are solely owned by CBS Studios Inc. The videos, the promotion thereof, and/or any other materials created by us are 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 copyright or trademark infringement is intended.
In no case is the use of said copyrighted material, with or without identifying symbols, intended as a claim of ownership or infringement of those copyrights/trademarks by the maker of these videos or their content providers.
March is a looonnngggg old month and I have watched a shedload of shows and films; so it’s a quick wash and go through my monthly review round up. As usual marks are out of 11 – do enjoy!
**DEFINITELY MAY CONTAIN SPOILERS**
FILMS OF THE MONTH!
10 CLOVERFIELD LANE (2016) – CINEMA
If you’d like a cinema alternative from the current superhero hype then try out neat suspense thriller 10 Cloverfield Lane. It was lean, mean, well-acted and full of fun twists; proving good writing will often be more entertaining than big-budgeted blockbusters. Trapped heroine Mary Elizabeth Winstead is both imprisoned in a bunker by sinister John Goodman and freakish occurrences going on outside and must use her wits to escape. It’s edge-of-the-seat stuff throughout in a thrilling sidequel to over-rated “found footage” monster movie Cloverfield (2008). (Mark: 8 out of 11)
BONE TOMAHAWK (2015) – CINEMA
A tremendous genre-blend of horror and Western, this debut feature from S. Craig Zahler is destined to be a cult classic. We’re in The Searchers meets Hills Have Eyes territory as Kurt Russell, Patrick Wilson. Matthew Fox and Richard Jenkins track down townsfolk kidnapped by savage cannibal natives. Not for the faint-hearted, I loved the witty dialogue exchanges, sunburnt vistas and sudden smashes of bloody violence. (Mark: 8 out of 11)
HAIL CAESAR (2016) – CINEMA
If you love the Coen Brothers and also like films that are about people making and watching movies, then Hail Caesar is a delight. It’s a feel-good nostalgic tribute to Hollywood, both funny and charming. It was like watching a cinema soufflé with extra icing sugar on top as the wonderful cast and Hollywood pastiches are faultless. Alden Ehrenreich is superb as the singing cowboy turned unlikely thespian and Josh Brolin knits the “day in the life” structure perfectly as workaholic studio boss. It’s pretty flimsy in terms of a plot but works wonderfully as a series of vignettes from the era, along with mild religious and political satire too. (Mark: 8 out of 11)
SUPER (2010) – NETFLIX
“Shut up Crime!” yells Frank Darbo: Rainn Wilson’s on-the-verge-of-a-breakdown loser, as he is visited by God and told he is the “chosen one”. Thus, begins his transformation into the Crimson Bolt; a human superhero/vigilante with no powers, charging to take down Kevin Bacon’s slimy drug dealing scumbag who has also stolen Frank’s wife. This is a hilariously dark and comedic anti-super-hero film very much in the Kick-Ass territory but somehow grittier and more bizarre. Wilson channels his Dwight Shrute persona perfectly and Ellen Page offers spunky support as his sidekick Boltie. James Gunn writes and directs with off-kilter joy and who’d believe he’d go onto direct the far more commercially successful Guardians of the Galaxy (Mark: 8.5 out of 11)
THEY LIVE (1989) – AMAZON PRIME
They Live is a classic underrated film from the late 80s and still retains its power as a social sci-fi satire. Hard-done-by drifter Roddy Piper finds himself amidst aliens who have infiltrated Earth and now subliminally control human population through the media and advertising. NOT LIKE REAL LIFE THEN! John Carpenter’s film is both clever and dumb as Piper and a band of rebels fight back against the extra-terrestrial horde. Some plot blips aside this is cracking entertainment and contains some great one-liners and fight scenes. (Mark: 8.5 out of 11)
WORTH A WATCH OR RE-WATCH
AGE OF ADALINE (2015) – NOW TV
Kind of a female Benjamin Button movie as Blake Lively shines as Adaline in a heart-warming romantic drama with the excellent Harrison Ford providing fine support. (Mark: 7 out of 11)
ALAN PARTRIDGE’S MIDMORNING MATTERS (2016) – NOW TV
Steve Coogan is back on the airwaves with his usual verbal and physical buffoonery. A succession of hilarious guest cameos from the likes of Reece Shearsmith and Julian Barrett make this comedy gold. (Mark: 8 out of 11)
CROOKED MAN: TOMMY TIERNAN (2010) – NETFLIX
This is incredible stand-up comedy from the Irish cyclone that is Tommy Tiernan. The controversial comedian rips through 90 minutes of stunning observations and routines which are replete with lyrical and bestial beauty. (Mark: 9 out of 11)
DOWNFALL (2004) – NETFLIX
I’ve seen this wonderful rendition of Hitler’s final days before but it retains its incredible power and tragedy. Bruno Ganz is monstrously brilliant as the Fuhrer whose murderous empire crumbles around him. The Germans are shown to be dirty rats leaving a sinking ship and there are so many sad scenes throughout; a tough yet enriching experience. (Mark: 9 out of 11)
THE EXPENDABLES 3 (2014) – NETFLIX
This brainless action film shows Stallone, Snipes, Statham, Schwarzenegger etc. taking on Mel Gibson’s nefarious arms dealer; and while it’s ridiculous and over-the-top – as cinematic lobotomies go – it’s not too bad. (Mark: 5.5 out of 11)
EXODUS: GODS AND KINGS (2014) – NOW TV
Ridley Scott remakes Gladiator (2000) again but this time in Egypt as Christian Bale’s Moses goes up against Joel Edgerton’s nefarious Pharaoh. Plagues, pestilence, visions of God and the parting of the seas are all present and correct in a pretty entertaining Biblical epic. (Mark: 6.5 out of 11)
GOOD KILL (2014) – NETFLIX
Excellent character drama focussing on a falling-apart Drone pilot portrayed with burnt-out aplomb by Ethan Hawke. It’s a compelling analysis of U.S. foreign policy as they attack various targets in the Middle East and while sympathising with the dehumanisation of the “pilots” it also critiques the almost cowardly destruction of life from a distance. (Mark: 7.5 out of 11)
THE GRANDMASTER (2013) – NETFLIX
Exquisitely shot martial art-house film from Wong Kar-Wai, which pays tribute to Chinese cultural icon Ip Man portrayed with much class by Tony Leung. The Donnie Yen Ip Man films are more accessible than the poetic storytelling offered here but this still packs a delectable punch. (Mark: 7.5 out of 11)
I AM LOVE (2009) – NETFLIX
Tilda Swinton owns the screen in this melodrama which follows the trials and tribulations of a rich Italian family. Not much occurs but the Italian scenery is breath-taking and while narratively slow, Swinton’s performance and the final act tragedies make it worth the journey. (Mark: 7 out of 11)
THE JINX (2015) – NOW TV
Now, this documentary was something else. A filmmaker named Andrew Jareki made an okay feature film called All Good Things (2010) starring Ryan Gosling. It charted events concerning eccentric multi-millionaire Robert Durst and the disappearance of his wife. Flash forward a few years and Durst asked Jarieki if he’d like to interview him about his situation and what he perceived was a “witch-hunt”. What follows is an amazing documentary featuring Durst and the events around his wife and TWO other people he is suspected of murdering. There’s something not quite right about Durst as the chilling denouement to the compelling docu-series reveals. (Mark: 8 out of 11)
LIFE ON MARS – SEASON 2 (2007) – NETFLIX
Second season of the “time-travel” 70s cop show picks where the first left off with John Simms’ Sam Tyler battling baddies and once again clashing with his boss, the mud-mouthed-maverick Gene Hunt (Philip Glennister). Once again this drama has great humour and plot twists amidst the mind-bending theatrics and Northern seventies era.(Mark: 8 out of 11)
THE NIGHT MANAGER (2016) – BBC IPLAYER
Beautiful women, locations, undercover spies and nefarious bad guys feature in this James Bondesque John Le Carre literary adaptation. The cast including: Tom Hiddleston, Olivia Colman and Hugh Laurie are excellent and the story had me mesmerised right up until the explosive though generically unsatisfying ending. Still, it was overall great quality Sunday evening eye-candy though.(Mark: 8 out of 11)
THE PROGRAM (2015) – SKY MOVIES
This intriguing biopic about cyclist Lance Armstrong follows his battle against cancer to Tour de France winner to disgraced drug cheat. It’s a real eye-opener into the process of the win-at-all-costs Armstrong and his obsessive pursuit of victory. Ben Foster excels in the lead and while the dramatics could have been beefed up toward the conclusion it’s still a fascinating story. (Mark: 7 out of 11)
RED TAILS (2012) – NETFLIX
This is a worthy yet lightweight wartime drama focussing on the Tuskegee Airmen and their aerial dog-fighting prowess that was demonstrated so superbly in WWII. The battle scenes are impressive but the characters felt underwritten and the film lacked impact for such an interesting subject. (Mark: 5 out of 11)
SPRING (2014) – NETFLIX
Intriguing low-budget horror-romance film which moves VERY slowly but is punctuated with some fine gore and body horror effects. The characters I could take or leave as anaemic American tourist, Evan, meets a mysterious young woman, Louise, on the streets on Italy. However, the filmmakers deserve acclaim for attempting to create something original in the horror genre. (Mark: 6.5 out of 11)
STAR TREK: GENERATIONS/ FIRST CONTACT/INSURRECTION (1994/96/98) – NETFLIX
Given myself and my filmmaking partner Gary are making a Star Trek “fan-boy” short film as our next production I decided to immerse myself in some Trek movies; and very good human and science fiction films they are too. Generations sees Kirk (Shatner) and Picard (Patrick Stewart) meet across the time-streams in a giddy mix of philosophy and temporal variance. In First Contact, Picard and crew fight the formidable Borg with the former flexing his action man muscles. Lastly, despite the title Insurrection slows the pace down as Picard falls in love while protecting a peace-loving community called the Ba’ha. All the films are well crafted with First Contact offering the greatest peril as collectively they offer some fine sci-fi concepts, character turns, humour and drama throughout.(Mark: 7.5 out of 11)
STILL LIFE (2013) – NETFLIX
Eddie Marsan is wonderful in this touchingly told story of a council worker who searches for family members of “clients” who’ve died alone. It moves slowly but with heart, purpose and pathos; offering an alternative to the overblown lobotomised big budget films at the multiplex. (Mark: 7.5 out of 11)
STRETCH (2014) – NOW TV
This is a flashy, style-over-substance-day-in-the-life-movie about a burnt out actor/chauffeur who must avoid criminals, cops and crazed clients while trying to stay sober. Patrick Wilson is watchable but I’d only recommend this if you are pissed or unconscious on a Friday night. (Mark: 5 out of 11)
AVOID LIKE THE PLAGUE
SEVENTH SON (2014) – NOW TV
Jeff Bridges and the exquisite Julianne Moore take a pay-check but offer little else in this nonsensical fantasy witch-hunter yarn. Awful beyond words. (Mark: 2 out of 11)
THE WITCH (2016) – CINEMA
Be wary of The Witch. Its trailer suggested a scare-fest but it is in essence an overly talky art-house horror; heavy on religious symbolism and folklore. It is very well directed, designed and acted and the broadsheet critics will love it. However, there’s not enough gore, scares or actual story for my liking and at times I was bored as hell. It’s a damned shame as I like horror films and art-house cinema but The Witch just doesn’t make us care about the characters or story at all. (Mark: 3 out of 11)
Following on from my rants about movie hair, “found footage” films and Zack Snyder the fourth entry in this series is about (drum roll please. . . ) what I hate at the CINEMA! Indeed, as this blog will testify I love the cinema and I LOVE FILMS!! As often affirmed I am not a religious person yet the cinema is the closest I get to a place of worship for me. However, there are some things I HATE about the cinema-going experience, so, I thought it would be fun to have a rant about it. I mean it’s easy disrespecting things you DON’T like such as: politicians, minor celebrities, cancer, self-service checkout machines, war, Piers Morgan and death! But how about having a go at something I DO like. So, here goes! Ten things I hate about the cinema. Enjoy!
#1 – PEOPLE
People generally piss me off at the cinema. I am a reasonably thoughtful person but when I go to the cinema I become a very selfish. I basically start to hate people. Especially if they are: in the way, talking, in the queue, in the toilet and breathing. I recall when I was a student, I loved going to the cinema for the first screening of the day because there was hardly anyone about. One of my greatest memories is when I saw The Shadow (1994) starring Alec Baldwin. THERE WAS NO ONE IN THE SCREENING at ALL!! That was my idea of heaven. Not a great film but a wonderful cinema memory.
#2 – TALKING
People who chat during the film SHOULD BE banned forever! In fact a law should be introduced that there’s NO talking from the trailers onwards. If you do you are forcibly removed from the screening room. I go to the cinema to escape reality; YOU or YOUR MATE’S voice-words are reality so SHUT THE FUCK UP! If you want to have a conversation piss-off to a pub or a shop or a busy road and PLAY IN THE TRAFFIC. Anywhere but the cinema I am in!
#3 – PHONES
Dear People, who use their phones at the cinema: see above! You ARE CUNTS!
#4 – CONFECTIONERY
ALL CONFECTIONERY SHOULD BE BANNED WHEN THE FILM STARTS. The rustling and crisping and slurping is TOO annoying for words. What is it with the cinema and NOT eating beforehand!? Eat BEFORE! I guess there’s some Freudian reason for stuffing over-priced popcorn, sugar and crisps into your gobs in the dark. If it’s an action-based film it’s not so bad as the sound of the film will drown it out. But in a drama which is character and dialogue based then the opening and rustling of packets drives me mad; especially when the people TRY TO BE QUIET! By trying to be quiet in a dead silent environment only heightens the noise you mug!
#5 – COST
While we’re on the subject of food, let’s face it: the price of popcorn is ridiculous. At present inflation is at an all-time low but NOT for cinema food. For what you get POPCORN is more expensive than COCAINE! And cocaine’s probably better for you. The price of food and drink at the cinema makes motorway service station prices look like Poundland. Also, I’ve seen a growing trend of so-called shopping ‘tasters’ at the ice cream stand. These cheapskates should be shot!! If you don’t know what the taste of cold-processed-sugared-crap is by now then just die! IT TASTES OF CHEMICALS and SUGAR!
#6 – PUNCTUALITY
GET TO THE FILM ON FUCKING TIME! I’ve made it on time! I am comfortable and have to get up, or have my view blocked, because you’re late. You shouldn’t be allowed in; especially if the film has started! There’s no excuse people – NO EXCUSE!
#7 – TRAILERS!
More and more trailers are just a summary of the WHOLE film! This is lazy! An example of a terrible trailer was a film called Fast Girls (2012) which essentially gave the WHOLE PLOT away in chronological order. Even Oscar winners Spotlight (2015) and Argo (2012) chose key dialogue scenes which span out the spine of the film and left nothing to the experience. I also lament the loss of the Voiceover Guy. I loved that guy; he really raised the sense of suspense or horror. To me a trailer should suggest and create intrigue rather give away the story or even mislead the audience. Indeed, the trailer for Sweeney Todd (2007) had NO musical numbers in it even though IT WAS A MUSICAL! Now HERE’S A PROPER TRAILER!
#8 – HEGEMONY
I like a decent blockbuster but the hegemonic domination of the multiplexes means smaller films don’t often get a chance. I used to love repertory cinemas such as the Scala in King’s Cross (which is now a nightclub and live music venue) but alas these cinemas are a dying breed. We do have Prince Charles which is great but even some independents are NOT truly independent like the PICTUREHOUSE chain, as they are owned by Cineworld. I’m probably just being nostalgic for a non-capitalist dream but it just irks me when a Marvel or Disney film is released on ALL the screens at the same time and smaller films vanish rapidly; lost in the huge capitalist machine that is greed.
#9 – ADVERTISING
Slowly but surely a film programme is getting longer and longer!! Showtime is advertised at 7.00pm but the film doesn’t start until fucking midnight. I’ve paid NOT to see adverts! To me it should be THREE adverts and THREE trailers and that’s it!! Plus the adverts get shown AFTER the TRAILERS too – THERE’S NO ESCAPE! I accept adverts, like politics, are a necessary evil in society but they’re STILL EVIL! If I pay £13 for a cinema ticket I’ve paid for the privilege of NOT being eye-punched to death by advertising. The amount of advertising actually makes me nostalgic for Pearl & Dean. Oh, for the good old days!
#10 – NOT THE CINEMA!
Basically, I know people are broke and the cinema is expensive but if you watch a BIG BLOCKBUSTER film on an illegal download – THEN YOU HAVEN’T SEEN IT!! I realise Hollywood isn’t going broke anytime soon and you’re probably NOT funding terrorism but you are disrespecting the cinema – so GO TO THE CINEMA!! Just don’t do any of the above THINGS I’ve listed above, and as long as you don’t go when I go, then go watch a movie where it’s meant to be seen! Not on an Iphone or a Tablet but at THE CINEMA! OBEY!
I watched a cinematic adaptation of High Rise (2015) last night at the BFI and director Ben Wheatley proved that JG Ballard’s unfilmable critique of the class system should probably have remained just that: unfilmed. Not that there isn’t much to take from this thought-provoking anarchy which is both a visual and aural feast; it’s just one could never recommend it to the popcorn-munching multiplex mob expecting empathetic characters, coherent narrative spine and thematic simplicity. Still, if you enjoy chaos on the cinema screen there is much to recommend from within this splintered and jarring yarn.
As I sat amidst the Guardianista intelligentsia for the film’s Q & A – which included director/editor Ben Wheatley and actors Luke Evans and Reece Shearsmith – there were many long-winded “love the sound of their own voice” studenty statements masquerading as questions. Why can’t people just ask a direct question? I had a few in mind such as:
What attracted you to the project?
Were you bothered about making the narrative coherent?
What response were you hoping to gain from an audience?
How did you find working with such a great cast?
Did you consider a voiceover to hold the film together – a la Clockwork Orange?
Do you care that the audience had no one to root for?
Many of these were answered by a bored looking director in between the lines of his responses, but having had my senses battered by the movie for two hours I realised I did not care to be honest! This is the kind of film you pretend to like when you’re nineteen and want to appear edgy, intellectual and separated from the hoi-polloi. Moreover, you’re likely to be immersed in the cinephiliac influences of Godard, Bunuel, Bergman, Eisenstein and Kubrik; all of which have clearly informed the filmmakers here. Indeed, in making a film about the class war Wheatley has produced an arch classist product which will further drive a dividing wedge between the upper, middle and working classes.
The story is allegorical and essentially finds various classes of people – high, middle and working classes inhabiting a tower block in what appears to be set in – because of the mutton chops, fringes and flares – the 1970s. The higher class are rich and obnoxious and piss off the lower floors to such a degree that it leads to chaotic sex orgies, cannibalism and torture. Now, I haven’t read Ballard’s High Rise but you feel it is essential to have done so in order to follow the carvery style portions fed to us by the filmmakers as meat and veg and blood and death are thrown on the plate with lashings of violent gravy combining and congealing to make an unsatisfactory whole. Because for me the ultra-violent reactions of the characters seemed over-the-top given what had gone before. Okay, the lower floors had power problems and their kids were banned from the swimming pool but if I’m going to kill someone or eat a dog I want a bit more provocation.
Personally I felt Wheatley was not really in control of the source material, however, I think that’s the point. It’s a surrealist, chaotic non-narrative nightmare which leaps from one violent and sexual scene to another rendering the senses numb and number as we move toward the anarchy reigning supreme. I saw that Wheatley and his writing partner edited the film themselves and I can only think there was some subconscious desire to freewheel the narrative with a Godardian sensibility, which while admirable, means the film exists in a symbolic vacuum and appears to have had whole chunks edited out either as a creative choice or a desire to limit the chaos to a more manageable two hours. Moreover, aside from a speech by Thatcher at the end, the political context of the 1970s and 1980s is stymied; something I think would’ve made the themes more understandable to a philistine such as myself.
While the film stumbles from a narrative and thematic perspective, the visuals and music are terrific. Wheatley has created a kaleidoscopic feast of colour, sound and images which is why the trailer looked so breath-taking. The cast too are fantastic and the likes of Tom Hiddleston, Sienna Miller, Luke Evans, Keeley Hawes, Jeremy Iron, Elisabeth Moss, Peter Ferdinando, and James Purefoy give the director tremendous energy; plus there are memorable performances from comedic actors Reece Shearsmith and Dan Renton Skinner. High Rise also contains another incredible score from Clint Mansell which, along with the handsome Hiddleston, glue the mania together somehow.
Even though I’ve had issues with some of Ben Wheatley’s past narratives he is a fine director. His debut feature Down Terrace (2009) is a low-budget treasure and Kill List (2011) was a grim horror until the unsatisfactorily symbolic ending. His next film Sightseers (2012) was a brilliant dark comedy and A Field in England (2013) was frankly an artsy, hallucinatory mess. Overall, though I loved the fact that this unassuming working class guy from Billericay has managed to hoodwink the middle-class filmmaking community (including the BFI and Film Four) into giving him money to waste it on this brave cinematic folly. While many may see High Rise as a brutally funny and dark dystopian satire I prefer my stories to have a bit more heart, empathy and make a bit more sense to be honest. Nonetheless, Wheatley remains an important British filmmaker whose work certainly has a lot of class.
100 NOT OUT! SOME GREAT FILMS OF 100 MINUTES OR LESS #1
We all love an epic at the cinema; a film which takes it’s time to build up character, plot and suspense. However, to write a great film under 100 or so minutes requires incredible discipline. You need tough, lean writing and a methodical film editor. You need real focus on the plot and an eye to remove the extraneous and zip the story along. You need a brevity and wit in the writing to quickly establish the characters and gain audience empathy. Most of all you need a solid structure, with pace but without losing any depth.
In this little piece, I have a look at some brilliant FEATURE films that represent marvellous examples of fantastic writing all under the magic one hundred minute mark! I imagine most of us have seen these films but if you haven’t then please do so!
**CONTAINS SPOILERS**
12 ANGRY MEN (1957)
Bona fide classic movie adapted from the TV play by Reginald Rose and directed by the legendary filmmaker Sidney Lumet. The claustrophobic nature of a jury arguing over a murder case is brought to the boil by a superlative cast including Henry Fonda, Jack Klugman, Lee J. Cobb, Martin Balsam etc. It’s a real festival of acting full of sweat, anger, guilt and reasonable doubt; all cooked to perfection within a hundred magnificent minutes.
ASSAULT ON PRECINCT 13 (1976)
John Carpenter is a master at producing lean, mean fighting machine movies. This crime film is an unofficial remake of Howard Hawks’ Rio Bravo (1959) and represents your genuine-classic-low-budget-one location-siege movie with a ragtag bunch of cops and cons fighting off hordes of street scum hell bent on revenge following the death of a gang leader. The film is a gritty joy full of hard-boiled characters and dialogue with a simple yet pulsating soundtrack written by Carpenter himself.
BROADWAY DANNY ROSE (1984)
Basically take your pick from a slew of Woody Allen films which always tell a great story around the 90 minute mark. Yet, I chose Broadway Danny Rose as it is a comedy gem hidden amidst the treasure trove of a filmic oeuvre. It concerns a hapless agent with the worst roster of acts in New York and his hilarious run-in with the mob. Beautifully constructed with some cracking characters and one-liners, this is always worth another watch if you have 85 minutes to spare.
FARGO (1996)
“He was kinda funny-looking!” THAT line basically sums up the Coen Brothers take on the kidnapping-police-procedural thriller. It’s a hilarious one-liner that becomes even funnier when delivered in the Minnesotan accent and in fact is a very important part of the plot. This film is memorable because it turns the genre on its head with a dark, funny and human story both stylish and gut-wrenching in equal measures. I mean, the killers are revealed immediately and Police Chief Marge Gunderson (wonderful Frances McDormand) solves the case quickly too. This allows the Coens to concentrate on off-beat characterisations and twist the narrative in any direction they so desire. It’s bloody, funny and moral with memorable characters that stick in the heart and mind.
THE KILLING (1956)
Not the recent Scandinavian TV show but the early Stanley Kubrik crime classic constructed in a newsreel style with an authoritative god-like third person narration. It stars Sterling Hayden, Elisha Cook Jnr and Timothy Carey as assorted array of lowdown criminals all combining to pull off a daring racecourse heist. The brilliance is in the metronomic telling of the tale as Kubrik builds suspense and tension throughout with a filmic confidence which would very much become part of his later, and much longer, epics.
MAD MAX: ROAD WARRIOR (1981)
Slight cheat because the titular character was already established during George Miller’s original hard-core low-budget classic. Yet, this is a powerful and brutal apocalyptic Western with cars instead of horses and punk-bandits instead of indigenous Native Americans providing the foes. It smashes along at a wicked pace as hard-bitten and life-grilled Max Rockatansky (Mel Gibson) fights hell-for-leather to survive in the Aussie wasteland while hunting for gas and food.
NIGHT OF THE LIVING DEAD (1968)
George A. Romero’s low-fi classic is the Godfather of all modern zombie movies. It’s another siege film as a group of various characters become holed up in a Pennsylvanian farmhouse attempting to avoid the living dead’s bloodthirsty clutches. Made literally on a shoestring from money raised independently (no Kickstarter back in those days), it would become one of the most successful horror films ever outside the Hollywood system. It’s grainy, creepy and gory and offers a subversive critique of the politics of the era.
PREDESTINATION (2014)
One of my films of 2015 I have now seen it twice and it is like a snake-charmer; I just cannot help but fall for its twisted, hypnotic and serpentine narrative. In my original review a year ago I wrote:
“It may completely fall apart on subsequent viewings but for the running time it offered a lot more than many other star-driven, big-budget movies. . .”
However, I can safely say this brilliant cult time-travel movie based on a classic Heinlein short story called All You Zombies gets better with further viewing and stands up on further inspection. I’m still scratching my head at how it all fits together, but that is part of the pleasure too.
RESERVOIR DOGS (1992)
Oh for the days when Tarantino didn’t have a lot of money and wrote cracking muscular scripts which defy genre conventions and rip along at breakneck speed. His recent epic films are just as entertaining as this heist-gone-wrong thriller but longer and arguably in need of a trim or two. I’ve seen this film many times and it still retains its vice-like power, as the masculine egos clash and kill each other right up to the bloody end.
TRAINSPOTTING (1996)
This is a both a literary and cinematic classic. It’s a snap-shot rollercoaster smash-cut of junkie vignettes which delivers on all sensory and emotional levels; with a cracking soundtrack to boot! From the twisted mind of Irvine Welsh, writer John Hodge and director Danny Boyle takes the seemingly unfilmable book and craft a fizzing, twisted vision of heroin addicts, which stylises the lifestyle with dark humour and a sense of loss at the devastating impact of addiction. Choose life: choose Trainspotting!
TREMORS (1990)
I love this film. It’s a real B-movie guilty pleasure with seismic underground monsters attacking a small back water town ironically named Perfection. The action bolts along and it wears its Jaws-in-the-dirt influences hilariously. Most of all I love the characters, notably Kevin Bacon and Fred Ward’s handyman buddies trying desperately to escape their dead end jobs. It’s a fun script with loads of action and great one-liners with Bacon himself having loads of fun without hamming it up.
UP (2009)
Take your pick from any number of Pixar classics notably the Toy Story trilogy, however, I have chosen this gem because it is just so damned imaginative and original. I mean, how’d you get a winning narrative out of an odd couple bromance between a grieving old geezer and an overweight Boy Scout. But this film does so in a great story about overcoming grief, companionship and finding comfort in helping others. Most of all it’s funny, touching and heart-toasting and does it all in fewer than 100 marvellous minutes.
Last year was a very good year for filmmaking but 2016 is shaping up even better already. You know the scene in Pulp Fiction (1994) where Bruce Willis’ character is moving from one weapon to a bigger/better one before he tortures Zed in the basement? That’s what cinema going is like for me in January. I’ve seen so many brilliant films in succession either as good as or better than the last. Moreover, the Oscar fodder is launched on the silver screen thus; I saw NOT one, but FOUR films which are already likely to be on my Best of 2016 list.
I’ve slightly tweaked my FILM/TV review format so instead of covering, in detail, EVERYTHING I saw, I’ve made it a bit punchier and reviewed in depth the best of the best. As usual – marks out of eleven!
**CONTAINS MASSIVE SPOILERS**
CINEMA FILMS OF THE MONTH – ROOM (2015) + THE REVENANT (2015)
ROOM (2015) – (MARK: 10.5 out of 11)
Room is an amazing film. Probably the best and most moving I will see ALL year. It concerns Joy (the incredible Brie Larson) and her young son Jack (stunning Jacob Tremblay) who have been abducted and trapped in a shed by a nefarious kidnapper referred only as “Old Nick”.
The film is presented from the innocent boy’s perspective and the pathos and empathy I felt throughout was both touching and heart breaking. What the writer’s premise does and filmmakers do is make you care about the characters immediately making every scene so suspenseful and soulful. If you are captured by stories about proper characters trying to survive dire events then it’s a must see.
The budget was low at $6 million yet director Lenny Abrahamson, his brilliant cast and writer Emma Donoghue have created a masterpiece in emotional storytelling. Ultimately, it’s a film not just about isolation, abandonment and the horror of humanity; but also the unbridled love a mother has for their child and child for their mother. This is a truly stunning film which will linger in the memory for some time to come.
THE REVENANT (2015) – (MARK: 10 out of 11)
While Room is intimate and claustrophobic, The Revenant was the polar opposite. It’s a massive, heart pounding survival epic that must be seen on the biggest cinema screen you can find. Don’t stream it illegally online you cheap bastards; leave the house and GO TO THE CINEMA!
It concerns a Trappers’ expedition circa 1823 which is assaulted most violently by the indigenous Arikara Native Americans from the get go. The brutal attack set-piece kicks off the film in startling fashion with fire, blood and bone spilling and crunching and blasting death upon our characters. Our hero – Oscar-winner-elect – Leonardo DiCaprio is a tracker, Hugh Glass, whose expertise is required to get the survivors across the cold and brutal landscape in one piece. But he is attacked by a bear in one of the most incredible feats of filmmaking I have seen in a long time. It just has to be seen to be believed as Glass is ripped to shreds by the bear leaving him at death’s step knocking on the door.
DiCaprio is then left with his Native American son and the greasy John Fitzgerald portrayed with dirty aplomb by brilliant Tom Hardy, as the rest head back to “civilization.” After which it’s safe to say that things don’t go too well for Glass as the money-grubbing Fitzgerald double-crosses him and leaves him for dead precipitating a series of deadly encounters that left me gasping for air and shaken to the heart of my dramatic core.
This is just superb, grueling, bloody and beautiful filmmaking! Inarritu adds some exquisite artistic touches and the cinematography and vistas are a thing of beauty. The filmmaking team spent nine months shooting the film and they have given birth to an epic masterpiece which, while a simple revenge story at heart, beats a powerful drum to the testament of the human spirit and against-the-odds survival. If you’re not watching this on a massive cinema screen then you haven’t seen it at all!
OTHER CINEMA FILMS
THE BIG SHORT (2015) – (MARK: 9 out of 11)
This is a very entertaining film satire about the global economic crash and the 2008 housing meltdown. It simplified everything in a very amusing fashion and felt like an extended American Office, both in style and humour. Steve Carell and Christian Bale are on particularly good form as are the rest of a very attractive case. Bankers, Brokers, Regulators and the Government are presented as crooked, greedy, moronic or all of the above! I’m still shocked this actually happened as I have always held humanity in such high regard. NOT!
CREED (2015) – (MARK: 8 out of 11)
For a genre/franchise/boxing film CREED is a fantastic watch; full of emotional ups and downs. Stallone is terrific as ageing Rocky Balboa and this movie harked back to the raw quality of the first Rocky (1976). Ryan Coogler proved with Fruitvale Station (2013) he can direct real heartfelt drama and illustrates it once again here. The boxing scenes are impressive and Michael B. Jordan proves he is a very natural performer as the film delivers some proper knockout entertainment.
DANISH GIRL (2015) – (MARK: 7.5 out of 11)
Eddie Redmayne truly delivers in this story about Einar Wegener/Lili Elbe and their attempts to reassign gender. Alicia Vikander as Gerda Wegener is equally brilliant as Einar’s wife, who at first sees her husband’s flirtations with female impersonation as a game but realises it is much more than that. Overall, this is stunningly attractive filmmaking set in 1920s Copenhagen which could arguably have had a touch more dramatic bite. Yet, Tom Hooper is a formidable director of beautifully humane dramas and this is a touching testament to a person trapped and prepared to risk it all to escape.
THE HATEFUL EIGHT (2015) – (MARK: 9.5 out of 11)
Any other month this would have been my film of the month. I love Westerns. I love Tarantino films (mostly). I love brilliant dialogue. I love lots of blood and violence. Here QT remakes Reservoir Dogs (1992) via Agatha Christie, setting it in the snowy West of America circa 1870s. It concerns eight hard-bitten souls consisting of criminals, bounty hunters and soldiers and the mayhem that ensues as they cross paths.
Set pretty much in one location there is tension and bullets galore by the end. However, the main strength lies in the ensemble cast firing verbal stingers at each other as trust breaks down and the characters turn against each other as the plot thickens. Kurt Russell, Walton Goggins and Samuel L. Jackson are real standouts and Jennifer Jason Leigh holds her own amidst the sweat and testosterone.
Though not as epic in stature as Django Unchained (2012), and in need of a wee trim, this is a fine movie which will improve on subsequent views. Tarantino is a proper auteur and can always be relied on to deliver an impressive work of entertainment. Mustn’t forget Ennio Morricone’s awesome score either, which haunts the scenes like the Reaper on collection day.
IN THE HEART OF THE SEA (2015) – (MARK: 7.5 out of 11)
Ever dependable Ron Howard has crafted an excellent adventure and survival story. A well evoked period drama Chris “Thor” Hemsworth takes to the high seas on the hunt for whales, only to come up against the white “monster” which would inspire Herman Melville’s literary classic Moby Dick. Men against nature and the elements always play well on the big screen and overall, it’s very solid entertainment. While the bookended script is old-fashioned by design it has subtext too, indicating the importance oil has always played within our society.
SPOTLIGHT (2015) – (MARK: 9 out of 11)
This is yet another Oscar-runner with an incredible true story at its heart. The film “spotlights” the Boston Globe’s investigation into endemic paedophilia and subsequent cover up by the Catholic Church. It’s a riveting story with a fantastic ensemble cast including Mark Ruffalo and Michael Keaton on very fine form.
Screenwriters Tom McCarthy and Josh Singer have crafted a sterling script that gets into the minutiae of a press investigation and also reveals the corruption and hypocrisy in organised religion, public relations and the legal system. Just when you think people couldn’t get any lower stories like this highlight the darkness at the heart of humanity. Thankfully, the press gang at the Boston Globe has proved more than just celebrity-baiters and given the victims of horrific abuse both a voice and justice.
TV, DVD, BLU RAY, NETFLIX and other STREAMERS
ADAM AND PAUL (2004) – YOUTUBE – (MARK: 9 out of 11)
Irish black comedy about two junkies trying to get a hit; manages to be both hilarious and sad simultaneously. Great feature debut from Lenny Abrahamson.
AMERICAN HORROR STORY: COVEN (2013) – NETFLIX – (MARK: 8 out of 11)
More bonkers horror as witchcraft, murder and voodoo mix to grisly and hilarious effect.
AND THEN THERE WERE NONE (2015) – BBC1 – (MARK: 8 out of 11)
Stylish drama with a stellar cast committing murder most foul in fine Agatha Christie adaptation.
BLUE RUIN (2014) – NETFLIX – (MARK: 6 out of 11)
Impressive low budget neo-noir let down by the bad plotting and unsympathetic lead protagonist.
THE FALLING (2014) – AMAZON PRIME – (Mark: 6 out of 11)
Artful period drama about fainting young girls starts well but runs out of story by the end.
THE HUNTER (2011) – AMAZON PRIME – (Mark: 7 out of 11)
Intriguing Aussie drama as Willem Dafoe’s hired gun tracks down the last Tasmanian tiger.
ROME – SEASON 1 – (2005) – NETFLIX – (MARK – 8 out of 11)
Brilliant Caesarean drama with devilish plotting and bloodier battles plus a cracking cast.
SHERLOCK: THE ABOMINABLE BRIDE (2015) – BBC1 – (Mark: 8 out of 11)
Oh-so-clever-meta-drama featured Holmes & Watson on the trail of a ghostly murderess in a wedding dress. Stylish with little substance but entertaining nonetheless.
SLOW WEST (2014) – NOW TV – (Mark: 7 out of 11)
Idiosyncratic Western that is too pretentious in places, but saved by ever-excellent Michael Fassbender and a fine shoot-out at the end.
THEORY OF EVERYTHING (2014) – NOW TV – (Mark: 7 out of 11)
Eddie Redmayne bagged the Oscar for his portrait of Stephen Hawking in this beautifully acted, lovely looking, yet, dramatically tepid romance-biopic.
WHAT RICHARD DID (2012) – DVD – (Mark: 8 out of 11)
Slow moving but impactful drama from Lenny Abrahamson, as a rich teenager’s actions causes massive reverberations amidst an Irish family and the wider community.
AVOID AT ALL COSTS!
THE VISIT (2015) – SKY STORE – (MARK: 2 out of 11)
Some said this was a return to form for M. Night Shyamalan – IT WASN’T! Dreadful supposed horror film with one of the most annoying child actors I’ve had the displeasure to witness.
GOD & TARGETS: TWELVE SCREENPLAYS BY CHRISTMAS from PAUL LAIGHT
“You have your way. I have my way. As for the right way, the correct way, and the only way, it does not exist.” Frederic Nietzsche
I have over the years always wondered why I am alive. I mean: what’s the point of life? Why are humans here at all? Are we just animals or are we meant for something more? God or faith is one such thing that has papered over those cracks for some people. However, I am not a religious person as I prefer to believe in my own eyes, ears and experience. I am open to theories and hypothesis but do not require ideological brainwashing to help me get through the day.
Blasphemy it may be but much of my spirituality is gained from worshipping movies, music, sport and other cultural interests. Of course, family and loved ones are the priority and quite rightly give my life meaning and structure. But what keeps a person going from one day to the next? Money, work, exercise, drugs, travel, hobbies and the sheer desire just to stay alive are up there. Indeed, fear of the abyss can be another powerful reason to keep going; death is a great motivator!
Generally speaking my philosophy is be good to others, don’t be a cunt and if you can’t be positive make sure your negativity is either funny or interesting. I don’t need a God or a set of spurious ideologies to live my life. But, what I do like though from year-to-year is some kind of creative or personal target with which to propel me through the months. It gives me focus and takes my mind off death. There’s also a delusion in my psychology that perhaps one day my creative ability could get rewarded either in some form of employment or financial reward. You never know! Miracles do happen.
Targets of late have included:
Lose weight and get fit.
Start a diary where I record my events and thoughts through the year.
Write and produce a cultural blog reviewing films, shows and events.
Give up smoking.
Write and perform comedy at one of the Fringe Festivals.
Write, film and edit my own short film productions.
To train and achieve a 10 mile distance run within a 12 month period.
Do something for a Charity.
I can honestly say I have achieved these targets over the last ten years and in 2015 I decided to set myself another goal. On top of continuing my blog and diary and fitness routines I decided I would set about writing TWELVE short film screenplays in a year. Given I have a full-time job and am a parent this is quite a big ask. But on December 21st 2015 I hit this target! Good for me!!
So, for my own benefit I have listed the short screenplays I have written and the ideas behind them. Here’s to 2016: small victories are the way forward!
WAITING FOR GODDARD – DRAMA
PITCH
PAUL MORRIS is owed money by his so-called friend GODDARD and desperately needs it back. However, he’s in for a very long wait.
PREMISE
This is a snapshot story of friendship and betrayal. I wanted to write something that was simple to shoot and also a kind of homage to the opening sequence of Once Upon a Time in America.
SCREENWASH – COMEDY
PITCH
Comedy short satirising film shows incorporating reviews, clips and trailers of classic and upcoming film releases.
PREMISE
METRO LIVE is a bold, colourful and fun new TV channel serving London. It’s youthful and energetic and punchy and its USP is many of the shows are presented ‘LIVE’. SCREENWASH is its ‘LIVE’ weekly movie review show.
The show takes the structure of new movie release reviews; classic DVD/movie reviews; articles on featured movie director/actor; an artistic strand where he champions a gay/lesbian/black Eastern European filmmaker etc.; movie news and forthcoming presentations including trailers; competitions etc.
I basically wanted to embrace my love of movies through quick fire comedy sketches structured within a review show format. I also wanted to satirise the contemporary hipster styles and pretentious nature of arthouse reviewers. It’s probably my most ambitious script as it also incorporates a crumbling relationship between the presenters of the programme.
THE STAIRWELL – SURREAL COMEDY-DRAMA
PITCH
Postman, JOHN MILLER, gets trapped in a spatial loop on a building stairwell and can find no way of escape.
PREMISE
This story is classic-one-location-short-film-low-budget-territory with a Postman trapped in a spatial-time-loop unable to escape. I was inspired by my love of Dr Who as well as the notion of characters being trapped by circumstances and a dead-end job.
SOUND WOMAN – COMEDY
PITCH
MARTHA FOLEY wakes up one day and finds her every sound, movement and action is replaced by a movie sound effect.
PREMISE
When I was editing my comedy documentary The Rock ‘N’ Droll Experience I used some sound effects and I got the idea from that. I just liked the idea of experimenting with the form and content of sound effects. It’s a simple, silly idea with which to have fun with so for example our protagonist yawns and it sound like a duck quack. There’s no depth involved just a one-joke short.
MAY CONTAIN SPOILERS – COMEDY
PITCH
At the cinema ALICE and her boyfriend JOHN are terrorised by the noises made by fellow filmgoer, DARREN. When an argument ensues between them the characters from the film also take umbrage as chaos ensues.
PREMISE
This was inspired by my own experience of rude crisp and popcorn munchers at the cinema. So I set out to write something ridiculous and funny that deals with that particular pet hatred of mine. The idea of the characters on the cinema screen coming to life and interacting with “real” people is not new and clearly influenced by Woody Allen’s classic Purple Rose of Cairo.
SAMARITAN – DRAMA
PITCH
Two strangers reach out for each other on Beachy Head.
PREMISE
This is a very heavy drama about the desire to commit suicide. My filmmaking partner Gary O’Brien suggested I write something about an older man and younger woman but without any suggestion of anything sleazy. On TV and film older males are often characterised as “dirty old men” and he wanted to portray something nobler. Lastly, I had visited Beachy Head recently and found it to be a beautiful place tinged with a suggestion of tragedy as it is apparently a suicide spot for people in the UK.
C’EST FINI – EROTIC DRAMA/COMEDY
PITCH
HOSTAGE and KIDNAPPER find themselves attracted to each other in twisty crime drama.
PREMISE
Essentially an extended sketch I wanted to write something that was risqué and a little bit saucy so utilised oft-used kidnapping scenario for a dark story with a twist in the tale.
THE SHREDDER – COMEDY/HORROR
PITCH
Workaholic JONATHAN LAKE finds himself terrorised by a Shredder while working late at the office.
PREMISE
As someone who has spent long hours missing their family at a dead end job I wanted to do a simple morality horror story. Here the main character is committing more time to work than his family and the Shredder is a necessary evil to remind of what is actually more important. The horror genre is always good for symbolism of this sort and this film is silly but with a serious message.
RE-CYLE – POETIC DRAMA
PITCH
The up-and down journey of a bike from the United Kingdom to Africa.
PREMISE
In Britain, millions of bikes are thrown away or lie unused in sheds, whilst many people in Africa have no access to transport of any kind. So, I wanted to chart the story of a bike from the UK and follow its journey to a new home in Africa. A bit of a preachy one this one with a serious message as in the UK and Western world we take so much for granted and chuck things without making proper use of their potential.
TOLERANCE – HORROR
PITCH
SADIE CORT plots evil revenge on the sex-addicted boyfriend who did her wrong!
PREMISE
Good old-fashioned revenge story here with a little twist. Inspired by Edgar Allan Poe and Roald Dahl this is a sweetly plotted two-hander which I really enjoyed writing because it’s funny and involves bloody death.
FAMILY TIES – HORROR/COMEDY
PITCH
Having killed his father and made it look like a suicide, SIMON BORG is hunted down by the tie he strangled GERRY BORG with.
PREMISE
Similar to The Shredder this finds an inanimate object – a Tie – taking on anthropomorphic powers and wreaking havoc. It’s obviously ridiculous but I like the idea of an object representing an emotion or feeling; and in this case it is guilt. Also, I love the idea of playing this one straight with heavy drama and homage to Jaws (1975) thrown in.
YOU HAVE A NEW FOLLOWER – DRAMA/MONOLOGUE PITCH
Following a mysterious time-slip, KEVIN MANN’S life is thrown into flux when he finds out he has a double.
PREMISE
This idea was inspired by the many doppelganger films and stories around and I wanted to have a go at one of those. I also wanted to write something about a really normal, “boring” person and how they might react to having another version of themselves in existence.
The Cinema Fix presents 