TOLERANCE (2019) – MY SHORT FILM WINS FESTIVAL AWARD
Just a quick post to say that my short film Tolerance (2019) won best short film at the 2019 UK Offline Webfest. It’s a great independent film festival with the awards held at the Etcetera Theatre in London. As a low budget filmmaker it’s great to get screenings for my films, and while I am not a massive fan of competitions or awards, it was also fantastic to be acknowledged. If you haven’t seen the film you can watch it at the link below.
“What’s your poison?”
Tolerance is a story of obsession, addiction, revenge and murder. It concerns a dinner “date” which takes a twisted turn. Inspired by narratives like those of Hitchcock, Tales of the Unexpected and Inside No. 9, it explores the damage toxic relationships can cause. It is both a thriller and a very dark comedy.
CAST & CREW
Written and directed by Paul Laight Starring: Georgia Kerr and Patrick Tolan Sound: Marina Fusella Camera: Edward Lomas Lighting: Kato Murphy Make-up: Camille Nava Music: James Wedlock Editor: Jodie Williams Set Designer: Melissa Zajk
Cast: Eddie Murphy, Da’Vine Joy Randolph, Keegan-Michael Key, Mike Epps, Wesley Snipes, Titus Burgess, Craig Robinson etc.
Music: Scott Bonnar
**MAY CONTAIN SPOILERS**
DOLEMITE IS MY NAME (2019)
It’s obvious to say that as I, like many others, love watching films, love writing about films and love talking about films with other film lovers. But, does that mean one also loves films that are actually about making films? Yes, of course it does! I love watching and writing about films that are about filmmaking. Therefore it stands to reason I would love Eddie Murphy’s latest role as comedian/actor/filmmaker/singer, Rudy Ray Moore.
Having burst on the cinema screen in the early 1980’s in a series of classic hits, notably 48 Hrs. (1982), Trading Places (1983) and Beverley Hills Cop (1984), Murphy became one of the most bankable movie stars in the world. His talent, stamina and comedic genius have meant his career is still going strong, despite many career ups and downs. However, it’s a bit disappointing that Murphy hasn’t stuck with more dramatic roles or character driven roles, as he cast himself in more family and light comedy-oriented films. This is because Murphy is an incredible actor, as demonstrated once again in Dolemite is My Name (2019).
Set in 1970’s Los Angeles, Dolemite is My Name (2019) finds Rudy as a struggling comedian, compere and record shop manager still trying to crack his dream of becoming famous. Time and opportunity have knocked him back for years, but he still has the energy and drive to continue. I identified with Rudy as I have a dream of being a successful filmmaker, but if I’m honest that ship has not just sailed, it’s crashed on the rocks. But I will carry on. Because I really enjoy it.
Inspiration comes to Rudy when he creates a new character and begins rapping routines in the clubs as flamboyant pimp, “Dolemite.” Recording his own comedy albums and selling them out of the trunk of his car slowly brings dividends, and Moore becomes a cult hit. Then the fun really starts as Rudy decides he wants to make a movie. But he has no money, crew or equipment. Cue many fantastic filmmaking scenes that make fun and pay homage to Moore’s energy as a producer/actor/writer and kung-fu “artist”.
Accompanying Murphy as Moore in this delightful and hilarious film is a stellar ensemble cast that includes: Titus Burgess, Da’Voy Joy Randolph, Keegan-Michael Key and Craig Robinson. Not forgetting a scene-stealing turn by Wesley Snipes as a wide-eyed drunken movie actor-turned-director, D’Urville Martin. The cast, given energetic direction by Craig Brewer, fashion likeable characters and performances. Moreover, the funky music, colourful costumes, wicked dancing and comedy timing hit their marks constantly.
Overall, I’m a sucker for films about filmmaking and this one is highly recommended. Dolemite is My Name (2019) could have been a bit more dramatic in places and perhaps commented more on the socio-politics of the era and Blaxploitation film genre. However, as a film about Rudy Ray Moore’s energy, passion and never-say-die attitude it is a fine cinematic tribute. Above all else, it’s a testament to the ability, talent and infectiousness of Eddie Murphy. Rudy Ray Moore is a part he was born to play and he smashes it out of the park.
Produced by: Rodrigo Texeira, Jay Van Hoy, Lourenco Sant Anna, Robert Eggers, Youree Henley
Cast: Willem Dafoe, Robert Pattinson
Cinematography: Jarin Blaschke
******* SPOILER FREE ********
Robert Eggers debut feature, The Witch (2015), was a startling debut and deserved the critical acclaim it received. Alas, personally, it left me cold as a story, because I felt little empathy for the characters. By the end, I was totally disconnected from the madness that ensued. Yet, while it failed as a horror film, it did have great performances from the cast and an incredible eye for period detail and language.
Obviously, a talented filmmaker such as Eggers is not going to care what I think; and quite right he is too. Building on the folklore and legends of yesteryear established in The Witch (2015), he has once again delivered a highly ambitious cinematic work on a relatively low budget with The Lighthouse (2019). Indeed, with a superbly researched screenplay full of salty dialogue, authentic locations and insane visuals, I connected way more to this than his debut film.
Shot on black-and-white 35mm with a 1: 19 aspect ratio, Eggers has left us in no doubt his intention to aim for the cinema for the purists among you. Formally though, these creative choices also force the audience into the same claustrophobic, black-hearted watery hell our characters must endure. Moreover, Eggers takes joy in oppressing his characters and the audience. TheLighthouse (2019) is a brilliant but harsh to watch. I mean I felt like I’d been working on a bloody lighthouse myself, such was my mental exhaustion by the end.
The film benefits from two incredible acting performances by Willem Dafoe and Robert Pattinson. Dafoe represents the experienced sea-dog, with Pattinson as the younger and more secretive, Winslow, The two men drink, eat, work, spar, clash, fart, shout, drink some more and slowly but surely begin to unravel amidst the isolation of the unforgiving rocks, crashing waves and squawking gulls. Full of incredible imagery, devilish sounds and creeping dread, ultimately, TheLighthouse (2019) is a hard film to endure, but an even harder one to forget.
ONCE UPON A TIME IN HOLLYWOOD (2019) – FILM REVIEW
Directed and Written by: Quentin Tarantino
Produced by: David Heyman, Shannon McIntosh, Quentin Tarantino
Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Timothy Olyphant, Margaret Qualley, Austin Butler, Al Pacino, Mike Moh, Bruce Dern, Dakota Fanning, Damien Lewis, Kurt Russell and many, many more.
Cinematography: Robert Richardson
**MAY CONTAIN SPOILERS**
From watching the trailers for Quentin Tarantino’s ninth film, Once Upon A Time in Hollywood (2019), I remember thinking: this looks so cool and I’m glad they haven’t given away much of the story here. Because, I hate those darned trailers which give away the story!
So, you watch Quentin Tarantino’s ninth film and then you realise, after the excessive running time, THERE ISN’T REALLY ANY STORY as such! Okay, DiCaprio’s character suffers an existential career crisis but that’s kind of it. Instead, you get mostly a nigh-on three-hour historical and cultural nostalgia trip down memory lane filtered through the artistic and fetishistic vision of one of cinemas great filmmaking iconoclasts.
Once Upon A Time in Hollywood (2019), is essentially an arthouse character study where you get to hang out with two-and-a-half lead protagonists, plus a whole army of fictional and ‘real’ life supporting characters from the 1969 Hollywood era. Our two main “heroes” are neurotic, alcoholic B-movie actor, Rick Dalton (Leonardo DiCaprio), and tough, handsome and laconic, Cliff Booth (Brad Pitt). The two characters contrast and complement each other perfectly. Moreover, the star quality, chemistry and fine performances of the lead actors bind the movie together amazingly.
Brad Pitt is especially brilliant. His character is not, until the violent ending, given much to do story wise; however, he does it with such charm. He imbues a character who has accepted his place in the world with such easy-going humour and control, it is an absolute joy to watch. It’s an iceberg performance which seems shallow on the surface, but has hidden and unsaid depth. I really wanted to know more about his character, especially what appeared to be a very colourful backstory.
DiCaprio, on the other hand, has the showier performance. Edgy, hungover and insecure due to his characters’ fading Hollywood career, DiCaprio gives another fantastic movie performance. He commits to the Dalton character and features in some wonderful sketches which pay homage and parody B-movies, TV variety shows and old TV Westerns. What I loved was his ability to demonstrate different levels of acting skills. DiCaprio can fuck up Dalton’s acting on set one moment, but then deliver acting on a Shakespearean level the next.
Margot Robbie, who we know is a brilliant actor in her own right, alas, is not afforded the same level of care in regard to the characterisation of Sharon Tate. More of an ornamental character in the film, she looks great going to the cinema, packing a suitcase, driving and generally just being effervescent. Yet, it’s truly is one of the film’s major flaws that it doesn’t make more of Robbie’s acting talent. Even the fantastic ending, which Tarantino, takes incredible liberties with in regard to actual events, finds Tate’s character development unfortunately left bereft of emotion.
Similarly, the Hollywood cameos echoing throughout the films are pure style over substance. For example Steve McQueen, Roman Polanski and Bruce Lee feature but these are mostly inconsequential encounters. The Bruce Lee representation and scene is actually really funny as Cliff Booth and the martial arts star face off in a hilarious flashback. Typically, Tarantino has caused controversy with his Bruce Lee (Mike Moh) rendition. Personally, I respect that people may be offended, however, it’s more comedic and iconoclastic rather than overt racism. After all, this is a fairy-tale vision of Hollywood and not a documentary. Plus, Tarantino knows he’s going to piss people off so it’s obvious he’s playing with people here.
While Bruce Lee’s persona is playfully satirized or racist depending on your point-of-view, Tarantino’s representation of the Manson family is more damning. It’s clear he absolutely hates hippies, especially acid-looped killer hippies. Dalton and Booth represent the old-school, honest Hollywood working class, so are the antithesis of the drop-out youths. The culture clashes between this era and the new flower-power cults is something Tarantino explores. Charles Manson, who barely features, is a ghost-like figure though. Instead, it is the character of Tex (Austin Butler) and the females of the commune who are most prominent.
Margaret Qualley as Pussycat is especially hypnotic in her role. Exuding both sexuality and acid-drenched nihilism, Pussycat is a siren hitcher, luring drivers to symbolically crash against the cliffs. For me, Tarantino should have made way more of the old and new California culture clash themes, as they resonated powerfully when on screen. Plus, the scenes on the commune were actually quite creepy, so more should have been made of this threat from a dramatic perspective. Lastly, the irreverent and violent final act carnage exploits the clashing of these two different cultures, but more could have done throughout to enhance this dynamic.
Overall, Once Upon A Time In Hollywood (2019) is a near three-hour arthouse classic. If you like films about film and TV making, driving, feet, ensemble casts, films within films, cinema-going, Los Angeles, more feet; and hanging with the marvellous DiCaprio and Pitt in a 1969 setting, then you will love this beautifully rendered and lovingly crafted film about Hollywood. Otherwise, you will probably find it a boring, indulgent and style-over-substance folly. Either way you have to admire Tarantino’s exquisitely controlled writing and direction. He certainly does!!
Safe to say though Tarantino will not care either way, because most of his filmic output has made a lot of money at the box office. This has now allowed him the luxury, like that of true cinema artists such as Kubrick, Altman and Antonioni, to make whatever films a studio is prepared to give him the money for. He’s basically making films for himself and doesn’t care if the audience likes it or not.
I personally found myself magnetically drawn to Tarantino’s vision and from a purely filmmaking and artistic perspective I was totally immersed throughout. Having said that, if the incessant driving and shots of dirty feet were cut and Dalton and Booth had been given a proper plot, rather than the thin stranded narrative within the impressive gallery of cameos and set-pieces, I would definitely expect to be writing about one of the best films ever made.
Last year I wrote, produced and directed my second short film called Tolerance. Post-production was carried out and completed including artwork and the music. It was finished earlier this year and I am now releasing the film online here.
TOLERANCE premiered at the Unrestricted View Film Festival, London in April 2019. Also, it was nominated for best art direction award at http://www.uvff.co.uk.
Also screened at:
Fix Films Ltd Film Night, London, March 2019 UK Monthly Online Film Festival, April 2019 Lift-Off Online Sessions, Pinewood Studios, April 2019 Direct Monthly Online Festival, April 2019
Tolerance is a story of obsession, revenge and murder. It concerns a dinner “date” which takes a murderous turn. Inspired by narratives by Hitchcock Presents, Tales of the Unexpected and Inside No. 9, it suspensefully examines both personal and societal issues when a relationship breaks down.
On the surface it is essentially a suspensful thriller and dark comedy. However, within the subtext I attempt to examine the harm people inflict on each other with their relationship choices. Lastly, with the recent #MeToo furore that correctly highlighted the horrendous toxicity of human behaviour, I wanted to consider wider concerns of gender politics.
CAST AND CREDITS
Written and directed by: Paul Laight Starring: Georgia Kerr and Patrick Tolan Sound: Marina Fusella Camera: Edward Lomas Lighting: Kato Murphy Make-Up: Camille Nava Music: James Wedlock Editor: Jodie Williams Set Designer: Melissa Zajk
On Sunday the 30th June 2019 I did two of my favourite things. I took a long walk through the city of London and watched loads of short films.
London is obviously a very busy city and hive of activity during the week. However, on a Sunday it, despite there still being traffic, is way more peaceful. Well, especially from eight in the morning until around lunchtime. Indeed, until I got to the tourist trap that is Westminster it had been a pleasure to walk down the Thames Embankment and through the city of London.
I set out to walk from Clapham to Hackney and my destination was the Yard Theatre, Hackney. I made the walk of around ten miles in good time and the event was The Shortest Nights 2019 – Short Film Festival.
The Shortest Nights is an annual celebration of British short film. They bring you five cutting-edge programmes across a range of themes and genres featuring new works from emerging British filmmakers.
The people running the event are so enthusiastic and put on a great array of different British short film productions. Overall, there were thirty-nine short films and I watched all of them. It was a great day and I was especially impressed by the: comedies, horrors, documentaries, dramas, animation and art-house films on show.
There were low-to-high budget short films of brilliant quality and the programmes were broken down into five categories. So, if you ever get a chance to go to their film events I recommend it to all filmmakers and film fans alike.
Having recently caught the underwhelming B-movie crime movie, Hotel Artemis (2018), on Sky Movies, I was suddenly reminded what a brilliant actor Jodie Foster is. She has been around for years so it’s easy to take for granted what a consummate performer and on-screen creator she is. Indeed, her sterling work held Hotel Artemis‘ weak narrative together; as she gave a nuanced and clever portrayal of a morally ambiguous medical professional.
Foster is an actor, director and producer who has received two Academy Awards, three BAFTAs, two Golden Globes and countless other nominations recognizing her screen skills and brilliance. She is one of those rare actors, like Ethan Hawke, who has transcended child stardom and become a prolific performer in adulthood too. Here are, in keeping with the rules of this feature, FIVE stand-out Jodie Foster roles that I can highly recommend you watch.
**MAY CONTAIN SPOILERS**
TAXI DRIVER (1976)
Already boasting acting heavyweights such as Harvey Keitel and Robert De Niro, this existential classic finds Foster as a teenage prostitute, Iris. It was a very risky role for all concerned, especially as Foster was only twelve at the time. However, it is one of the greatest child performances of all time, with Foster bringing vulnerability, toughness, smarts and pathos to girl lost on the mean streets of New York seeking salvation.
THE ACCUSED (1988)
Foster’s incredible performance as Sarah Tobias deservedly won her a first Academy Award. Tobias’ character is the victim of a brutal gang-rape and the film sets about to highlight the savagery of men and the injustices of the legal system. I have not seen this film in years but I will never forget Foster’s steely and emotional acting tour-de-force, plus the physical and mental bravery she committed to the stunning portrayal.
SILENCE OF THE LAMBS (1991)
If I didn’t include her role of Clarice Starling then I would need my head examined. Obviously, NOT by Dr Hannibal Lecter, I must add. Indeed, while Anthony Hopkins gets much kudos for his startling turn as no one’s favourite chef, it’s Foster’s sterling work which glues the film together. All in all it’s almost a perfect genre film which owes much to Thomas Harris’ fine characterisations of Lecter and Starling and Jonathan Demme’s excellent direction. Nonetheless, Foster brings the tough, determined, yet vulnerable, FBI rookie to life brilliantly; and her scenes with Hopkins spark, scare and thrill especially.
I wasn’t a massive fan of this film when it was first released. That was because I was expecting something more action-based akin to Robert Zemeckis’ previous body of work. However, Contact, on subsequent views is an emotionally rich and intelligent look at religion, science and contact with extra-terrestrials. Foster is Dr Ellie Arroway, a scientist who utilises radio signals to chart potential alien signals in space. In a role which doesn’t exclusively find her life in danger, Foster is able to show her range as an intelligent, heartfelt and sensitive character. As such Dr Arroway is, amidst the vast expanse of space and time, ultimately searching for that all-encompassing and universal desire: love.
INSIDE MAN (2006)
I love this heist film because it has so many brilliant aspects; notably one of the cleverest twists in recent movie history. Spike Lee directs in confident style, with Denzel Washington and Clive Owen excellent as the lead cop and main criminal, respectively. Jodie Foster steals her scenes as a feisty and venal fixer brought in by Christopher Plummer’s bank owner, to handle a more “delicate” element of the robbery. I liked that Foster chose a less heroic character to portray, as she struts and sells her services to the highest bidder. Ultimately, her Madeleine White is anything but white; instead she’s a black-hearted vulture, dealing with the greedy capitalists and politicians of first-world Manhattan.