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BIRD BOX (2018) and ROMA (2018) – NETFLIX “CINEMA” REVIEWS 

BIRD BOX (2018) & ROMA (2018) – NETFLIX “CINEMA” REVIEWS

Firstly, may I wish you all a happy holiday season and thank all the people who have visited and read my reviews and articles this year. There are a lot of film review sites out there so it’s great so get so many visitors in a saturated online market.

For my final reviews of the year I have decided to double-up two Netflix releases. I watched them pretty much back-to-back in the hope, on top of enjoying them for entertainment purposes; I may be able to add them to my 2018 favourites.

So, here are my quick and concise reviews of Birdbox (2018) and Roma (2018) with the usual marks out of eleven. By the way, if you’re interested my favourite films and TV show lists of 2018 will appear early in January. Happy 2019 in advance!

**MAY CONTAIN SPOILERS**

BIRD BOX (2018)

Directed by: Susanne Bier

Produced by: Chris Morgan, Scott Stuber, Dylan Clark, Clayton Townsend

Screenplay by: Eric Heisserer / Based on: Bird Box by Josh Malerman

Starring: Sandra Bullock, Trevante Rhodes, John Malkovich, Danielle Macdonald etc.

It’s the end of the world as we know it: AGAIN!  I’d say that many of us may be getting apocalypse fatigue by now. So much so that if the end of the world does happen we’ll be mentally ready. Thus, any genre film about the end of the world must fight against the tide of similar films and TV shows released in the last decade or so to gain our attention or praise. Bird Box, for me, was a very entertaining and thrilling addition to the sub-genre. It benefits from an excellent ensemble cast and sterling lead performances from Sandra Bullock and Trevante Rhodes. Moreover, John Malkovich steals every scene he’s in as a cynical and obnoxious lawyer.

The story involves an invisible alien or natural force which infects the world’s population once they look; seeing it is deadly. It grips an individuals’ mind and then forces them to do horrific acts of violence to themselves. The film establishes Bullock’s character, blindfolded, with her two children just about surviving in the wilderness. After which we flash back five years and find Bullock’s pregnant character thrown into a memorably gripping set-piece. After which anyone familiar with George A. Romero’s zombie-film template will recognise many of the twists and turns in the story. Indeed, Bird Box is not that original because the superior, A Quiet Place (2018), also had a very similar premise but used sound rather than vision as the danger. Nonetheless, as a genre film Bird box rips along compellingly and Suzanne Bier has created some intense horror moments throughout.  

Mark: 8 out of 11

ROMA (2018)

Directed by: Alfonso Cuarón

Produced by: Alfonso Cuarón, Gabriela Rodriguez, Nicolas Celis

Written by: Alfonso Cuarón

Starring: Yalitza Aparicio, Marina de Tavira

Alfonso Cuarón writes, directs, edits and shoots a clear love and hate letter to his Mexican childhood. It contains the love he feels for his mother and the maid who helped raise him; and ire towards the men that negatively affected his young life and his country of birth. Set in the 1970s it covers around a year in the life of one middle-class family living in Mexico City; the main focus being the young help, Cleo. We follow her as she carries out her mundane tasks on a daily basis in an Upstairs Downstairs thematic structure. She is committed to her work and it is clear that she dotes and loves the children as if they are her own. As a historical film the era aesthetics are incredibly realistic and Cuaron’s cinematography, presented in crisp black and white imagery, is virtually perfect. You feel like you are there with the characters in 1970s Mexico. Historically too, the film evokes between the lines the politically charged danger of the era; however, Roma is more of a personal film than determinedly socio-political.

Cuarón is an auteur at the height of his powers. His direction on both Children of Men (2006) and Gravity (2013) was phenomenal; utilising technological brilliance with fierce storytelling acumen. Likewise, in Roma his stylistic choices are fascinating, although I think it actually works against the themes and content at times. The long take pans and tracking shots, while expertly done, slow the pace of the story and in my humble opinion are repetitive and overdone. Moreover, Cuaron the editor has fallen in love with own work and to me would have been a masterpiece if trimmed to two hours. There are at least four incredible standout cinematic scenes – that I won’t spoil – which all linger long in the memory. Furthermore, the characters, led by the humble Cleo are empathetic and at times tragically formed against the backdrop of political unrest. Yet, despite evoking the Italian neo-realist era of post-war filmmaking, Cuaron’s film feels padded at times, lacking the economy of Rossellini’s and De Sica’s work. Overall, it’s a touching work of cinema about birth, life and death, which arguably did not need the stylistic flourishes to tell such a simple, slice-of-life story.                                           

Mark: 8.5 out of 11

MY CINEMATIC ROMANCE #14 – SALLY HAWKINS

MY CINEMATIC ROMANCE #14 – SALLY HAWKINS

Sally Hawkins is such a formidable actor. She is likeable, bright, and funny; possessing an expert ability to bring pathos and emotion to every role. Having first really noticed her in Mike Leigh’s compelling period drama Vera Drake (2004), it’s mainly in the last decade she’s getting the leading roles her talent demands. Thus, here are five of Sally Hawkins most impressive performances that are well worth watching again and again.

**CONTAINS MILD SPOILERS**

FINGERSMITH (2005)

Yes, I know it says “cinematic romance” and Fingersmith was a two-part British TV programme, however, Sarah Waters’ novel was also made into a film by Park-Chan Wook called The Handmaiden (2016), so it kind of counts.  Hawkins portrays Sue Trinder, raised to be a thief in Victorian England, who enters into a scam to rob an heiress. However, her relationship with the ‘mark’ becomes very complex indeed as the twisting complex plot becomes a veritable joy. Hawkins is a sympathetic criminal faced dealing with the sexist oppression of the day and she delivers thoughtful acting combining vulnerability and romance. One of Hawkins early starring performances shows what a great talent she is and will become.

HAPPY-GO-LUCKY (2008)

When I first saw this film I really did not enjoy it. Perhaps I was in a bad mood or just not up for any kind of positivity. I was also surprised Mike Leigh had delivered something, in comparison to Vera Drake (2004), a film so inconsequential. However, having re-watched it in the last year I must admit I was a total fool and wrong. Sally Hawkins character work and acting as Poppy Cross is a joy. Her character is very natural, optimistic and care-free. She enjoys her job as a primary school teacher and drifts through life happily. Hawkins imbues Poppy with a light comedic touch and her timing of a look, little giggle and innocence gags just make you feel better about life. If everyone was like Poppy the world would be a far better place.

BLUE JASMINE (2013)

While Woody Allen’s work has been re-evaluated in light of his very questionable personal choices, there’s no doubting his casting selections are absolute quality. It’s becoming more and more difficult to separate the creative from his apparent sins this in no way impacts on the sterling work of Cate Blanchett and Sally Hawkins in an excellent family comedy full of barbed wit and conflict. Hawkins performance as Ginger, an every person just trying to get by, sparks and conflicts with Blanchett’s neurotic socialite in effervescent comedic fashion. The two actors excel and Hawkins was nominated for an Academy award for ‘Best Supporting Actress’ as Blanchett took away the main prize.

MAUDIE (2016)

Perhaps overshadowed by the success of the big budget monster/love story The Shape of Water (2017), the low-budget Maudie features another stunning Hawkins turn. She is quietly powerful in the role of Nova Scotia painter Maud Dowling who came to prominence for her painting in the late 1960s and became somewhat of a cult treasure. Hawkins and Ethan Hawke steal the acting honours as the unlikely husband and wife, as Aisling Walsh directs a fine tribute to a small woman with a massive artistic talent. Hawkins is just brilliant though as the bullied and beaten women who refuses to break as the performance demonstrates a human being small of stature but big in spirit.

THE SHAPE OF WATER (2017)

Sally Hawkins plays mute cleaner Elisa Esposito, who works at a top secret U.S. army base. Silent from birth, what she lacks in voice, Elisa more than makes up for in courage, compassion and confidence. When a mysterious “Asset” is delivered to Elisa’s place of work she suddenly becomes entwined in an incredible story of sacrifice and love. Hawkins and Doug Jones performances are entrancing as two silent characters are able to say more with a look, hand signal and touch than a thousand words could achieve.  In any other year Sally Hawkins would have walked away with all the Best Actress honours; yet she was up against the incredible Frances McDormand. Nonetheless, Hawkins gives us such a nuanced and heart-rending performance you forget that she cannot speak.

MISSION IMPOSSIBLE BINGO incorporating: FALLOUT (2018) MOVIE REVIEW

MISSION IMPOSSIBLE BINGO incorporating: FALLOUT (2018) MOVIE REVIEW

I have found  it’s difficult to find an original angle when reviewing certain films i.e. franchise movies or sequels. Indeed, unless they are absolutely brilliant I tend not to review them. Therefore, I had no major intention of writing about the new Tom Cruise produced Mission Impossible release, as these films, despite their technical movie-making brilliance, follow a very strict and safe formula. I mean what can I really add critically other than say I enjoyed it or I didn’t. However, it really is such a fantastic blockbuster movie I accepted an impossible mission, of sorts, to create something interesting while reviewing it.

So, here we go: Mission Impossible BINGO! It’s both recognition of the formula but also praise for the latest instalment which had me on the edge of my seat, heart in my mouth and biting my nails throughout. In the context of story it’s very generic but in terms of action, thrills and stunts it gets a Mark of 9 out of 11!

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McQUARRIE directs Fallout which is essentially a direct sequel to Rogue Nation. We know his track record as a writer but he’s now proving himself a fantastic director too. I enjoyed Rogue Nation but Fallout raises the stakes with a witty, double-crossing, high octane and explosive movie, which actually improves the clichés of the formula in wonderful fashion.

INGENIOUS double-crossing is at the heart of the original Mission: Impossible television series and the film franchise. This is done through identification theft, impersonation, lies, deceit, scene-shifting, fake walls, and the famous face and voice changing technology.

STUNNING locations feature throughout the franchise. Changing the scenery is a means of tricking us into thinking we haven’t somehow seen this car-chase, foot chase or air chase before. Yet, what Mission: Impossible does brilliantly is take us into existing locations like the CIA Langley Headquarters, The Vatican City and even the Kremlin.

STUNTS and extravagant set-pieces dominate the whole of this franchise. From the original 1996 film’s wire-from-the-ceiling-hanging set-piece downloading a CIA encrypted agent list to the current Fall Out nuke-ticking-time-bomb denouement, Tom Cruise’ has committed some of the most breath-taking and technically brilliant action stunts ever.

ICONIC soundtrack composed by Lalo Schifrin has been often imitated but never a bettered. Those simple but effective notes fire up and immediately you know the action is about to start.

OPPOSING government agents are rife in the original show and film series, as inspired by the devious nature of the East v West “Cold War” from the 1950s onwards. In M: I you’ve got good agents, rogue agents, double agents, triple agents and ghost agents pretending to be good, bad and all of the above.

NEFARIOUS villains, like the Bond films, are necessary to precipitate some evil doings and kick off the plot.  My personal favourite was Philip Seymour Hoffman in M:I 3 – as he really was evil. Solomon Lane as played by Sean Harris is cool too and is given some great speeches. His plan to blow up the world isn’t the most original but he has a blast trying it.

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IMPOSSIBLE missions are at the heart of the film franchise. I mean the characters are mainly paper thin and the narratives are mainly empty so the gadgets and all manner of ticking time bombs, impenetrable garrisons, bad guys shooting and blowing stuff up; plus the covert interrogations and switcheroos provide the substance to the cinema experience.

MACGUFFIN-LED plots are not the strength of the franchise and on occasions the narratives a threadbare with Ethan chasing something called a “rabbit foot” or stolen nuke heads being the target. But who cares as long as we get to see things blow up.

PLAYFUL humour and one-liners dominate the scripts as a means to punctuate the action. The first three arguably had less gags but with Simon Pegg joining the cast in M:I 4 the joke quota increased and it settled into the a more humour-led vein. Personally, I prefer the serious espionage stuff, but the gags punch up the entertainment value nonetheless.

OUTSTANDING casting always brings a raft of class to these movies. Indeed, despite the style-over-substance nature of the narratives casting heavyweight actors such as:  Jon Voight, Vanessa Redgrave, Phillip Seymour Hoffman, Alec Baldwin, Sean Harris, Jean Reno, Ving Rhames, Billy Crudup, Jeremy Renner, Rebecca Ferguson and many more raise the quality of the productions no doubt.

SUBTERFUGE and double-crosses are a major part of the plots. Often we never quite know whose side certain characters are on at any one time. In Rogue Nation and Fallout the troubled spy Ilsa Faust is simultaneously batting for three teams in order to keep herself alive. Such devilish plotting keeps the stories bouncing along, which is why they are never dull.

SPECIAL effects are a major part of M:I, however, what is incredible to that Tom Cruise will strive to make the stunts as real as possible by actually doing them himself. The opening of Rogue Nation and the end of Fallout are absolutely stupendous feats of daring which I would never contemplate. Similarly, bungee jumps, rock-climbing, free-jumping and many other effects-free actions give a very realistic feeling to proceedings.

INCREDIBLY talented directors who have worked on the franchise include: Brian DePalma, Brad Bird, John Woo, Christopher McQuarrie and JJ Abrams bringing their own inimitable styles to the various films and while Woo’s is pretty weak the franchise abides as each film has its own identity, look and feel.

BIG budgets are required to drive the Mission: Impossible film behemoth and while they continue to make the studio billions of revenue long will they continue. The first film cost a whopping $80 million dollars while the Fallout cost a mere $178 million. Although, given Fallout absolutely rocks it’s already made that back and much more besides.

LEAPING, running, driving, diving, swimming, crashing, disguising, fighting, flying, biking, parachuting, moving – you name it the IMF do it at incredible speeds and heights!

ETHAN HUNT as presented by Tom Cruise is a righteous dude fighting the good fight against the evil wrongdoers in the world. His commitment to the cause is unwavering and in defending the innocent against the corrupt goverments, villains and agents of evil. We all root for him as an aspirational action man of the people.

A BRIEF HISTORY OF META-TEXTUALITY WITHIN CINEMA

A BRIEF HISTORY OF META-TEXTUALITY WITHIN CINEMA 

**CONTAINS FILM & LITERARY SPOILERS**

With the multitude of means of telling stories from video-games, literature, television, plays, songs, poems and of course, cinema, we have collectively become very sophisticated and experienced in our ability to understand fictional representations. Indeed, storytellers have, for centuries, attempted to find more complex and interesting ways to structure a narrative. One such way is the “story within a story” framing device. This could be: a play within a play; play within a film; TV show within a TV show; book within a film; film within a film; and so on. Indeed, Christopher Nolan’s incredibly complex science-fiction heist thriller Inception (2010) blew the audience’s mind with a dream-within-a-dream-within-a-dream concept; creating an array of stunning framing devices.

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The history of storytelling as illustrated by the Routledge Encyclopaedia of Narrative Theory shows that as far back as the likes of: Chaucer’s Canterbury Tales, The Arabian Nights, Edgar Allan Poe’s Fall of the House of Usher and Tolkien’s Lord of the Rings and The Hobbit, narratives are framed from various narrator perspectives either through the devices of flashbacks and flash-forwards; stories within stories; or simply changing the narrator. In regard to stories within stories my first clear memory of such a framing device was in Shakespeare’s Hamlet. In the drama the Danish Prince attempts to shock a confession from his Mother and Uncle by getting the players to re-enact his father’s murder within their own play. Conversely, films within films have been a staple too of Hollywood and non-Hollywood film productions. Examples include: the classic musical Singing in the Rain (1952); Truffaut’s Day for Night (1973), Altman’s The Player (1992) to name but a few, are examples of filmmaking actually being the subject of the movie. As storytelling has further evolved, Harold Pinter’s adaptation of The French Lieutenant’s Woman (1981) shows both events of John Fowles original text, but at the same time, the author of the novel involved in a love affair thus reflecting events of the book. Lastly, postmodern films such as: The Purple Rose of Cairo (1984) and The Last Action Hero (1993) even have characters from the on-screen cinema world enter the “real” world and vice versa.

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Narrative, postmodern and semiotic theorists gather plays, stories and films which quote from other texts under the umbrella of meta-fiction. Indeed, many studies, including those by post-structuralists Julia Kristeva, Gerard Genette, and subsequently by academic Daniela Casellis, assert intertextuality or meta-textuality is a shaping of a text’s meaning by another text, as well as a production within texts. Meta-textuality often involves: allusion, quotation, pastiche, parody, homage and translation. It also enables the writer or director to differentiate their product and make it somehow fresh and contemporary. For example, Quentin Tarantino’s characters, while fictional, will make all kinds of references to: television shows, films, characters, hip-hop music and even fast food joints because that’s what real people talk about every-day. While his films themselves work on a meta-textual level within: War, Westerns, crime thrillers, Kung Fu and many other genres, his characters exist in the now with their strong knowledge of popular culture.

While meta-textuality is a complex cultural theory with many different strands, I have identified four interconnecting levels within texts such as films and television.  The first level of meta-textuality is structural. Incorporating flashbacks, dreams, imagination, narration and other textual framing devices, structural meta-textuality allows the filmmaker to play and bend linearity to create a fascinating means of telling a story. Moreover, it also asks the audience to question the very nature of storytelling itself. A simple example of structural meta-textuality is in The Princess Bride (1987) where the wonderful fairy-tale stories are based around a Grandfather telling his sick grandson tales of adventure and romance. More complex is Christopher Nolan’s structural representations. His early noir classic Memento (2000) is famously told in reverse chronological fashion, thus subverting the very nature of linear storytelling. His anti-hero, Leonard Shelby, has no means of making new memories thus via tattoos and Polaroid photos he constructs a present day movie of his own life in visual form. As the story unfolds we flash back and forth to a film within a film about a character called Sammy Jankis. Yet it turns out that Sammy is an imagined character used to suppress a terrible event in Leonard’s life and the film within a film is in fact the imagined vision of an unreliable narrator.

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This second level is diegetic meta-textuality. This, on a basic level, refers to texts within texts which while featured within the story do not really comment on the text. These could involve the characters visiting the cinema, reading a book or watching a television show. The third is thematic meta-textuality where the texts within the texts directly impact the narrative, characters and themes. For example, any number of films about filmmaking or film distribution process could be classed as thematically meta-textual. Cinema releases such as: the Scream (1996) franchise, Bowfinger (1999), Boogie Nights (1997), Ed Wood, Living In Oblivion (1995), State and Main (2000), Berberian Sound Studio (2012), The Disaster Artist (2017), to name but a few, are great examples of films about filmmaking which exhibit thematic meta-fictional tropes.

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The Disaster Artist (2017) takes great delight in paying homage to Tommy Wiseau’s The Room (2003); a film which is often hailed as one of the worst ever made. The film shows how Tommy Wiseau came to make The Room (2003) and the disaster he encounters. Meta-textually, comedically and entertainment-wise this film is a highly satisfying cinematic experience. Even as the credits roll the sequence which shows scenes from The Room and re-enactments from The Disaster Artist are a joy to behold. Also thematically strong is Scream. It is especially clever because the characters are aware of the fact they are under threat and attempt to avoid death by making reference to various horror film tropes. Likewise, Tarantino’s uber-meta war film Inglourious Basterds (2009) features the fictional film Nations Pride, which both satirizes the German propaganda machine and the violent nature of war films in general. Tarantino is so obsessed by cinema that his wish fulfilment bloodlust even sees the Nazi hordes burned and shot down in an actual cinema.

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The final level is emotional meta-textuality. This idea is slightly more open to interpretation because one could argue that all aspects of storytelling are intended to illicit emotion in the audience. However, I am referring to films where the meta-fictional aspects have a deep emotional or dramatic impact on the characters. Such examples include the intriguing Will Ferrell dramedy called Stranger Than Fiction (2006). Ferrell portrays Harold Strick who suddenly finds his life is being narrated by an omniscient storyteller, who turns out to be Emma Thompson’s author. Here the narrator is presented as a God-like power dictating what she thinks is a fictional character in Strick. Ultimately, fiction and the “real” world collide in an emotionally satisfying meta-textual story of discovery and mid-life crises. Similar, but even darker in its representation of emotional meta-textuality is Tom Ford’s adaptation Nocturnal Animals (2016), from a novel by Austin Wright. Here Amy Adams character, an Art gallery owner is sent a novel by her former husband, Jake Gyllenhaal. As she reads the manuscript a film within a film opens up which shows events that symbolise the wrongs he feels she has done to him. In the final revelatory scenes the emotional impact is damning to her life decisions and she is left alone, in the dark, with her own guilty thoughts.

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In keeping with historical and literary modes of storytelling many films will deliver their stories in a meta-textual fashion using structural, diegetic, extra-diegetic and emotional methods. Furthermore, some films will utilise these all at the same time. One such screenwriter and filmmaker is Charlie Kaufman. His works such as: Being John Malkovich (1999), Eternal Sunshine of the Spotless Mind (2004) and Adaptation (2002) offer mind-blowing meta-textuality. Adaptation, starring Nicolas Cage, for example, features a screenwriter called Charlie Kaufmann trying to adapt a book called The Orchid Thief but suffering writer’s block. Instead he begins to write a screenplay about a screenwriter struggling to write an adaptation of The Orchid Thief. Did he I also mention he has a twin brother called Donald who is also a screenwriter. Now, I could begin to analyse Adaptation but that would be a whole different story within and story within a story. . .

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SCREENWASH ONE-LINER FILM REVIEWS

SCREENWASH ONE-LINER FILM REVIEWS

Sometimes it’s not necessary to go on and on about a film so here’s a rapid-fire round-up of films I’ve seen over the last couple of months. It’s like speed-dating for films but without the crushing romantic disappointment of mass rejection in one evening. As usual I accompany the reviews with marks out of eleven.

**SPOILER-FREE**

1922 (2017) – NETFLIX

Thomas Jane excels as a scheming farmer haunted by death, greed and rats!    (Mark: 8 out of 11)

THE ACCOUNTANT (2016) – SKY CINEMA

An OCD-assassin portrayed by Ben Affleck wreaks havoc in a very tidy fashion.    (Mark: 8.5 out of 11)

ANDY AND JIM (2017) – NETFLIX

Schizoid-meta-textual-yet-intriguing Jim Carrey / Andy Kaufmann documentary. (Mark: 7.5 out of 11)

ANTHROPOID (2016) – NETFLIX

Gripping WWII story concerning Czech resistance fighters assassinating Nazis.   (Mark: 8 out of 11)

ASSASSINS’ CREED – SKY CINEMA

Stunning production values and cast are let down by a bemusing plot and script.   (Mark: 6 out of 11)

THE BAR (2017) – NETFLIX

Spanish comedy-thriller has selfish occupants trapped in a bar all turn on each other!    (Mark: 7.5 out of 11)

BLEED FOR THIS (2016) – NETFLIX

Miles Teller excels as boxer Vinny Pazienza battling for survival in and out of the ring.   (Mark: 8 out of 11)

DEATHNOTE (2017) – NETFLIX

Hamstrung horror film throws away a brilliant concept via hopeless script and acting.  (Mark: 5 out of 11)

FREE STATE OF JONES (2016) – AMAZON

Watchable American Civil War historical drama with McConaughey on good form.  (Mark: 7.5 out of 11)

GOLD (2016) – AMAZON

McConaughey again shines as a modern day gold prospector in compelling drama.  (Mark: 8.5 out of 11)

LIVE BY NIGHT (2016) – SKY CINEMA

Affleck as gangster anti-hero in stylish but empty “Roaring Twenties” adaptation.   (Mark: 7 out of 11)

THE MEYOROWITZ STORIES (2017) – NETFLIX

Narcissistic family members talk at each other about life in pretentious drama.    (Mark: 7 out of 11)

SNOWDEN (2016) – NETFLIX

Oliver Stone brings the famous whistle-blower’s story to life in a well-shot drama.   (Mark: 7.5 out of 11)

TRUE STORY (2015) – NETFLIX

Franco and Hill sleepwalk through a compelling real-life murder case narrative.   (Mark: 6.5 out of 11)

THE WAILING (2016) – NETFLIX

Incredibly rendered yet abstract Korean horror centring on Shamans and viral death.   (Mark: 8 out of 11)

WAR MACHINE (2017) – NETFLIX

Tonally haphazard mix of war satire, biopic and drama with Brad Pitt hamming it up.   (Mark: 6 out of 11)

MOVIE PREVIEW: GUARDIANS OF THE GALAXY – VOL. 2

MOVIE PREVIEW: GUARDIANS OF THE GALAXY – VOL. 2

guardian-of-the-galaxy-poster1

In a new strand I have decided to have a look at some future film releases and reasons why they may be worth catching at the cinema.

TITLE: GUARDIANS OF THE GALAXY – VOL. 2

DIRECTOR/WRITER:  JAMES GUNN 

RELEASE DATE (UK): 28-04-2017

GENRE: Comic-book; action; comedy; mixtape!

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PITCH: Marvel’s rag-tag mixtape of human, aliens, raccoon and plant combine once again to shake up the Universe in a sequel to the brilliant original.  This time the fabulous five battle the usual motley bunch of villainous space monsters while tracking down Peter Quill’s father.

FIVE REASONS THIS COULD BE GREAT!

1. The first Guardians was brilliant as it contained a wonderful mix of action, humour, space fights, explosions, alien villains, guns, and zinging one-liners. So, this one has to be amazing too right.

2. It’s a Marvel comic-book film!  Up until now their cash-cow franchises have established a formula, yet they somehow always manage to invest something fresh into their films.

3. The usual suspects are back! There’s Chris Pratt as Peter Quill and humbly monickered Star-Lord; Zoe Saldana as smart but dangerous Gamora; Dave Bautista provides muscle as Drax; Bradley Cooper is the tech-wizard and grumpy Rocket the Raccoon; plus Groot is back but this time smaller and cuter.

4. The music in the first film rocked!  And the soundtrack in this one will no doubt infect us with more nostalgia-driven hits from the past.

5. Writer/director of the first film James Gunn is on board again!  Having made low-budget gems such as Super (2010) and Slither (2006) he brought an indie perspective and quirky humanity to the big-budget fireworks and CGI fest!

Check the trailer out here:

DOCUMENTARY FILM REVIEWS including: 13TH, RATS, THE WHITE HELMETS, BLACKFISH and more. . .

SCREENWASH – DOCUMENTARY REVIEW SPECIAL

I thought I would make an effort to watch more documentaries over the last few months. Personally, I love nothing more than to immerse myself in fictional worlds created by writers, show-runners and filmmakers etc. but sometimes it’s important to face the “truth”.

Having said that are documentaries actually reflecting reality or the truth?  Because the documentary genre over the years has become ultra-sophisticated and many “true” stories are not just simply filmed documents or events or interviews. Now, documentaries are often carefully constructed narratives with as much if not more drama and turns in their tales than fictional works.

I wasn’t the only one who was gripped by Netflix’s Making a Murderer (2015) or HBO’s exceptional The Jinx: The Life and Deaths of Robert Durst. Moreover, I’ve always been an avid viewer of the work of dogged filmmaker Nick Broomfield, the disarming talent of Louie Theroux, and at his best the polemical Michael Moore. However, you always have to be aware that what one is watching has been manipulated and finessed to tell a story or a certain agenda; thus truth is not always absolute and should always be questioned.

Nonetheless, the documentary film or programme remains an important tool to confront existential, sociological, historical and political events and issues. It also tends to be a lower budgeted medium – compared to fictional works – with which to illuminate and entertain an audience. So, here are some documentaries I have been watching of late.

CRIME

Crime documentaries are big business and along with historical Nazi dramas fill up the TV screens and online. Netflix has some well-presented and often controversial documentaries, one such is AMANDA KNOX (2016), which interviewed many of those involved in the despicable murder case of Meredith Kercher a few years back. This intriguing documentary lifts the lid on a case where the media and Italian legal system are on trial as much as Knox herself.

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WAR

With the Nazis in mind, the BBC documentary AUSCHWITZ: THE NAZIS AND THE FINAL SOLUTION (2005) is a horrific examination of wartime atrocities which probes the means with which the Nazis tried to wipe out all the Jews. This is a challenging yet incredible mix of interviews, dramatic re-enactment and detailed research on the evil death camp Auschwitz. While not an easy watch it is a brilliantly devised series which illustrates the blackest stain of one of humanity’s darkest periods in history.

From World War II to a very contemporary conflict Netflix presents THE WHITE HELMETS (2016), which over a hard-hitting forty minutes profiles the heroism of the eponymous rescue workers striving to save civilians from conflicted Aleppo and Syria on the whole. The short film won an Oscar but having done some research online the other side of the argument suggests this is a propaganda piece and does not represent the real work of this group. All I can say is someone somewhere is blowing the hell out of Syria and it is a bloody tragedy because people are dying! Indeed, whichever side the White Helmets are on the filmmakers show the insane destruction of war and suffering occurring for reasons that are beyond my understanding.

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NATURE

For something far more heart-warming I recommend the majestic film THE EAGLE HUNTRESS (2016). It documents the story of Aisholpan, a 13-year-old girl from Mongolia, as she attempts to become the first female eagle hunter in her country. Beautiful vistas and soaring eagles amidst the snow are to the fore in a very sweet tale of a young lady facing up against years of cultural chauvinism and prejudice, for something she loves doing.

More harrowing though is the well-constructed Killer Whale documentary BLACKFISH (2013) which highlights the cruelty to these beautiful creatures in captivity and the alleged corporate greed of SeaWorld following the deaths of trainers at the park. It also illustrates, in my opinion, the idiotic folly of human beings who think it is wise to get in the water with gigantic aquatic hunters. We are imprisoning animals for our own apparent entertainment and killing ourselves because of it. Idiots!

More human lunacy can be found in the harrowing film VIRUNGA (2014) set in the Congo where director Orlando von Einsiedel stabs at the heart of darkness and finds Soco International and civil war damaging the natural beauty of Virunga National Park. It’s another sad indictment on humanity as the people who live there and the animals, notably the Gorillas, find their habitat is surely being destroyed in the name of greed and insane mercenary bloodlust.

Taking the nature documentary in the direction of horror is Morgan Spurlock’s brutal film RATS (2016). This sickeningly impressive doc takes us on a whistle-stop tour of the globe with gruesome scenes of rat-catching, scientific experimentation, baiting and butchering of rats. Most disgustingly the eating of rodents in Vietnam is considered a delicacy. Gross!

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SOCIO-POLITICAL

Arguably the most powerful of the documentaries I watched was Ava DuVernay’s polemical and politically charged 13th (2016), a film which slams years of Government policies in regard to incarceration. Indeed, the evidence presented shows systematic lobbying from big business to turn the prison system into a means of enslaving the less socially advantaged. The mass rise of inmates in jail from the 1970s to now bares out this fact and the harsh stories within the documentary too are shocking. 13th is a savage indictment against the United States Government treatment, over the years, of black and Hispanic communities, and while it’s very one-sided, the points it is well researched and makes are incredibly powerful.

An altogether less incendiary and academic approach comes via Noam Chomsky’s interviews represented in REQUIEM FOR THE AMERICAN DREAM (2015) where the ultra-intellectual argues lucidly that a half-century of policies have been designed to favour the most wealthy at the expense of the majority. It’s thought-provoking and makes you wonder if this real life “They Live” style of social domination by the rich is truly real or just a dreamt up socio-liberal political conspiracy. To me, and I am not particularly bright when it comes to such matters, believe it is capitalist Darwinism at its worst and the wealthy and powerful are simply protecting what they have to the detriment or the less socially advantageous. Bastards!

I have to say that I admire the bravery of many documentary filmmakers, especially the ones who get right into the nitty gritty of the action. One such filmmaker Matthew Heinemann and his film CARTEL LAND (2015) has a lot of bottle going to Mexico and the US border to film events relating to the drug trade, criminality and nefarious Cartel factions and Government groups. Heinemann and his crew deserve praise for bringing these incredible events concerning an ongoing bloody civil war which seems to have no end in sight.

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LIFE

America is a continual goldmine for fascinating documentaries and Louis Theroux has proved time and time again he is a dab hand at gently poking a stick into some of the darker areas of humanity. Two such BBC documentaries he made are LA STORIES (2014) and THE CITY ADDICTED TO CRYSTAL METH (2009) where Theroux’s unassuming style examines the lives of people and animals affected by drugs, paedophilia, death and social decay. I like Louis Theroux as he isn’t afraid to ask important questions and his work gets into your psyche, without ever smashing you over the head with a definite agenda or tunnel-vision polemics.

The comedian Russell Brand presented a more vigorous approach when challenging the UK government’s ‘war on drugs’ policy by finding out how other countries are tackling their problems of drug abuse. RUSSELL BRAND – END THE DRUGS WAR (2014) was an passionate crusade by Brand to treat drug addiction as a disease and not a crime and he made some excellent points in carrying his case to legal and Government figures.

CINEMA

For some lighter viewing I also watched an informative documentary about filmmaker, actor and theatre genius called: MAGICIAN: THE ASTONISHING WORK OF ORSON WELLES (2014), which entertainingly ran through the career highs and lows of Orson Welles. Meanwhile, I AM YOUR FATHER (2015) was a likeable tribute to the man who WAS Darth Vader in the original Star Wars franchise – David Prowse. However, the film was ruined by the Spanish director crow-barring himself into the film and also trying to create some drama out of Prowse being gazumped by George Lucas for the shooting of Vader’s death scene. Prowse had a great career and I found the attempts at controversy were unnecessary and the film should’ve concentrated on the man in the suit himself.

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Last but not least if you love filmmaking docs you must watch LOST SOUL: RICHARD STANLEY’S ISLAND OF DR MOREAU (2014). This documentary charts the journey of director Richard Stanley and his attempts to bring classic novel The Island of Dr Moreau to the silver screen. With a massive budget and filming taking place in Australia it all starts to go wrong for Stanley as tropical storms hit the set and the money men at the studio lose confidence. Add the crazy Marlon Brando, difficult Val Kilmer and hedonistic extras to the mix and you get a box office turkey burning in front of your eyes. Both funny and tragic it reveals the folly of filmmaking yet sadly also seemed to finish Stanley’s promising directorial career.