Tag Archives: horror

Films That Got Away, Reviews

FILMS THAT GOT AWAY #2 – REVIEW – OVERLORD (2018)

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OVERLORD (2018)

Directed by: Julius Avery

Produced by: J.J. Abrams, Lindsay Weber

Screenplay by: Billy Ray and Mark L. Smith

Cast: Jovan Adepo, Wyatt Russell, Mathilde Ollivier, John Magaro, Pilou Asbæk, Bokeem Woodbine etc.

Cinematography: Laurie Rose and Fabian Wagner

**MAY CONTAIN SPOILERS**

Inglourious Basterds anyone? More like inglorious mutants!

I love a good B-movie horror film and I love a good B-movie war film! So, I’m still confused as to why I missed this one at the cinema first time round. It was released in November 2018 in the UK, so perhaps I was still in London Film Festival mode? Perhaps it fell through the cracks after a busy October cinema-going? Perhaps the marketing wasn’t strong enough over here? Perhaps, perhaps, perhaps?

Anyway, I caught up with it on Sky Cinema via the television box and I immediately regretted not seeing it on the big screen. The film is set in June 1944 during the Allied invasion of Normandy. The operation was called Overlord and part of the WWII D-Day push to defeat the dastardly Nazis. It opens superbly, in mid-flight, as a fighter bomber carries American soldiers about to parachute into enemy territory. Safe to say aeroplane food, crying children and lack of leg room are the least of their worries.

The explosive, noisy and destructive opening sequence sets an incredible pace. Also, the body count starts to stack up too as we land in occupied France. Not so much a dirty dozen as a filthy four remain after the landing carnage. The ragtag quartet consisting of nervous rookie, Private Boyce (Jovan Adepo), tough-guy Corporal Ford (Wyatt Russell), mouthy Private Tibbet (John Magaro), and war photographer Private Chase (Iain De Caestecker), are joined by French civilian fighter, Chloe (Mathilde Ollivier) in battling the Nazi hordes. Their mission is to take out a Nazi radio tower, but we get a whole lot more than the usual WWII battle sequences. Something horrific is lurking in the church where the radio tower is.

While the film essentially deals in genre archetypes the narrative pace, action and suspense really get the heart racing. Moreover, the cast commit to the action and bloodshed with impressive abandon. What I liked was, with relatively unknown actors cast, it meant there was suspense in who would or wouldn’t survive. So, in a film full of surprises this added another layer of tension you wouldn’t get in a star-driven film. Nonetheless, the real asset of the film is the monstrous soldiers born out of the sinister minds of the Nazi Doctors. These are some real nasty pieces of work! Indeed, director Julius Avery revels in representing the bloody carnage these experimental creatures bring. You can’t beat a good old Nazi monster baddie! Well, you can! In all sorts of fleshy, fiery and visceral ways!

I recognised Wyatt Russell from other films and TV shows, and he was great. Russell exuded all the tough qualities his father Kurt has shown down the years, but he gave Corporal Ford a steely edge all of his own. Jovan Adepo and John Magaro impressed as chalk and cheese soldiers, initially clashing but subsequent gaining respect for each other. Adepo’s Private Boyce grows from frightened rabbit to resilient hero over the course of the film. Meanwhile, Game of Thrones scenery-chewer, Pilou Asbæk, begins with quite a subtle portrayal of SS Captain Wafner. Yet, by the end he is on gloriously over-the-top form as the most mutated of all the Nazis.

Ultimately, this is a mid-budget B-movie genre gem. It has lashings of action, blood and gore. It also combined war and horror genres really impressively. I would have liked even more gore and a bit more backstory regarding the Nazi experiments, but that would have probably ruined the surprises. Also, it’s definitely not one of the most original films you will see as there are major echoes of many soldiers-on-a-mission war films, the video-game Wolfenstein and also From Dusk Til Dawn (1995) too. But, with Wyatt Russell, Mathilde Ollivier and Jovan Adepo impressing in the cast and Avery directing the hell out of the explosive action and bloody fighting, I had a great time watching Overlord (2018). It’s just a damn shame I missed it on the big screen when first released.

Mark: 8.5 out of 11

Cinema, Films That Got Away

FILMS THAT GOT AWAY #1 – REVIEW – SUSPIRIA (2018)

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SUSPIRIA (2018) – FILM REVIEW

Directed by: Luca Guadagnino

Produced by: Marco Morabito, Brad Fischer, Luca Guadagnino, Silvia Venturini, Francesco Melzi d’Eril, William Sherak, Gabriele Moratti

Screenplay by: David Kajganich – Based on Suspiria (1977) by Dario Argento and Dari Nicolodi

Cast: Dakota Johnson, Tilda Swinton, Mia Goth, Angela Winkler, Ingrid Caven, Elena Fokina, Chloe Grace Moretz, Malgosia Bela, Lutz Ebersdorf, Jessica Harper etc.

Music by: Thom Yorke

Cinematography: Sayombhu Mukdeeprom

**MAY CONTAIN SPOILERS**

There are so many films released that it is virtually impossible to see them all. Plus, even if you didn’t have to work to earn a damned wage or physically need sleep you still wouldn’t be able to watch everything at the cinema. More specifically though, we may choose NOT to go to see a film on the big screen for certain reasons. Collectively, I consider these movies to be “one’s that got away!”

Thus, in a new section called, unsurprisingly, FILMS THAT GOT AWAY, I will be reviewing films which I missed first time round at the cinema and have subsequently caught up with on Sky, Amazon, Netflix, Blu-Ray or even good old-fashioned terrestrial television. I will consider the film critically as entertainment and why I missed it first time round. As usual the film will be marked out of eleven.

When the UK release of Suspiria (2018) was announced there were many reasons I was immediately put off from wanting to see it. Firstly, despite having watched it three times, I genuinely could not stand the original Dario Argento film. I know people consider it a horror classic; however, I think story wise, it’s a bad film. It’s neither scary from an emotional point-of-view or actually makes any sense logically. I know it’s meant to be based on surreal and nightmarish imagery, montage and performance, but the story or characters did not connect with me. The colour design, gore and soundtrack are outstanding but, overall, I felt I was trapped watching the manic outpourings of an Italian psychopath.

The second reason I did not want to watch it is I haven’t always got on with Luca Guadagnino’s cinematic works. Don’t get me wrong, he is a brilliant filmmaker. However, I find him an indulgent artist whose tone, pace and direction seems haphazard. Of the films I have seen, I Am Love (2009) was a brilliant character study, anchored by a stunning Tilda Swinton performance. But A Bigger Splash (2011) and Call Me By Your Name (2017), were expertly constructed but indulgent and over-rated travelogues littered with narcissistic bores. Nonetheless, I really liked Suspiria (2018). It is almost, but for Guadagnino’s typical excesses, a horror masterpiece.

Set in 1977 (when the original was released), at the height of the Cold War in divided Germany, Suspiria, is a heady mix of rites of passage, cold war and horror genres. There are many narrative strands with which the screenplay, by David Kajganich, attempts to balance. Further, we also have personal, political, religious, artistic, gender and communal themes prevalent through the story. While it’s an ensemble cast the focus is Dakota Johnson’s Susie. She is a young aspiring dancer, from an Amish background, who joins the world-famous Markos dance company. In the process she is determined to impress Tilda Swinton’s commanding mentor. The parallel narrative involves psychiatrist Dr Josef Klemperer and his investigation into a missing patient (Chloe Grace Moretz); who also happens to be a dancer from the troupe.

As the story unfolds Susie proves herself an incredibly powerful dancer. At the same time, it is revealed that the elders and teachers of the dance group are hiding a sinister secret with darkness and ritual to the bloody fore. Memorable dance sequences full of beauty, energy and gore dominate, with Dakota Johnson giving an impressively physical acting portrayal. I also liked the nuanced control within her character as she grows stronger with each dance. Meanwhile, further dark events occur as Dr Klemperer’s investigations draw him closer to the troupe’s shadowy doors.

As I said, Suspiria is almost a horror masterpiece. The filmmaking, cinematography, art direction, choreography and score by Thom Yorke all collide to create an incredibly tense and terrifying experience. Moreover, while I was fully committed to the characters in the dance troupe and Susie’s movement up the ranks, the choice to juxtapose the socio-political events seemed to belong in another film. The religious context and notions of family and matriarchal dominance were incredibly powerful too and served the horror well. However, Guadagnino, in my humble view should have shaved some scenes from the running time. While I much prefer this film to the Argento original, a further edit for pace would have made this even better. Nonetheless, it had me riveted throughout through the sheer quality of filmmaking. I was incredibly impressed by the melding of dance and death. Indeed, the final orgiastic ritual with buckets of blood, decapitations and gnarled monsters was supernaturally unforgettable.

Mark: 9 out of 11

Cinema, New Releases, Reviews

HORROR DOUBLE BILL: THE DEAD DON’T DIE (2019) & ANNABELLE COMES HOME (2019) REVIEWS

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HORROR DOUBLE BILL REVIEWS

THE DEAD DON’T DIE (2019)

Written and directed by: Jim Jarmusch

Cast: Adam Driver, Bill Murray, Chloe Sevigny, Tilda Swinton, Steve Buscemi, Caleb Landry-Jones, Danny Glover, Selena Gomez, Tom Waits and many more.

As a big fan of Jim Jarmusch films and a big fan of zombie films I was really looking forward to the Dead Don’t Die (2019). Interestingly though, it neither works as an arthouse horror film or dramatic zombie film. There’s a lot to enjoy, especially with the deadpan wit, but overall the film felt underwhelming to me.

Set in the fictional American town of Centerville, we find out fracking or some similar stupid human being industrial act has caused a global disaster. Suddenly we get a disparate set of townsfolk including hermits, Republican farmers, waitresses, cops, morticians, College kids, all fighting the living dead. The acting led by Adam Driver, Bill Murray and Tilda Swinton is the best thing about the film. Yet, while I was chuckling at many of the dry lines of dialogue, the film falls flat with a plodding and disappointing ending. Jarmusch, in his inimitable style essentially undermines the raft of intriguing archetypes he has established with a deconstructive and knowing final act.

I think the main problem is Jarmusch, while paying lip service to the likes of George A. Romero, did not commit fully to making a proper zombie film. This is a comedic parody and satire which lost me when Adam Driver’s character become overly self-reflexive. Jarmusch sets up some great characters to fight the dead but throws them away for clever-clever-Godardian-oh-we’re-in-a-movie references which undermine the comedy, drama and horror. I love Jarmusch’s style and he has made some cult cinema classics. This, alas, is not one of them.

Mark: 6.5 out of 11

ANNABELLE COMES HOME (2019)

Directed and written by: Gary Dauberman

Cast: McKenna Grace, Madison Iseman, Katie Sarife, Patrick Wilson, Vera Farmiga etc.

Having watched the Dead Don’t Die (2019), I decided to make the most of my Odeon Limitless card and watch the next instalment in a franchise which shows absolutely no sign of dying. I really liked The Conjuring and Insidious franchises, which involved horror experts including James Wan and Leigh Whannell. However, the monstrous creations such as Annabelle and The Nun are pretty thin in terms of credible horror threat and cinematic quality. Having said that this latest film Annabelle 3 film already made $200 million at the box office, so what do I know!?

The story is pretty threadbare, but it concerns Ed and Lorraine Warren’s demonic spirit room which, for some bizarre reason they entrust a teenage babysitter, Mary Ellen (Madison Iseman) and their daughter, Judy (McKenna Grace), NOT to open while they’re away. Guess what happens? A friend of Mary Ellen, Daniela (Katie Sarife), opens the spirit room and all hell breaks loose due to Annabelle the evil doll causing all the devilish spirits to rise up and frighten the characters half to death.

I actually liked the cast of young actors here, most notably McKenna Grace, who is very talented. Daniela’s character also had some decent motivation for her ridiculous actions as she sought closure with her dead father. At times I was quite fearful due to some decent jump scares, deadly creatures and creepy use of lighting tricks. However, the whole thing seemed like a cash-in with new monsters being introduced to expand the franchise further. Even fine actors such as Patrick Wilson and Vera Farmiga seemed happy, laughing all the way to the bank with their book-ended cameos.

Mark: 5.5 out of 11

Cinema, Classic Film Reviews, Reviews

CLASSIC FILM REVIEW: DON’T LOOK NOW (1973)

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CLASSIC FILM REVIEW: DON’T LOOK NOW (1973)

Directed by: Nicolas Roeg

Produced by: Peter Katz

Screenplay by: Allan Scott and Chris Bryant

Based on the story: Don’t Look Now by Daphne Du Maurier

Cast: Julie Christie, Donald Sutherland, Renato Scarpa, Massimo Serato, Hilary Mason, Clelia Matania, Sharon Williams etc.

Cinematography: Anthony B. Richmond

Music: Pino Donaggio

**MAY CONTAIN SPOILERS**

I watched this classic film again on the big screen at the British Film Institute in a 4K restoration recently. It has not lost any of its cinematic power. Don’t Look Now (1973), indeed, remains one of the greatest films in the horror and thriller genre of all time.

The story is a powerful study of grief and how a couple vainly attempt to overcome the tragic death of their young daughter, Christine. The opening scene is a masterclass in image system building, cinematography, performance and editing. It is an incredible example of pure cinema, establishing the dread and suspense representative throughout the film. It truly is an iconic sequence and a rarely bettered opening cinematic salvo.

A few months later, the bereaved parents, John and Laura Baxter, are in Venice for his architectural work on an ornate church. He seems to be handling Christine’s death by throwing himself into this project. Laura is more sensitive and wears her emotions close to her skin. An encounter with two mature women causes her grief to explode as one, a psychic, states she can see Christine on the “other side.” The girl is passed but happy and smiling in the spirit world. John is sceptical, but Laura is overjoyed there is a chance to make contact with Christine.

After this encounter Christine seems to appear within the Venice tunnels, her footsteps and laughs echoing in the darkness. With a murderer also on the loose in Venice, the creeping fear within the story heightens and the suspense intensifies. With Laura keen to contact Christine again, themes and symbols relating to religion, the afterlife and occult all combine to add to the terror. Moreover, religious iconography, water, the red mac, children, tunnels, mistaken identity, death, past, present and future also add to the rich tapestry of images.

Julie Christie and Donald Sutherland are so natural in their roles. They give beautiful and haunted acting performances as the bereaved couple. The memorable love scene contained within the second act was very controversial at the time. However, the editing, loving tenderness in performance and sumptuous score illuminate a brief moment of reprieve from the prior horror and terror to come.

The ending of the film contains two big reveals which will shake even the most experienced horror genre viewer. Interestingly, when released the film was double-billed with The Wicker Man (1973), so lord knows what audiences were feeling when they left the cinema. Lastly, Nicolas Roeg and Anthony B. Richmond shoot and direct the film with precise and spectacular style. Shadows threaten, water forebodes, and the masque of the red death hangs heavy over proceedings.

With young filmmakers such as Ari Aster causing a stir with contemporary horror films about grief, death and rituals, I would certainly advise you to catch Don’t Look Now (1973) on the biggest screen you can find. It was a masterpiece of cinema when released and remains so today.

Mark: 10.5 out of 11

Cinema, Six of the Best

SIX OF THE BEST #18 – FILM ANTHOLOGIES

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SIX OF THE BEST #18 – FILM ANTHOLOGIES

While we all love a good proper feature film containing one continuous narrative, the anthology or portmanteau film has thrown up some fine cinematic entertainment over the years. Generally, an anthology film can be described as a collection of works with a linked theme, genre, style and author etc.

Thus, in my occasional Six of the Best series I have decided to pick some favourite ones. To make it more interesting I have chosen them from different genres. Otherwise, I would have just chosen all horror films. So, here are six of the film anthology films worth watching.

**MAY CONTAIN SPOILERS**

THE BALLAD OF BUSTER SCRUGGS (2018) – WESTERN

The Ballad of Buster Scruggs is a mischievous alchemy of stories. Here, the Coen Brothers reach into their cinematic bag of tricks to deliver an entertaining and memorable collection of characters, songs, bloody death, jokes, pathos, landscapes, snappy dialogue, dark humour and action. Coen’s films often improve with each viewing as their work is so full of stylish depth and this is no different. Quite often, you’re laughing so much you miss the philosophical happenstance which is occurring in many of these fine stories.

Image result for buster scruggs

DEAD OF NIGHT (1945) – HORROR

It seems sacrilege not to include the likes of George Romero’s Creepshow (1982) or one of Amicus’ unhinged collections such as Dr Terror’s House of Horror (1965). But, having watched this classic recently I can certainly say it has some brilliant and scary stories which stand the test of time. Full to the brim with the cream of British acting, writing and directing talent, the standout tale is Michael Redgrave’s troubled ventriloquist, although the whole film is a nightmarish treat for horror fans.

Image result for DEAD OF NIGHT

FANTASIA (1940) – ANIMATION

With the current trend for Disney to remake their back catalogue as “live” action films in mind, I very much doubt they will doing this with Fantasia. Conceived as a short to re-invigorate the slowing career of Mickey Mouse, the film is unlike any other Disney have made. It consists of experimental, non-narrative and hallucinogenic vignettes mainly set to wondrous classical music. A masterpiece of hand-drawn animation, style, colour and design, it’s certainly not just for kids. I recall many images giving me nightmares when saw it as a child and it remains a powerful cinematic work to this day.

Image result for fantasia

NIGHT ON EARTH (1991) – COMEDY

I was going to choose Woody Allen’s erotic sketch film, Everything You Wanted to Ask About Sex but were Afraid to Ask (1972), for the comedy section. However, I decided to select a more deadpan and character oriented film. What better then, than a Jim Jarmusch curiosity. I love the concept of the film as Jarmusch sets several themes and parameters in place. There are five slice-of-life vignettes set on the same night in the cities of Helsinki, New York, Rome, Paris and Los Angeles, all starring some of Jarmusch’s favourite actors. Relationships and quirky interactions between cab driver and passenger are explored in the filmmakers’ inimitable style.

PULP FICTION (1994) – CRIME

Quentin Tarantino’s second feature film remains a fresh masterpiece of colliding gangsters, uber-cool hitmen, fixers, boxers, sexual deviants, femme fatales, drug addicts and general criminal types. With an over-lapping timeline that kind of does a figure of eight, we get stories ranging from a couple robbing a diner; a boxer double-crossing a crime boss; and an employee almost killing his boss’s wife. Tarantino breathes life into the crime genre and the stock pulp characters with one of the greatest screenplays ever written; full of incredible dialogue, startling twists and a brilliant ensemble cast.

WILD TALES (2014) – DRAMA

Damián Szifron conjures up a delectable and devilish set of stories mostly based around the themes of obsession and revenge.  It opens with a breath-taking little prologue featuring a horrific incident on a plane and culminates in arguably the wildest tale when the Bride goes on the rampage at her wedding.  Everyone’s favourite Argentinian actor Ricardo Darin pops up in the middle as an explosives expert who enacts revenge on City Parking fascists. I love the whole thing as the film delivers a full deck of twists that master of the macabre Roald Dahl would be proud of. 

All 4, Reviews, Television

ALL 4 FILM REVIEW – LONGFORD (2006)

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ALL 4 FILM REVIEW – LONGFORD (2006)

Directed by: Tom Hooper

Producer: Helen Flint

Written by: Peter Morgan

Cast: Jim Broadbent, Samantha Morton, Andy Serkis, Lindsay Duncan, Robert Pugh etc.

Original Network: Channel 4

**CONTAINS SPOILERS**

Continuing my look back on the films and shows on ALL 4, this drama is really Premier League television filmmaking of the highest quality. Written by esteemed screenwriter, Peter Morgan and directed by celebrated director of Oscar winner, The King’s Speech (2010), Tom Hooper, Longford (2006), features fine acting from Jim Broadbent, Samantha Morton, Andy Serkis and Lindsay Duncan.

A much respected but also much maligned character around the House of Lords and Parliament in Westminster, Lord Longford, or Frank as he preferred to be known, came from a very privileged background. However, in various post-war political positions he campaigned vehemently for the underclasses, especially where the prison system was concerned. A complex but kind man he had no issue switching allegiances of politics or faith during his lifetime if he felt it was the right thing to do.

The story begins in the late 1960s with Longford celebrating his programme for rehabilitating ex-convicts. When he receives a letter from infamous child killer Myra Hindley, he takes up her case. Now, I remember Lord Longford when I was growing up and the furore over his constant attempts to grant Hindley parole was often in the news. I’m still struck by what a massive naive and stubborn heart he had. The public outrage was constant, but Longford never gave up this campaign.

Myra Hindley and Ian Brady killed five children between 1963 and 1965 and were described as “two sadistic killers of the utmost depravity.” This character study shows Longford battling his doubts over Hindley and Jim Broadbent’s performance is so compelling. You feel empathy and horror at his decision to represent Hindley, portrayed with nervy guile by Samantha Morton. The scenes between the two are a masterclass in acting with Morton conveying pitiful vulnerability to draw the Longford in. I personally felt Hindley was manipulating Longford but due, in part to her religious conversion, he chooses to ignore such thoughts.

Andy Serkis’ performance as Ian Brady, on the other hand, is one of pure, unadulterated evil. He warns Longford he is being played for a fool, but this only confirms Longford’s belief that Brady controlled Hindley during the murders. Brady’s character is only in a couple of scenes but his cold Scottish brogue chills the heart like an Arctic wind. Obviously, Serkis has gone onto bigger things, but I don’t think he has ever given a more memorable performance.

Overall, this is an exceptional film about the sad aftermath of one of the most heinous crimes ever committed in Britain. Longford, while admirable in his philosophy, proves the adage, there’s no fool like an old fool. Peter Morgan’s script is just brilliant at catching the emotions of the characters, as Hooper’s direction draws formidable performances from a fine cast. The nation was right to be outraged at Longford’s actions, but this film illustrates his motivations in a highly compelling way.

Mark: 9 out of 11

Cinema, New Releases, Reviews

MIDSOMMAR (2019) – CINEMA REVIEW – AMAZING FILMMAKING LET DOWN BY WEAK STORYTELLING!

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MIDSOMMAR (2019) – CINEMA REVIEW

Written and directed by: Ari Aster

Produced by: Lars Knudsen, Patrik Andersson

Cast: Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren, Will Poulter etc.

Music: The Haxen Cloak

Cinematography: Pawel Pogorzelski

**MAY CONTAIN SPOILERS**

Midsommar (2019), is ultra-talented filmmaker Ari Aster’s second feature film. His first Hereditary (2018), was two-thirds domestic horror masterpiece and one-third insane, symbolic, nonsensical and demonic denouement. Both films have a lot in common. Both have communes or cults at the centre led by strong matriarchal figures. Both find seemingly innocent characters suffering from grief being lured to a fateful demise. Both have incredibly rich visual systems full of striking imagery, sudden violence and mythological folklore. Both, especially Midsommar (2019), are overlong, pretentious and indulgent B-movie stories masquerading as art.

I have to say, and I am not coming from simply a mainstream perspective, Ari Aster is a film artist. However, unlike many great film artists he has, in my opinion, not managed to marry his vision with coherent and emotionally powerful storytelling. Midsommar, for example, takes an age to kick its narrative into gear and when it finally gets started it drags and drags and drags. How many long, drifting tracking master shots can you abide? How many drawn-out-so-pleased-with-myself takes do you have the patience for? Well, get a strong coffee because when the story cries out for pace, Aster puts the brakes on, marvelling in his own indulgent genius. I might add that a plethora of characters screaming and crying does not make good drama either, unless there is sufficient context.

The narrative is very simple. In a nutshell, it’s Eli Roth’s Hostel (2005) meets British horror classic The Wicker Man (1973). Florence Pugh, Jack Reynor, William Jackson Harper and Will Poulter are college students who take a summer break to experience a communal pageant in rural Sweden. While they are PHD students they are not particularly intelligent given the choices they make later in the film.

Moreover, aside from Pugh’s grief-stricken Dani, the script doesn’t particularly imbue them with much in the way of empathetic characterisation. Indeed, the film relies on Pugh’s dominant performance to create emotion for our protagonists. Aside from providing some comic relief there is no actual point to Will Poulter’s character at all. Lastly, there is some absolutely terrible dialogue throughout this film too.

As the film crawls along slowly, it’s reliant on the music to inform us we’re meant to be scared. Then when the gore does kick in during a particularly shocking ritual, I was almost falling asleep. Don’t get me wrong the production design is flawless with an amazing setting and incredible concepts from Aster. The death and torture scenes are particularly memorable. However, the overall pace and rhythm of the film is so bloody slow I just did not care about anyone by the end.

I don’t mind methodical films establishing dread and psychological fear, but I think Aster has been watching too many Kubrick films. Aster seems to believe slow equals art. What Kubrick did though was usually to have characters that were engaging. They may not have been likeable, but Kubrick’s characters hit you in the heart and mind. Not since The Blair Witch Project (1999) have I wanted such dumb characters (Pugh aside) to die so painfully in a horror film. Likewise, the characters in the Swedish commune are mere ciphers of Aster’s fantasy horror and two-dimensional at best.

Visually stunning Midsommar (2019), will no doubt impress critics and other reviewers. However, at nearly two-and-a-half hours it’s an indulgent-arty-collage-of-film-masquerading-as-therapy. The ending was so loopy that the audience I was with were laughing at how ridiculous it was. Perhaps that was the filmmakers’ aim, but I’m not so sure. Yes, I get that this is meant to be allegorical and symbolic about grief and guilt and religion and a relationship break-up and fate and cultural differences. Furthermore, I get the intellectual depth of the themes on show, but Aster tortures the audience as much as his characters. Mostly, it just doesn’t take so long to tell this kind of derivative narrative, however beautiful and artistic the film is presented.

Mark: 6 out of 11

Cinema, New Releases, Reviews

BRIGHTBURN (2019) – MOVIE REVIEW

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BRIGHTBURN (2019) – MOVIE REVIEW

Directed by: David Yarovesky

Produced by: James Gunn, Kenneth Huang

Written by: Brian Gunn, Mark Gunn

Cast: Elizabeth Banks, David Denman, Jackson A. Dunn, Matt Jones, Meredith Hagner, Gregory Alan Williams etc.

**MAY CONTAIN SPOILERS**

What if Superman was evil? As concepts go Brightburn (2019) has a simple but highly impressive one. The trailer too was brilliant and it was only when I saw a few negative reviews did I baulk at going to see the brisk B-movie-super-hero-horror-film. So, does a great pitch, and cool trailer lead to a great movie? In part yes; and in part no!

With the indie-turned-blockbuster director, James Gunn, in the wings producing the film, Brightburn clearly has a pedigree in superhero, comedy and horror film-making. I loved his low budget gem Super (2010) and his work helming the Guardians of the Galaxy films is also impressive. One wonders if Brightburn may have worked better with James Gunn directing but we will never know.

Set, unsurprisingly in Brightburn, Kansas, the story completely steals the Superman origin narrative and twists it in a fun and gory way. Farming couple Tori and Kyle Breyer are desperate for a kid and have failed to conceive naturally. Fortunately, or so it seems at first, a child falls from the skies, and rather than tell the authorities they adopt the kid as their own.

Flash-forward and Brandon is now twelve years old and puberty is fast approaching; cue bodily changes but not the kind his parents were expecting. As Brandon deals with school bullies and his first crush he suddenly begins going into trances and attempting to unlock that red glowy thing in the barn. What could it all mean? Mayhem! Bloody mayhem is what it means!

I really enjoyed Brightburn. It’s script is a bit dumb and some of the character choices are pretty ridiculous, especially when Brandon starts behaving violently at school and around the house. However, I loved the fast-pace, the concept, the dark horror, the red-masked image system, and the gore. Moreover, while many were given away in the trailer, there are some brilliant set-pieces and scares throughout.

Some of the negative reviews I have seen may have come from the wrong angle on Brightburn. Its not really meant to be taken seriously despite the compelling and dramatic performance from Elizabeth Banks. For me it’s to be watched as an imaginative low-budget B-movie feature, somewhat reminiscent of those “kids-go-bad” 1980’s horrors I used to rent from local video store.

There’s an element of depth as it touches on themes relating to puberty, adoption and the trials of parenthood; ultimately though it’s about the rise of an evil anti-hero in a gas mask with glowing red eyes!! In a nutshell, Brightburn is one for B-movie horror fans everywhere and I definitely want them to expand the universe.

Mark: 8 out of 11

Reviews, Star Trek, Television

TO BOLDLY REVIEW #6 – STAR TREK: NEXT GENERATION – SEASON 1 (1987 – 1988)

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TO BOLDLY REVIEW #6 – STAR TREK: NEXT GENERATION – SEASON 1

Based on Star Trek & Created by: Gene Roddenberry

Season 1 writers (selected): John F. Black, Diane Duane, D.C. Fontana, Maurice Hurley, Robert Lewin, Richard Manning, Kathryn Powers, Gene Roddenberry, Joseph Stefano, Tracy Torme etc.

Season 1 directors (selected): Colin Bucksey, Rob Bowman, Cliff Bole, Les Landau, Kim Manners, Win Phelps, Mike Vejar etc.

Main Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Denise Crosby, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, Wil Wheaton etc.

Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway

Production Company(s): Paramount Television, CBS Television

**THIS ARTICLE CONTAINS SPOILERS**

“MAKE IT SO. . .”

So, my cultural journey beyond the stars continues with a review of the first season of Star Trek: Next Generation. It took some serious time for what was originally known as Phase II to take off. Indeed, they finally hit warp speed during the late 1980’s. Roddenberry, the original Enterprise crew, plus swarms of Paramount employees had kept themselves busy with the ‘Original Series’ cinema releases, but, in 1986, a new TV series was announced.

Then, almost a year later in September 1987, Star Trek: Next Generation was released. TNG featured: a new crew, a more advanced class of Enterprise, and a variety of new aliens, planets and galaxies to boldly explore. While there was an initial decree to avoid all the old enemies from the original series, the Klingons, Romulans and more, slowly bled into the show as it was further developed.

FIRST CONTACT

Much has been written about Star Trek in general and the internet is brimming with articles, features, interviews, podcasts, fan films and documentaries which would take an immortal’s lifetime to read. So, my approach to this piece is to concentrate on the characters, narratives, themes and concepts which leapt out while watching it.

Overall, I really enjoyed most of Star Trek: Next Generation – Season 1. I have read that die-hard fans were resistant to the idea their favourite show from the 1960’s was getting a makeover. However, Paramount/CBS Studios chucked $1.3 million at each episode and shot on 35MM film, thus demonstrating a commitment to a quality product.

Even watching it now I am impressed by the production values, cast, direction and science fiction concepts. Obviously some of the effects are a bit dated compared to what we experience today but I always prefer in-camera effects and prosthesis, anyway. Having said that Star Trek has always been about strong ideas and themes for me.

In terms of story and character there are some very strong episodes and some pretty weak ones. Gene Roddenberry, his producers and raft of writers were, reported to be consistently at loggerheads throughout the production. So much so very few of the original TNG writing team remained by the end. It’s a testament to the rock-solid formula of the show that such issues did not hinder the ultimate consistency of entertainment while I was watching.

My main criticism is that some episodes felt like first drafts. Plus, there was, on occasions, a few episodes which were top heavy in set-up and rushed toward the end. Nonetheless, Roddenberry’s original format is always fascinating and you could certainly feel that when they successfully married: the science fiction concepts, characters, tone and dialogue you got many great episodes.

THE FAMILY UNIT

Holding the narratives and show together was an exceptionally brilliant set of actors. I mean, in the cold light of space, Star Trek: Next Generation could be deemed just men, women and aliens in silly outfits. Of course, we know it’s much more intelligent than that. So with acting heavyweight Patrick Stewart leading the way, all the cast were committed to their roles formidably. They had to be for it to work so well.

To me TNG was structured around a quasi-family unit, as opposed to the naval/military hierarchy of the ‘Original Series’. Captain Jean-Luc Picard majestically leads from the front with authority and a keen sense of fair play. Dr Beverly Crusher is the pseudo-matriarch, both professional and caring. Further, the other main members of the crew are, very loosely speaking, the children.

Riker I’d suggest is the first son and heir apparent, closely followed in the hierarchy by Geordi. The likes of data and Wesley are the younger, gifted children, full of intelligence and enquiry. The sensitive, Troi and tougher Yasha represent the older daughters, while I’m not quite sure how the Klingon, Worf, fits in. Perhaps, he’s a bastard son or long lost cousin seeking affirmation of the family unit. Thus, these characters as a ‘family’ support the spine of the show, all combining with varying strength and characteristics to form a whole that propels both drama and emotion.

THE REST IS HISTORY. . .

Star Trek: Next Generation consisted of TWENTY-SIX episodes!! While no doubt well paid, this remains an incredible workload for the cast and crew. Initially, the season got off to a difficult start in terms of ratings and reviews. Nonetheless, by the end of the season , the class of the production and format shone through. Furthermore, it would be nominated for seven Emmy TV awards. Ratings would also improve and it became the highest rated syndication series by the end of the run. To conclude, I would like to look at six episodes from season 1 which I felt stood out while I watched them.

THE BIG GOODBYE – EPISODE 12

The ‘Holodeck‘ plays a huge part in the series as a whole. It’s a fantastic way to marry the past and future together. In this clever episode Picard attempts to escape into one of his favourite film noir simulations but gets more than he bargained for. Then when the holodeck malfunctions, Picard and his crew find themselves in the midst of a simulated “real-life” and perilous gangster mystery.

DATALORE – EPISODE 13

I love a good Jekyll and Hyde story and this one explores the origin of much respected android, Data. Brett Spiner is such a good television actor and he nails both roles as Data and his “brother” Lore, who, as genre conventions require, is basically bad Data and hell-bent on taking control of the Enterprise.

HEART OF GLORY – EPISODE 20

Obviously the stories involving the Federation are always interesting but often I really enjoy the more personal narratives. In this episode Michael Dorn as Worf finds his allegiances between the Enterprise and fellow Klingons tested. It’s a fine character exploration as we get to see Worf’s warrior persona versus the more reasoned Starfleet side.

THE ARSENAL OF FREEDOM – EPISODE 21

War, or threat of war has always been at the heart of many great episodes. The concept that a planet of arms dealers who are killed by their own hi-tech product was a great idea. It also gave the crew and Enterprise major threats on the planet they visit and in space. The action, character development and suspense make this a very thrilling episode all-round.

SYMBIOSIS – EPISODE 22

Social commentary was a key component of the ‘Original Series’. Many episodes tapped into the zeitgeist of the 1960’s issues relating to war, race, religion and gender etc. TNG continued this tradition with Symbiosis which expertly explores the nature of narcotic addiction and how it can be exploited to negative effect by an alien race. I especially enjoyed the grey ending where the ‘Prime Directive‘ comes into play.

CONSPIRACY – EPISODE 25

A major rule throughout Star Trek is that the Federation is not to be shown as corrupt. There have been exceptions to this in certain feature films and they get around this in Conspiracy with the Federation top brass invaded by parasitic aliens. The narrative was very strong and felt like a feature film story in scale. I also loved the David Cronenberg-style monsters appearance in the gory finale.

Reviews, Television

CHERNOBYL (2019) – HBO TV REVIEW

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CHERNOBYL (2019) – HBO TV REVIEW

Created and written by: Craig Mazin

Executive Producers: Craig Mazin, Carolyn Strauss, Jane Featherstone

Producer: Sanne Wohlenberg

Directed by: Johann Renck

Starring: Jared Harris, Stellan Skarsgard, Paul Ritter, Jessie Buckley, Emily Watson, Con O’Neill, Adrian Rawlins, Sam Troughton, Robert Emms, David Dencik, Ralph Ineson, Barry Keoghan etc.

Composer: Hildure Guonadottir

Cinematography: Jakob Ihre

**MAY CONTAIN SPOILERS**

The horror. The human error. The inhumane error. The terror. Meltdown during a safety test. Flaws in the system as ghosts envelop the machine. Science in a brave new world invents progress with which we venture into, only to find we are murdering ourselves.

The terrifying events which took place are chartered with grey, brutalist accuracy. Regular Soviet families live in proximity to a ticking time bomb; believing they are protected by the State. The State trusts the science. The science trusts men to follow nuclear procedures to the letter. But what of pride? What of targets? What price the desire to obsess and force a flawed system?

On that fateful day on 26th April 1986, the nuclear time-bomb exploded. Initially, it was believed it could be contained. The Soviet machine could handle the fallout. Heat. Water. Steam. Graphite. Fire. All conspire to create one of the biggest disasters ever perpetrated against nature.

The Chernobyl nuclear disaster is well documented but for years the alleged truth was covered up. Death toll rose but official statistics stayed low. Naked miners, radiation sickness, blood, pus and falling hair. Style and look was natural and under-stated. Verisimilitude only heightening the horror.

Johann Renck directs with steely commitment from an incredible Craig Mazin screenplay. Jared Harris, Stellen Stensgaard, Jessie Buckley and Emily Watson lead a stirling cast of formidable character actors. The attention to detail in the HBO production is second-to-none. Thankfully the vicarious fear is palpable and I am able to view such events in the comfort of my own home.

We did this to ourselves but it could have been worse. When will humanity learn that we will bring about our own judgement on Earth. The Scientists led by Valery Legazov and composite character, Ulana Khomyuk, fought at length to contain and prevent this ever happening again. Who really believes it won’t? There are approximately four hundred and fifty nuclear power plants in the world. The threat hangs over humanity like a cancer.

I was at school in April 1986. Just sixteen years old. I saw events on the news. Historical dramas such as Chernobyl make real the fear that was there at the time. The site is still poisoned. The exclusion zone remains two-thousand and six-hundred square metres; uninhabitable for twenty thousand year, according to an online source. This event teaches us to never take anything for granted. We have built our own gallows.

1986. Former Soviet Union. Ukraine. Pripyat. Chernobyl Nuclear Power Plant. Disaster. Recovery. Suppression. Lies. Liquidation. Death. Suicide. Exclusion.

The horror. The horror.

Mark: 10 out of 11