Tag Archives: REVIEW

Cinema, horror, Reviews, Shudder, Television

SHUDDER REVIEW: LATE NIGHT WITH THE DEVIL (2023)

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SHUDDER REVIEW: LATE NIGHT WITH THE DEVIL (2023)

Written and directed by Colin Cairnes and Cameron Cairnes

Produced by Mat Govoni, Adam White, John Molloy, Roy Lee, Steven Schneider and Derek Dauchy

Cast: David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri, Georgina Haig, and Josh Quong Tart

Cinematography: Matthew Temple

*** MAY CONTAIN SPOILERS ***

Some years ago I wrote an article about how I dislike the found footage sub-genre and that article can be found here. Occasionally, found footage is used well such as in Creep (2014) with Mark Duplass or REC (2007) or Chronicle (2012). Now you can add Colin Cairnes and Cameron Cairnes, Late Night With the Devil (2023) to that list of found footage films I actually enjoyed.

Technically, one could argue it isn’t really found footage and it negates such films often “amateurish” filming methods, with a truly stylish rendition of 1970’s television chat shows. However, we are asked by the narrator to view “never-before-seen” images and sounds from a previously unreleased and infamous TV chat show presented by ‘Night Owls’ host, Jack Delroy (David Dastmalchian). So, found footage it is!

David Dastmalchian is absolutely fantastic in his role as ambitious but desperate to be number-one chat show host, Jack Delroy. Often cast in supporting roles he now grabs the chance to become much more than that scene-stealing character actor. Delroy is not unlikable, but his arrogance and ambition dominate his personality. So much so, and despite his grief at losing his wife to cancer, he is prepared to allow all sorts of creepy and inappropriate situations unfold in his desperate search for TV ratings.

Delroy pits a dubious psychic Christou (Fayssal Bazzi) against skeptical former magician Carmichael the Conjurer (Ian Bliss), before asking parapsychologist author June Ross-Mitchell (Laura Gordon), and her subject Lilly D’Abo (Ingrid Torelli) to contact a demonic presence called ‘Mr Wriggles,’ live on television. Even after Christou is rushed to the hospital and Lilly contorts and spits out growling obscenities, Delroy decrees the show must go on. The Cairnes Brothers then continue to ratchet up the tension and horror to a deadly and shocking ‘Night Owls’ televisual denouement.

With echoes of the recent Inside No. 9 (3×3 quiz show episode) and BBC show Ghostwatch (1992), and of course The Exorcist (1973), Late Night With the Devil (2023) is one of the most enjoyable horror films I have seen in sometime. The 1970’s period setting and TV studio location is impressively recreated by the fantastic production team, especially on a relatively low budget. Arguably, the plot, once you dig down into it lacks emotional depth, however, the pacy and darkly funny screenplay more than compensates for this. Overall, the film’s style, design, direction and a commanding performance from Dastmalchian ensure Late Night With the Devil (2023) is essential viewing for all horror fans.

Mark: 9 out of 11

Articles, horror, Short films

INFERIS (2024) short film POSTER and STILLS

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INFERIS (2024) – A new horror short poster and stills.

After a few years gap I finally managed to get back into the short filmmaking process last year with INFERIS (2024).

I wrote and produced it as a very low-budget psychological horror proof of concept short.

It was filmed at Raindance Film School in August 2023 and post was completed in February 2024.

Here’s the poster:

Here are some stills:

If you haven’t seen it, the trailer is here:

INFERIS (2024) – Production Details

Tagline – “They make you work like hell!”

Logline – Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.

Cast and Crew

Director: Philip Wolff

Writer: Paul Laight

Producers: Paul Laight and Philip Wolff

Cast: Shaun Rivers and Julia Florimo

Cinematography: Toma Iaramboykov

Sound: Delbert Grady

Camera Assistant: Jackey Limbu

Lighting Assistant: Max Wronka

Editor and Post-Production: Gary O’Brien

Music: Premium Beat & Lord Oscillator

© 2024 A Fix Films and 21st Century Wolff Production

Cinema, New Releases, Reviews

CINEMA REVIEW: ANATOMY OF A FALL (2023)

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CINEMA REVIEW: ANATOMY OF A FALL (2023)

Directed by Justine Triet

Written by Justine Triet and Arthur Harari

Produced by Marie-Ange Luciani and David Thion

Main cast: Sandra Hüller, Swann Arlaud, Milo Machado Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Saadia Bentaieb, Camille Rutherford, Anne Rotger, Messi (the Dog), etc.

Cinematography by Simon Beaufils

Acclaimed director Justine Triet defies the old advice of not to work with children and animals to deliver a compelling courtroom, domestic and psychological suspense drama in Anatomy of the Fall (2023). Indeed, the performances of teenage actor, Milo Machado Graner and Messi the dog are of terrific quality. The dog’s acting is only surpassed by a formidable tour-de-force portrayal by Sandra Hüller. She excels as a wife accused of murdering her husband in the French Alps town of Grenoble. Did she? Well, there are no easy answers as the script dissects the crime and the couple’s marriage with forensic intensity.

Triet and her screenwriting partner, Arthur Harari, do not waste any time setting up the mystery element of the drama. The film opens as we follow visually impaired, Daniel Maleski (11 years old) taking his dog for a walk in the snow. At the same time his mother, an author, Sandra, is being interviewed by a research student in the chalet. But we never see the husband, Samuel, who plays thumping music from upstairs. When Daniel returns, the student has left and his father is found dead on the hard white, but blooded, ground. Sandra is upstairs unaware of her husband’s demise. Or is she? Herein begins the did-she-or-didn’t she kill him question? It’s a brilliant opening sequence where Triet and her production team demonstrate impressive filmmaking skill, an adroitness which continues throughout.

Anatomy of the Fall (2023) is an extremely complex film, both intelligent and thematically powerful. The courtroom exchanges between Sandra, her son Daniel, Samuel’s psychotherapist, the prosecution and defense lawyers are brilliantly written and acted. The flashback arguments between Samuel and Sandra are gut-wrenching and all too familiar to anyone who has been in or witnessed the crumbling of a marital or parental relationship. As well as the central mystery, Triet and Harari also skilfully weave in thematic subplots relating to literary plagiarism and mental health. While slightly overlong with mild pacing issues toward the end, Anatomy of the Fall (2023) is overall an absorbing thriller about what happens when the love between two people runs its tragic course and the shock and grief that can follow.

Mark: 8.5 out of 11

Star Trek, Television

TO BOLDLY REVIEW #14 – STAR TREK: DEEP SPACE NINE (1993 -1999) – SEASONS 1 – 7

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TO BOLDLY REVIEW #14 – DEEP SPACE NINE (1993 -1999)

Created by: Rick Berman, Michael Piller

Based on Star Trek: by Gene Roddenberry

Showrunners: Michael Piller (1993–1995) and Ira Steven Behr (1995–1999)

Main Cast: Avery Brooks, René Auberjonois, Terry Farrell, Cirroc Lofton, Colm Meaney, Armin Shimerman, Alexander Siddig, Nana Visitor, Michael Dorn, Nicole de Boer, etc.

Theme music composer: Dennis McCarthy

*** MAY CONTAIN SPOILERS ***

It’s been over a year since I reviewed the Star Trek feature films here. Thus, much of 2022 was spent watching the seven series of Star Trek: Deep Space Nine. The fact that I got through all seven seasons of the show illustrates two things:

  1. I am determined to finish this viewing project of watching every Star Trek produced film and television show released from the original series to now!
  2. Star Trek: Deep Space Nine was a really excellent show that made me want to watch it the end.

While containing lots of genre and narrative similarities to the previous Trek television productions, Star Trek: Deep Space Nine (DS9), expanded further the characters, worlds and vision established brilliantly by The Next Generation. Crossing over and surpassing the TNG timeline, DS9‘s narratives centralized around the space station positioned close to the planet of Bajor.

The Bajorans occupy the Alpha Quadrant and had one of the oldest and richest cultures in Star Trek lore. Driven by a spirituality similar to Buddhism, they are a proud people who suffered greatly during the invasion by the Cardassians, who built Deep Space 9 to control the Bajorans and the Alpha Quadrant. After the defeat of the Cardassians, Starfleet were assigned to manage DS9 and the series starts with Captain Benjamin Sisko (Avery Brooks) taking his place as commander of the station. To his surprise, Sisko becomes “Emissary” to the Bajoran prophets. A holy position which drives many storylines throughout the series and conflicts with the logical aspects of his role as Captain.

Deep Space Nine has many fine standalone episodes, however, what makes it differ greatly from the previous franchise series is the complex narrative and character arcs which dominated the latter seasons. These were directly linked by the brutal war which developed between Starfleet, their allies and the Dominion and the Cardassians. Personally, I could have done without many of the romantic “pairings-off” we got between the characters, however, they did raise the emotional stakes for them and brought greater narrative resonance. Lastly, the expansion of the Star Trek universe through use of the wormhole, allowed many other alien species to be introduced to the ever-growing Star Trek universe.

While sci-fi shows can live and die on their scientific concepts and themes, great characters are always at the heart of Star Trek. Sisko is a commanding presence throughout, yet Odo (René Auberjonois), a shapeshifter, was arguably the most complex of all characters, especially when a massive narrative reveal is dropped during Season 3. The familiar face of Worf (Michael Dorn) joined in Season 4 and he provided seriousness when compared to the more energetic characters of Jadzia Dax (Terry Farrell) and the scheming, but humorous Ferengi, Quark (Armin Shimerman). The Bajorans on the station were represented by Nana Visitor’s formidable, Kira Nerys, while Doctor Julian Bashir (Alexander Siddig) and Miles O’Brien (Colm Meaney) had a fine bromance. Finally, Deep Space Nine also had some fantastic guest actors, notably Louise Fletcher, Frank Langella, Iggy Pop, Tony Todd, James Darren and Andrew Robinson as Garak. The latter two actors became virtual regulars and Garak, the mysterious and exiled Cardassian, was probably my favourite character in the whole show.

To end this short review I’d like to pick seven of my favourite episodes – one from each season. They represent some of the best examples of, Deep Space Nine, an often brilliantly written, powerfully acted, funny and moving science fiction series.

DEEP SPACE NINE – SEVEN GREAT EPISODES

1. EMISSARY – EPISODE 1

A fine introduction to the characters, setting and themes which will dominate the next seven seasons.

2. THE JEM HADAR – EPISODE 26

A brilliant episode which introduced the fearsome Dominion soldiers, The Jem Hadar.

3. IMPROBABLE CAUSE / THE DIE IS CAST – EPISODES 20 & 21

Odo investigates a murder attempt on Garak on the space station. Their complex relationship thickens within a superbly scripted espionage thriller, full of twists and revelations.

4. THE VISITOR – EPISODE 3

An amazingly involving narrative which finds Sisko lost in a temporal void, with his son, Jake, prepared to make the ultimate sacrifice to save his father.

5. TRIALS AND TRIBBLE-ATIONS – EPISODE 6

An incredible episode full of amazing production values as it merges both present and past characters from Star Trek. The DS9 crew are sent back in time where they encounter their Enterprise predecessors and those damned pesky Tribbles.

6. FAR BEYOND THE STARS – EPISODE 13

Developed like a BBC Play for Today drama, this episode is thematically meta-rich, exploring science-fiction writing and racism in 1950’s America. How Avery Brook’s dual identities of Benny Russell and Captain Sisko connect across the universe is enigmatic, poetic and utterly compelling.

7. WHAT YOU LEAVE BEHIND (Parts 1 and 2) – EPISODEs 25/26

Despite replacing Jadzia with an inferior (Ezri) Dax, and containing a few unnecessary filler episodes with that character, the final season ultimately brought the war with the Dominion to an astounding dramatic conclusion. Sisko’s journey as the Emissary also reached a spiritually emotional and intelligent denouement. One of the best final television seasons of all time, perhaps?

Cinema, Netflix, New Releases, Reviews

NETFLIX FILM REVIEW: BLONDE (2022)

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NETFLIX FILM REVIEW: BLONDE (2022)

Directed and written by: Andrew Dominik

Based on: Blonde by Joyce Carol Oates

Produced by: Brad Pitt, Dede Gardner, Jeremy Kleiner, Tracey Landon, Scott Robertson

Main cast: Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Julianne Nicholson, Evan Williams, Toby Huss, David Warshofsky, Caspar Phillipson, etc.

Cinematography: Chayse Irvin

*** CONTAINS HISTORICAL SPOILERS ***

Aside from expertly directing episodes of the Netflix drama, Mindhunter and the documentary One More Time with Feeling (2016), filmmaker Andrew Dominik’s directorial output has been sparse of late. Indeed, he hasn’t released a feature film since quirky gangster drama, Killing Them Softly (2012). I imagine this is due to many reasons including: slow-gestating methodology, several unrealized projects failing to see a greenlight, and the dreaded COVID-19. It’s a shame as I believe he is one of the most compelling filmmakers around at present. Chopper (2000) remains one of my favourite cult stories about a charismatic, larger-than-life criminal anti-hero. Similarly, The Assassination of Jesse James by the Coward Robert Ford (2007) is one of the best films I have seen from the last twenty years.  It was pretty much a box-office flop but everything about it screamed greatness to me: stunning cinematography; brilliant cast; and resonating themes regarding celebrity and legend in the Wild West.

After Chopper Read and Jesse James, once again Dominik explores the iconic life of a real person in Blonde (2022). You may have heard of her, Norma Jean Mortenson/Baker, or as she was more famously known: Marilyn Monroe. Using Joyce Carol Oates’ book as a springboard, plus no doubt many other written, visual and media sources available, Dominik has crafted a stylish and singular vision of the peroxide icon’s life and career. In no doubt should a viewer believe this to be a “true” story in the documentary-drama style, but rather an impressionistic, poetic and compelling imagining of Marilyn’s short, yet tumultuous, existence on this planet.

For me, Marilyn Monroe was one of the most stunning movie stars who ever existed. She lit up the screen and was a mightily under-rated actor also. In her heyday she was the biggest star in the world. Her role as Sugar in Some Like it Hot (1959), is one of the most gorgeously funny, beautiful and vulnerable performances ever committed to celluloid. Enter Ana De Armas as Marilyn in Blonde (2022). De Armas is a revelation on-screen in terms of her looks, movement, body language and the nuanced depth she brings to the screen siren. It’s a brave role too as the script demands much of her. Throughout many exquisitely filmed and edited scenes lies the ugly degradation of Marilyn’s body and soul. De Armas gives her all in these vignettes of domestic abuse, sexual assault, rape, abortions, overdoses, miscarriages, mental breakdowns and further sexual gaslighting at the hands of people she believed were friends.

So, why should you want to watch Blonde (2022), you may ask yourself. Well, De Armas’s performance alone is worth enduring much of the emotionally draining misery. Moreover, Dominik again proves himself to be a director of the highest quality. He’s a maverick and iconoclast who has an impressive and intelligent cinematic eye. The opening sequence where Norma, as a young child, is driven by her unwell mother through Los Angeles forest fires is a frightening and imperious interpretation of mental health, full of fear, heat, and portentous symbolism. Such fire and trauma foreshadows the distress and torment that is to come to young Norma throughout her life. A schizophrenic Mother also echoes the schism of persona that impacts Norma the individual, and Marilyn the movie star. The division of personalities is a theme which the screenplay sensitively explores, despite being buried in the more lurid and shocking events of Marilyn’s sad life.

Overall, Blonde (2022) is a startling and shocking rendition of Marilyn Monroe. Of course, hers was an existence full of drama, intensity, darkness and tragedy. But you have to think there was some light in there, some happiness, humour and joy. On some fleeting occasions during Blonde (2022), Dominik presents this, but ultimately this is a beautifully filmed yet ugly-hearted cinematic tragedy. On the surface the film genre is biopic, but it really is a horror film, as Marilyn’s exploitation by the men in her life is laid bare on the screen. I’ve read some critics describe the film as exploitational, however, this is a film ABOUT exploitation. Marilyn was exploited by agents, photographers, directors, producers, the press, the Hollywood system, the audience, her doctors, her lovers, her husbands and a President of the United States.

Dominik is perhaps suggesting Monroe did not kill herself, but was disintegrated by those who should have loved and cared for her. The ultimate tragedy is that Norma/Marilyn could not find the love and mental strength inside herself to survive those who perpetually sought to profit from this beautiful shining star. If the events realised in Blonde (2022) are to be believed, what person could?

Mark: 8 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: LICORICE PIZZA (2021)

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CINEMA REVIEW: LICORICE PIZZA (2021)

Written and Directed by: Paul Thomas Anderson

Produced by: Sara Murphy, Adam Somner, Paul Thomas Anderson

Cast: Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie etc.

Cinematography: Michael Bauman and Paul Thomas Anderson

Edited by Andy Jurgensen

*** MAY CONTAIN SPOILERS ***

Any film from Paul Thomas Anderson will certainly receive high critical praise and Licorice Pizza (2021) is certainly no different. Not only do I think this is his most over-rated film. I don’t even think it is a good one. Not for any technical reasons. Because as usual Anderson’s filmic skills as a director, the scintillating cinematographic style, the evocative rendition of early 1970’s Californian suburbs, plus two star-making turns within a formidable cast, ensure Licorice Pizza (2021) is deservedly going to win many plaudits. But I just did not get the story about pretty much nothing and did not connect with the lead romance.

Set in 1973, Licorice Pizza (2021), is part slice-of-life period drama and part character comedy, with a spine consisting of an odd romance between entrepreneurial fifteen-year-old, Gary Valentine (Cooper Hoffman) and twenty-five-year-old, Alana Kane (Alana Haim). While containing many brilliantly directed scenes, the film is a hot mess of indulgent rooting through Paul Thomas Anderson’s historical research and anecdotal events inspired by real-life film producer, Gary Goetzman.

Being asked to root for a relationship which is dubious on the surface and extremely complex to say the least is not beyond me. But Licorice Pizza (2021) doesn’t address the age difference, aside from a couple of moments in the script. I know Cooper Valentine is an old head on young shoulders, but why Alana doesn’t hang out with people her own age was weird for me. I’m not being politically correct or a prude, but is Anderson asking for us to root for what could end up being statutory rape. Am I over-thinking this? Well, all I can say is it impacted my emotions of a major aspect of the story.

Licorice Pizza‘s (2021) worst crime is it’s virtually plotless and I could not identify with the characters. I liked Gary to a certain extent as he ducks and dives to make a living, but what was at stake? Nothing really. Yeah, I get it is art but I found Anderson’s vision boring. Sure, the actors are great, especially the effervescent Alana Haim. Virtual cameos from Sean Penn, Bradley Cooper and Tom Waits failed for me though, with Cooper’s coke-addled and womanising impression of Jon Peters about as funny as an enema. Of course, the cinematography, period design, soundtrack and costumes are exquisitely presented, but they exist in an emotional vacuum. Finally, Licorice Pizza (2021) made me want to watch Paul Thomas Anderson’s previous 1970s masterpiece, Boogie Nights (1997). Now, that film deserved all the critical praise that came its way.

Mark: 6 out of 11

Cinema, Films That Got Away, Reviews

SKY CINEMA REVIEW: MINARI (2020)

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SKY CINEMA REVIEW: MINARI (2020)

Directed by Lee Isaac Chung

Written by Lee Isaac Chung

Produced by: Dede Gardner, Jeremy Kleiner, Christina Oh

Cast: Steven Yeun, Han Ye-ri, Alan Kim, Noel Kate Cho, Youn Yuh-jung, Will Patton, etc.

Cinematography: Lachlan Milne

Music by: Emile Messeri

*** MAY CONTAIN SPOILERS ***

See the source image

I missed Minari (2020) at the cinema. Which is a shame because out of all the Oscar-nominated films from earlier in the year it is now my favourite. Further, it should certainly have won the best film award. (Note: I have yet to see The Father (2020).) It has the heart and warmth and realistic hope that eventual winner, Nomadland (2020) lacked. Chloe Zhao’s powerful character study was arguably too meditative and glacially paced, without any real diversion from the plodding repetition of monotonous existence. I love slice-of-life and character-driven work, but I want some drama too. While Minari (2020) has certain meditative qualities, writer-director Lee Isaac Chung has crafted a supeb cinematic memoir of tender power and emotion.

Set in 1983, Minari (2020), centres around the Yi family. They had been working in California, but have moved to Arkansas to farm the land. The father, Jacob (Steven Yuen) dreams of growing produce to sell to fellow Korean businesses. However, the farm and static caravan he has purchased is remote with no guarantee of water to ripen the fruits and vegetables. Jacob must either pay exorbitant prices from the water company or find a natural spring underground. Alas, rain rarely threatens the Arkansas plains.

Jacob’s wife, Monica (Han Ye-ri) hates the caravan and does not share his farming dream. This marital conflict drives the much of the narrative as the two argue constantly. Monica is especially angry that her young son, David (Alan Kim) is so far from a hospital. The boy has a heart condition and like any good mother she consistently worries. Their teenage daughter, Anne (Noel Kate Cho) is too young to be a full-time caregiver to David while Jacob and Monica support themselves working at a local chicken factory. To placate Monica, Jacob brings grandmother, Soon-ja (Youn Yuh-jung) to the farm for support. Here a beautiful and funny parallel plot begins as David and his grandmother’s relationship comes to the fore.

See the source image

I watched Minari (2020) on a Sunday morning at home, relaxed and cosy, filled with breakfast and coffee. I loved experiencing the film. The music wondrously supports the beautiful photography that illuminates the green and wheats that fill the lens’ gorgeous palette. Like the masterpiece, Parasite (2019), Minari (2020) represents a working-class family striving to stay together and survive in difficult times. The main difference though is the Yi family were doing it with honest hard graft rather that grifting, ducking and diving. The Yi’s connect with nature and the land rather than skimming the city and the rich. I really rooted for the Yi’s. Jacob’s desires and battles to find water reminded me of the equally moving French classic, Jean De Florette (1986).

Minari (2020) doesn’t take the obvious route of making the Arkansas locals racists who rail against the Yi’s. While there are some scenes involving cultural clashes, much of the drama and humour derives from the families interactions with each other. Indeed, the scenes where David antagonises his unconventional grandmother are hilarious. Youn Yuh-jung as the elderly matriarch is fantastic, deservedly winning a best supporting actress role at the Oscars. Moreover, Lee Isaac Chung gets a miraculous performance from child actor, Alan Kim. Special mention for a busy, but nuanced portrayal of a troubled but helpful worker, Paul, by Will Patton. His deeply pious character could have easily been made an antagonist, but Chung ensures he is another relatable human being in a film full of them.

Mark: 9.5 out of 11

Cinema, Netflix, New Releases, Reviews

NETFLIX FILM REVIEW: HIS HOUSE (2020)

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NETFLIX FILM REVIEW: HIS HOUSE (2020)

Directed by: Remi Weekes

Produced by: Aidan Elliott, Martin Gentles, Arnon Milchan, Ed King, Roy Lee

Screenplay by: Remi Weekes

Story by: Felicity Evans, Toby Venables

Cast: Wunmi Mosaku, Sope Dirisu, Matt Smith, etc.

Cinematography: Jo Willems

***MAY CONTAIN SPOILERS***

Similar in spirit to the Jacques Audiard directed film, Dheepan (2015), the latest Netflix film release, His House (2020), takes the migrant experience as a key narrative driver, then filters it through exciting genre style. While Dheepan (2015) started as a story of survival before crossing over into thriller territory, His House (2020) superbly combines social commentary with the horror genre. Moreover, a key plot reveal later in His House (2020) is extremely similar to that found in Dheepan (2015). Nonetheless, it is a powerful film, both unnerving and thought-provoking in equal measure.

His House (2020) introduces us to Bol (Sope Dirisu) and Rial (Wunmi Mosaku), a refugee husband and wife seeking asylum in Britain from South Sudan. Having survived a treacherous journey from this war-torn part of the world, their young daughter is not so lucky. Alas, Nyagak (Malaika Agibaka) dies during a stormy boat journey. This incident and their social status immediately garners sympathy and empathy for the protagonists. Allied to this, on achieving probational asylum status their jaded case worker, Mark (Matt Smith), brings them to a rundown council estate to live in. It is to Bol and Rial’s credit that they accept their new abode with gratitude. Bol especially is keen to mix with the locals and fit into the British way of living. However, the two soon encounter indifference, racism and prejudice.

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As the narrative continues Bol and Rial have more to contend with than ignorant locals. Rial is resistant to integration as she desperately holds onto her Sudanese clothes and customs. While Bol is clearly trying to distract himself from the tragedy, Rial’s grieving takes the form of clinging onto the memory of her daughter and their Sudanese ways. This familial division is exacerbated by disturbing supernatural phenomena, as a strange dark spirit and the ghost of Nyagak both appear. Could it be grief and guilt manifesting such spectres? Or are they suffering from post-traumatic stress following their harrowing journey to Britain? Or has a genuinely evil spirit hijacked their attempts to build a home and find peace?

Declaring himself as a director to keep tabs on, Remi Weekes, has written and directed an excellent first feature film in, His House (2020). The pacing of the story is excellent as we get flashes of Bol and Rial’s past in Sudan, juxtaposed with their attempts to acclimatise in Britain. As someone whose life is extremely privileged when compared to that of such characters, I was both moved and fearful for the protagonists. This is not only down to an excellent script full of subtext, symbolism and dread, but also due to Sope Dirisu and Wunmi Mosaku’s compelling performances. Furthermore, you really feel the pain of the couple’s loss and suspense created by that which lurks within the stained walls of their apartment. While there are many tense moments, my one reservation with His House (2020) was there arguably wasn’t enough true horror moments. Having said that, the actual reality of Bol and Rial’s situation in losing a daughter, suffering British administrative red-tape and living amidst everyday prejudice, is far scarier than ghosts and monsters can ever be.

Mark: 8.5 out of 11

Netflix, Reviews, Television

NETFLIX TV REVIEW – UNORTHODOX (2020)

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NETFLIX TV REVIEW – UNORTHODOX (2020)

Directed by Maria Schrader

Written by: Anna Winger, Alexa Karolinski, Daniel Hendler

Based on: Unorthodox: The Scandalous Rejection of My Hasidic Roots
by Deborah Feldman

Cast: Shira Haas, Amit Rahav, Jeff Wilbusch, Alex Reid, Aaron Altaras, Ronit Asheri, Dina Doron, Gera Sandler, and more.

Original Network: Netflix

**** MAY CONTAIN SPOILERS ****

When one watches a memoir based on true events such as Netflix’s Unorthodox (2020), you realise how lucky you are in regard to the freedom you have. This isn’t about an individual going through social lockdown for good reason, but someone who is trapped by their strict religious and family traditions. Such traditions in themselves could be deemed acceptable as we must respect different ways of living. However, what if that person wants to leave their life and is not allowed? This is called incarceration of the soul and body. This is wrong. People must be allowed to choose their own way in life and not be tethered by dogma or ideology. I repeat, I respect people’s belief systems, but not if it has a negative effect on that person.

Based on Deborah Feldman’s bestselling autobiography, Unorthodox, is an impressive four-part drama which focusses on Esty Shapiro, portrayed with provocative emotion and vulnerability by Shira Haas. Esty is an unhappy Jewish woman, who finds herself trapped in a traditional ultra-Orthodox marriage in Williamsburg, Brooklyn. She is denied many things such as a control, position, voice, personality, expression and her love of music. The compelling episodes go back and forth in time between the build up to her marriage to inexperienced, Yanky (Amit Rahav), and Esty’s escape to Berlin, where she explores the world outside her religion for the first time.

While Yanky is shown to be kindly, he is committed, some may say brainwashed, to his faith. Therefore, the marriage process is one of suppression and control. Every moment of Esty’s life is plotted, from the shaving of her hair prior to the wedding, and after, the days they are meant to have sex. The intercourse, however, proves anxious for the young couple. Rather embarrassingly though, this private matter becomes a huge issue with other family members. Privacy, it seems, is secondary as Esty is treated no better than a brood mare. Even after she escapes to Berlin, Esty is pursued by her husband and brutish cousin, Moishe (Jeff Wilbusch). Sadly, there seems to be more control in the Hasidic community than love. Of course, this is a representation of Deborah Feldman’s experience, thus, I cannot begin to understand the nature of the Hasidic Jewish community in full. For many it is probably a safe space and designed to protect individuals from the often rotten world outside. Faith and family can be great protectors, however, in this story, for one person, that life became a living hell.

In the character of Esty we are introduced to a fascinating world, and her riveting struggle to become an individual rather than follow patriarchal doctrine. While the narrative takes a slight left turn in the final episode, I can heartily recommend this mini-series. Lastly, I cannot judge if the representation of the Samtar movement is realistic, yet the setting, costumes and culture feels authentic. The actors speak, on the main, Yiddish, and in Shira Haas’s commanding performance Unorthodox we get a very realistic encapsulation of a desire to escape oppression. Haas may be diminutive in size, but her rendition of Esty Shapiro is mighty in heart and soul.

Mark: 9 out of 11

Cinema, New Releases, Reviews

IN MILD DEFENCE OF #3: CATS (2019) – CINEMA REVIEW

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CATS (2019) – CINEMA REVIEW

Directed by: Tom Hooper

Produced by: Debra Hayward, Tim Bevan, Eric Fellner, Tom Hooper

Written by: Lee Hall and Tom Hooper – Based on the stage musical Cats by Andrew Lloyd Webber and Old Possum’s Book of Practical Cats by T.S. Eliot.

Cast: Jennifer Hudson, Francesca Hayward, Idris Elba, Judi Dench, Ian McKellen, James Corden, Rebel Wilson, Jason DeRulo, Laurie Davidson, Ray Winstone, Taylor Swift, etc.

Music by: Andrew Lloyd Webber

**MAY CONTAIN SPOILERS*

I think it’s easy to be overtly negative and nasty in reviews, and that is fine in general, as long as you can justify it. What I have found though is there seems to have been an unhealthy pile-on this Christmas by critics in regard to the film Cats (2019). One could even interpret some reactions to the film as hysterical and unfair bullying. I, in no way have any reason to defend wealthy people such as Andrew Lloyd Webber or the director Tom Hooper. But, this review asks the question: is Cats (2019) a really bad film? The answer in short is: no! It’s just not a particularly good one.

My wife loves musicals and was a fan of the original show. Personally, I don’t like cats, nor musicals generally (there are exceptions); and did not know the original stage production either. So, my expectations were pretty low for the film. What I did know is the original musical stage production was one of the longest running musicals in the West End. Plus, it made grossed over £32 billion in various productions across the world. Clearly a film production would make commercial sense and with acclaimed director, Tom Hooper, at the helm — what could go wrong?

Firstly, it’s an obvious thing to say that stage and screen productions generally work very differently. The original Cats was based on the poems of T.S. Eliot and was adapted organically in the 1970s by the likes of Andrew Lloyd Webber, Richard Stilgoe and Trevor Nunn. It was released in 1981 and became a phenomenal success. The narrative on stage and screen concerns a tribe of cats, inhabiting the streets, shops, theatres and homes of London, called the ‘Jellicle Cats’. Each year there is a competition as to who will be given a new life and reach the Heaviside Layer. Imaginatively named characters such as: Rum Tum Tugger (Jason DeRulo), Bustopher Jones (James Corden), Mr Mistoffelees (Laurie Davidson), Grizabella (Jennifer Hudson), Old Deuteronomy (Judi Dench), Bombalurina (Taylor Swift) and many more litter the screen. Several of these characters compete via song and dance routines, but obstacles are introduced by the nasty nemesis, Macavity (Idris Elba).

As I did not know the original adaptation, I have to say that given the lack of a proper narrative, I am surprised the show took off in the first place. This is clearly a testament to the love felt for the many powerful songs in the show, notably the brilliant ‘Memory’. The film itself is essentially a series of musical set-pieces with a very thin narrative and thematic thread throughout. The rules of the world and mythology are not very well established by Lee Hall and Tom Hooper’s screenplay. In fact, there didn’t seem to be much in the way of an opening introduction to the world. So, for me, the film fails to establish believable unbelievability and ease you into the fantasy elements properly. Basically, if you know the original production it is likely you will really enjoy the film. However, I felt it was creatively hamstrung from the start.

Image result for cats film

Overall, much of Tom Hooper’s rendition of Cats (2019) feels rushed in terms of the CGI, the editing, pacing and general flow of the action and events. The first forty minutes sees a flurry of songs from various characters and this left me dizzy. However, there are some excellent set-pieces, rousing compositions, flashy choreography and impactful singing performances in here. Taylor Swift, Jennifer Hudson and Idris Elba I felt were excellent. The rest of the cast, performers and production team also commit wholeheartedly to the project too. They cannot be faulted for certain creative decisions made at studio level. Indeed, whose idea was it to even release the film at Christmas when the Star Wars franchise is likely to defeat all cinema competition.

Maybe the film could have worked better as a lower budgeted, intimate and more stripped-down production. Moreover, while they attempted to include narrative exposition via the character of Francesca Hayward’s innocent stray, Victoria, the film still felt bereft of story. But, as it’s based on a set of poems, this is case with the original show too. Lastly, while Cats (2019) valiantly attempts to deliver a fun, humorous, emotional, energetic and fresh take on the stage show, it does fall short in many places. However, given the catastrophic reviews online and in the media in general, I have to say that it is genuinely enjoyable in places and not as bad as it’s being made out to be. It is still shocking though that such experienced producers and filmmakers would release what appears to be a dog rough work-in-progress product. It just goes to show that however talented you may be, no one is purr-fect!

Mark 6 out of 11