Produced by: Megan Ellison, Dede Gardner, Jeremy Kleiner, Adele Romanski, Sara Murphy, Barry Jenkins
Based on: If Beale Street Could Talk by James Baldwin
Starring: Kiki Layne, Stephan James, Colman Domingo, Regina King, Teyonah Parris, Michael Beach, Pedro Pascal etc.
Cinematography: James Laxton
Music: Nicholas Britell
**MAY CONTAIN SPOILERS**
Barry Jenkins is clearly a talented filmmaker who is striving to transcend the boundaries between art and craft where cinema is concerned. His second feature film Moonlight (2016), was a critical smash and a sleeper box office hit, subsequently going on the win the Best Film nod at the Academy Awards. Whether it was worthy of such as award is another matter, but it was certainly a tremendous work of cinema. The rites of passage story was delivered by Jenkins with imaginative choices in casting, structure, look, music and all-round filmic endeavour.
His latest film, If Beale Street Could Talk, is equally stylish and artfully rendered, but not as emotionally impactful as Moonlight. Indeed, while this is in fact his third feature, Beale Street seems to suffer from classic “2nd album syndrome”, inasmuch as Moonlight set the bar so high, it was going to be a difficult act to follow. Moonlight felt like years of heart and passion thrusted upon the screen, as Beale Street struggles to maintain that said peak. That isn’t to say that the film is not without its virtues as Jenkins once again proves himself a brilliant director.
Set in 1970s, Harlem, New York and based on James Baldwin’s novel, the main protagonists are young working class couple Tish (Kiki Layne) and Fonny (Stephen James). Very much in love we open with Tish’s poignant voiceover and a wonderfully lush score supporting the urban and industrial, yet beautifully shot, imagery. Immediately, we realise Jenkins, while basing his story in realism, is presenting his film poetically. Further, Tish’s voiceover lilts and glues the elliptical, non-linear narrative together.
As with Moonlight, Jenkins uses direct address, the characters looking straight back at us drawing us into their emotional core. One may argue the device is over-used and at times distances us from the pace of the story. As Tish recounts events of her and Fonny’s relationship from childhood friends to their currently plight, you really feel a palpable sense of love, but sometimes it moves so painfully slow. Furthermore, the non-linear structure and stylistic devices also undermined the drama of the piece. Indeed, the best scene of the film in my opinion is near the beginning when Tish and Fonny’s family clash over her pregnancy. In this scene the insults spark and spit off the screen; but alas this conflict is sadly under-developed and not revisited later in the film.
Overall, there is a great story here involving: love, romance, social unrest, police brutality, unlawful arrest and injustice, racism, family strife, hope and loyalty; however, Jenkins artistic desires build the narrative in a way that diverts emotion into the cinema style, more so than the characters. Having said that, he is a filmmaker of some brilliance and he gets fantastic performances from the fine ensemble cast, notably the magnetic Regina King. Ultimately, while the story is told slightly pretentiously for my liking, If Beale Street Could Talk, is a finely tuned work of poetic realism.
Starring: Sally Hawkins, Michael Shannon, Richard Jenkins, Doug Jones, Michael Stuhlbarg, Octavia Spencer
Music by: Alexandre Desplat
**CONTAINS MILD SPOILERS**
Amidst the incredible visual magic, themes of the outsider, forbidden love and the onerous scope of the patriarchy are replete within the works of fantasist Guillermo Del Toro. They are often more than not presented within allegories too where the fantastic elements are employed to both create spellbinding awe while secretly delivering an important socio-political message. For me, Del Toro in attempting to marry grandiose concepts with important messages must be praised for his risk-taking. Above all else there is no doubt, as his latest film The Shape of Water confirms, he is a filmmaker of some brilliance.
Del Toro’s body of work demonstrates: outsiders, freaks, the silent minority and the shunned are never far away from his vision. In The Devil’s Backbone (2001) and Pans Labyrinth (2006), children find themselves the victims of horrific civil war. While, similarly, in Hellboy (2004) war with the Nazis is central to the core as our anti-hero, a sarcastic red ‘demon’, fights against all manner of monstrous foes. Prejudice against Hellboy is also represented within his “forbidden” love for Liz Sherman (Selma Blair), while an altogether more sinister romance is shown in gothic thriller Crimson Peak (2015). Even muscular vampire-hunter played by Wesley Snipes in Blade II (2002) is a freakish hybrid who does not fit into the societal and patriarchal order.
In The Shape of Water, Del Toro has successfully taken all of these elements and themes and delivered a magical, poetic, at times disturbing, but overall incredible cinematic experience. Set during the Cold War in 1950s Washington, Sally Hawkins plays mute cleaner Elisa Esposito, who along with her friend, Zelda (a wonderful Octavia Spencer), 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. She shares her living space with retired copywriter, Giles — portrayed with incredible warmth and wit by Richard Jenkins — and his army of cats. But when a mysterious “Asset” is delivered to Elisa’s place of work she suddenly becomes entwined in an incredible story of sacrifice and love.
The “Asset” is considered a monster by the United States Army and the security team is led by a dominant bully and alpha male called Strickland. Here, once again, Michael Shannon proves himself a formidable actor. He doesn’t just do cartoon bad guys but, thanks to some great writing and acting, Strickland is shown to be the biggest monster of the film; full of nasty quirks and a sadistic desire for control. Doug Jones as the Amphibian Man also deserves a special mention as the scenes between him and Sally Hawkins are very special. Here two silent characters are able to say more with a look, hand signal and touch than a thousand words could achieve. Del Toro supports the acting with some terrific visuals, many of them water-based, as raindrops, bath water and aquatic underwater images submerge us in a rich palette of blues and greens. The music is cleverly used too; from Alexander Desplat’s melodious score to the old classic songs of yesteryear humming from the cinema below Elsa’s apartment building.
In any other year Sally Hawkins, and she may well still do, walk away with all the Best Actress honours; yet she is up against the incredible Frances McDormand. Nonetheless, Hawkins gives us such a nuanced and heartrending performance you forget that she cannot speak. But that is what Del Toro does so well because throughout his oeuvre he gives voices to the outsiders, orphans, children, supposed monsters and victims of oppression. This is mainly a love story but I also enjoyed the brilliant writing from Vanessa Taylor and Del Toro as the script leaps from romance to horror, suspense, action, cold-war thriller and black comedy. Overall, within this magical experience Del Toro invites us into a dark world where prejudice is ultimately defeated by tenderness; and brutality will never stop the path of true love.
MY BLOODY VALENTINE: ALTERNATIVE VISIONS OF LOVE IN THE HORROR GENRE
“Love is giving something you don’t have to someone who doesn’t want it.”
― Jacques Lacan
I continue to write articles for the excellent So The Theory Goes website and here once again is a slightly more academic approach to film analysis. You can read it here or below.
An eternal question in our society still remains: what is love? Is it the joining together of two people forever committed to a relationship built on respect and trust? Or is it the emotion you feel for a family member or person you have bonded with over time? Is it nature’s way of tricking us into the act of pro-creation? Perhaps it’s an abstract and emotional concept created by a higher power to ensure we act positively? For some it could be a dark force which enlivens obsession and stalking and violence or maybe it’s a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors? Maybe it’s simply all of the above!?
Studies by Helen Fisher of Rutgers University propose that we fall in love in three stages involving a different set of chemicals. They are: lust, attraction and attachment. Indeed, the events occurring in our mind when we fall in love are akin to mental illness. Chemicals such as: testosterone, oestrogen, dopamine, serotonin all conflict and combine to change our emotions when we’re attracted to someone. Further studies show that when choosing a partner we are at the mercy of our subconscious and inner sexual desires as proffered in psychoanalytical studies.
Love and sexual desire are a big part of everybody’s lives whether it’s the positive or negative and indeed the continuance of the species is very much reliant on it. Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV show and adverts! Conversely the horror film genre, while not synonymous with romantic love, often explores the darker side of relationships and sexuality. Indeed, as a cultural phenomenon the horror genre is wholly malleable in its narrative omni-presentation; criss-crossing literary, theatrical, dance and televisual culture offerings.
Horror intends to elicit a physiological reaction through stress and shock while presenting: monsters, ghosts, aliens, the fantastic, the supernatural, murderers, bloody gore, kidnappings, mutilation, witches, zombies, psychopaths, natural and unnatural phenomenon, demons and many more aspects which draw on our inner, societal and global fears. But what of love and how is it represented in the horror genre? For this article I would like explore notions of love and sexuality within horror cinema. I will draw on genre, gender, feminist and psychoanalytic theories and how they can be applied within the chosen films. So, if you want an alternative to the usual Valentines-clichéd-cosy-rose-petal-drenched-chocolate-card-Love-Actually-type-movies, then these films are ones you should consider.
AUDITION (1999) – DIRECTOR: TAKASHI MIIKE
It would be unfair to label Miike’s gory shocker a simplistic example of ‘torture porn’. It is in fact an incredibly scary and inventive revenge satire. In her highly influential essay, Visual Pleasure and Narrative Cinema, Laura Mulvey commits the powerful theory that cinema is coded via the “Male Gaze”. According to Mulvey, “. . . pleasure in looking has been split between active/male and passive/female.”
Yet, while beginning with this dynamic, Audition turns it around with the female anti-heroine Asami reversing the gaze on her male contemporaries. What starts as one man’s attempt to find a wife, via his own creepy version of the casting couch, is turned into a violent proto-feminist-carve-up-par-excellence as Asami cuts and slices her male victims with vicious aplomb.
DEAD RINGERS (1988) – DIRECTOR: DAVID CRONENBERG
Freud’s work on the unconscious, dreams, repression and psychosexual stages is, of course, incredibly influential on both psychology, psychoanalysis and film theory. His concept of the unconscious feeding our everyday and the idea that repressed emotions drive our motivations is none more prevalent than in Cronenberg’s exquisite Dead Ringers.
In this psycho-incestuous-ménage-a-trois-love story, twin gynaecologists portrayed by Jeremy Irons, literally split and repress their identities in order to “romance” the same women. The film is a masterwork and encapsulates many of Freud’s theories relating to the Id, ego and superego; while the doppelganger theme also looms heavily over a dark, psychosexual and twisted narrative.
HAROLD & MAUDE (1971) – DIRCTOR: HAL ASHBY
While not technically a horror film as such Harold and Maude is a wonderful off-centre, gothic love story. The eponymous anti-hero cannot connect with his family and the world at large and through constant fake suicides he tortures his mother to the point of breakdown. It is only when Harold (Bud Cort) meets an eccentric older lady Maude (Ruth Gordon) does he begin to find some maturation. The film could be argued to embody many of the Freudian aspects of the Oedipal Complex.
Trevor Pedersen opines, “The Oedipus complex, in narcissistic terms, represents that an individual can lose the ability to take a parental-substitute into his ego ideal without ambivalence.” Indeed, through his unconventional relationship with Maude, who represents both love and death, Harold locates a maternal replacement, friend and platonic lover who brings him out of his depressed state.
IT FOLLOWS (2014) – DIRECTOR: DAVID ROBERT MITCHELL
Mitchell’s low budget psychological horror gem contains many of the hallmarks of the ‘slasher’ subgenre which can be enshrined with the general trope, according to scholar Robin Wood, that teenagers, invariably female, are hunted down for their promiscuity. What makes It Follows such an intriguing anti-date movie is that we never see the actual evil force propelling the murders.
Maika Monroe’s heroine, Jay, finds herself in a chain of deathly sexuality which she can only break through further intercourse. Jay therefore becomes an epitome of what Carol Clover calls ‘The Final Girl’ in her marvellously titled book, Men, Women and Chainsaws. Ultimately, It Follows subverts the ‘slasher’ tropes with a symbolic metaphysical force rather than a physical monster, as the “killer” ultimately represents sexual hysteria, guilt and the malevolent force of youthful sexual abandon.
LET THE RIGHT ONE IN (2008) – TOMAS ALFREDSON
Ever since Bram Stoker’s classic novel Dracula was published we have welcomed, with fear and excitement, the vampire into our culture. Stoker’s Count Dracula was viewed as an inhuman force of destruction; as well as a metaphoric representation of sexual fervour. The vampire character is never more mesmeric and complex than in Let the Right One In. This is a sophisticated rites-of-passage-romance where a teenage boy, marginalised by his peers and family life, falls in love with a young female vampire.
However, the girl is clearly older than her looks, as the narrative bears the hallmarks of a Freudian sexual awakening for our protagonist Oskar (Kåre Hedebrant). In Eli (Lina Leandersson) Oskar finds a combination of: maternal protector, platonic companion and potential sexual partner within a complex psycho-sexual drama with hints of latent paedophilia. Of course, despite these sensitive themes under the surface, the film ultimately triumphs as a beautifully rendered story of innocence, love and friendship.
PSYCHO (1961) – DIRECTOR: ALFRED HITCHCOCK
Arguably one of the greatest horror films of all time is Psycho. From a Freudian and psychoanalytical perspective, it is an absolute goldmine. The story begins with an robbery by Marion Crane (Janet Leigh) but twists into something altogether nightmarish when she hides out at the Bates Motel. The manager Norman Bates (Anthony Perkins) takes a shine to Marion, only for his “mother” to murder her. Norman’s character is the archetypal representation of the Oedipal Complex. Having killed both his mother and her boyfriend some years before the guilt he feels causes him to “become” Norma Crane in order to disassociate him from his crimes and absorb her identity.
Marion causes Norman’s sexual feelings to arise thus Norma/Norman suddenly appears to repress these desires by murder. Charles E. Bakeland opines that if an individual is unable to reconcile a love-hostility-identification relationship with parents there will be strong desires which will weigh negatively on their relationships. This thematic dynamic makes Psycho’s narrative a psychoanalytical minefield as Norma/Norman battle over her/his mind, causing havoc for those characters they come into contact with.
TEETH (2007) – DIRECTOR: MITCHELL LICHTENSTEIN
In his excellent book Genre, Stephen Neale argues horror monsters are predominantly defined as male with women as their primary victims. He continues with the idea that, “… it could be maintained that is it women’s sexuality which constitutes the real problem that horror cinema exists to explore.” One such film which reverses these notions in the excellent body horror film Teeth. Mixing body, horror, comedy with coming-of-age movies the main protagonist is a Christian virgin called Dawn (Jess Weixler). During a sexual assault by a college boy she fends him off via “Vagina dentata”; barbed teeth in her reproductive organ.
Played for shock and humour the story presents valid confirmation and subversion of Laura Mulvey’s proposal that women’s absence of a penis threatens male castration and therefore must be disavowed. Offering impressive gender satire within the sexual revenge narrative, Jess’ character refuses to be assimilated by the patriarchal order and comes of age within both her body, personality and sexuality.
In my view many of the films mentioned above demonstrate the horror genre is rich with possibilities in regard to representations of love, romance, relationships and sexuality. Through theories relating to psychoanalysis, feminism and genre theory we can begin to dip beneath the surface of the darkness of love and humanity. Both masculine and feminine sexuality and identity are constantly in crisis and under threat of death and disease, demonstrating that the path to true love is never straight but more often than not, wholly twisted.
WRITERS: NOEL COWARD, RONALD NEAME, ANTHONY HAVELOCK-ALLEN
MAIN CAST: CELIA JOHNSON, TREVOR HOWARD, STANLEY HOLLOWAY
While I’m not a classic romantic I must admit you can’t beat a really good love story when it’s done well. The ones I enjoy the most are usually the tragic failed or unrequited romance stories which tug, unravel and then break the heart-strings. While I have a soft spot for a jolly rock ‘n’ roller such as Grease (1978), the romance films that stay with me are the likes of: Casablanca (1942), Brokeback Mountain (2005), Dr Zhivago (1965), End of the Affair (1999), Last of the Mohicans (1992) and the sterling understatement of Remains of the Day (1993). Of course, William Shakespeare’s Romeo and Juliet is another brilliant example of a heart-breaking doomed love affair.
I recently went to see Brief Encounter (1945) – on Valentines’ Day in fact – with my wife at the Festival Hall. It was screened in front of a live orchestra, the London Philharmonic no less, and introduced by the daughter of actress Celia Johnson. I’m not a fan of live orchestral presentations as I’m a bit basic and practical. I always think you could be at home listening to a recording via download or CD; yes I am a philistine and have no soul! However, the live accompaniment to the screening of Brief Encounter was phenomenal; enhancing the filmic experience with beautiful renditions of Rachmaninoff’s Piano Concerto No. 2.
Based on Noel Coward’s one act play called Still Life, Brief Encounter really stands the test of time as a poignant narrative of romantic loss. It concerns a seemingly contented housewife, Laura Jesson, and her chance encounter with a respectable Doctor Alec Harvey. Their classic meeting on the platform where he removes grit from her eye sets in motion a touching will-they-won’t-they tryst which pulls you in throughout. The structure is sophisticated and layered with flashbacks as Laura, sitting in her comfy armchair, reminisces of her times with Alec, while her husband sits there unawares doing a crossword.
Much praise has obviously been made of David Lean’s exquisite framing and direction and the searing power of the Rachmaninoff’s music but for me the script from Coward and Celia Johnson’s sorrowful performance were also things of beauty. Her clipped and dulcet tones resonated as she delivered vignettes of secret meetings, stolen memories and pulsing regret. After all this is 1938 and middle-class women were meant to be the bedrock of the household and affairs were a massive faux pas. Plus, she loves her husband and her children; the secrets and lies were just beastly products of a wicked passion and must be repressed. Their respective sense of duty, guilt and the unfair timing of their meeting just won’t allow a happy-ever-after story. Despite it being seventy years old the film is so sad and I still felt the characters’ heartache radiate through the screen.
Much of the action takes place on shadowy platforms, moving trains and in the café room at the railway station. The rush of smoke, whistles and trains create a sense of urgency and panic to the love affair. The couple are always in a rush to be with and away from each other so as not create suspicion at home. Conversely Alec and Laura are like trains themselves passing each other in the night in transit but unable to couple up for the remaining life journey. It’s not all doom and gloom though as Coward’s script is full of wit, humour and suspense too. The secondary characters and extremely well drawn and while bordering on the stereotypical the characterisations reflect the various British types and the class system prevalent at the time.
Overall, Brief Encounter remains a classic romance and one of the best British films ever made. It tells us love has no logic or idea of timing as two innocent characters are made to be liars because of the power of their emotions. Only the goodness of their hearts, a sense of duty and what is right means they will ultimately return to their marriage partners. But the gaping vacuum created by love is something they will just have to contend with. Brief Encounter is a timeless classic and deserves to be seen on the big screen; especially when backed by the exquisite musicianship of the London Philharmonic Orchestra.
– Is it the joining together of two people forever committed to a relationship built on respect and trust?
– Is it the emotion you feel for a family member or person you have bonded with over time?
– Is it nature’s way of tricking us into the act of pro-creation?
– Is it an abstract and emotional concept created by a higher power to ensure we act positively?
– Is it a form of madness which ensures we make crazy and stupid life decisions?
– Is it a dark force which enlivens obsession and stalking and violence?
– Or is it a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors?
Put simply it is: ALL OF THE ABOVE at some point in all our lives; although perhaps not the stalking!?!?
What I definitely know is that love is a big part of everybody’s lives whether it’s the positive or negative type? Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV show and adverts! So for my latest article I will review some of the films and programmes I have watched recently which had love or some version of it echoing through its’ narrative heart.
**MAY CONTAIN SPOILERS**
45 YEARS (2015) – NETFLIX
Charlotte Rampling just owns this wonderful bitter sweet drama as a woman “celebrating” forty-five years of marriage to curmudgeon Tom Courtenay. The story moves slowly but confidently as Rampling’s Kate Mercer is shook up by revelations from her husband’s past. Andrew Haigh directs with a haunting charm as love is rendered in wintry hues, while marriage is illustrated as a culmination of what-ifs-buts-and-what-could-have-beens. (Mark: 9 out of 11)
BLACK MIRROR (S3) – SAN JUNIPERO – NETFLIX
Charlie Brooker’s savage satire series cuts off your eyelids and forces one’s eyes to the see the nefarious side of technology. However, the episode San Junipero is an altogether more touching and heart-rending beast. Starring Gugu Mbatha-Raw and Mackenzie Davis as a couple of young girls who fall in love in the 80s drenched coastal town of San Junipero it builds slowly to a majestic reveal in the final act and the themes of love, euthanasia and life after death inform the romance with tearful power. (Mark: 9 out of 11)
BLUE JAY (2016) – NETFLIX
Mark Duplass is an interesting actor-writer-director-improviser who produces small, naturalistic and improvisatory films that are often quietly impressive. Blue Jay is a sporadically brilliant two-hander starring Duplass and the effervescent Sarah Paulson as a former couple who reconnect after years apart and spend a day together revelling in the past, present and future love. Paulson is stunning and Duplass is just Duplass as we spend time with very human characters just trying to get by in love and life. (Mark: 8 out of 11)
BLUE IS THE WARMEST COLOUR (2013) – FILM FOUR
You know the story: girl-meets-girl-falls-in-love-has-lengthy-lesbian-sex-sessions-moves-in-with-girl-then-cheats-on-girl-but-not-before-there-are-more-lengthy-scissor-sister-sessions. Well, something like that. Jokes aside, this is a very honest and believable slice-of-life drama with incredible performances from Léa Seydoux and Adèle Exarchopoulos as the two lovers. The film was laden with awards at time of release and benefits from Abdellatif Kechiche’s frank and intriguing direction. Personally speaking I felt the soul-searching drama and love story were very powerful but the sex scenes were over-long and pornographic and lent nothing to the story overall. (Mark: 8 out of 11)
BROOKLYN (2015) – NETFLIX
This soapy-honey-sweet 1950s set love story contains a tremendous central performance from Saoirse Ronan, as an innocent Irish girl who goes to New York in search of a job and finds love with an Italian plumber. The film delivers a pot pourri of bright colours, national and migrant archetypes and resolves much of the drama very easily; in fact, the film was so nice I expected the cast to break out into song by the end. John Crowley directs the undemanding story deftly and while, I imagine, the plight of an immigrant in those days was much harder than demonstrated this is fine Sunday matinee fare and difficult to dislike. (Mark: 7.5 out of 11)
JACKIE (2016) – CINEMA
Does this fit into the love story genre? I think as a story about a woman who lost the husband she loved, his head blown completely off by a sniper’s bullet, it qualifies as a film about the departure of love. It’s a powerful portrait of Jackie Kennedy with Natalie Portman impressing as the wife of the President left devastated by his sudden murder. Portman as Jackie carries the weight of loss and sorrow on her petite shoulders, drawing on all her strength to carry on living for the sake of a nation and more importantly her children. Her life has been condemned as a void and Portman’s haunting visage betrays an unforgettable lament throughout. Pablo Larrain directs using documentary and dramatic stylings to powerful effect and the score by Mica Levi is to die for. (Mark: 8 out of 11)
LA LA LAND (2016) – CINEMA
As it sweeps the boards at the awards ceremonies La La Land can certainly be praised as a funny, energetic, imaginative spectacle with fantastic direction by Damian Chazelle. Ryan Gosling and Emma Stone are also on great form, delivering some wonderful songs throughout. As a love story it works but only on the surface as the boy-meets-girl-struggling-artists’ narrative lacks depth overall. Still, it’s a great musical in the classical Hollywood model – just not a Best Film Oscar winner. (Mark: 9 out of 11)
In an oppressive near-futuristic society individuals must yield to socio-political mores and be married with children or you get turned into an animal of your choice! Well, this certainly isn’t the pitch of a love story that Hollywood would make in a hurry. However, the misadventures of Colin Farrell’s hopeless love-life are explored to dark and comical effect in Yorgos Lanthimos’ startling comedy-drama. This is one of the best films I have seen a long time which is equally bizarre yet believable in its absurd honesty. We run around attempting to find love or force romance when we should just let nature take its course. Farrell has never been better and his weird romance with Rachel Weisz is so damned original in thought and delivery it left my heart stained with pathos and delirium. (Mark: 10 out of 11)
LOVE ACTUALLY (2003) – DVD
My wife “made” me watch this one at Christmas and as soon as it finished I was diagnosed with diabetes! It is such a sickly, sweet and sappy rom-dram-com that, while I think Richard Curtis deserves praise for some excellent writing, it is just too clichéd for me. I love ensemble portmanteau films and many of the overlapping stories here would make excellent short films; moreover, the cast including: Emma Thompson, Alan Rickman, Andrew Lincoln, Laura Linney, Liam Neeson, Colin Firth and many more are very watchable. But the whole love pudding is over-sweetened, over-egged and over-cooked for my taste. (Mark: 6 out of 11)
PASSENGERS (2016) – CINEMA
You and your other passengers are in stasis on a many centuries long journey to another galaxy and you’re woken up early. You are alone. In space. Until you die. If you could wake up the other passengers, but would you? Given the fellow passenger is Jennifer Lawrence you have a bloody tough choice. And what if she finds out too: you’re a murderer in effect. That’s the moral dilemma which faces Chris Pratts’ character in this frothy space-rom-drama. I enjoyed the stylish science-fiction genre flick as it looks fantastic in design and cast. It doesn’t have much depth but I found it to be lots of fun especially as Pratt is charming and funny as ever and Lawrence is easy on the eye too. (Mark: 7 out of 11)
FIX FILMS PRESENT: CHANCE ENCOUNTER (2017) – A STAR TREK FAN FILM
If you didn’t know, as well as being a wage slave and film blogger, I am also a screenwriter, producer, caterer, florist, dead body and whatever job comes up during the low budget filmmaking process. The production company I set up over ten years ago is called Fix Films and our work can be found here.
Myself and my filmmaking partner – director, editor, cinematographer, visual effects dude – Gary O’Brien have worked on nine previous shorts and our tenth is now being released TODAY!
It is called Chance Encounter and is a gentle and heart-warming narrative set in the Star Trek Universe. Yeah, that’s right – Star Trek! We had a successful Kickstarter campaign and raised the £2,000 plus-some-change budget ourselves and made the film with professional actors and crew, plus I was involved too. The original Kickstarter video can be seen here:
Having written the screenplay myself with Gary and worked on the shoot I am very proud of the film and feel our intention of respecting the sci-fi and romance genres, as well as the Star Trek universe itself has been achieved. Indeed the trailer here really captured the mood of our intentions.
This has especially been a labour of love for Gary; and his work directing, creating the sets, editing and designing all the visual effects himself is an incredible achievement on such a small budget. So well done to him for doing the screenplay justice. I also thank the brilliant cast and crew for their professionalism and efforts. We could not have done it without you.
So it is with great pleasure I present Chance Encounter (2017). This is our short film – please watch it!
‘CHANCE ENCOUNTER’ UPDATE: STAR TREK TRAILER REVEALED
Greetings. As you may or may not know I have been working on a Star Trek fan film with my movie-making partner Gary O’Brien. It’s a non-profit fan production which we have made on a shoestring. Having written an original screenplay and shot the brilliant script, we have now reached the post-production stage.
This is where Gary’s editing and F/X skills now take over and I am now proud to announce the release of a website – www.startrekshortfilm.com – plus the trailer below:
We have a lot of work to go but the shoot was an absolute blast and I thank the actors and crew for their brilliant work. Here are some stills of the production days where, amidst the hard graft, creativity and endeavour, a fantastic time was had by all.
This is our 9th short film to date – for all our productions do check out our website: www.fixfilms.com. Further updates to follow. Live long and prosper!
Star Trek and all related marks, logos and characters are solely owned by CBS Studios Inc. This fan production is not endorsed by, sponsored by, nor affiliated with CBS, Paramount Pictures, or any other Star Trek franchise, and is a non-commercial fan-made film intended for recreational use. No commercial exhibition or distribution is permitted. No alleged independent rights will be asserted against CBS or Paramount Pictures.