Tag Archives: suspense

NETFLIX TV REVIEW: INTO THE NIGHT (2020)

NETFLIX TV REVIEW: INTO THE NIGHT (2020)

Directed by: Inti Calfat and Dirk Verheye

Written by Jason George – based on the novel The Old Axolotl by Jacek Dukaj

Cast: Pauline Ettienne, Laurent Capulletto, Stefano Cassetti, Nabil Mallat, Jan Bijvoet, Vincent Londez, Babetida Sadjo, Mehmet Kurtulus, Alba Gaia Bellugi, Regina Bikkinina, etc.

Distribution: Netflix


****MAY CONTAIN SPOILERS ****



Netflix’s first Belgian original production series is an inspired adaptation of Jakub Dukaj’s electronic science fiction work, The Old Axolotl. While that work may be a digital release about a post-apocalyptic Earth, Into The Night (2020), is not a futuristic tale, but rather a very contemporary one set in the now. Opening in the Brussels airport the suspense is ratcheted up from the start when a NATO Officer, Terenzio Gallo, takes a Moscow bound plane hostage at gunpoint. Frantic and dangerous he orders the pilot and crew to take off immediately as they are all in danger. I won’t reveal what that danger is for fear of spoilers. What I can say is though these six episodes are one hell of a thrilling and panic-stricken plane journey.

Jason George’s excellent adaptation is written as a fast-paced disaster movie over six sharp episodes. Given the characters convene at an airport and the Brussels office of the United Nations is close by, the narrative establishes an ensemble of various nationalities including: Polish, Italian, Belgian, French, Turkish, Russian, Moroccan and in later episodes, English. Indeed, as well as the environmental threat and technological challenges the characters face, national identities and cultural clashes drive the drama of the series. The various personalities may be facing impending doom from an unknown source, while flying thousands of feet in the air, yet they cannot put their petty prejudices aside and this leads to much trouble. Amidst the in-fighting though some solidarity is found as the passengers and crew overcome a plethora of suspenseful moments and situations.

I personally cannot stand flying. Thus, my heart was literally in my mouth throughout this exciting series. The acting, action, direction and editing are all extremely well delivered, and I can safely say that this is one of Netflix’s winners. The threat the humans face is also very believable too. Furthermore, a classic disaster movie trope is to give the characters enough depth to bring you into their personal stories. Each episode is named after a character and is accompanied by a mini-flashback establishing their back story. We get one character seeking romance, one facing grief, another having an affair, a mother attempting to save her sick son, and so on. While these are very much standard types within the genre, the breathless pace of Into The Night (2020) leaves you dizzy from both the high altitude and anxiety.

Mark: 8.5 out of 11


AMAZON FILM REVIEW – THE AERONAUTS (2019)

AMAZON FILM REVIEW – THE AERONAUTS (2019)

Directed by: Tom Harper

Produced by: Todd Liebermann, David Hoberman, Tom Harper

Written by: Jack Thorne – based on the book Falling Upwards: How We Took To The Air by Richard Holmes

Cast: Felicity Jones, Eddie Redmayne, Himesh Patel, Tom Courtenay, Tim McInnerny, Anne Reid, Phoebe Fox, Robert Glenister etc.

Cinematography: George Steel

***CONTAINS MILD SPOILERS***



Obviously, with all the cinemas quite rightly shut, one now has to look about the streaming platforms for films missed when first released. While not a massive cinema release, The Aeronauts (2019) was a big budget Amazon original production, thus fits the bill perfectly. Based on true events set in London, circa 1860’s, this period adventure drama focusses on intrepid pilot, Amelia Wren (Felicity Jones) and budding meteorologist, James Glaisher (Eddie Redmayne), as they attempt to conquer the sky and elements in a hot air balloon. Their overall aim is to fly a balloon higher than it ever has, while Glaisher attempts to make scientific progress in regard to predicting the weather. It doesn’t sound that interesting when you put it like that, but how wrong was I?

Now, I am not a fan of adventurers or flying or heights. Therefore, The Aeronauts (2019), did not really interest me as a film narrative. However, I am glad I watched it, as it proved one’s prejudices against themes or subject matter can be short-sighted. Indeed, Jack Thorne’s intelligent script and Tom Harper’s cute direction really pull you into this high-flying and breath-taking drama. While the special effects are amazing, as you are given all manner of exciting and dangerous moments for the lead characters, the real power lies in the empathetic and heartening characterisations. Moreover, Felicity Jones and Eddie Redmayne give tremendously warm and energetic performances. Both their protagonists not only battle against the dangers in the balloon, but also against fierce patriarchal and scientific hierarchal rivals on the land. Lastly, in Amelia Wren’s case, she fights against deeply painful emotions relating to grief and sacrifice too.

Jack Thorne’s script frames events from the spectacular launch of the giant balloon, and the air journey itself provides the spine of the story. Throughout though, the film flashes back and forth between the voyage and Amelia and James’ past. At times I felt the flashbacks hindered the momentum of the adventure, but I recognised they were essential in order provide history and texture. Nonetheless, the amazing skyline vistas and horizons are impressively rendered by the special effects’ personnel. Also, the suspense is palpable as Amelia and James’s lives are threatened constantly by the unpredictable weather conditions. Jones and Redmayne’s on-screen chemistry is especially good as they initially argue, before finding common ground and mutual respect. Jones herself gives a very magnetic performance full of vulnerability and strength. While Amelia Wren is a fictional character compared with James Glaisher, she remains a powerful one. Ultimately, The Aeronauts (2019), is a classic adventure story with a grounding in scientific discovery, but above all else, contains exciting spectacle and a very moving emotional core.

Mark: 8.5 out of 11



YOU HAVE A NEW FOLLOWER – SHORT FILM SCREENING – CINESHOTS – 3RD MARCH 2020

YOU HAVE A NEW FOLLOWER – CINESHOTS SCREENING

My latest short film You Have A New Follower (2020) was screened earlier this week at the wonderful CineShots film night. The venue was the Streatham Space Project and a great night was had by all.

CineShots aims to give up-and-coming London filmmakers a chance to screen their films, get the feedback from a live audience, engage in Q&A and network with like-minded people for potential collaborations or just to talk film.

The only criteria the film has to fulfil is that the filmmakers are London-based, the film hasn’t been finished more than 12 months before submission and is not longer than 15 minutes. Please check out their website here and the cool trailer of the event.



All six films were received with fine appreciation by a decent crowd of filmmakers, actors and audience members. It was so good to get a premiere for You Have A New Follower (2020) too and watch it with many of the crew members. Overall, I would certainly recommend CineShots to anyone interested in attending a positive film screening night.

I look forward and hope that I can get more screenings of my film at festivals in the UK and worldwide. I am very proud of the film as it has powerful suspense, plus memorable themes relating to identity and anxiety in an urban setting. You can watch the short film trailer here:



TELL ME WHO I AM (2019) – NETFLIX REVIEW

TELL ME WHO I AM (2019) – NETFLIX REVIEW

Directed by: Ed Perkins

Produced by: Simon Chinn

Based on: Tell Me Who I Am by Joanna Hodgkin, Alex Lewis and Marcus Lewis

Cinematography: Erik Alexander Wilson

***SPOILER FREE***



I recently reviewed a number of documentaries here, but it was only during a catch-up of Netflix films did I watch the harrowing family drama, Tell Me Who I Am (2019). Now, in my younger days I was naive enough to think documentaries were a representation of the whole truth and not a mediated version of events. There was fiction on one side and documentaries on the other. It’s a documentary so it must be true and must not be questioned.

That isn’t to say that the events of this incredible story are not true. No, my point is that Tell Me Who I Am (2019) is, while based on a true story, structured like a classic Hollywood thriller akin to something Hitchcock may have produced. Conversely, I was gripped throughout by the mystery, suspense and a gut-kicking reveal halfway through. Do not read anything about this moving family story beforehand, as going in with NO knowledge will make it all the more powerful.



The film is structured in the classic three act fashion. Firstly, we find Alex Lewis describing events of an accident he had when 18. The incident led to him totally losing his memory. The only thing he remembered was he had a twin brother, Marcus. His mother, father, friends, their farmhouse, the privileged background and their dogs were all forgotten. Like a film noir protagonist he was left in the dark as to his whole history. With the help of Marcus, he slowly begins to learn about his past and rehabilitate for the future. Thus, at first one feels this is a story of an individual overcoming near-tragedy and rebuilding their life moment by moment. However, it becomes something much more than that. I shall say no more.

Shot through talking heads, photo montage and reconstruction, this is an exquisitely edited and filmed documentary. The twins, Alex and Marcus are framed in close-ups, with pale backgrounds and shadowed foregrounds. As we move back and forth between their respective sides of the story, one is slowly pulled into the incredible events that confirm truth is more horrifying than fiction. By the resolution I was shook and deeply affected by the film, with still some questions left unanswered. Ultimately though, Tell Me Who I Am (2019) is a satisfying and very emotionally charged story about searching for truth amidst familial conflict, betrayal and a longing for redemption.


PARASITE (2019) – CINEMA REVIEW

PARASITE (2019) – CINEMA REVIEW

Directed by: Bong Joo-ho

Produced by: Kwak Sin-ae, moon Yang-kwon, Bong Yok-cho, Jang Young-hwan

Screenplay by: Bong Joon-ho & Han Jin-won

Cast: Song Kang-ho, Jang Hye-jin, Choi Woo-shik, Park So-dam, Lee Sun-kyun, Cho Yeo-jeong, Jung Ji-so, Jung Hyeon-jun, Lee Jung-eun

Cinematography by: Hong Kyung-pyo

******* MAY CONTAIN SPOILERS ********



I actually saw this incredible work of cinema storytelling on Saturday just passed, so am writing this review AFTER the film rather incredibly won several Oscars at the 92nd Academy Awards ceremony on Sunday. I say “rather incredibly”, not because the film wasn’t a worthy winner of the Best Film award, but because high quality films not in the English language usually have to be satisfied with the Best International Film Award, as it is known now. Parasite (2019) in fact, deservedly won that award too. Anyway, irrespective of the awards it has earned, the film has also been universally praised. Not surprisingly, because it is not just a Korean arthouse film, but rather an ingenious genre classic. It blends dark comedy, horror, drama and thriller tropes to create a funny, suspenseful and consistently surprising experience.

The story premise itself is relatively simple and it begins not too differently from a Japanese film I watched recently called, Shoplifters (2018). A lower class family, in this case Korean, live in cramped conditions and struggle to survive on a daily basis. Their apartment is below level and the Kim’s including father, Ki-taek, mother Chung-sook, daughter Ki-jeong and son Kim Ki-woo are all out of work. While they struggle on they stick together as a family, battling drunks who piss against their window, steal local wi-fi and also carry out menial part-time jobs like making up pizza boxes. Fortunately, a friend of Ki-woo recommends him for a teaching position within a very wealthy household belonging to the Park family. Then the narrative really gathers pace as the Kim family surreptitiously begin to infest and inveigle their way into the Park’s privileged lives.



You’d be forgiven for thinking that the Kim family are the antagonists in the narrative, however, they are very empathetic characters. Their dubious actions lead the story into very dark and funny territory, as they manipulate Mr and Mrs Park, plus their young son and teenage daughter. While not condoning their actions one can identify with their class struggle because they are desperate to improve their situation and prosperity. The issue is though they get a bit greedy and the superb screenplay throws a massive twisting curve-ball at them as the Kim’s plans unravel and events go completely off the rails.

Filmmaker, Bong Joon-ho, like he did with the brilliant films, Snowpiercer (2013) and The Host (2006) is clearly using the social status of his characters to satirise and critique capitalist society. It’s literally an ‘Upstairs versus Downstairs’ narrative in terms of both locations and themes. Beautifully filmed, in a property that was actually built for the film, the cinematography makes clever use of glass and windows to mirror characters and reflect identity. Moreover, it has more than a voyeuristic air to it with characters hiding around doorways and stairwells, as well as following, spying and watching each other secretly. It’s a film which Hitchcock would have been proud to have directed too, with many suspenseful and gripping set-pieces throughout.



Ultimately, the first three-quarters of the Parasite (2019) are a cinematic masterpiece, so brilliantly plotted and planned out. When the Kim’s plans are then upended, the film gives way to an unhinged ending as events descend into bloody chaos. However, Bong Joon-ho is so in control of the material he tells us, via Ki-taek, that this careful planning is about to give way to something more messy. Furthermore, the final act while moving and tenderly rendered, I felt, was replete with somewhat poetic narrative holes. But, this is not a criticism as even in the final scenes Joon-ho is inventive while surprising the audience. Although, overall, the biggest shock would come when Parasite (2019) won the best film at the Oscars. I’m still reeling the Academy made such a risky choice!

Mark: 10 out of 11


CLASSIC MOVIE SCENES #11 – JAWS (1975) – QUINT’S U.S.S. INDIANAPOLIS SPEECH

CLASSIC MOVIE SCENES #11 – JAWS (1975) – QUINT’S U.S.S. INDIANAPOLIS SPEECH

Directed by: Steven Spielberg

Produced by: Richard D. Zanuck, David Brown

Written by: Peter Benchley, Carl Gottlieb, Howard Sackler (uncredited)

Based on the novel by Peter Benchley

Main cast: Roy Schieder, Robert Shaw, Richard Dreyfuss, Lorraine Gary

**CONTAINS SPOILERS**



I have genuinely lost count the amount of times I have watched Jaws (1975). It is one of my favourite films and has one of the tightest written screenplays of all time. There is not an ounce of fat in the lean human versus monster thriller. The story as everyone knows finds a gigantic great white shark attacking beachgoers, tourists and locals at a New England summer resort town. Sheriff Martin Brody (Roy Schieder) is tasked with stopping the shark, but due to pressure from business owners and the Mayor he cannot close the beaches.

Spielberg, in only his second feature film cinema release, directed this classic thriller amazingly, filling it with a series of gripping set-pieces, fearful jump-scares and bloody carnage. He’s ably assisted by John Williams iconic score, Bill Butler’s impeccable cinematography, and sterling character acting from Robert Shaw, Richard Dreyfuss and Roy Schieder. However, amidst the suspense and heart-pounding scenes, arguably the best moment of the film is Quint’s speech that related to his experiences on the U.S.S Indianapolis.

The monologue itself comes as Quint and Hooper share “war stories” from their past experiences at sea. The men share a laugh before Brody asks Quint about a particularly nasty scar. Then the mood darkens and the old sea dog recounts a story about the U.S.S Indianapolis on which he was aboard when it sank in 1945. The chilling tale of a sinking ship and over one thousand men at the mercy of the sea, hunger, dehydration and shark attacks, is eerily recounted by Quint; loss and bitterness in his eyes. Shaw is incredible during this classic monologue as he not only establishes why Quint hates sharks, but also builds palpable suspense prior to the frenzied final shark attack on the doomed Orca.

Lastly, many writers have sought to take credit for the amazing monologue and the debate is almost as famous as the scene itself. An excellent article outlining who wrote the speech can be found here.



UNCUT GEMS (2019) – CINEMA REVIEW

UNCUT GEMS (2019) – CINEMA REVIEW

Directors: Benny Safdie & Josh Safdie

Produced by: Scott Rudin, Eli Bush, Sebastian Bear-McClard

Written by: Ronald Bronstein, Josh Safdie, Benny Safdie

Cast: Adam Sandler, Lakeith Stanfield, Julia Fox, Kevin Garnett, Idina Menzel, Eric Bogosian, Judd Hirsh etc.

Cinematography: Darius Khondji

**MAY CONTAIN SPOILERS**



This is a film about an arsehole. Aptly enough we are introduced to the main protagonist, Howard Ratner (Adam Sandler), as he has a rectal examination of his colon and other extremities. From here on we descend into the mired cesspool that is Howard’s dysfunctional business, family, love and extra-curricular activities. He is, on the surface, a successful businessman selling jewellery, watches and gems within New York’s Diamond district. Alas, he is also a degenerate gambler who is being chased by all manner of shark-like money lenders. Most hungry of all is Eric Bogosian’s Arno, who also happens to be Howard’s brother-in-law.

So, we find ourselves in the company of a thoroughly unedifying character such as Howard. Yet, in Adam Sandler’s brilliant performance and searing direction by the Safdie Brothers, you get caught up in his latest cynical money-making plan to sell an uncut opal rock from Ethiopia at auction. The rock itself becomes — reminiscent of Guy Ritchie’s Snatch (2000) — a metaphorically blood-stained McGuffin that drags us into the underbelly of New York’s sports, pawnbroker, bookmaker, entertainment and loan shark territories. Aside from Howard’s wife and children everyone is looking for luck and a buck. Everyone’s a hustler. Everyone talks and shouts and swears over each other, creating a sense of panic throughout many scenes of deal-making and deal-breaking.



Opening with two visually very different internal examinations that involve “mining”, the Safdie brothers film Uncut Gems (2019), is a stylish and rampant anxiety inducing character study and thriller. The plot, which in itself, is quite straightforward, is wrapped in a series of heart-sweating gambles, twists and double-crosses. Supporting Sandler’s fine central performance, the Safdie Brothers find acting gold with Lakeith Stanfield’s memorable supporting turn, plus basketball legend, Kevin Garnett brilliantly playing himself! Allied to this, you also get a rogue’s gallery of personalities straight out of the local New York jewellery area itself. These characters add a further dirty authenticity to the already chaotic urban environment.

Like the Safdie Brothers previous film, the ironically titled, Good Time (2017), we are once again introduced to a set of morally repugnant characters who, rather than root for, you are dragged down into their disturbing lifestyle choices and increasingly poor decisions. Howard himself is an unrelenting addict, his own worst enemy and a whirlwind of broken promises. But, I must admit I was gripped throughout due to overwhelmingly brilliant style, cinematography, editing, direction, darkly funny script and acting performances. My only criticism is that for all the black humour, bone-breaking violence and heart-sweating suspense, the film could have easily been 15 minutes shorter. I like a lot of plot and action, but at times the narrative was over-loaded with characters and scenes that could have been chopped. Lastly, it’s great to witness Adam Sandler taking another risky role, even if Howard Ratner is fundamentally an arsehole from the probing start to the very bitter end.

Mark: 8.5 out of 11