Risky Business

 

You know the scene, you know that image of very young Tom Cruise’s grinning face in sun glasses, you already know something about the film even if you’ve never seen it. Sliding around the floor in just his socks, underwear and shirt, parents gone, house to himself. This scene is the one that everyone has seen before. But what’s incredible is that this is but a snippet of what Risky Business is about. 

 

When his parents go away on holiday, leaving him in the house alone, High School senior Joel decides to make the most of it. After been hounded by his friends, Joel invites call girl Lana over. But after a night of sexual pleasure, Joel finds himself stuck with never ending problems, including having to fix up his father’s prized car. To try and help, as well as helping herself, Lana convinces Joel to have party, he invites his friends and she’ll invite her friends/co-workers.

With the famous scene near the start of the film, there is room to sink in and just watch the chaos ensue as Joel makes one bad decision after another. Joel’s naivety is what brings him down throughout the film. Teased by his friends for not having sex yet, practically hoodwinked into ending up with a call girl and then being abandoned when he needs help, at least they all show up for his extra special party. Joel can do no right in this film, except maybe in Lana’s eyes. Despite the mad dash to the finish line to have everything in the house back in order, all it takes is one tiny crack in a glass egg for his parents to be disappointed. The sense that, Joel was doomed no matter what, makes the film have a slight scent of reality and grounds the whole story just for a minute.

Unlike his friends, Joel isn’t shown to have a special skill or academically inclined, he’s painted as an average, half decent guy just trying to get through high school. But he comes into his own when he must ‘sell’ the party to his friends. Though, enticing wealthy teenage boys to come to a party with lots of willing beautiful girls isn’t a tough sell. But still, Joel seems to be finally in his element and there’s even a hint to that typical Tom Cruise ‘charm’ that we’ll see in all his later films. Pairing opposite Cruise is Rebecca De Mornay as Lana, who almost matches his energy. Coming across as someone who takes opportunities where she can Lana is an enigma and unlike Joel who we seen some development, Lana remains a mystery. We’re never quite sure who truthful she’s being, anything she does to ‘help’ Joel is also beneficial for her. From over dramatic and ethereal entrance to her ambiguous last few lines, Lana never gives too much away, which would be infuriating if the story was over a longer period but a week, she’s just a base character, she could have been more.

There’s no question as to why this 80’s teen comedy is considered a classic. It is not just the breakout roll from one of Hollywood’s biggest stars, it represents a teenage boy’s dream and pure farcical entertainment at naïve boys for the teenage girls, a common trend in 80s teen movies. Risky Business is entertaining and though would never have worked outside its release era, there’s still many laughs to be had.

Turn Me On

 

The idea that supressing emotions would be the answer to all life’s problems and would solve conflicts, with people living harmoniously and being left, content, is plot device that seems to be cropping up more than expected. But thankfully each iteration focuses on certain aspects that at least has a familiar but different feel. Turn Me On offers something new, in losing your emotions, you also lose your memories when taking the magic pill, or in this case, vitamin. But there is more to this story that at first meets the eye. 

Living in a closed off community where residents take a daily vitamin which eradicates all emotions, Joy (Bel Powley) skips her daily dose. Going on an emotional journey of discovery, she convinces her partner William (Nick Robinson) to stop taking the vitamin. Together, their world opens up, but also exposes them to not only damage emotions can cause, but also leaves them in a precarious position within the community with strict rules.

Full review over at Filmhounds 

Anora - London Film Festival

 

After his previous critically acclaimed films, director Sean Baker has created a very different kind of story. Still exploring and highlighting the lives of sex workers, Baker chooses to go big, really big, this time round, not only in scope but with his characters. Ani, the eponymous Anora, is the definition of a larger-than-life personality. Her energy and enthusiasm is matched by Vanya and the two of them actually make an adorable, if naïve, couple for a short magical time. But faced with problems that seem out of their control, their lust for life turns bitter. The whirlwind romance, the comedic tone all but disappears swiftly becoming something darker, still sometimes amusing, but eventually a slap in the face. The condensed ‘happy’ period in both Ani and Vanya’s lives feels like a literal dream as reality sets in. Baker managed to cram several turning points (and genres) into the story that don’t feel overcrowded, but instead feel oddly realistic as the story flows easily and steadily towards a very depressing end. 

There are many things to take away from Anora, but the glaring obvious is the disparity of privilege. The disappointment hits differently for Ani and Vanya. The latter, a spoilt overgrown child who saw the whole experience as just that, with no remorse or care for anyone else who was involved. Vanya got what he wanted and though he tried desperately to hold on to his freedom, as he sees it, ultimately it breaks and gives up. Ani, however, a genuine person from start to finish, who seems to have very little, was given a new life, a love and all was taken away within minutes. Her world was turned upside down and dis-guarded as soon as she was no longer needed, or desired. 

Anora, as a film, is a force of nature. From dramedy to romance to dark comedy to harsh realism, the story takes you on journey and doesn’t miss an opportunity to gut you, whether you’re laughing and staring, with an empty feeling at the screen. Mikey Madison has been rightly praised for her performance as Ani, which really rides the wave of emotions. There will be surprises if Anora is picked up as a real contender during awards, this film has caught people’s attention and should hopefully hold the spotlight throughout the season.

The Balconettes - London Film Festival

 

Mixing genres in film is always an exciting approach, especially if the subject is darker and needs a fresh take. Director and co-writer Noémie Merlant said that she had originally set out to write a love story but ended up with The Balconettes. Though, she also pointed out, there is a love story within the film, one of female friendship. At its core, the film broaches a darker subject, but in order not to sink the characters into despair, comedy with a bit of supernatural weirdness balances the story and ultimately creates that fresh take that is needed. 

During a heatwave, three friends in living in Marseille find themselves cooped up in their apartment. Across the way, they observe a mysterious handsome man. Through a few dramatic and comedic errors, the three of them find themselves in the man’s apartment for drinks. But later that night, one of the friends returns home covered in blood and the three women find themselves living out a nightmare.

Full review over at Filmhounds.

Me, Myself & The Void

 

When a stand-up comedian, fresh from a difficult break up, finds himself staring at his unconscious body on the floor, he must work out how he got there and whether he can escape the void he’s ended up in. 

Me, Myself & The Void is an unusual film, featuring characters we have definitely seen before and story beats that are expected. But the void itself is something different and there is plenty of time given to explore it. There seems to be two sides to this self-examination, one is a well-timed comedy with a darker edge, the other is an intriguing idea that would have worked better as a short film. 

There’s no denying that Jack De Sena who plays our hero, Jack and Chris W. Smith who plays the best friend Chris, have excellent chemistry. Taking their comedic timing and entertaining banter from their TV show and bringing it into the film seemed quite seamless. The characters they both play also feel like a slight step away from themselves, enough to make it clear, their characters’ names are coincidental. Having Chris appear as Jack’s subconscious was also a narrative choice that made sense, Jack needs someone to bounce ideas off as well as a familiar face to help him through whatever it is he’s going through. Kelly Marie Tran as Jack’s fresh ex, Mia is also a welcome edition to the void as another part of Jack’s subconscious. She doesn’t upset the balance between the leads and holds her own, lighting up the flash backs with her vulnerability and her brand of charm. 

 

There is plenty to admire about Me, Myself & The Void, particularly, as pointed out by one of the characters, the Dogville style set up of the void. This separation from reality, essentially placing the real world in pieces set up like a stage making the obvious connection to Jack’s life on stage as apposed to how he is off. But there is also the nagging sensation that this exploration into the void, Jack’s version of the void, could have been resolved far quicker than it was. Part of the fun of the film is the mystery as how he ended up on the bathroom floor but this mystery is soon stripped away, leaving the again, obvious answers as why is Jack in this state. This could have been even more effective if condensed to a sharp short film, making the feature feel drawn out.

Overall, despite some narrative glitches, Me, Myself & The Void, boasts fun fresh performances from the leads.

Me Myself & The Void debuted worldwide on Digital VOD October 1, 2024, including Apple TV and Prime Video

The Surfer - London Film Festival

 

Though The Surfer is quite rightly a psychological thriller, there are elements of horror that creep in and feel all too like well-trodden tropes that are used time and time again in other films of the same genre. After the event, The Surfer seems oddly placed at Cannes, where it screened earlier this year. 

When a surfer (Nicolas Cage), hoping to buy a house in the desired location, Luna Bay, has an altercation with a group of aggressive locals, his situation begins to deteriorate rapidly.

Full review over at Filmhounds.

Conclave - London Film Festival

 

When it comes to stories set in or centred around the Catholic Church, there is an expectation. Either a horror, cheap or classy or a story about faith. Conclave touches upon the crisis of faith but it is never delves too deep. Instead, and most refreshingly, Conclave is a thriller with elements of a murder mystery, except with no murder, but intense one the less. 

When the Holy Father dies, there is a vacuum left behind. Cardinals scrabble to secure votes who they believe is the right candidate. It is left to Cardinal Lawrence, the Dean of the College, to organise Conclave, where all the cardinals are summoned to choose the next Pope. But through secrets and sabotage, Lawrence discovers the favourites each have something to hide. But will it be too late to before the wrong person to chosen to be Pope. 

From the very start, there is a sense of loss and ambition in the air. As some cardinals close to the late Pope grieve, others have already rallied votes in preparation of Conclave. This very clearly establishes the tone of the film, this is not about religion, thankfully. The intrigue and suspicion is set and it is left to Lawrence, played with absolute reverence and stability by Ralph Fiennes, to investigate along with his colleague, Monsignor Raymond O’Malley to find out exactly what the cardinals are planning. Each cardinal represents a faction of the church, each vying for control, wanting change or waiting to continue the late Pope’s work. It is continuously noted by several characters, these men are not perfect, they are all flawed.

The Gutter - London Film Festival

 

It’s been a long while since we’ve had decent sports film that wasn’t about mainstream sports. When it comes to bowling films, Kingpin and The Big Lebowski comes to mind, even though the latter isn’t about the sport it only features. Always angled as an American pastime and a fun hobby or something to do with friends on a Friday night, The Gutter manages to keep this image alive as well as creating the most ridiculous and hilarious scenarios and characters that have been seen on the big screen in a long while. 

When Walt accepts a job at AlleyCatz, a dive bowling alley, he discovers he’s a naturally gifted bowler. Along with ex-pro bowler herself, Skunk, a frequent drinker at the alley’s bar, they decide to hit the road to take part in tournaments. But when legendary champion Linda Carsen hears of Walt’s success, she decides to come out of retirement and put him in his place. 

The lack of actual laugh out loud films being made and more importantly, being seen is quite low. Aside from the narrative, the most important aspect of the film is the comedy, then maybe bowling. Directors Isaiah Lester and Yassir Lester know exactly what they’re doing. Casting their friends they’ve made working on different shows and through stand up, the array of comedic and dramatic talent alike really makes this film, as well as the fantastic costumes, particularly worn by Walt. Holding the plot up with their excellent off beat chemistry, Shameik Moore as Walt (no last name) and D’Arcy Carden as Skunk are highly entertaining. Susan Sarandon is also highly affective as the cold-hearted legendary bowling champion, who scenes steals without lifting a finger. 

The comedy, no matter how ridiculous, is non-stop, literally from the opening shot to the final showdown. The Gutter is an absolutely delight, and actual breath of fresh air amongst the mediocre offerings that get left by the studios. The real gems are always found exactly where some of the jokes from the film are found and the name of the film.

Timestalker

 

Alice Lowe’s debut feature, Prevenge (2016), is a comedy slasher that is revered amongst horror (and comedy) fans. Having also co-wrote Sightseers (2012), the black comedy about two caravaners who go on a murder spree, there was some expectation about what to expect from Lowe next. A historical science fictional rom-com like Timestalker was definitely not on the bingo card. 

Throughout the centuries, Agnes falls in love with the same man, and each time ends up dying, only to be reincarnated to relive the same scenario. Trapped in what feels like a never-ending loop, she must come to terms with the truth staring in the face the whole time.

Full review over at Filmhounds.

Unit 234: The Lock Up

 

Storage units can offer a wealth of surprises, usually of the unexpected variety, or those that will haunt you for weeks. For such a mundane location, films that heavily use or are set in storage units need to have one hell of a narrative to keep the story going. Usually a horror or a thriller, you’d never have a rom-com set exclusively at a storage unit, with fair few unscrupulous characters and a twist that you may see coming, but at least you were entertained. Unit 234: The Lock Up is just entertaining enough that you can forgive its benign location. 

Laurie, owner of a remote storage facility, once run by her parents, ends up working the night shift after her plans fall through. After becoming suspicious of a very persistent man, claiming to own a unit, Laurie discovers an unconscious man locked in Unit 234. The man, Clayton, is chained to a gurney and missing a kidney. Laurie finds herself having to fight off a dangerous gang who are determined to retrieve Clayton, by any means necessary.

Full review over at Filmhounds.

The Substance

 

There is so much to absolutely love and admire about The Substance, as well get frustrated over and grumble about. The general consensus with the film seems to be that is it gloriously bloody, disgusting for sure yet the narrative is questionable. But the praise for the performances for both Demi Moore and Margaret Qualley is consistent, they are superb. Having won the Best Screenplay at Cannes 2024 and the intriguing teaser making the rounds, there was a buzz around the film and expectation on how this body horror would shape up. 

When Elizabeth Sparkle, award winning actress and decades long host of an aerobics show, is fired on her 50th birthday, she makes a drastic desperate decision. She is offered a black-market drug, the Substance, which produces a younger, more attractive version of herself, thus giving her another shot at holding the spotlight. But after her alternative self takes advantage of the strict rules, resulting in devastating non changeable effects to her original body, things go from bad to monstrous. 

Going by director Coralie Fargeat’s first feature, Revenge, you are right to expect enough blood spilt that the entire set will be painted red. Where Revenge was literally what it said on the poster, The Substance is more up for debate and there are far more questions to be answered throughout the film, as well as not all of them being answered. This strange bizarre satirical body horror (with some science fiction thrown in) boasts a fascinating concept but with a 2-hour 20-minute run time, there is far too much indulgence gore and crotch shots with less focus on the narrative. 

Shooting from disorientating angles, making use of the long corridor at the studio and the choice of close ups to really express the most disgusting moments, made for an intriguing film. All coupled with the concept of the drug and the complicated rules. A stand out scene in the film is most avidly the birthing of Sue, Elizabeth’s younger version. The ripping of skin and extracting of fluids, the film became a visceral treat for the eyes even before any large amounts of blood was spilled. With a large focus on the characters’ bodies, their stark pale skin against the white titled floors was especially pleasing, design wise, to view on screen. As the film progresses though, so does the body gore, particularly the end section. But all this blood and disturbing images hold a purpose, the themes at the heart of the film, image and beauty. Though Elizabeth Sparkle is still beautiful, her image is outdated and considered too old to even be considered for a revamp of the show. Enter Sue, young, beautiful, wears that pink one piece with ease and is able to pelvic thrust throughout the show without batting an eye. Though we get to see, quite obviously its about beauty standards and how women are treated but at the core of the film is Elizabeth and how she views herself. At one point, after the effects of the drug have take its toll on her, she stops referring to Sue as someone else as she has throughout the story. She finally admits out loud that she hates herself, which may explain her finally grotesque form. There could have been a deeper dive into her psyche but there is only a strange acceptance of herself, eventually, but one that is met with a reaction you see coming a mile off. 

Both Demi Moore and Margaret Qualley do give fantastic performances, the former especially during her French cooking phase in the film. Fargeat’s idea is in danger of being better than the execution, but there is more merit the film than there is to be disgusted by.

Subservience

 

It is a tale as old as time, when a man, struggles to cope with day-to-day life, taking care of his family while his wife is sick, he seeks out help. In this case, he buys a robot which ends up malfunctioning and terrorising said man’s family including his sick wife. Humanised robots is by far not a new concept and amongst the countless stories out there, Subservience doesn’t try to reinvent the AI dangerous narrative but merely tell us a story which we have seen before.

Full review over at Filmhounds.

Orca

 

Strangely enough, Orca actually had some minor success at the box office, but was critically panned as it was deemed too similar to the blockbuster hit, Jaws released two years earlier. Orca is a straight forward cash in. If shark attacks are bringing in an audience, then the, presumably lesser-known orca will bring them in too. Sadly, for the killer whale, it would experience a very different life on screen as seen in Free Willy and such documentaries as Black Fish. Orca has an exciting story and holds the promise of being entertaining at the least, but the comparison with Jaws is woefully exaggerated. The only element thar connects the two films, is that there is a sea creature out for the kill.

Full review over at Filmhounds.

Blink Twice

 

Originally called Pussy Island, a title that may have given the game away, Blink Twice on the surface seems like one of those glitzy mystery thrillers with hot cast and story that is expected to be full of twists. Not to say Blink Twice isn’t this, but even from the release of the trailer, there is a darker undercurrent running through this shiny film. With Zoe Kravitz in the director’s chair, she goes full force in her directorial debut, willing to show grim truths, no sugar coating and showing that this film won’t be a one from her. 

At an exclusive event held by billionaire tech mogul, Slater King, two friends Frida and Jess who are part of the catering staff, decide to crash the party. Subsequentially getting invited to Slater’s private island with a group of his associates. The island is paradise, followed by amazing dinners, wild partying on repeat for several days. But when Jess asks to leave, disturbed by something, Frida begs her to stay a little while longer. However, by the next day Jess is missing and no one remembers her even being there. 

What feels like a ‘Lady Vanishes’ type plot very quickly spirals out to be a far more sinister yet basic plot. Not necessarily a negative thing but the disturbing element is more than just a missing person. As Frida connects pieces of a puzzle that actually began the moment she arrived, some might theorise even before that, we watch her going from having the time of her life to literally surviving through hell. At the core, Blink Twice is a deep disturbing thriller that unfortunately surprises no women, when it comes to the behaviour of men. The light exploration into trauma and the discussion around reliving trauma and whether its better to forget is an interesting element to the film but it barely scratches the surface of the subject. 

The cast assembled is impressive and everyone makes their mark on screen, but the stand outs here are most definitely Naomi Ackie as Frida, our guide bringing us into this hellscape and Adria Arjona as Sarah, former reality TV star and who equally finds herself in a unbelievable situation. 

Blink Twice is a welcome addition to the long list of films with the theme of ‘eat the rich’, even if it presents itself slightly differently. For a directorial debut its impressive and as thriller mysteries go, its highly entertaining.

If You Were The Last

 

When was the last time a science fiction romantic comedy was both whimsical, in a non-nauseating way and was actually heartfelt, as well as having genuine laughs? If You Were the Last should have been the breakout film of this year but instead was cruelly left to the streamers with very little flare. Unfortunately, there are genuinely great films that do the festival circuit and never get picked up by a big enough distributor who will back the film. But aside from how the film was released, this gem of a film really does lift the spirits and brings hope that there are stories out there, like this, even being made. 

Two astronauts, Adam and Jane, drift throughout space. After their multi year mission is derailed, mostly due to their deceased crewmate Benson, Adam and Jane, over time wonder if they will ever be rescued, discuss life, love and the pros and cons of them having sex with each other. All the while falling in love, but unsure if the other feels the same. 

Setting any sort of story in space comes with the expectation on how a sci-fi should look like, but what If You Were The Last offers is something a bit extra. All the tech on the ship, resembles something out of Wes Anderson’s or Michel Gondry’s workshops. The astronauts even have a cosy living room space on the ship, to make them feel at home, complete with watching films on cartridges. The sci-fi elements are left to the setting outside the ship and the communication set up to try and reach home for rescue. All other parts are complete rom-com beats and they are most welcome. The quirky tech and set design is not overbearing, balanced out by the two actors fantastic chemistry. Zoe Chao and Anthony Mackie are so in tune together, they do not miss a step with one another, romantically or comedically. Its almost a shame when they are eventually separated in the third act when (SPOILERS) the two make it back to Earth and their spouses. 

There is a more sombre element to the story, these lost astronauts have only each other (aside from the ill fated Benson) and have been this way for a few years. The strain on their mental health and on their respective marriages, takes a toll. The joke about them deciding if they should have sex with each other goes past the joke stage is the really about connection. If You Were The Last is essentially a sweet story set against an incredible background, two people against the universe, and at one point Benson.

Infinite Summer - Fantasia Film Festival

 

With the concept of summer films being about adventure, exploration, loves and that impossibly positive stereotypical content expected in film about the season, Miguel Llansó’s latest is a swift turn away from anything familiar. 

Three friends, spending a week by the beach over summer, end up dabbling in chemical induced meditation, supplied by the nefarious ‘Doctor Mindfulness’. But when people start disappearing, these so called ‘trips’ start to gain the attention of the authorities. The group of friends end up experiencing something they never could have anticipated. 

As with Llansó’s previous film, Jesus Shows You the Way to the Highway, the concept for Infinite Summer is fascinating. A mixture of a typical coming of age, science fiction and a low-key mystery, the idea that there is a device that could take you to a higher plane of existence has the potential to be memorising. While the VFX are very easy to get sucked into and the higher plane is well constructed, the characters and narrative are not as enticing. A major part of the film’s failing is that everyone speaks English which most of the time produces wooden acting. The very few scenes not the English language, the actors are more relaxed and the story moves with ease. Its an unfortunate choice but you can understand the motive behind this choice, trying to appeal to a wider audience, but instead it stunts the growth of the story. 

We mainly follow Mia who seems dissatisfied with her life and distance from her friends who have clearly changed prior to the summer. But she is not forthcoming with many if any emotions, even when she goes on her first trip. The other characters that populate the story are all very much one dimensional and at times its frustrating to watch. The over dramatic final act thankfully brings the action and further bizarre scenes which at least brings in some excitement. However, the climax of the story is inclusive and you’re left empty. It feels as if there was meant to be some kind of bliss expressed by anyone who puts on a respirator and goes on the ultimate trip, but this sense of utter freedom is lost within the strange structure of the narrative and stunted characters.

Ultimately, Infinite Summer had a bizarre and intriguing concept that never really came to a conclusion, satisfying or otherwise. Being left with a sense of emptiness may have been the goal and if so, Llansó achieved something.

Thelma

 

True crime stories no longer exclusively belong to horrific murders and serial killers. Scammer revenge stories have come to the forefront more recently on the small screen and are making their way to the big screen. In the last few years, we’ve seen the likes of Inventing Anna and The Tinder Swindler detailing real crimes. We’ve also had the likes of The Beekeeper appear which heavily features scammers along with intrigue, excitement, tragedy, and full-blown action. Thelma is the latest in this sub-genre, and its quite unlike anything that’s come before. 

After getting scammed out of a hefty amount of her savings, 93-year-old Thelma decides to go out seeking justice, against her family’s advice. Enlisting the help of an old friend, Ben, who owns a scooter, the two try to track down the criminals responsible, meeting a few characters along the way. 

Full review over at Filmhounds.

Longlegs

 
Being lauded at the scariest film of the decade, there is no doubt that Longlegs has been one of the most anticipated horror films of the year. Combining the morbid fascination with true crime-esque, serial killer cases, occult based horror and morbid curiosity. The film grips you tight, dragging you into the mystery and ominous dread. Boasting one of the most terrifying transformations from Nicolas Cage in recent years and another great turn from scream queen of the moment, Maika Monroe. 

FBI Agent Lee Harker, after showing an aptitude finding criminals, is brought in on a decades long case. A serial killer, targeting families, calling themselves, Longlegs, has left stranger coded letters at the scene of the crime for the last 30 years. Even more strange is that Harker herself has a connection to the case than she has kept buried in her mind since she was a child. 

Without delving too deep into the lore in the film, the occult hints and references to ‘the man downstairs’ taking on more than one meaning, Longlegs’ horror is fascinating as well as painstaking to watch. The hunt for a serial killer and unearthing the crimes committed are devasting to behold, but once the abhorrent truth is revealed, it does feel somewhat anti-climatic at first. With further truths uncovered and the real connection between the killer and Harker coming to light, the pieces of the puzzle fall into place with some foreshadowing storytelling coming full circle as well. 

Whenever Nicolas Cage appears in a film where he is either playing a beyond unusual character or the story is bizarre, it always grabs peoples’ attention. His role of Longlegs is disturbing to the point where you spend half the time desperately looking away yet his voice even cuts deep in a uncomfortable high pitched wail. Maika Monroe didn’t even know what Cage would look like so all her reactions to his presence are genuine fear. This layer of realism is just one part of what makes this film the most talked about. The continuous uncomfortable feeling is what keeps the curiosity and terror alive in the audience. Monroe as Harker relays how the audience feels throughout, curious, determined to find out the truth and continuously disturbed at every turn of the case. 

Although Longlegs does rely heavily on the jump scares the create a sense of discernability, it is the overly long ominous shots and scenes that create the feeling of dread. Director Osgood Perkins has been able to deliver a film that will stay with you when you least want it to. The horror mixture may be subjects tackled separately in previous films, but including the crime procedural with a traditional occult story helps ground the film, slightly, to something more real. Though there are supernatural elements at play, the lead up feels all too real. A devilishly clever way to have those images linger in your mind.

The Quiet Maid - Raindance Film Festival

 

There has been many a story portrayed in film involving the classes and the issues that come with the divide, the characters end up being the defining factor to make each story stand out. Having had its UK premiere at Raindance 2024, The Quiet Maid was nominated for Best Debut Director and Best Debut Feature.  The film boasts an enticing lead, Paula Grimaldo who is captivating even when completing menial tasks. She went on to win Best Performance at Raindance. The Quiet Maid is not a thriller, nor is it a straightforward drama. An observational character study would be more accurate as with Ana herself, there is more beneath the surface than what we are presented with.

Working for an upper-class family on the north-eastern coast of Spain, quiet Colombian domestic maid Ana, balances her duties with finding ways to also enjoy the Summer.

Full review over at Filmhounds.

Drive Away Dolls

 

Ethan Coen’s first solo outing was a documentary about notorious musician Jerry Lee Lewis. A man known for his incredible piano skills and for the fact that he married his 13-year-old cousin. Obviously these two pieces of trivia don’t go hand in hand. But the latter is a sordid affair, and fact. Ethan Coen, judging by his other solo works; a book of poetry, plays and short stories, has a flair for the crude and downright filthy. Throughout the Coen Brothers’ catalogue there are moments that do really make you stand back and think, ‘why did they think of that’. A prime example is in Burn After Reading, when its revealed what George Clooney’s character, Harry Pfarrer is building in his basement. After watching Drive Away Dolls, its clear which brother thought of this.

After Jamie is thrown out by her girlfriend, she and best friend Marian take a road trip to Tallahassee, Florida. But after a mix up with their rental car, the women find they are in possession of some sensitive materials belonging to some shady people who are in hot pursuit.

Along with his wife, Tricia Cooke who co-wrote and co-produced, Ethan Coen’s second outing as director without Joel is one that, on the surface feels like just another Coen Brothers film. However, while the film does include the crime caper elements and a certain air of ridiculousness, the film is missing something. The run of the mill suspicious behaviour from the shady criminals alongside a completely different story about two friends taking a road trip and becoming more than just friends, feels like half-baked ideas, mashed together with a lot of lesbian jokes and unnecessary scenes.

Along with similar beats we have seen before from both the Coens, along with very random psychedelic moments that only sort of make sense at the end, Ethan Coen’s film feels familiar but doesn’t quite hit the right notes.  This is shame as there are some great characters, amusing quite firing dialogue and one or two very funny moments, but its just not what you’re going to expect, in an unsatisfying way.

Birthday Girl

 

To celebrate her daughter Cille 18th birthday, her mother Nanna, pays for her and her friend Lea to go on a cruise. At first the trip is filled with laughter, dancing, and drinks, but on the first night Cille is found on the upper decks of the ship alone with no underwear and bruises. Claiming she has no memory of what happened but sure she was sexually assaulted; Nanna becomes determined to find out the truth and find the attacker.

The film very much rests on the shoulders of Trine Dyrholm who plays Nanna the mother desperately trying to find answers. Dyrholm is captivating in her role, acting as our guide through a parent’s nightmare. She very easily slips into the irresponsible mother who just wants to celebrate with her daughter to being on a mission she knows she might fail; she carries the film and does it well. But despite the great performance, the film does, at first, feel like a paint by numbers story. Young girls acts recklessly, its discovered she was raped, but she is blamed for putting herself in the position, mother takes action to find out the truth. It is the last story beat where Birthday Girl picks and becomes far more intriguing to watch.

Full review over at Filmhounds.

I Saw the TV Glow - Sundance London

 

Nostalgia is a powerful tool in film, a homage or mention to something you experienced or even just knew about when you were younger makes you feel as if you’re part of the story on screen. I Saw the TV Glow weaves together a nostalgia driven plot with a personal journey, showing us what it feels and looks like to both deny one’s true self and feel the pull for what we needed when we were younger. It’s a delicate mix of genres that director Jane Schoenbrun, calling upon the sci-fi fantasy dramas of the 90s, especially those aimed at teenagers. I Saw the TV Glow is rather let down at times but narrative choices and the constant bleak overtone. However, its unique style and fascinating TV show within a film makes it unlike anything made in recent years.

Full review over at Filmhounds.

Lisa Frankenstein

 

Sometimes, stories are just better when retold in a fun, amusing and original way, especially when they are inspired by a literary classic. Mary Shelley’s Frankenstein has been the source of many versions, either faithful or a complete twist of the story. Lisa Frankenstein is both familiar and a bizarre iteration. Mixing together 80s teen rom-com and slasher components, the Frankenstein elements are closer to a spoof film, which is nowhere near a bad thing.

Full review over at Filmhounds.

Drugstore June

The apathetic adult child, usually a favourite as a male character, but thankfully there has been quite a few female characters like this appearing on our screens. In her 20s, living very comfortably at home, still stalking her ex and doing the bare minimum where possible in life, June is the apathetic adult child. While she does have a job at the drugstore (hence the name), she spends her time concerned with her online presence and her ‘June Squad’ follows. When the drugstore where she works is robbed, she decides to investigate and find the culprits. Her motivations is not to help out her beyond patient manager, but for the ice cream machine that was damaged in the robbery. 

June’s quest for the truth leads her to meet various characters, some as weird as her, others that seem to accept her strange demeanour and reasonings for everything. Although frustrating, June’s delusional personality is an absolute joy to watch. She is thoroughly entertaining and even, on very few occasions, makes very accurate observations of her surroundings. The mystery elements in the film, allow June’s detective skills to shine through, opening for more funny scenes, random characters that all play into solving the crime. 

Drugstore June is a difficult comedy to place and this is part of its charm. June is the clear stand out, played to perfection by Esther Povitsky, who also co-wrote this gem. Sometimes it can be grating for these delusional characters to never learn a lesson, but June’s charm out-weighs this character flaw and just becomes an easy comedic watch.

Everyone Loves Touda - Cannes Film Festival

 

Chasing dreams and wanting more, a better life is an age-old tale. Films such as these can feel predictable as soon as the tone is set. As an audience we become hopeful along with the dreamer of the story and even though we can guess how things will end, we still cling onto the hope that this character somehow succeeds. In Everyone Loves Touda, we enter the world of hopeful dreamer Touda and share in her journey, but we know all too well how this story ends.

Touda, is a Sheikha, a traditional Moroccan performer who are empowered by the songs of fierce female poets who lived before. Trying to carve out an existence in her rural town, performing each night in darkened bars to drunken men, Touda wants more from life. Deciding to take a chance, she moves to Casablanca, the big city, in the hope of being recognised as a true artist and securing a place for her son at a school that accommodates deaf children.

Full review over at Filmhounds.

5lbs Of Pressure

 

There are some emotional punches thrown throughout but the bleakness of the final act that makes it difficult to see a silver lining in any of the chaos that proceeded it. Betrayal, redemption, hope are all expressed throughout 5lbs of Pressure. Consequences from actions long in the past and immediate future play out side by side as each character tries to get by and make better choices.

Adam, about to complete his parole, returns to his old neighbourhood to start over and to finally meet his son he missed growing up. When hearing about Adam’s return, Eli, the brother of the man Adam killed, plans his revenge as his own life falls apart.

Full review over at Filmhounds.

Swede Caroline

 

Although competitive vegetable growing or more specifically, growing giant vegetables does take place around the world, the event feels very much like a typically ‘British’ pastime. Any competition steeped in tradition will be able to find the comedy and in this case it’s a mockumentary about one vegetable grower and her story to win the coveted prize of heaviest marrow. The subject and setting is humorous before the film has even started. What’s good enough for Wallace & Gromit is good enough for the amateur film crew who ‘stumble across’ a major story worthy of its own documentary. 

Set in the world of competitive giant vegetable growing, the community is rocked by scandal when relatively new competitor Caroline has her prized marrow plants stolen. Together with her partner, Paul who fancies himself an amateur sleuth and her overly helpful neighbour Willy, Caroline is determined to find the culprit and still try for the top prize at the competition.

Full review is over at Filmhounds. 

Immaculate

 

Religion and horror go hand in hand, for obvious reasons, with the most popular being Catholicism. Fire and brimstone, hell and the devil, there’s too much temptation to take this religion to it’s darker corners. Immaculate is Sydney Sweeney’s passion project, having been attached to the film for years and eventually ended up being one of the producers as well as starring. This does seem, on the surface, an unlikely role for her to take on. But as soon as Cecilia arrives on screen, as the sweet and somewhat naïve novice nun, it becomes very clear that this is exactly the role Sweeney should be playing. 

No sooner as Cecilia arrives at the impressive convent buried in the Italian countryside, there is an ominous atmosphere that all is not what it seems. Anyone well versed with horror films that focus on religion will recognise the story beats and settle in nicely for the bizarre events ahead. Immaculate hams up the horror to the max, with jump scares every five minutes it feels, mixed in with some disturbing dream sequences that may be real after all. But as every character Cecilia interacts with feels like an omen or doomed ally, this sense of dread is constant leaving very little mystery. 

For those who enjoy an ominous horror and the company of nuns easily manipulated by a priest (as they always seem to be) will enjoy this blood-filled holy fest. Sweeney herself is actually pretty good throughout but her shining moment is at the climax of the film, caked in blood, having a very cathartic primal scream. However, all, the film is entertaining but it doesn’t rise above others made of the same ilk. The mystery is thin and the premise intriguing but nothing that shocking when you realise what’s going on in the catacombs. The fact that this film was stuck in development for a years does show, but luckily Sweeney sticks with it to give the film that shining moment.

Dream Scenario

 

Nicolas Cage never seems to disappoint us with his performances. They are either standard action with an edge of ridiculousness, serious with a strange concept or outright ludicrous. Dream Scenario sits within the middle bracket, as a story about an average man who finds himself appearing in people’s dreams. Benign at first, but eventually turns into a complete nightmare for himself and everyone who dreams about him. The film comes across as dark comedy but very quickly slips into something more serious and unfortunately, depressing. 

Without explanation and without conclusion, Dream Scenario, leaks into our minds as a very abstract midlife crisis. Paul, helpless as to what people dream about, let alone how he appears in people’s dreams, is at first idolised, feared and finally abandoned by his friends, colleagues and family. This is a tragic story in which the protagonist and near to no control over his life and what happens. Paul could be seen as guilty as lapping up the attention at first, his ego inflated but ultimately, he is just a sad character with a simple life, a somewhat domineering wife and the all round basic existence. There is no cautionary tale here, no, be careful what you wish for, only a sense of disappointment and emptiness. 

Dream Scenario won’t go down in Cage history as one of his best performances or best films. Interesting concept for sure but beyond that, it would be best to let this film fall into the ether.

Love Lies Bleeding

 

Love stories can appear in any genre and love coupled with revenge makes for one passionate bloodbath. Director (and co-writer) Rose Glass’ much anticipated follow up to religious horror Saint Maud (2019) has had audiences all geared up for what set to be a hot, sexually charged, bloody chaotic story. Glass absolutely delivered on the promise all the trailers and posters had set up. 

When small town gym manager Lou meets body builder drifter Jackie, there are immediate sparks. But after one violent incident threatens to tear the two apart, they are set on a path of chaotic revenge, each doing anything they can to protect the other.

Full review over at Filmhounds.

Dogman

 

The opening sequence of man in drag, bleeding, driving a huge truck with a pack of dogs in the back, sets up the film to be one hell of story, but very soon turns into a very melancholic tale that never really seems to quite fit together. Dogman, the latest film from genre director Luc Besson, is, on the surface an intriguing story, highly character driven full blood, sweat and tears. But delve deeper and the plot falls apart, with just great performances to hold it all together.

Full review over at Filmhounds.

Snack Shack

 

It may feel a little early for a teen summer comedy to be making a splash, but Snack Shack is ahead of the curve. With a great cast, in particular the two leads Conor Sherry as AJ and Gabriel LaBelle as Moose, and a fun vibe running throughout, there is more than meets the eye with this film from director Adam Rehmeier.

After being harangued into getting a job for the summer, teenage best friends AJ and Moose win a bid at their council to run the snack shack at the local swimming pool. Through their entrepreneurial spirit, they try to turn a profit and plan for future ventures. But when a new lifeguard, Brooke (Mika Abdalla), arrives on the scene, the boys' friendship and business are put to the test.

Full review over at  Filmhounds

Molli and Max in the Future

 

The ‘Rom-Com’ is forever being challenged. It’s a genre that will never truly die and continue to evolve or in the case of Molli and Max in the Future, take an idea from the past and twist it. Inspired by When Harry Met Sally, at least the format and nature of the two leads relationship and set in an overtly futuristic world, Molli and Max is both a homage to the rom-coms of old and a step towards the evolution of the genre. 

Set a billion years in to the future, magic is common place, sentient robots conduct PR campaigns and a demon wants everyone to live in the trash dimension. Over 12 years, 4 planets, 3 dimensions and one space cult, Molli and Max keep bumping into each other. As time goes by, they each change, but their emotions usually stay they same, though they won’t admit it. 

A science fiction rom-com is always a welcome addition to the saturated genre, especially when its both light and incredibly dark. The balance is well maintained throughout the entire film and never really teeters over into depressing which can happen in with any kind of romance. Molli and Max each go through their own struggles, but always find each other at the right time. The chemistry between Zosia Mamet and Aristotle Athari is fantastic, their quips and fast paced talking is well matched. Combining the true romance and comedic undertones is very entertaining to watch. As well as the leads there are some amusing and fun supporting characters that help build this strange future world, that itself is fascinating. There seems to be some new dimension or magic level that opens up, the possibilities seem endless. 

Molli and Max is the unexpected sci-fi rom-com that you didn’t know could be actually challenge the genre.

Marmalade

 

On the surface, Marmalade could be just another love story, just another Bonnie & Clyde-esque scenario but something more complex lurks below the surface. 

Finding himself captured and thrown in prison, naïve Baron strikes up a tentative deal with his cell mate Otis who has bragged about being able to escape. As they formulate a plan, Baron recounts his life story and most importantly how he met the love of his life, the enigmatic Marmalade. He tells Otis of how they robbed a bank in order help his sick mother and have enough to start their new lives together. But all is not quite what it seems in the prison or in Baron’s story.

Full review over at Filmhounds.

Race for Glory: Audi vs Lancia

 

Sport centric films can either fall by the wayside or are able to capture the attention of any audience. Motorsports might be in the latter category for the pure adrenalin and speed spectacle elements. But those films based on historical events, tend to cut down on the excitement and concentrate on the drama off the track. Race for Glory: Audi vs Lancia is based on a real championship. Anyone who is interested in motorsports, specifically rally driving will at least get some joy out of this one.

 

At the 1983 World Rally Championship, the intense and at times, petty rivalry between the German led Audi Sport GmbH team and the Italian led Lancia Abarth team comes to a head. With the Audi Quattro car a favourite to win, Lancia lead Cesare Fiorio tries everything within his power to make his  team a success, even hiring the renowned German rally driver Walter Rohrl for only half the races.

Full review at Filmhounds

Slotherhouse

We all know the story of the creature, the monster, loose in the enclosed building. There’s no way to escape, despite there being many exits but those unlucky souls trapped inside are doomed no matter what they do. We are also familiar with slasher horror films. A mysterious person or entity kills a group of people one by one in violent and bloody ways. Mashing up horror genres with comedy isn’t something new. However, having one of the slowest animals on Earth become the creature of the feature, as well as the antagonist slasher, is one of the most bizarre twists on film.

Desperate for popularity points so that she can become her sorority’s president, senior Emily adopts a three-toed sloth, making it the house mascot. But as her popularity rises, so do the number of mysterious deaths and disappearances within the house. Realising too late the havoc and bloodshed the sloth can cause, Emily and her remaining Sigma Lambda Theta sisters must fight for their lives.

Full review over at Filmhounds 

Poor Things

In the wake of Academy award nominations, the somewhat fantastical science fiction comedy Poor Things is garnering further attention, both sceptical and admiring. The outcry from many was that this was a film about a woman’s liberation told through the eyes of a man (which happens often) and on the other hand it was an inspiring look into a woman breaking free from society, filled comments on current and past depictions of society and its expectations.

Bella Baxter, a young woman, resurrected and implanted with the brain of her foetus, by the Dr Godwin, begins her life anew. As she gradually ages and wants to experience more, she runs off with a cad of a lawyer to Europe. Along her journey of self-discovery, sexual liberation, she learns of philosophy, and what it truly means to be independent.

 

Adapted from the novel by Alasdair Gray, of which is told from the perspective of the male characters, the film fully concentrates on Bella Baxter’s journey and her views of the world. We see Bella being able to break free from several constraints and that includes the male characters in the story who all seek to control her at some point. This could be a feminist story but not a universal one.

 

We see Bella breaking free from society and its expectations, but to gain much of this liberation, she had to join a brothel. It’s incredibly frustrating to continuously see this depiction of sexual liberation on screen. There has rarely been an alternative. A series of events happen for Bella to end up in this situation, but the key being, she ultimately chooses to stay working in the brothel. But at first, she is too naïve to understand what is happening as she is still, technically, young. This woman’s liberation is through sexual exploitation, firstly by the lawyer who brings her to Europe in the first place, and then by her first encounter at the brothel.

 

There is something satisfying about Bella being desired continuously along the way by all these men, wanting to control her, keep her locked away but she ends up outwitting them, or in fact taking control of them in various ways. BUT at the same time, that continuous mention of how beautiful Bella is, is also how she able to behave outrageously without consequence or severe punishment. Her ‘pretty privilege’ is not discussed at length as most are too focused on the sexual elements and male controlling women, but it is something to be noted.

 

The steampunk Victorian set period makes for a fantastical world where places and things are twisted to suit this director Yorgos Lanthimos’s film world. These are the most enjoyable elements about the films, aside from the comedic dialogue and the scenes with Mark Ruffalo as the cad lawyer, Duncan Wedderburn. But the story and Bella herself are at times, too hard to swallow and the choices made to depict a woman’s liberation feels too one note and are rather basic ideas

Mean Streets

 

Martin Scorsese has been known for his gangster films, as well as a foray into other genres, but his third film, Mean Streets was the one that pushed him into the spotlight. A gangster film about violence, crime and fraught friendship, Mean Streets not only showcased Scorsese's talent, this was Harvey Keitel and Robert De Niro's first appearance together in a film, as well as the first in a long line of films, the latter worked on with the director. It could be said that Mean Streets was the start of something special.

Following a group of 20-somethings as they each try to make a name for themselves in New York city, going from small time criminals to aspiring gangsters. Charlie, trying his best to avoid crime but working for his mafia boss uncle, dreams of opening his own restaurant. Along with Tony, who runs the local bar and Michael, a loan shark who runs small dodgy deals, Charlie spends his time cleaning up the messes of his sometimes friend, Johnny Boy, a petty thug who rips off loan sharks for a living. But sooner or later, Johnny Boy's bad habits will catch up with him.

Full review over at Filmhounds HERE.