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.