The Institute - SXSW London

 

As the most adapted author, it is no surprise that there is another adaptation of one of Stephen King’s books making its way to our screens. With The Life of Chuck dancing its way onto the big screens later this year, as well as being the closing film for SXSW London, it makes complete sense that The Institute, a series based on the novel also made its debut at the same festival. With the blessing from King himself, enough to have him on as an Executive Producer, the show already shows promise without delving into this science fiction horror story.

Full review over at Filmhounds.

Swordfish

 

The early 2000s were a wild time, in reality but most definitely in the cinema. With the classic 90s blockbuster being ever so slightly being moved aside for the more bombastic stylised, heavy on the CGI and a much bigger emphasis on technology version of the blockbuster. Computers, hacking and cyber crimes were becoming more popular themes and almost all had a touch of The Matrix about them. Combing action with thrills and a computer screen with that impossible code that only that one special person could crack, Swordfish takes it’s place amongst the collection of titles that have this familiar set up. Finally, enough time has passed we can look back at these films with fond memories. Move over 90s nostalgia, the 2000s are having their day. Again.

Full review over at Filmhounds. 

The Nice Guys (Blu-ray/4K)

 

The Nice Guys is a throwback to the cop dramas and mis-matched buddy movies of the 70s, 80s and 90s. Even though the comedic elements are front and centre, the story and characters still manage to tread into mystery/thriller territory, feeling very much like a much less series version of Chinatown. Yet still covering a serious subject hidden by unexpected comedic chemistry between Ryan Gosling and Russell Crowe plus the frequent porn connections to the case they’re working on. Releasing on UHD and Blu-ray, The Nice Guys gets the Second Sight Films treatment, after nearly 10 years since its initial release in 2016. This release feels like it was long overdue.

Full review over at Filmhounds.

The Legend of Ochi

 
Harking back to the adventure films of the 80s and 90s where things felt more innocence and slightly more exciting, writer-director Isaiah Saxon takes us into a new world, strange yet still familiar. The island where these characters live, described as a small island and yet there are mountains, rivers and a vast landscape that takes days to cross. Possibly compared to the rest of the world the island is small but here provides a magnificent backdrop to a story of courage, curiosity and connection. The Legend of Ochi is an adventure as well as a fantasy that could just about capture the imagination of any age.

Yuri, a young farm girl living on the remote island of Carpathia, has been brought up to never go out after dark and fear the mysterious reclusive creatures known as the Ochi. Her eccentric father is obsessed with killing the creatures and trains a group of young volunteers to protect the village. But when Yuri finds an injured baby Ochi, she decides to journey across the island to return it to its home.

Full review over at Filmhounds. 

Julie Keeps Quiet

 

Julie is one of the most promising players at an elite tennis academy. When one of the coaches falls under investigation for inappropriate conduct and is suspended, the players are encouraged to speak up. However, Julie, remains quiet.

Premiering at Cannes 2024, chosen as Belgium’s entry to the Oscar’s but not nominated, co-produced by the legendary filmmakers, the Dardenne brothers, Julie Keeps Quiet already speaks loudly as a film to be taken seriously. Coupled with the subject matter where there is a lot to be said, its interesting to see director and co-writer Leonardo Van Dijl, take a different approach. Van Dijl delves beneath the surface of Julie’s quiet and often serene exterior, channelling her emotions into her tennis and keeping her dialogue to a minimum.

Full review over at Filmhounds.

Warfare

 

Pieced together from memories of the people that were there, Warfare is a slightly different ‘war’ film than we’ve seen recently, but only because the concept is far more intriguing than the finished result.

Warfare depicts a Navy SEAL platoon during an encounter in Ramadi, Iraq, set in real time. During the events, a solider is injured and the platoon request a medical evacuation, but this results in an IED exploding. The fall out of the explosion is as visceral and bloody as you can imagine, there is no holding back, we hear, see and feel every reaction from each member of the platoon. As the battle ramps up, the situation only becomes more dangerous, there is a slight shift as the rest of the platoon arrive as backup but the barrage of pain and noise never lets up.

It's interesting to that these people’s memories are what brought this film together. What each member of the team remembered and what they saw. Stripped away from this being based on real events, this is a simple concept and the cast really are to be admired, in particular Cosmo Jarvis, Will Poulter, D'Pharaoh Woon-A-Tai (who plays co-director and co-writer Ray Mendoza) and though not long on screen, Charles Melton. The pacing and energy makes the film somewhat play out like a thriller in a warzone, and never lets up once the explosion happens.

However, there is the constant feeling that this is snapshot of a wider story, what fresh viewpoint is it bringing to the genre and overall subject. It’s hard to answer the question as well as who is this film for other than those who enjoy these stories and maybe those who were there when it happened (at least from the US side). As the credits roll, you’ll end up reflecting on who is the audience more so than the good performances and decent filmmaking.

Drop

 

Although Drop has a very enticing hook, there is more bubbling beneath the surface of our heroine. With a somewhat simple plot, that could very easily be slid into the ‘dumb premise’ category, gradually becomes an edge of your seat thriller with an actual three-dimensional character. The technology used in the film does play a major part and follows along the trend of other recent horror-esque thrillers, but again, thankfully, Drop manages to stand apart and offers a little more than what we’ve seen before.

Violet, a widowed mother, has finally decided to go on a date with photographer Henry having met him on a dating app. During their date a very up market restaurant, Violet is plagued with messages from an anonymous person. But as the evening goes on, the messages turn into increasingly violent instructions otherwise her young son and sister will be killed. All she has to do, is kill her date.  

Full review over at Filmhounds. 

The Wedding Banquet - BFI Flare

Remakes, or a reimagining, can be construed as long overdue, unnecessary or a welcome addition. Based on Ang Lee’s 1993 film, The Wedding Banquet, directed by Andrew Ahn of Fire Island fame, fits very comfortably in the ‘welcome addition’ category. With a truly fantastic cast taking the reigns on this new version, rather than updated, the comedy hits and the emotions flow and for anyone who loves a romantic comedy, this one is most definitely for you.

Full review over at Filmhounds. 

Flow

It may feel like there hasn’t been a challenger to Disney/Pixar for a long time, but in fact, the house of mouse has missed out at the Oscar’s for Best Animated Film the last three years. Not only is this refreshing but it shows that more animated films are finally being able to make an impression and break through to audiences. Dreamworks of course has been working away and creating some truly spectacular films over the last few years as well (bar that new Shrek film by the looks of it), but its with Studio Ghibli winning last year with The Boy and the Heron and Guillermo del Toro's Pinocchio the year before, there finally feels like a shift happening with animation. This feeling was cemented with the historic win this year when Flow took home the prize, a first time ever win for Latvia and for co-writer and director Gints Zilbalodis.

Flow follows a black cat who lives in a world where humans no longer exist, though there are remanences from what they left behind. When the land is suddenly flooded, the cat, by chance encounters other animals, equally lost, who all end up in a boat together. As they drift along, the group must learn to work together and navigate these new waters.

 

Full review over at Filmhounds.

Audrey

 

Only your family can truly get under your skin, harvest deep resentment, and bring out our worst qualities, which is why comedies about families and their dynamics can produce the darkest humour. Mother-daughter power struggles, sibling rivalries and even conflicting parenting styles are all spread bear in this ridiculously funny, dark comedy from director Natalie Bailey. Audrey really will make you scoff at the absurdity and laugh when it really is not appropriate.

Ronnie prides herself on being a fantastic mother, believing she gave up her acting career so her daughter Audrey could have one instead. But when Audrey accidentally falls off the roof and into a coma, Ronnie sees that she has no choice by to live her daughter’s life so that Audrey can still keep her dreams alive. All while her other daughter Norah makes choices she regrets and her husband Cormack is free to lie about the whole series of events in his grief group.

Full review over at Filmhounds. 

Opus

 

Comparing worshipping or to a lesser extent, being a fan of someone to being in a cult is usually fun to explore. You can expect the same commentary and bizarre acts of service in the unnerving lead up to the climax of Opus, and overall, the film has a tone we’ve seen before. However, while the conclusion may feel expected, it’s the journey, the mystery, and the music that keep you entertained.

When legendary pop star, Moretti, resurfaces after having disappeared for 30 years, he not only drops a new album but invites a select few to listen to it first. Amongst those invited is budding young journalist Ariel. Once the group arrives at the Moretti compound, they are surrounded by his cult like followers and bizarre rituals and Ariel soon started to suspect there is far more to Moretti’s plan than anticipated.

Full review over at Filmhounds.

The Last Showgirl

 

Long-time showgirl Shelly has performed at the Razzle Dazzle for 30 years, when the casino announces that the show will close, she is devastated. While her younger co-stars decide to audition for other shows, she is left in limbo. As the world she’s know for so long starts disappear around her, Shelly tries to reconnect with her estranged daughter and decide what she should do next.

The tone of director Gia Coppola’s The Last Showgirl is a continued feeling of sadness. Beginning with the crushing news and the fallout from that. What’s interesting is that a story such as this is not focusing on the show that, within the world of the film, was seen as the last show of its kind and maybe once would have been described as iconic. The focus is nearly solely on Shelly as we watch her world fall apart. Having given up literally everything for her career and the show, she has little to show for such loyalty. She seems careful money unlike her best friend and ex-showgirl Annette who gambles away what she earns as a cocktail waitress. Shelly’s life appears empty outside of the show, her daughter doesn’t even feature in her life until she reaches out to see her. Shelly’s behaviour throughout the whole film is that of someone going through grief. The show was her life and she cannot fathom being without it. She lives in the past, still talking about the 80s when showgirls were seen as ambassadors and how the show emulated that of something similar seen in Paris. Shelly longs for the ‘old days’ of elegance, or at least what she views as elegance.

As we watch her breakdown slowly to her new reality, there is no better person to portray Shelly than Pamela Anderson. She is truly putting everything into this role and she nails Shelly’s vulnerability and delusional behaviour perfectly. Anderson emulates the frustration and sadness of Shelly, she makes us feel compassion for her. The supporting case also do an excellent job with the roles given, but Jamie Lee Curtis steals every scene she is in as Annette.

Writer Kate Gersten based the script off her own play, Body of Work which was in turn based on her visits to the now closed ‘iconic’ show Jubilee! which was one of the longest running show on the Las Vegas Strip. Though this film belongs to Shelly (and Anderson), it also serves as a bittersweet tribute to the old shows and the days of the typical Las Vegas showgirl while ushering in the new entertainers taking their place.

Fantastic performances from Anderson and Curtis are the key to The Last Showgirl but Gia Coppola does bring that feeling of loss throughout as well as a tiny glimmer of hope for the future.

Crossing Delancey

 

Isabelle enjoys working in a New York City bookstore and the carefree lifestyle she maintains outside of work. But on her weekly visits to her beloved grandmother on the Lower East Side, she met with desperate pleas for her to settle down with a nice Jewish man. Despite Isabelle’s instance on wanting to be single, she is forced to meet with a marriage broker and even an awkward date with local pickle seller, Sam. While Isabelle believes she can do better than the well-meaning Sam, she starts to entertain a crush on celebrated Dutch-American author Anton who frequents her bookstore. Through mishaps and misunderstandings Isabelle finds herself in a romantic bind of what to do.

Full review over at Filmhounds.

The Last Stop in Yuma County

 

The film easily sets up the parameters, creating a near impossible situation, where we are all just waiting to see who cracks first. Mostly strangers make up those ‘trapped’ in the diner, with one or two narrow windows of opportunity, this tension filled thriller has you hooked at what will happen. Reminiscent of films that take place in one location and slowly builds tension, The Last Stop in Yuma County is similar to a low-key Free Fire, except instead of a constant shoot out, it’s the calm before the storm.

At a remote desert rest stop, a knife salesman and waitress become entangled with two bank robbers plans to escape. As the group anxiously waits for the gas truck to arrive to fill up the pumps, a few more strangers with their own plans, arrive, adding to the tension. With few options and everyone in possession of a gun, the knife salesman is woefully ill-equipped for what’s to come.

Full review over at Filmhounds. 

Clone Cops

 

In a world where domineering conglomerate, Nefaricorp has taken control of society, supplying replicant robots to do all blue-collar jobs, a gang of outlaws defend their hideout from said corporation. But when the truth about who they really all are is revealed, the gang must spring into action and plan their escape.

If you’re wondering why everyone on screen feels like they’re in a different film, that’s because Clone Cops is a patchwork of various other sci-fi plots melded into one. With some interesting ideas played out on screen, the film does its best with what’s assumed, a limited budget. But it isn’t the production design where the film falters.

Clone Cops does have some amusing moments and the gameshow, evil corporation aspects are weirdly enjoyable, even including the exaggerated actions and behaviour from certain characters. Its also easy to appreciate the comments being make on society and where we could all be heading as technology progresses while humanity regresses. Unfortunately, the positives of the film don’t outweigh the negative.

Every character featured in the film is either a back-to-basics stereotype, even if the cast do their best to escape these predictable character beats, or they feel as if they’re wondered into a completely different film. To an extent, this disjointed feeling between characters is meant to be there considering the set up, but the feeling that no one is on the same page becomes more jarring. The one note characters and standard dialogue, makes for film a that could have been something quite unique but unfortunately Clone Cops suffers from a clunky plot and possibly too many ideas.

Despite the negatives, Clone Cops has its moments of fun and for those enjoy a schlocky sci-fi will find more merit. But anyone looking for an exciting new tech driven comedic science fiction story will end up disappointed.

Presence

 

A family of four moves into a large suburban house which seems to be occupied by a ghost, a presence. This presence observes the family as they move in, their day to day and notes the cracks appearing within the family’s relationships. Rebecca, the mother, openly favours Tyler, the son, a swimming champion. She rarely has time or patience for Chloe, the daughter who is grieving the sudden death of her friend. Chris, the father tries to make up for this neglect, trying to help Chloe but he is also having issues with Rebecca, who has equally little patience for him.

Full review over at Filmhounds.

The Girl in the Pool

 

The title for this ‘mystery thriller’ really does say it all, for the story, for the execution of said story and sets up expectations accurately. Running at just under 90 minutes, you can feel the anxiety but the thrills are unfortunately non-existent.

Hours before a birthday party is to take place at his home, Thomas (Freddie Prinze Jr.) enjoys a supposed secret rendezvous with his mistress, Hannah. But leaving Hannah alone in his pool Thomas returns to find she her covered in blood and no longer breathing. Panicked, Thomas hides the body, cleans the scene and is forced to endure the party his wife Kristen has planned for him, all the while trying to figure out what happened and conceal the body that is now leaking blood from its’ hiding place.

Full review over at Filmhounds.

It’s Raining Men

Adultery can either be taken seriously, to the depths of a drama or erotic thriller or be taken with a pinch of salt. Rom-coms have used cheating on one’s partner for laughs, hijinks or an excuse for an elaborate set piece involving switching rooms hiding under beds, jumping out of windows etc. Writer and director Caroline Vignal seems to enjoy using this story element having included it in her previous film, My Donkey, My Lover and I. But It’s Raining Men leaves the countryside shenanigans behind and focuses more on the Iris’s journey through sexual satisfaction as well as trying to balance her family life. 

Nearing 50, parts of Iris’ life may be going well; her children, her successful business, but she has no sex life. Despite having a loving husband, though he seems to only be concerned with work these days, the two haven’t had sex in years. After a stranger suggests she take a lover, Iris’ world opens up. No sooner has she set herself up on an app aimed at married people, the matches come flooding in. But while she might be finally sexually satisfied, she starts to neglect the other important parts of her life.

Full review over at Filmhounds. 

The Damned

 

Eva, a young widow who has inherited a Winter fishing port in an Artic Bay, along with the fishermen struggle with a lean catch. One day as they are about to take out the boat, they all witness a shipwreck at the mouth of the bay. Unable to even feed themselves they decide not to offer aid. In the days that follow the crew end up with a larger than expected catch only for all the food to disappear the next day. Superstitions run high throughout the group as they start to believe they are being attacked by a draugr, a vengeful spirit. As well surviving the harsh Winter, the group try to stay vigilant of each other as well as whatever ghostly spirit haunts them.

Full review over at Filmhounds. 

Watch List 2024

 

Without any faff, jumping straight into the list:

1. 

This animated story about friendship, loneliness and letting go had a modest release in cinemas and hopefully will be remembered as one of the sweetest, saddest films. More about the film HERE. 

2. 

A romantic thriller with more than you ever bargained for. This film has stood out, even from last year when it was doing the festival circuit. More about this film HERE. 

3. 

A music biopic unlike anything that has come before. Celebrating the Irish language as well telling the story of how Kneecap (the group) came into being. This has been a big hit at cinemas and awards alike. 

4. 

This was a favourite of mine since LFF 2023, a new take on the found footage genre trope as well as a fresh take on possession and haunting, but at the same time the film has a nostalgic quality about it. Coming in at a tight 95 minutes the film never out stays its welcome and keeps you guessing what will happen in the end.

5. 

Dreamworks has definitely stepped up on their storytelling, with How to Train Your Dragon now in the live action business, the animation part of the studio has looked for new stories and The Wild Robot is not only entertaining and heart-warming with tears guaranteed but it feels familiar but told through new beloved characters. A beautifully animated story. 

6. 

The Palm d'Or winner was going make an impression and this unconventional comedy and tragedy will surprise even the most cynical critic. More about this film HERE.

7. 

A romantic comedy with under and overtones of horror and heavily featuring music/musical influences, its a joyful hybrid. More about this film HERE.

8. 

I wasn't convinced the first time I saw this body horror but after reconsidering what the film stands for and what I felt the film was really about, plus a rewatch, I appreciated this bizarre yet brilliant in doses film. More about this film HERE. 

9. 

A film with set in heart of one of the biggest religions yet the film isn't about religion, a murder mystery with no murder. This fascinating and strangely exhilarating film boasts a great cast and a truly brilliant conclusion. More about this film HERE.

10. 

With a soundtrack I can't get out of my head, this anti-romance horror-esque science fiction film, directed by Alice Lowe was highly anticipated and for me, didn't disappoint. More on this film HERE.