Lesbian Space Princess

Courtesy of Peccadillo Pictures

The animated space is far too often predominantly aimed at a younger audience, or is automatically assumed to be more for children. But thankfully the animators out there that make animated content aimed at adults or exploring subjects that are more for an adult audience are doing excellent work. The latest names to be added to this group, writer-directors Emma Hough Hobbs and Leela Varghese have created what should be the newest obsession for fans of animated films and comedic entertainment. Lesbian Space Princess is a hilarious, relatable sci-fi adventure, with a fun appealing style that feels right at home amongst the likes of Adventure Time, Tuca and Bertie and Final Space.

Introverted Princess of Clitopolos Saira, is devastated when her girlfriend, Kik the Destroyer dumps her right before the Lesbian Ball, especially as she was looking forward to not attending alone this year. Saira already feel inadequate and overshadowed by the Queens, her moms who are very popular. But when Kiki is kidnapped by the Straight White Maliens, Saira has to make the dangerous journey to save her, and then maybe this will convince her ex to take her back.

Hough Hobbs and Varghese have created such a fun world with a very entertaining variety of characters, all while exploring the themes of self worth and of course, self discovery. The LGBTQ+ themes that runs throughout are also very much appreciated. The jokes are on point, whether they are subtle or absolutely in your face, with great voice performances from a fantastically assembled comedic and dramatic cast. The setting of space doesn’t dilute any of the themes or topics and is frankly, a refreshing science fiction adventure. There is very little to fault Lesbian Space Princess, except maybe some parts of the story are rushed through and not given the proper time they deserve, mainly when some important information comes to light about why Saira may be so shy, anxious and lonely. But maybe this could be explored further in a follow up adventure? Here’s hoping there may be more to explore.

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

Cat Person

 

Dating can provide some of the most ridiculous, excruciating, and horrific stories. There are endless possibilities where dating stories can take you and Cat Person is both just one in a million and a story that really nails down the intricate thoughts and feelings one can feel in the moment. The flirtatious beginning to the absolute insane climatic end, Cat Person explores the paranoia that comes with dating and the gut instinct that something is just not quite right.

College student Margot meets Robert, an older guy, at the cinema where she works. They start texting, fun and flirty messages and she is soon attached, despite a few odd moments with him. Her best friend, and near recluse, Taylor, thinks there’s something not quite right with Robert. However, Margot still decides to continue the relationship. But soon things take a turn, causing Margot to sink into paranoia, believing she is isn’t safe.

Full review over at Filmhounds.

The Beanie Bubble

 

This is the year of the ‘product’ film, with several films about the origins of a particular product being explored. The Beanie Bubble fits very nicely between Flamin’ Hot, BlackBerry and Air, moving from the 80s into the 90s and banking on nostalgia to make us want to find out exactly what happened to the Beanie Babies bubble. Back in the mid-90s, you were either a collector or you knew a collector, there was no escaping the beanies and that inviting TY logo. 

Behind every great man, there’s always at least three women that he’s standing in front of. There are always a trinity of women, each having propped the man up, in a relationship with him or created ideas that he had stolen, The Beanie Bubble tells the story of the three women in Ty Warner’s life and how they helped him become a billionaire.

The full review is over at Filmhounds HERE.

Call Jane - BFI London Film Festival

In Chicago, 1968, content housewife Joy is happily married with a teenage daughter when she finds out that her latest pregnancy is endangering her life. The only way to keep Joy alive is to have an abortion which the all-male board of the hospital deny her. Desperate, she tries to have an abortion illegally but instead happens on a notice that says ‘Pregnant and don’t want to be? Call Jane’. After having the procedure done safely, Joy is drawn to the group of activists who seek to help as many women as possible. But as abortion is still illegal, Joy understands and takes the risks, becoming an integral part of the organisation.

Full review over at Filmhounds HERE.

Don't Worry Darling

 

SPOILERS OF THEMES, NOT PLOT

Usually, there is no need for the Cinema assistant to say ‘good luck in there’ when entering the screen. Unless they’ve seen the film and it's particularly awful. But this friendly warning was when we arrived at the cinema to see a group of 15 teenage girls (and a few other smaller groups of girls) all waiting to get into the screen, but had to have their IDs checked. Usually, a large group of teenagers in general is something you would want to avoid but is expected in a blockbuster, not a psychological thriller. Of course, the girls were there for Harry Styles and maybe, to a lesser degree, the controversy that has surrounded this film since it began filming.

Don’t Worry Darling, when it was announced a few years ago was set to be the intriguing and much anticipated directing follow up from Olivia Wilde. Casting announcements then rumours on set followed, but it was when Wilde and Harry Styles appeared to be a couple was when things really kicked off, especially at Venice Film Festival. It’s a shame that the gossip has overtaken how the film has been received, with people comparing the lead being more exciting than the film itself which is such a shame as Wilde has delivered a worthy film. It’s by no means perfect but it’s still entertaining with some fantastic shots and a great performance from Florence Pugh. 

Jack and Alice are very much in love. Living the dream, along with other couples who have been chosen to take part in the Victory Project, a community built out in the desert. While the men go off to work each day to headquarters, the women live a relaxing existence, keeping house. But when a friend appears to lose her mind and question everything, especially the strict rules, Alice too starts to notice strange things happening. Questioning her own sanity she tries to go looking for answers with life shattering consequences.

Set in the 1950s, desert company town, California, everything is pristine and elegant. Everything feels and seems perfect right down to how the eggs appear to be, perfect. When everything looks this perfect, its dreamlike and we’re left with an uneasy feeling. This discomfort doesn’t go away as you try to unravel the mystery in time with Alice, played by Florence Pugh. From the outset, we are brought into this world where everyone is happy and content and when something is too good to be true, it most certainly is. Debating whether this is an experiment, a cult or a combination of the two is all wrapped up in what the men are actually doing at headquarters and what Frank, the enigmatic leader is trying to achieve. The mystery isn’t what the Victory Project really is, its about the people as we already know that something is not right from the start. The setting, layout of the town and small clues along the way, such as the club where they all celebrate being called ‘The Dollhouse’ are all pieces of the puzzle left for us to observe rather than for Alice to pick up on. We are being fed lies and misdirection as well which adds to the anticipation at the end. But as things are rushed, there isn’t enough to completely satisfy. The story isn’t wrapped up neatly but nor should it if the story answers the questions. Unfortunately, there is too much focus on the ‘showdown’ at the end which could have been shorter in favour of more dialogue scenes. 

The atmosphere reminds me very heavily of The Stepford Wives, not the remake that missed the point no matter how enjoyable. As well as other more recent films like Old, which relies on the explanation squashed in at the end or even The Village which has its reveal on screen rather than through long amounts of dialogue. There are so many questions that are left unanswered, which might be on purpose as we can’t know absolutely everything. Our focus is on Jack and Alice and how their lives are impacted by everything. Though the ‘big’ question is sort of answered, the question of why did this happen isn’t given a full satisfying end. Apparently, there were a lot of scenes cut that included Margaret, the women who discovers the truth first, these might have been more useful and created a bigger picture. Maybe we’ll get these in a home release. 

While the cast as a whole is great, Pugh stands out as she is carrying the film. But as Styles also has a huge role to play too, he needs a mention. Dare I say it, that this role would have worked better with Shia LaBeouf who was originally cast but dropped out. On one hand he would have brought the intensity and ‘weird energy’ needed but Styles is much better as the naïve and at times insecure person Jack is meant to be, inside and out. But LaBeouf would have sold the climatic reveal. Casting Styles was an interesting choice and yes, would bring in a whole different audience who wouldn’t necessarily see this genre of film. 

There is an otherworldly quality to Wilde’s film that is to be admired and unfortunately is being judged more harshly due to the events surrounding the making of it. Despite the rushed moments towards the end and lack of further explanation in others, Don’t Worry Darling is a film that could grow on you or could deter you from the subjects explored (trying not to spoil it here). Ignore the controversy, see the film and make up your own mind.

Censor

 

While reviewing the notorious video nasties that became popular with the arrival of home video, censor Enid goes about her day to day, until one day she watches a film that resembles the location her sister disappeared from years before. Triggering ger guilt over this past event, Enid descends further into the confusing and gory world of low budget horror film production. She soon becomes convinced that an actress in a film is her missing sister and is determined to bring her home.

 

Grief is meant to have five stages but when someone is stuck continuously in the denial, seriously bad things can happen. Denial gives people the excuse that they can justify almost any action. Being in denial makes you dangerous. This is one the lessons learned from Censor. The focus is pulled firstly to the video nasties era and censorship and whether we can be truly influenced by the films we watch. The film cleverly subverts this topic with a few lines of dialogue towards the end which could be the key to the madness. Enid’s grief is triggered not just by what she sees, but the hope and guilt that fuels her into believing her sister who disappeared years ago is still alive. 

 

The video nasties were an era when home videos were booming. Filled with gore, violence and over acting coupled with low budget props and red paint. Being almost forbidden, they were sort after, being passed round under counters of video stores. As some films were banned, the demand became higher, as viewers were curious and hungry for the next horror they could watch. But this setting is background dressing for the story. It could even be taken that Censor is a character piece presented in a horror mystery package.  The film does conform to reliable horror genre elements, which is not to say is a bad thing. There is a strange comfort in that you can feel the way things will play out at certain points, but it’s when Enid is in the woods which is where the story takes its most dramatic and bizarre turns, and it utterly brilliant. Commenting on how directors take a step too far in the name of their film, how no one can really understand where reality begins and the fakery ends. The woods are a gift to any horror film but here we blur the lines amongst the mist, the terrifying cabin, the blood and the in trees. 

 

While Enid is working as a censor, it’s almost like a default, this is how she lives until her mind is expanded by the past and present all laid out in front of her to watch. It’s as if she has been lying dormant all these years and now, she finally shows her true self. Even though there are terrifying aspects to this story, the ending, however you view it, has that sense of finality even without a solid conclusion.

 

Bad Hair

Set in 1989, Anna is trying to catch a break in the fast-paced world of television. Having worked 4 years as an assistant at a television station featuring African-American music artists, she almost gets her chance to shine when she impresses the new head of programming, Zora. But Zora wants to change the image that the channel projects gently enforcing that Anna get a weave, hiding her natural hair. At first Anna’s new hair makes an impact in her work and life until her hair starts drinking blood and taking over her body. But she’s not the only one experiencing these terrifying changes.

 

Full review over at Filmhounds HERE.

Shiva Baby

Capturing the age where you have just left university or school and you’re about to be flung out into the world with nothing but a piece of paper to say what you’ve achieved from the last few years is daunting. You look around at everyone else and they seem to be getting it together. They have a flat, relationship, job offers if not a job already and all you can look forward to is going back to your parents’ house, back to your old room and the what seems like the endless search for a career. This is all ten times worse if you really have no idea what you want. Shiva Baby encapsulates this horrific feeling of inadequacy perfectly as well managing to include heightened anxiety inducing sequences and situations. It’s definitely a film that sits apart from the rest of the films out there right now.

 

Danielle, a college senior about to graduate is in a sexual relationship with an older man, Max, her sugar daddy. After seeing Max one day she rushes to meet her parents at a shiva where she runs into Max, his wife and baby daughter. Throughout the awkward exchanges with numerous relatives and friends in the community, Danielle tries to stay calm and keep her secret as well as the mess that is her life, from falling apart. She also sees her ex, Maya at the shiva, who doesn’t exactly help the current situation. 

 

As a directorial feature debut Emma Seligman, who also wrote the screenplay, captures the essence of the character of Danielle to the point we know almost everything about this young woman. Not just from her interactions with others but her demeanour and expressions through the shiva. Comedies, with a darker edge, that are usually set up like this story often descend into madness but thankfully there is not such over blown breakdown, no huge climax bringing everything to a head. Not only does the story and characters feel relatable, but place these characters at another function, family gathering, occasion and you can image yourself in Danielle’s position of feeling trapped and hopeless. 

 

There are quite a few themes throughout that aren’t expanded and are touched upon, which, in this setting, makes far more sense, being that the story spans (roughly) the same length of the actual film. The feeling that everything is condensed adds to the heightened anxiety and claustrophobic nature of the film. The score creates a blissfully horrific undertone throughout, turning normal conversations into some of the most painful interactions. If there was one downside to the entire film it’s that Danielle is seen as ‘the bad apple’ because she was taking money from Max, even though he happily gave it to her. Yet Max failed to mention his wife, his child, the fact that the money was actually his wife’s and that the Soho flat wasn’t where he lived. He lays guilt on to her midway through the film but Max is not called up on about his transgressions, which seems unfair. 

 

Danielle’s bisexuality is commented on but not delved into depth, the obscurity about her degree and what she studies as well as what she wants a job in and the financial agreement between Max and Danielle all adds to the over whelmed atmosphere that there is so much going on beneath Danielle’s surface. The relationship between her an Maya is pieced together through shared moments until the final shot gesture which gives hope that Danielle will have stability and certainty.

 

 

Effie Gray

When Euphemia ‘Effie’ Gray marries the older celebrated art critic and writer John Ruskin, she believes she will be happy. But she soon realises that her married life is far what she imagined. Bullied by her overbearing mother-in-law and negated by her husband, who also refuses to consummate the marriage, Effie falls into loneliness and illness. While on a visit to her native Scotland she finds comfort and love with the painter, John Everett Millais. But before she can find her true happiness, she must escape her the cruelty of the Ruskin family. 

 

Full review over at Filmhounds HERE.

Zine Scene

Leading up to my blog's 10th Anniversary, I had hoped to reveal or start something bigger than planned but I'm still quite please with what's coming. Hopefully it will be coupled with a change of scenary but until March 17th (yes, I know that's St Patrick's Day, it just so happened that way) I can show what I've made in the last few months.

Usually I pick a film I've written a longer piece about but for the last two I chose because both films were made by women, with female characters front and centre. I loved both films for different reasons and wanted to celebrate further. The zines are just something I enjoy doing if you're curious as why I make them. I'm hoping I can add PDF versions to my blog or website in the near future so everyone can see them and not just the lucky few who get physical copies.

Back in October, I was lucky to see Saint Maud again in the cinema and with a socially distanced full room. It was a great experience and thinking back it really makes me miss cinema more and more. I made a zine to celebrate the film further at the end of last year, one I'm really proud of.

Both films have received nominations at various awards. Waiting for the BAFTA nominations to come out but I'm really hoping both get some recognition.  

Undine - BFI London Film Festival

 A modern retelling of a folktale about a water nymph who falls in love to gain a human soul is something quite unexpected. There is something in the water in more ways than one.

For my full review, you can read it HERE over at Filmhounds.

Eyes of Laura Mars

Last year I first set my eyes on Laura Mars' eyes at Cinema Rediscovered and I absolutely loved it. Its taken a while to write about the film but what better time that the season where everyone writes/talks about their favourite horror films. 

Part of Filmhounds' 31 days of Horror to celebrate Halloween, I contributed one of my favourites, which can be read HERE in full.

Now slam on that Barbara Streisand singing 'Prisoner', get your best 70s fashion on and your camera on standby as we see through the eyes of Laura Mars.

Watch List: August & September

Apartment 1BR

Full review can be read HERE. 3/5 

 

The Boondock Saints 2: All Saints Day 

The first film is a cult classic and is just such a brilliant film, how do you top that? Well, you make a sequel that makes nearly no sense whatsoever and you bring back familiar faces and replace Willem Dafoe because he was most likely busy. This time, a hitman is hired by the mafia to murder a priest to bring the Saints back to Boston so they can have revenge BUT of course when The Saints arrive, with new pal Romeo as their sidekick, things do not go according to plan. There are moments of hilarity and ridiculous scenarios as well as amsuing details such as the emphasis on the hitman's height but this is the world of The Saints here so you have to expect the weird stuff. 3/5

 

Room

The harrowing story of a woman kept captive for years in a shed with the only positive part of her life, her young son is a film I didn't run to see at the cinema. Mainly because of the story and the real-life story that inspired it. Brie Larson is brilliant in the film as is the breakout star Jacob Tremblay as Jack, their bond and chemistry is the obviously the heart and soul of the film. Seeing the story unfold through Jack's eyes brings a new perspective on this type of story and I can see why there was so much hype around the film when it was first released. Waiting all this time to see it, I don't think took anything away, but the kidnapping and the strain everything put upon Larson's Ma is so painful to watch. Jack has his life ahead of him but Ma will be forever scarred and forever in pain and fear, even with time and I can't let that go. 4/5

 

12 Monkeys

 After years of this film sitting in my ‘to watch’ pile (in my mind) I finally got the film I had heard so much about. A science fiction thriller from Terry Gilliam, when he was making great films, is hard to resist. Of course, this is a film that resonates now more than ever, revolving round a disease that was spread in 1996 driving what remained of the human race underground. Future man Bruce Willis is time travelled back in time to find out who is responsible for the virus getting out and, in that time, makes friends with crazy Brad Pitt and scientist Madelaine Stowe with fixed effects. It’s a pretty damn good film despite making me feel uneasy in the state we all find ourselves in. 3/5

Tenet

I went to support the film that was meant to welcome people back to cinemas and I still stand by this, but, this film, was not a masterpiece. Nolan has some great ideas but how executes them is with varying success. Inception was about dreams and our perception of reality, here he cross the time travel line but it isn’t really a time travel story, it’s about time inverted….WHAT?! Starting with a fantastic opening scene pumped full of adrenalin but then quickly morphed into a sequence of fast dialogue heavy scenes that do not set up the story and does not explain anything. Literally, nothing. The only hint, a drawing but that is actually pointless too. There were too many scenes you can’t hear dialogue whether that was part of it all or not. Granted, there are some fantastic visuals but the overall reason for why things are happening is just, weak. There were also quite a few plot holes which I felt were set up in a film set before this one which we will never get to see. 2/5

Beanpole

 Full review can be read HERE. 4/5

 

Schemers

 Full review can be read HERE. 2/5

 

Night School

 I usually avoid Kevin Hart vehicles but this has Tiffany Haddish in it so I needed to see it. A fun silly comedy about a guy who struggled with school loses his job and can’t get another without a GED so he goes to night school to get one, meets group of kooky characters each with their own personalities and stories, hides his schooling from his successful girlfriend, is taught by the brilliant Haddish and has to overcome an old rivalry with a guy who knew in and now is the principle of their old high school. It’s all fun and games and dramatically plays down the fact that his character has learning difficulties that had gone unnoticed by his teachers when he was at school, but I suppose that would have been a whole other film with less laughs. 3/5

The Babysitter: Killer Queen

I have a habit of seeing sequels first but with this Netflix film, I didn’t think I needed to see the first film, but now I’ve seen this, I will go back to the start. As far as horror comedies go, this was very fun, ridiculous and I could immediately get into it despite everything that was going on. Picking up a few years later and Cole, still traumatised and trying to move on from the last film’s events decides it’s a great idea to go with his ‘best friend’ knock off blonde from next door and her friends to a lake. Of course, things go very wrong when the ghosts of the cult rise up and try and kill him again. There are flashbacks to how and why everyone joined the cult that are very amusing and silly as well as a very excellent dance scene in place of a sex scene that is better left watched and unspoiled. Cole also has a buddy along for the night of terrors, the equally mysterious and traumatised Phoebe which means our troubled boy has someone to share his story with. 3/5

 

Scottish Mussel

A wholesome British rom-com that is both impossibly sweet, slightly predictable and something rare all at the same time. Directed (and starring) Talulah Riley, her debut as the former is what you’d expect from the genre but just feels like a new voice that barely got heard. I don’t think this gem enjoyed enough if any attention at the cinema beyond the UK borders (please correct me if I’m wrong). When Ritchie and his friends end up mistaken for pearl thieves, the small-time criminal decides stealing rare Scottish pearls might be a way to make money. But after volunteering at the wild life centre to gain access prime mussel spots, he starts spending more time with Beth, the very passionate conservationist and he begins to change his mind. Unlucky for him, local gangsters have also taken an interest in the pearls too. 4/5

Yes God Yes

 

Coming of age can be through many things, not always but usually related to sex. A teenager, or younger or someone in their early twenties, goes through a change, experience or trauma and they come out the other side with a new perspective, a different person, enlightened. But sometimes, the change at first is so small in comparison to everything else going on around the character, but in fact it’s simply a realisation but by no means insignificant. One of the most joyous things about this film is the title, literally nailing this pure feeling of ecstasy and incorporating the oppressed religious aspect of the narrative. And the title is just the tip of the delightful iceberg. 

 

 

After being accused of ‘tossing a boy’s salad’ at a party, Alice is left bewildered at what that even means as well as an outsider when even her best friend doesn’t believe her. It also doesn’t help that Alice is starting to have sexual urges, even going so far as to go into online chatrooms and finding relief for her desires by masturbating to the sex scene in Titanic. Being part of a very strict Catholic school and brought up in a very Christian home including going to church every week with her Dad, Alice is conflicted by her shame and desire. She decides to attend a religious retreat to try and suppress her urges but after discovering some contradictions in the teachings forced upon her when she finds out what the retreat leaders are doing when no one is watching, Alice starts to see things beyond the rose-tinted rules she’s been told to live by. 

 

Rarely seen in film, let alone teen comedies or dramas, the moment when a teenage girl discovers masturbation, her sexual appetite and the yearning for more exploration. Some films have got this completely on point like in ‘Turn Me on Goddammit’ but ‘Yes God Yes’ portrays this lesser seen moment in film rather well. It’s a strange thing to note that teen films are usually all about the boys wanting sex and the girls are just there as props sometimes willing to join in the fun but having this moment on screen for other teenage girls to see that they are completely normal gives me hope that this is accepted and will be normalised in future films. Including the religious element to the character and her surroundings adds a whole other level to explore. 

 

 

The flawed teachings of abstinence and how it breeds ignorance and shame is explored but as this isn’t what the whole story is about, it only scratches the surface and focuses more on the hypocrisy of those teaching these rules. Religion is used as blanket reason for everyone’s actions and doesn’t overtly say that everything is wrong but merely shows that you can think differently and in the end you can believe what you want, know your own truths and most importantly, it is completely normal to be a teenager and be sexual active.

 

 

On a personal note, having been brought up Catholic (in a non-strict religious home), I am always fascinated by the stories that come from a place I knew so well. School for me was very different but there was always this judgement around sexual health and biology. I remember countless classes about birth and conception but barely a class on safe sex. I think there was one or two classes and that was it. Everything I learnt on this subject was outside of school. Not to mention, no classes whatsoever on sexual desires and health. This was all ignored, seems odd, especially for a girl’s school. But maybe the Catholic part deemed this unimportant.

It's In the Photograph

 

A photograph can be a powerful thing. It can stand for something. It can bring hope and meaning. It can also preserve the past. This is what the photograph is in 'Queen & Slim'.

Unfortunately I couldn't make it to the Birds Eye View screening of the film BUT I managed to see it at another cinema. Even so, this film was a perfect example of brilliant filmmaking that needed to be celebrated. Although I am only familiar with a few of her music vidoes, I was very excited to see who the team was behind and in front of the camera. As a feature film debut, Melina Matsoukas, has a calling card that is on topic, at the forfront of the what is happening in the world and a driven character piece that is both understated and visceral at certain moments. With a simple and devastating premise, this story belongs to Daniel Kaluuya and Jodie Turner-Smith. They are the catalyst for all the actions in the film, they are the fuel in the fire and most importantly, they are real. 

 SPOILERS

After a not so successful online date one evening, Slim drives Queen home but on they way they stopped by a cop who unjustifiably questions Slim, demanding his licence and wanting to see what's in the boot of his car. This altercation becomes worse, after the cop points his gun on them. It ends with Queen being shot in the leg and Slim shooting the cop in defence. Knowing the outcome of two black people shooting a white cop in self defence, the two go on the run.

Twisting the lovers on the run trope, as these two people are virutally strangers, and are on the run because they had no choice, we not only get to see their story play out through desparate moments to more tender ones where they actually get to know each other on a deeper and at times bittersweet level; I'm thinking of the scene in the bar where they have a drink and dance together. There are moments in the film when you hope that things will be different this time and just maybe they'll get away. Usually with this genre, the guilty people never get away but in this case the innocent don't either. As the story progresses, the characters are forced to step out of their comfort zones, changing the way they look and dress. They are forced to be the sterotypes that the media plays them out to be rather than the lawyer Queen is and the supermarket clerk Slim is. They're just two normal people forced into an extraordinary situation.

The film is also a mirror of what African-Americans go through every day. What happens at the start of the film is more than the beginning, this what Queen and Slim experience all the time. What's different with their story is that it becomes national interest, a manhunt for them takes place, they are sensationalised and eventually seen as heroes. Of course, now, this is not something out of the ordinary with the recent Black Lives Matter movement which gained momentum in the last few months. Now Queen and Slim's story has become more relevant than ever. This film wasn't given the recognition it deserved, despite being sign posted as many places as possible, but hopefully new audiences will discover it. 

Watch List: July

EuroVision

In all honesty, I am not the biggest Will Ferrell fan but I do love Eurovision so I thought, what's to lose watching a comedy written by an American who doesn't really understand the European singing contest as, yes, it is, very European. Despite Australia literally buying its way into a contest it has no place in. Euro, it’s in the title of the contest. For a Netflix original, the quality is very good as those originals tend you have a certain aesthetic now. Icelandic singing duo, Fire Saga have big dreams of representing Iceland at Eurovison and despite their home town not being the biggest fans and through a series of strange events, they make it to the promised land, Scotland as that is where the contest is being held. On their way to stardom, humiliation and triumph they both realise that they had the wrong priorities. The music is amazing, the costumes and supporting cast are also very entertaining and amusing, even Pierce Brosnan’s very dodgy accent is entertaining. If you love Euroviosn, you’ll love this and if you don’t, you will be the end. Even though there are some liberties taken such as, Iceland being bankrupt, that is very untrue and the contest would never be held in Scotland as they are part of the UK and its VERY unlikely that the UK will ever win again AND the semi-finals are not televised. I had to get that out as that bothered me.  4/5

Paradise Hills

A fantastical science fiction story about classes, beauty, oppression and deception all wrapped up in a very extravagantly visual film. Everything about this film is visually intriguing or disturbing, in particular the carousel horse ‘therapy’ sessions and the opening wedding scene. There is so much detail that it was actually quite difficult to hone in on one genre this film could be and on ways prepares you for the knife twist even though you may suspect it. Set in a futuristic society where the upper classes send their disobedient young women to be taught how to act. However, there is something more sinister on the island, ruled over by a striking and again, disturbing being played by Milla Jovovich. The style is so bizarre and, in some ways, misleading in terms of narrative, it reminds me of Tarsem’s films (which I loved). As director Alice Waddington’s previous work is a short film, I’m hoping we see more of her work. 3/5

The Beach House

Full review can be read HERE. 3/5

The Old Guard

My post about the film can be read HERE. 3/5

Mission Impossible: Fallout

Ethan Hunt is at it again and ‘it’ I mean taking on another impossible mission and going against his boss again too. Seeing how brilliantly executed Rogue Nation was, I was eagerly awaiting to see what happening next. But I was very disappointed. The plot is only created when Ethan makes a mistake that could have been avoided and then from there, the story, along with new and old characters, very weak and only as entertaining as it is to watch Henry Cavill in fight scenes, which is usually entertaining but this time, even Cavill couldn’t save the MI crew. 2/5

Desperados

Just when you needed a fun ridiculous rom-com, Netflix provides. This time round, the story is the same old same old. Down on her luck Westly (best name for a girl) is without a job, behind on bills and all she really wants is a boyfriend. She meets a ‘perfect guy’ but instead of being herself, she holds back her personality, don’t try this at home girls and believes she’s happy. But the real story begins when she thinks she’s been ghosted by the perfect guy so sends him a horrible email (don’t know why email – that’s just odd) but it turns out he didn’t ghost her, he was in an accident, in Mexico. So she drags her two friends to Mexico to delete the email. That’s it, that’s the premise. The two friends get a fair share of story but its dull, one wants a kid, the other wants sex, the end. It is funny and silly and you can get carried away with it but it’s nothing ground-breaking. The script is not worthy of the cast’s talent either. 2/5

Come As You Are

My full review is over at Vulturehound and can be read HERE. 4/5

Black Rainbow

A gem from the cusp of the 90s about a spiritual medium who can communicate with the dead but things take a disturbing turn when she starts predicting deaths. Having worked as a medium for years, a gift inherited by her mother, Martha travels the country with her alcoholic father from town to town connecting people with loved ones. She spends her nights at engagements and days hooking up with random strangers, including the very eager sceptic journalist looking for a story. Not quite a murder mystery or crime thriller but a spiritual thriller where ghosts don’t appear but their presence is felt. Sounds more like buzz words but the character of Martha is fascinating, a true dark horse that never really reveals how she does what she does, her powers go beyond speaking to the dead and maybe even time. 3/5

How to Build a Girl

My post about the film can be read HERE. 3/5

The Truth

Hirokazu Kore-eda’s first non-Japanese language film is not quite a story about living in the shadow of a successful parent but more about coming to terms with the emotions that one builds up over time. The bitterness and painful memories cloud over the true intentions someone is trying to convey. Screenwriter Lumir arrives back in France with her daughter and husband to visit her very famous actress mother, Fabienne. They are distant yet close with each other, the daughter still not able to forgive her mother for neglecting her all those years and her mother not caring about being a bad mother only being a good actress. All set against the release of a Fabienne’s memoir which is full of lies and the set of her latest role. Its wonderful mother daughter relationship story that flows with anger and resentment as well as an emotional bond that won’t break. With two fantastic leads, Catherine Deneuve and Juilette Binoche, the film is a delight. 3/5