Monday 14 October 2024
The Surfer - London Film Festival
Friday 11 October 2024
Conclave - London Film Festival
Thursday 10 October 2024
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.
Monday 7 October 2024
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.
Friday 27 September 2024
Unit 234: The Lock Up
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.