I Love Boosters - London Film Festival

 

Courtesy of Universal Pictures

For anyone who saw the science fiction dark comedy Sorry to Bother You (LFF 2018) or the weird and wonderful comedy series, I’m a Virgo (2023), knows a little of what to expect from a Boots Riley story. The filmmaker has very quickly developed a recognisable style with only two films and a TV series under his belt. But if you thought that Sorry to Bother You was a layered political absurdist comedy with a threateningly dark tone, I Love Boosters will absolutely convince you that Riley is all about style and substance, he just delivers it in the most bizarre way possible. I Love Boosters finally makes it to UK shores, with the International Premiere at the London Film Festival and we are ready to embrace what Riley has to throw at us.

Full review over at Filmhounds. 

The Fox - London Film Festival

courtesy of Signature Entertainment

 

Playing out like a dark folktale entwined with a moral tale, except no one really learns any lesson, The Fox’s comedy is found in both the sheer mundane existence of all the characters as well as witnessing the most bizarre situation. Having been on the genre festival circuit, Dario Russo’s directorial debut makes its way to the London Film Festival and when you have British treasure Olivia Colman voicing a devious and quick witted fox who convinces a cuckolded Jai Courtney to push his cheating girlfriend down a hole, you have to sit up and pay attention.

Full review over at Filmhounds.

Lady

 

courtesy of Met Film distribution

This mockumentary about an eccentric aristocratic character could have taken a familiar path of absurdity and predictable flaws, however, Lady has more to offer than the usual lark exploring how and why the wealthy behave, especially with a camera in their face. With a bizarre and dedicated central performance from Sian Clifford as the eponymous Lady Isabella, the film manages to stand apart from anything that could be remotely considered in the same vein of story.

Full review over at Filmhounds. 

The Last Boy Scout

 

courtesy of Arrow Video

It's more than official that we are really far into our 90s nostalgia era and that’s translated across to the home entertainment sector. More gems from the 90s are being brought back to the light and given the restoration treatment or 4K transfer that older films have. Leading the charge on this is Arrow Video that knows when a film needs to be given a spotlight. Directed by adept action connoisseur Tony Scott, bringing that touch of grit and violence, coupled with a razor sharp and darkly humorous script from Shane Black, The Last Boy Scout should have a runaway success, especially with Bruce Willis in the lead fresh off Die Hard 2. But the film did not perform as well as expected at the box office, nor did it get a welcome response from critics. However, with most films that didn’t do so well when they were released, The Last Boy Scout found its audience, earning that coveted status of ‘cult film’, years later.

Full review over at Filmhounds. 

Idiots

 

courtesy of Vertigo Releasing

Recently fired lowlife Mark is sent on a job with well meaning Davis to transport an obscene wealthy teenager, Sheridan, to rehab. But along the way the trio find themselves in various terrible situations, mostly caused by Sheridan who believes himself invincible due to his high status online. But when he finds he’s taken things too far, Davis and Mark will do anything they can to deliver this kid to rehab.

Full review over at Filmhounds.

Amélie

courtesy of Curzon Films

 
Celebrating its 25th anniversary, Amélie was re-released in cinemas early this year by Curzon Film. Giving a chance for those who have adored this film since it was first released out into the world and ensnaring a whole new audience. It’s strange to think that Amélie was rejected by the Cannes Film Festival, despite director Jean-Pierre Jeunet having a prior connection with The City of Lost Children which opened the festival in 1995. There was also overwhelming support for the film from audiences, with near universal praise. This rejection caused quite a stir but nevertheless, Amélie has become synonymous with French cinema as well as breaking the barrier between arthouse and mainstream cinema audiences. What better time to celebrate the film’s anniversary with a new exquisite limited edition home entertainment release, while simultaneously commemorating Curzon’s own 50th anniversary.

Full review over at Filmhounds.