Watch List of 2018

With all the 'top ten' film lists alreday out there, mine comes in a little late. Looking similar to other lists and with a few 'obviously that was on the list' films, its been an odd year. There have been some truely superb films out there BUT they've had such a short release in cinemas it seems strange to see them listed even though the film deserve to be there.

A few surprise (for me) films have not made the final list, simply because I wanted to be brutal and only go for the '10. The Coen brothers' anthology, ahead of its time, old West film, 'The Ballad of Buster Scruggs' was brilliant, well, 5 out of the 6 stories were brilliant. I won't ramble on about how much I admire the Coens and how those who have watched the film and slated it need an education is storytelling, as you can read that HERE. Another film which rather screams 'Katie's kind of film', Assassination Nation' was a favourite of mine from LFF 2018 but I it deserves a second viewing for me to really get into it.

You may have noticed I have NOT included some truely brilliant films such as Infinity Wars, Deadpool 2 or Crazy Rich Asians. I do love these Hollywood films but I wanted to highlight other films that really deserve to be on 'best of 2018' lists:

Skate Kitchen*, Dir. Crystal Moselle

 Supa Modo*, Dir. Likarion Wainaina, The Shape of Water*, Dir. Guillermo del Toro, You Were Never Really Here, Dir. Lynne Ramsay

 Isle of Dogs, Dir. Wes Anderson, The Breaker Upperers*, Dir. Madeleine Sami & Jackie van Beek, American Animals, Dir. Bart Layton

 Sorry to Bother You, Dir. Boots Riley, Lady Bird*, Dir. Greta Gerwig, The Square, Dir. Ruben Östlund

*All these films pass the Bechdel Test


With the lack of Photoshop (I'm so lost without it) please forgive me my dull and boring pictures included in my posts from the last month.

"This is my house, I have to defend it."

 Unlike most 80s films (literally born at the end of the 80s), my first John Hughs film was not a teen classic of the time, mine was 'Home Alone'. This was the true 90s kids film, who watched it wanting to recreate just one of the amazing traps Kevin McCallister makes in the film. Not only is the film ranked one of the greatest Christmas films of all time, it was also the highest-grossing live action comedy of all time in the US, until, of all things, The Hangover Part 2 beat it in 2011. It is, however still the highest grossing Christmas film in the US and teh film that earned infamous child star Macaulay Culkin a Golden Globe nomination.

Upon its release in 1990, the film received, surprisingly, mixed reviews, which makes me wonder why. What's not to like and enjoy about a kid who gets left behind by accident by hs family when they go on a Christmas holiday. This is every kid's dream to have the house to their selves and do whatever they want. Of course, no one thinks too dodgy crooks are going to rob their house thinking its empty. Anyone else would call family or the police but not Kevin.

No matter how big our family is, we all feel at one point or other like Kevin. The youngest in his family, seen as annoying by his older siblings abd disruptive by his parents. Always feeling left out and not taken any notice of. Although we the audience get to enjoy the hilariy and actually really dangerous torture devices and traps set up for Harry and Marv, a Pinky and the Brain type criminal duo, his 'accomplishments' are never seen by his family. Although they see he is more than 'the youngest' and congratulate him for surviving by himself, his true nature and skills are still never appreciated by them. Although their reaction to how he set the house up with traps, might not go down too well for everyone.

'Home Alone' is an odd classic compared to what Christmas films are churned out in recent years. It feels as if Hallmark has taken over. John Hughes' story unfold like any old Christmas film, family fueds, a comic but dire tragedy, a desparate journey and happy reunion. But the twist in this 'family' film is just as the poster says, it isn't about family, its about defending your castle or in this case an 8 year old who takes on two dangerous criminals by putting them through some of the deadliest booby traps constructed. Seriously don't try this at home, no matter how tempting. The film is given an extra edge of oddness in the form Joe Pesci who plays Harry. Know for his violent gangster characters, its a treat to see him paired with lanky dim Marv (Daniel Stern) barking orders, flashing his gold tooth and having a pillow full of feathers explode in his face. The fact that quite a bit of the joy of the film takes place in the last third of the film and where all the comedic but deadly violence happens. Slapstick is stretched the very edge of its meaning BUT there is no denying that we all enjoy seeing 'bad' guys' suffer. Besides, its Christmas, we're allowed to have fun.

Kevin's plan of action is glimpsed in the film as he unrolls a basic plan of one floor of the house, with tar, features and red hot mentioned, what I always wonder is how the hell did he clean up afterwards??

As a fun Christmas throwback, Home Alone is back in cinemas in the UK thanks to Park Circus. Take a look at where its playing, especially if you've never seen it, then you'll understand why everyone says; 'Merry Christmas ya filthy animal!' at Christmas.

Thank you to Park Circus for the pictures/poster. 

© 1990 Twentieth Century Fox Film Corporation. All rights reserved

Blind Spot: The Bodyguard

Some would say that this might not be up there with the classics of old but where the 90s are concerned, there are many classics.

All I knew about 'The Bodyguard' was that Whitney Houston sang in it and 90s powerhouse Kevin Costner was the title role, plus there was the very famous cover of 'I Will Always Love You' sang by Whitney but in fact was a Dolly Parton song. I only found out this year that that song was from 'The Best Little Whore House in Texas'. I'm so glad I saw that musical first, make me look at 'The Bodyguard' in a whole different way.

A romantic thriller about a famous singer and actress who is forced to hire a bodyguard, the best that money can buy, after a series of attacks written and physical occur in the lead up to the Oscars. The thrill of the chase is who the stalker or attacker is and will he get what he wants, but of course the romance has to have a fair share of screen time. At first they fight, she'd difficult, he's strong and silent-ish but they fall in love anyway because, that the movies man. This may sound like I'm being cynical but I actually enjoyed this story. Predictable, yes, thrilling, of course, very silly in places, definitely.

Even though there are issues with the nearly everything, I can forgive this as not only was a really late to the Whitney sings 'I Will Always Love You' to the Prince of Thieves himself, Costner, but it's also because its an easy watch which is exactly what you want it to be. Although I really thought it was the chauffeur who was the stalker, that guy was creepy at the start. 

Films about films or actresses playing actresses is always fascinating to watch. It feels like you're behind the scenes of what you're watching. A story behind the story is always the one I'm more interested in. This is also the nature of thrillers. The romance part of the story is there to build characters and for the audience to indulge in. The music is fantastic, even that strange number Whitney sings at the club where the fans literally rip her clothes off, and its also Whitney herself in her prime. Having seen a few documentaries about her, her story and life are fresh in my mind. 

One things that struck me was the relationship between the sisters. On the surface, they're fine but really, the non famous one really hates her sister, life, fame and all that inbetween. There are a few stories of sisters supporting each other reluctantly and secretly hating each other. This bothers me more than, in the eyes of the film, a side story should. 

It's interesting to learn that this could have have been a 70s film with Ryan O'Neal or Steve McQueen and Diana Ross, I would have liked to see that film. Then we could have had a whole 'A Star is Born' thing going. Just how 'The Bodyguard' ends, I will end this post, oddly and abruptly.


  To find out how it all started, head over to The Matinee and to see what's happening now, check out Returning Videotapes who is the new host of the Blind Spot Series.

What do you want? You want the moon?

 Unpopular opinion; 'It's A Wonderful Life' is a lie. It's not a wonderful life.

Took me years to see it and when I did, I found myself angry and frustrated for poor old George. All he ever wanted was to leave Bedford Falls but he never did anything he wanted. What's so wonderful about that?

From this, you might be thinking I'm some kind of Scrooge or to you youngsters, a Grinch. Well I'm not a big fan of the Grinch either but that's another post. I actually really love Christmas. I used to have my own traditions when I was a kid and enforced some when I got older but Christmas this year will be very different which is sad but all things change. I'm still keeping my Christmas spirit though. Putting up the tree (soon), wrapping the presents and watching all my Christmas films. 'It's a Wonderful Life' is NOT included.

I always saw Frank Capra's classic as a beacon of hope and Christmas cheer and that's how it was sold to me. Of course as I got older, still never having seen it, I read that George, our hero, goes through a 'Christmas Carol' type deal but just with the future part, where he sees what lives would be like if he hadn't been born. The fact that George was about to kill himself by jumping off a bridge only having to jump in anyway to save an old man, his guardian angel, puts a downer on the whole story. George is pushed to his limit when he steps up to that bridge, having had to miss out on countless chances to escape his hometown, where I'm sure he would be far happier. He is always making sacrifices and always 'doing the right thing' for everyone else, its no surprise he ends up on that bridge. He's meant to be saving his town, friends and family from the evil Mr Potter but how has it come to be George's problem? The visit to 'Pottersville' just mounts more pressure on George than ever. Seeing that yes he may have saved people, or changed people's lives, but I still can'y shake the fact that it is all at the expense of George's real happiness. What I would have liked to see is what if George HAD got to live his dream, what would have his life been like?

I suppose if there had been anything different, there wouldn't have been a film, right? George's plight just doesn't sit well with me, which is why I can't happily watch the film. I want to George to travel the world with Mary and have a life outside Bedford Falls, but I know what will happen when I play the film, the same un-wonderful life. Give me a Christmas film where everything does work out fine in the end.

Tales From the Screen Age...

First with excitement and then with eager anticipation I watched the first trailer of 'Mortal Engines', an adaptaion of a book I loved when I was younger, back in 2003. I had always said the book had cinematic potential and now we can see it in cinemas this week!

The concept art was beautifully spot on but the trailer worried me. In fact each trailer release I doubted that this was going to be the story I loved. And yes I know, 'you shouldn't compare the book to the film' but readers will always do that. The fact that Peter Jackson was on board gave me hope,  but he didn't direct it. Ignore the marketing that makes it seem like he did, he didn't. But despite that, I was still keen to see it. M full review over at VultureHound which will be up soon. But until then, HERE are my thoughts about the possible new franchise to try and dominate the cinema.

Side note, having seen the film, I am actually spurred on to read the next book in the series.

UPDATE: My review of the film can be read HERE.

 

 

No One Puts Olivia in the Corner

As I queued at 8:15 am on a breezy October morning, I wasn't entirely sure what I was in for. I knew it was about a heist and there was a political element to the story and there were four awesome women at the center of it all. As I was handed a copy of the book the film was based on, I started to get more excited. It wasn't what I had expected, it was far better.
When renowned thief Harry Rawlings is killed in a robbery gone wrong along with three of his partners, their widows are left behind with varying problems of their own. After Veronica Rawling is threatened by crime boss Jamal Manning, who's money Harry was stealing. Knowing that each of the wives will eventually be targeted, Veronica enlists, now single mother and small business owner Linda and Alice, who's has turned to escorting to support herself. Bringing in Belle, the four women plan a heist from what Harry left behind.

Based on the 80s British TV series of the same name, written by crime writer Lynda La Plante, the premise of four widows who's criminal husbands are killed in a job gone wrong, so decide to take over the final job themselves is gripping enough without the add cast power and the keen eye of Steve McQueen. It's a thriller that seems familiar, with the politics, corruption and betrayl making up the background. The real story is about these four women who are capable of more than they give themselves credit for. When these women are threatened, they don't cower in a corner, they take a stand and fight back. And its glorious.

It's esay to see how the story would play out in a TV series. With a multitide of characters to explore, politician Jack Mulligan and his strained relationship with his father and his desire to do something else, the Manning brothers who are crime bosses but want to do some good in their community and even the lesser seen characters such as the wife who wasn't involved with the heist, Amanda but even though there was quite a few players in the game, McQueen along with Gillian Flynn who co-wrote the screenplay, manage to condense several plot lines into a streamlined high stakes thriller.

With four lead roles for women, all bringing something different to the heist table, they all had characters that were more than the 'wife' role. Viola Davis obviously stands out and not just because she and her dog Olivia are an amazing duo just them, but she bring command and realisations to the group all the while masking her real pain over the loss of her husband. As out of all the couples, they seemed the happiest and strongest. And one last thing about the dog, Olivia, is a Westie, a west highland terrier, my favourite breed of dog. She is adorable and I'm so glad of all the screen time she has.

No one puts Olivia in the corner.

McQueen's version of 'Widows' offer more than a straightforward heist film. There are dirty politics and family struggles being played out, alongside some cchilling scenes from the chamleon that is  Daniel Kaluuya who is Manning's younger more violent brother. The film is a cold hard look at crime and how no one cares about your grief, not when there's money on the line.

#LFF 

She Wants Revenge

She Wants Revenge, those words spark a sense of rebellion in you. Either the story or the filmmaker will be something outside of the box. Unofficially the ‘horror’ strand of the festival, the selection of films varied from traditional horror to new ways of the presenting the genre.

‘V’ broke the fourth wall with a young vampire who relates her story, in her own words, not letting on everything about her past. Taking the vampire genre and giving it a new blood, a new character and a different voice. ‘Baggage’ explored what it means to literally carry your past problems, friendships, relationships with you. Choreographed brilliantly by the two lead actresses who are attached to each other throughout the film. The idea that we are our own worst enemy was touched upon in ‘Bit’ about a dancer who finds out she failed an audition she battles herself as she dances in a mirror against a darker vicious version of herself. ‘The Other Side with Valerie Hope’ might not be a horror we’ve seen before, about a medium who finds herself in a difficult situation and her ‘gifts’ are put to the test. With a vert charismatic lead, the story does border the line of dark comedy with a very satisfying end.

New and social media makes an impact on us all, as we are fed perfected images from advertisements and other media, #EatPretty is fantastically pieced together using a technology used in beauty advertising, its grips and pulls you in with voiceovers from actors, seemingly innocent, a darker meaning lies beneath the perfect surface. The amazingly shot ‘Veiled’ explores the mythology of Jinn, using cleverly devised special effects and inspired by writings in the Quran about these creatures or beings that live in parallel with us. ‘The Old Woman Who Hid Her Fear Under the Stairs’ falls back to more traditional horror or dark fairytale with the only dialogue from a video about how to capture and trap your physical fear. It’s a cleverly devised story and as an audience vert quick to believe you can indeed keep your fear under the stairs. ‘The Blue Door’ which has no dialogue, is one the best horrors I’ve seen. Building suspense with quiet and an ever moving door that really does creep the hell out of me and everyone in the audience. The set itself felt like a character, created from old used film and TV sets, it was such a simple story but it had the best reaction from the audience. Ending on the perfectly named ‘Catcalls’ which sent shivers down my spine. Two girls take revenge on a pervert in ways you would never have guessed. Apparently based on a true story, I am really dying to know the real story!

After watching nine stories from women who are all talented storytellers, I was a bit shaken (horror has that effect on me) and also very excited to see more films from these filmmakers. Underwire is truly inspiring and I can’t wait for next year’s fest.

@underwirefest

Not Tonight Josephine

Everyone knows the film, even if they haven’t seen it. The iconic film about two down on their luck musicians who accidentally witness a mob killing go on the run dressed as women and join an all women’s jazz band. They meet sweet, slightly naive and ever so romantic Sugar who becomes best friends with one and falls in love with the other who tricks her into thinking he’s a millionaire. Labelled a romantic comedy but the screwball ethics of plot twist this the film little more than romance and comedy combined. Especially with the side mafia storyline which has a life all of its own. At times, it could be seen as two films in one and as they cross over that’s where you find ‘Some Like it Hot’.

It’s easy to forget that ‘Some Like It Hot’ was made in 1959, entering the 60s where the films changed, the mood changed, the people changed but ‘Some Like It Hot’ stands out from the crowd in more ways than two actors dressed in drag to escape the mafia. It’s also sometimes easy to forget that the film is set in the 1920s, despite the raid on the speakeasy at the start. We become absorbed into Joe and Gerry’s world and their struggle as musicians and later their life on the run.

Shot in black and white, giving the films slight film noir tone, especially where the speak easy and mafia are concerned. Marilyn Monroe actually had a contract that her films had to be in colour but as the Jack Lemmon and Tony Curtis’ make up made them look terrible in colour, she agreed to the black and white film. Which is thankful, as if if you’ve seen any posters or photos from the film in colour you can see the guys’ make up really needed some toning down. The atmospheric tone and colour of the film gives it the edge, making the film feel like two stories colliding dramatically and sometimes violently. The first 15 minutes, we have a car chase, gunfire and look at life in Chicago during prohibition. Once we enter the funeral parlour (hint hint to Secret Cinema) and the world of jazz and dancing girls while the wink wink coffee is served, we finally meet the real protagonists of the film. The film noir is interrupted while the comedy takes for a sort while, until the garage massacre where the two stories crossover. Not meeting again until Florida where another violent crime is witnessed. During the scene where the Italian Opera enthusiasts are celebrating, there is sense of what was happening while Daphne and Josephine were getting to know their band mates and Sugar. This cleverly woven double bill works so perfectly as both stories continue to act like their in different stories. The magic of cinema isn’t broken once, not even at the end where nothing really is resolved. Ending on a joke and step towards the future.

As the film contains a few themes that would have raised the eyebrows of the Hays Code, the film was in fact what helped break down the ridiculous censorship rules. The film dares to be different and doesn’t care about ethics. If the film were made now, of course there would be outage BUT the film allows itself not only to commit to suggestive acts but actually calls themselves out on it. The only loose end, Sugar.

Sugar is the sweet and ‘not vert bright’ gal. She’s talented, beautiful and terribly modern. She knows all the mistakes she makes will hurt her in the end but she’s determined to live life to the fullest. But the one thing I can’t let go, why does she run after the guys at the end. She’s heartbroken but suddenly she forgives Joe for tricking her, using her, lying to her, all in a matter of minutes. I know its a film and I know it ties up the ending but it just doesn’t sit right. Sugar deserves better. But then again, so does Gerry/Daphne.

The duo at the center of the film are a perfect team. With their personalities shown within minutes of them being introduced and talking for a few lines of dialogue. Joe is the player, smooth talker at times and the one who makes bad decisions. Gerry is the practical thinker, the personality and the one who actually comes up the idea to dress in drag, he’s up for almost anything. Jack Lemmon at the time was not a big star, but he is the one who stands out from all three leads. Barely changing his voice, he morphs from Gerry to Daphne with ease and hilarity, he steals the show in every scene.





Thanks to Park Circus, this brilliant comedy is back in the cinema. Having only ever seen it on TV or DVD, the film is amazing on the big screen. It’s a rare treat to see one of your favourite films of all time in such splendour. From the witty and delicious dialogue to the wonderful cast, Billy Wilder’s masterpiece is one that will never age.

Find out about the film's re-release at BFI and where the 4K restoration will be screened HERE.

All pictures courtesy of Park Circus 

Way Out West

If, like me, you've seen Fivel Goes West, the sequel to the much loved An American Tail, you will of course have that song that everyone sings at the start of the film. You know the one. Everyone decides to leave New York and travel west to make their fortune. It's a great song. It is also an excellent way to begin writing about the Coen brothers' latest film, their anthology film of tales set out the west.

This was one of the films at the London Film Festival I had to make sure I bought a ticket for, I was NOT going to miss this. Standing inches away from the brothers on the red carpet before I walked it myself and settling in for the UK premiere. It was worth seeing on the big screen. Some films feel cinematic and thats what the Coens can do, create stories that need to be seen in a cinema. So, it is a shame that the film is going to Netflix, a phrase I find myself saying all too often. But at least this may encourage more people to see it as it ore available.

Anyway, happy trails folks, I hope you all get to see this fantastic 6 tales in 1. 

You can read my full review of the film over at VultureHound HERE

She Makes Movies

Even though the London Film Festival was last month, I can't stop thinking about the films I saw. Having selected my films carefully (bought tickets) and saw as many films as I could (as press) I did try and see films made by women. Putting a spotlight on three filmmakers I believe deserve a mention, with films that provoked conversation, positive and negative and all I admired for different reasons.

 This story about two young women, daughters of opposing politicians, who fall in love was banned in it's home country Kenya. The ban now lifted so it can be shown in cinemas and be considered for an Oscar. Director Wanuri Kahiu sued Kenya's government in order for her film to be shown in cinemas, showing she wouldn't be pushed over or threatened.

From the brilliantly bold opening credits to the hopeful end, Kahiu's story about love that blossoms between Kena, who hopes to become a nurse and Kiki who wants to travel, is sweet and innocent. As the slowly bond as friends and gently fall in love through stolen kisses and nights out, they are never far from local gossips and the judgement of the people around them. They try and fight for their freedom but its at a cost.

Although the film was not chosen as Kenya's submission to the Oscars, 'Supa Modo' (which I absolutely loved) was chosen instead, the film was shown outside Kenya to audiences who praised the bold beautiful story. A story as tender as 'Rafiki' deserves to be seen.

Nadine Labaki's third feature film has been 5 years in the making. Years of research, 6 months of filming, Labaki has delivered as well as created a true masterpiece of a film about a young boy, living in poverty in Lebanon.  Labki won the Jury Prize at Cannes where the film recieved a standing ovation. The film and Labaki also received a standing ovation at the London Film Festival on its opening night.

Labaki's film is about a young boy, Zain, born into poverty, working on the streets to help feed his large family. After his younger sister, is sold to a much older man for marriage, unable to save her, her leaves his home. He meets and befriends a young mother and illegal immagrant, taking care of her son, Yonas, while she is at work. But one day, after being arrested, the two boys are left to fend of for themselves. The poverty and injustice, as well as a frank speech Zain gives while in prison, calling into a news programme, he talks about those who suffer, including himself and makes the choice of suing his parents giving him life.

Working with non-actors, she found two of the most amazing and profound performances from a toddler and 12 year old boy. At the screening at the London Film Festival, she told us that Zain Al Rafeea who plays Zain, was now safe in Norway attending school for the first time and that Yonas, the baby boy was in fact a girl, Boluwatife Treasure Bankole. Their stories have turned out different but this doesn't change the harsh truths that Labaki has brought to the front of people's minds with her film. She said that she wanted to do something and that the only way she knew how was through film. As awards season creeps up on us, I know the stir the film has caused but what I hope it does is spur people into action. Although Labaki has created an amazing film, this feels more than just another story that has affected people, I hoping it does more.

As the final film I saw at LFF, it couldn't have been better. Inspired by real people and real events, writer and director Eva Husson bravely decided to write a fictional story about women fighting in war and its been take so far out of proportion. The reviews I've read have either been scathing or praise, there doesn't seem to be an inbetween. But Husson is made of much sterner stuff, as proved by the way she handled the Q & A after the screening at LFF. Her first 'questions' proved that the two people talking hadn't listened and one even tried shaming her into not actual knwoing what she was doing. But Husson had done her research and by her expression, she had had to deal with people like that before. Thankfully a third 'question' backed the film for what it stood for and she thanked Husson for the film.

Cutting between present day and flashbacks, a French journalist, coping with her own loss travels to the front lines of war in a Kurdish town with battalion of women freedom fighters. The fighters themselves have suffered under the Islamic State, their families murdered, used as sex slaves, they have escaped hell to fight for freedom.

The reviews and articles questioning the actions of Husson seem to focusing on the fact women are exploited and that it is somehow glorified. I saw a brave group of women fighting for survival and for each other. The fact the women bare resemblance to real life fighters is purposeful and not distasteful. Husson said that she had taken the film to villages, wanting to be respectful and has recieved positive reaction to the film. Maybe I'm missing the point of the film but I saw a film about women fighting in wartime and that's rarely seen on screen, why aren't we talking about that?

September/October Watch List

Some films I missed off September and the very few outside the festival from October, but instead, here are the quick rounds of thoughts on some the films of the last two months:

American Animals

This film really deserves more than a few lines but for now I'll say this film is not a based on a true story, it is a true story. Its a brilliant devised combination of the fiction and reality that doesn't blur the lines of truth but in fact what each of the four guys involved in the failed heist of pricelss books. Even though you can guess the final outcome, you realise by the end that you really can never predict a story like this. The stupidity of people thinking they can pull of this theft is beyond comprehension. Documentary style works so well with the fictionalised scenes of the four guys' reality and how they remember things. And true to true crime stories, not everything is revealed. A question over some detailed is only known by one person and they never give away the real answer. A brilliant film that deserved way more attention than it got. Sometimes people just don't understand what they're missing. 4/5

Life Animated

Beginning as a tragic family story that builds into a heart warming tale of how Disney really did help one boy is just so wonderfully put together with all the usual archival materials as well as animation itself, is one of the best documentaries I've seen and one of the most beautiful stories I've heard in a long time. 4/5

Faces Places

I know some may be outraged that I'm not dedicating an entire post to Agnes Varda but one day I will. I'm actually very new to her work and the wonderful person she is, so, give me time. This has ended up with my trio of documentaries  on this month's watch list. I've not seen a documentary, in a long time where its been such a joyful and whimsical journey. Varda and photographer JR join together to take their art and hearts on the road and its perfection. Personally, I see this film and I think this collaboration gives hope to the future of art and filmmaking. I really wish they'd come to UK and paste up their giant art on villages here. 4/5

An Evening with Beverly Luff Linn

Full review is over at My Film Club and can be read HERE. 4/5



For all the films I watched at London Film Festival, most, not all links to my reviews can be found HERE. 

Such is the Life of an Adventurer

Before the Halloween posts out there start, I wanted to take a moment to talk about Hilda.

A while ago I wrote about how there are no stories for girls. Stories for a younger audience involve teenagers, older characters than ones their own age. It may seem that TV has caught up with a flurry of shows featuring a younger cast or have a boy(s) at the centre. Film is lagging behind with offerings every so often with stories like ‘A Wrinkle in Time’ but these are few and far between, which is why my inner child was very excited to see a new show appear on Netflix called Hilda. 

Hilda lives in the forest with her graphic designer mum in a house her grandfather built. She is a friend to all creatures, likes to sketch and go on adventures with her deer-fox, Twig. After moving to Trollberg city, Hilda joins the Sparrow Scouts makes friends with the ultra organised Frida and sometimes scaredy-cat David. It's a simple concept with mountains worth of potential.

Hilda is a primary school aged adventurer who loves the wilderness and is always out exploring with her friends. The trailer was delightful, fun  and had the promise of creatures from Scandinavian and British folklore and myth. It’s been ages since I’ve seen a show that fantastically animated, encouraging outdoor excursions as well including scenes in libraries! Libraries! 

Throughout the series there is no sign of the internet, no iPads, no kids’s stuck to their phones. The show is not explicitly set in a particular time so I’m not even sure if this is meant to be set before technology took over. But the best thing about this is that the stories and adventures are so enthralling that you don’t realise there’s no technology prominently being used until you’ve finished the whole series! I of course watched the entire series over 2 days, but before I did that, I found the books.

Created by British cartoonist Luke Pearson, Hilda first appeared in graphic novel form. There are currently 5 books (with another on the way next year) and a book based on Pearson’s work, written by Stephen Davies. The books explore mainly Scandinavian folklore and folktales, featuring creatures we all know such as trolls, forest giants and elves to ones less known, such as Maras, Salt Lions and Vittra.

Just like to point out that this picture shows our heroine in a similar pose to another adventurer and reporter from Brussels. You should know I'm a huge fan of Tinin (comics, TV show, films, the whole shabang) and this is partly why I was so excited to discover the show and books.

As soon as I saw the trailer, I went in search of the books. One by one I was absorbed into the world of Hilda and co. The art from each book changes slightly but is always so beautifully created and the story no less thrilling. I have literally told everyone I can about this amazing series that is for children AND adults alike. It encourages children to explore and be more adventurous, go outside and have fun. For adults, its for their inner child and just for the fun aspect of the whole series.

So get your hot coco and curl up with the comics or watch the show. Appreciate the cosiness because Hilda is here to stay, with more books on the way AND a second series of the show coming to Netflix.

Favourites of the Fest

Last year's festival was superb BUT I saw far less films and was literally obsessed and in awe of 'Call Me By Your Name', which was my favourite film of last year. This year, I was immersed in the festival as I was in a position to attend as many screenings as possible which meant I got to see films I wouldn't have considered and films I didn't buy tickets to as I knew I could see them at press screenings. Last year, I had a clear cut top five films and even top ten at a push, but having seen 26 films I am finding it harder to pick my favourites. However, I wouldn't be writing up this post if I hadn't made an effort.

Not all the films I've seen have posts yet, still got a few to catch up on, particularly Buster Scruggs, which I intend to go on about.

Capernaum is definitely the best film I've seen at the festival. I had been very excited to see Nadine Labaki's third feature, waiting years to see what she'd so and she delivered a truly amazing film, no exaggerations. She and the film got a standing ovation at Cannes and it was the same at the opening night of the film in London. The audience were in tears, it was and is an inspiring film, with two of the most amazing central performances, two young children, one barely a toddler. In all honesty, I've held off writing about the film because I want to get it right. Labaki was present at the screening and stayed to do a Q&A as I think everyone knew it was needed. She is a brilliant filmmaker and deserves all the credit and applause.

The surprises in this line up for me are definitely 'Assassination Nation' which switches genres, includes a massive warning at the start and turns into a witch hunt of four girls, but this was also a revenge film that I enjoyed very much, it also had core friendship which wasn't shattered or torn apart, they are loyal, which in some ways, is refreshing to me. 'Vox Lux' also unexpectedly got into my top picks. A familiar story with narrative taken from or inspired by real events used as context to portrait story, featuring music written by Sia (I like some of her pop tunes) would seem like a hard sell BUT I actually found it fascinating. I found it hard to read the room after this one so I'm guessing it will have a divided opinion.

I was always going to love 'The Breaker Upperers' from the moment I saw the trailer back in New Zealand in April. Loved the trailer, the humour, Madeleine Sami and Jackie van Beek, it was just great. I actually loved it so much, I saw it twice. Same goes for the Coen Brothers anthology film, I was always going to love it, 6 Coen films in one? Who's complaining? But more on this in a later post. Having fallen in love with Yorgos Lanthimos's 'The Lobster' a few years back, I had a feeling I was going to enjoy this historical odd ball comedy about Sarah Churchill and her cousin Abigail Masham fighting for the attention of Queen Anne. Three fantastic central female characters, played perfectly by three great actresses, particularly Rachel Weisz and Olivia Colman.

There are some notable mentions, again, not all posts are up; Girl, The Fight, Sorry to Bother You and Girls of the Sun.


This year was intense and at times stressful, but I had an amazing time, here's to next year!

Ladyworld - London Film Festival

Mysterious event resulting in 8 girls being trapped in a house. Fighting for survival and their sanity, with water and food running out, how will they cope in such claustrophobic conditions?


Full review of the film is over at Vulturehound which can be read HERE.

The Sisters Brothers - London Film Festival

Based on the novel of the same name by Patrick deWitt, the Sisters Brothers isn’t the typical western. Directed by Jacques Audiard, his keen eye for unexpected tender moments amid a trail of blood and money, makes the story and characters more humane than the standard hired guns. 

Eli and Charlie Sisters are hitmen who work for their wealthy proprietor, the Commodore. When they are sent after Hermann’s Warm, a prospector who is accused of stealing a formula, the job turns into more than they bargained for. 

A late edition to the JOURNEY strand of the festival, among the person and literal journeys taken by characters, ‘The Sisters Brothers’ although an actual journey from Oregon to California in the old west, the brothers, Eli and Charlie, go on an emotional journey of their own. While Eli wants this to be their last job for their boss, the infamous Commodore, and Charlie is very happy to continue ‘doing what they were made for’, they each travel a different path. Eli believes he is still a good man who is only there to protect his younger violent, often drunk brother. Charlie believes that its in their blood to be killers, so may as well get paid to do it. John C. Reilly and Joaquin Phoenix complement each other. Both brilliant actors, Phoenix is the master craftsman able to play out a display of emotions with a slight change of expression and Reilly, underrated, his filmography muddied with mediocre frat pack comedies so much that his better roles are buried. 

The events of the past weigh heavy on Eli whereas Charlie has chosen the bottle, possibles to numb any feeling at all. The brothers have a few emotional moments but none as affecting as the other duo in the story. Warm and John Morris meet while the latter is meant to be keeping him for the Sisters brothers, the two form a friendship on the road and share a passion for a better world. Riz Ahmed and Jake Gyllenhaal unexpectedly become the heart of the film, while the brothers are the muscle. As secondary characters they don’t have as much screen time, but after a tragic incident, there are hints at their deep friendship their a painful few words.

Going against the what is expected of a western, the brothers’ journey takes a turn in an undramatic way, continuing on to the end where a short but sweet cameo from Carol Kane wraps up the story. There is a feeling that you don’t have to go ‘big’, you can just go home and this too makes for a satisfying ending.  Audiard’s film isn’t about greed, despite gold being an incentive, its not about killing people, although the brothers’ history of violence makes them behave in different ways, its not just about brothers and unexpected friendships, it doesn’t even go downhill when the fateful words ‘our last job’ are uttered. ‘The Sisters Brothers’ is a difficult tone to pin down so perhaps it is all about the journey than the destination and who’s with you through it all.

Vox Lux - London Film Festival

A story of two halves about infamous singer songwriter popstar Celeste about where it all began, with a tragic incident and heartfelt song. To decades later where she has become bitter, part of the system and loosing touch with her loved ones.

The full review can be read over at Vulturehound HERE.

Girl - London Film Festival

An intimate story about a ballet dancer who is going through hormone therapy while trying to catch up in her classes as she adjusts to the new way of dancing. The film has a positive portrayal of a supportive family and network to help Lara through her transition, but the day to day pressures and the impatience to be her self lead her to desperation.

The full review can be read over at Vulturehound HERE.

In the Aisles - London Film Festival

Love can be found in a hopeless place (as the song goes) and nothing is more hopeless than the place where ‘In the Aisles’ is set. Who’d have thought that a supermarket would be the setting of a delicate and innocent love story. 

Christian starts work at a supermarket as part of the night team, stocking shelves in the bottles department. He works with veteran worker Bruno, forming a quiet bond of friendship. He falls in love with Marion, a colleague in the sweets section, sharing moments of mutual affection even after he finds out she’s married. Christian lives alone and seems lonely but not in a hurry to create a connection.

Loneliness is ironically the connection between the characters. Bruno is isolated, living on a farm not far from the supermarket. He yearns for his trucker days and the comfort he found in knowing landmarks signalling he was almost home. Marion is married but isn’t happy, at least this is what everyone tells Christian.  Christian himself lives alone, avoid his old rowdy friends and doesn’t seem to go anywhere apart from work and his flat. Their conversations are all work related, although sometimes the barrier of silence is broken down and we learn about Bruno’s wife and Christian’s previous job and his days of being in prison as a minor. The images of the individual buildings, looming in the distance and up close, as well as frequent shot of the motorways, exaggerating just how isolated the supermarket is. It feels as if it isn’t really part of the real world. The supermarket has its own little village, helping each other and working as a team. The environment suits Christian who isn’t a talker, he is the definition of the strong silent archetype. 

The innocent love story that gently unfolds between Christian and Marion also serves as the lifeblood of the supermarket as various colleagues are aware of both their feelings for each other despite nothing being said with words. Their long looks, stolen glances and small kind gestures make the world of the supermarket bearable and a little brighter.

As a gentle love story and ode an ode to supermarkets, director Thomas Stuber makes the the place of unflattering lighting a beautiful place to be, especially at night. The best scene in the entire film is when Christian, who is learning to drive the forklift, elegantly moves between the empty aisles, at peace and obviously happy and even content in this moment. Not everyone can create such magic in a supermarket.

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In Fabric - London Film Festival

A dress that's haunted, a life of its own, with destruction and death on it's mind...if it has a mind to think with.

Full review is over at Vulturehound HERE.

The Fight - London Film Festival

Written and directed by Jessica Hynes who has several different fights going in throughout the story. A drama that portrays a rarely seen family dynamic (between mother and daughter) that I believe needs to be seen more.

The full review can be read over at Vulturehound HERE.

Soni - London Film Festival

Two police officers try to bring down those who bring violence against women have to deal with their own personal issues first before they can made a difference. But they'll keep on fighting, one operation at a time.

The full review can be read over at Vulturehound HERE.

Joy - London Film Festival

Sex trafficking is a hard subject to watch. A film about women who are forced into this life and left in a never ending cycle you know what to expect. It may be called 'Joy' but there is none to be had.


The full review can be read over at Vulturehound HERE.

Sorry to Bother You - London Film Festival

Satirical comedic gem about the oppressed lives of those living in the USA. Trust me on this one, its funny as well as through provoking and disturbing, well at least the last bit is.

 The full review can be read over at Vulturehound HERE.

If You Go Down To The Woods Tonight...

...You're sure of a big surprise.

 

Cult films used to be honoured over time and thus given the status of being ‘a cult hit’. But the trend in aiming to make a film that already demands to be ‘a cult film’ has increased in the last decade, films usually involving blood, gore, killer soundtrack and a thin plot. But ‘Mandy’ is different, it has a not so subtle or secret weapon, it has Nicolas Cage.

Set in 1983, Logger Red lives in the middle of a forest with his fantasy artist girlfriend Mandy. They are content with their quiet reclusive lives until they are attacked by A sinister deformed LSD hooked biker gang and an evil hippie cult who’s leader, Jeremiah, who has become obsessed with Mandy after seeing her in the woods. After Mandy is brutally murdered, Red, left for dead, gathers weapons and goes out on a blood soaked rampage into the forest, seeking revenge on the cult and the biker gang.

  

The film exudes an unsettling atmosphere throughout and never really leaves you, not even after the film ends. The use of glowing red and purple light creates the sense that what you’re seeing, isn’t real, it’s a fantastical world where evil things happen. The use of demonic imagery grounded in reality, such as the bikers, stretches the idea that high doses of LSD made them this way when really daily doses of a high concentrated version of the drug would surely kill you. But in this fantastical world, evil creatures like the bikers exist alongside the outwardly human cult members. The feels like a novel, split into chapters with clear-cut good and evil characters. Its fantasy elements also prelude to later events, with a smell of magic in the air. The final shot of the film even resembles a cover of a book of that genre. Fierce orange toned moons looming over the desolate forest, it sends chills down your spine.

 

Nicolas Cage is on top form and has several new scenes he can add to that screaming show reel on Youtube. The character of Red is a perfect role for him to play with. With less dialogue than characters such as Jeremiah, Red is a man of few words and his actions speak volumes more than anything he says. The bloody violence is also something a grizzled actor like Cage can handle and he wields his homemade axe well. Although Andrea Riseborough’s Mandy is the film’s namesake, she only really appears in the first half of the film but with unearthly present, long hair and jet black eyes, she leaves a lasting image with Red as well as us, the audience. 

Co-written and directed by Panos Cosmatos, the film at times does feel like death metal band’s music video but throughout, the story seems to be as if it was lifted directly from the pages of a dark fantasy novel, similar to the one Mandy reads in the film. The imagery alone is enough to have a field day of analyzing what everything means, but at the same time can be rationalised that this isn’t one long LSD trip. Thanks to Park Circus, I was lucky to see the film screened in Union Chapel, with similar lighting used in the film, red and purple, it felt as if we were being immersed into the film, a perfect setting to see this story unfold.

 

Mandy is no doubt a ‘cult film’ in the making. From the font used in each chapter, the ethereal presence of Mandy after death, the demonic evil cult and deformed bikers to the soundtrack that is somewhat over powering but still manages to keep order. The film is a horror that is evokes fear and disgust but it also has a few laughs, but its Nicolas Cage so what would you expect? 

 

 @ParkCircusFilms