Cinema Rediscovered 2019 Round Up

Now in its fourth year, Cinema Rediscovered in Bristol has become a staple in the film calendar, especially has it not only focuses on older films and bringing them into focus but it also pushes film criticism to the forefront. With talks and panels and the workshop for up and coming critics, the discussion about the state of criticism and what the future holds isn’t something you’d find at any other film festival. 

Screening films more well known such as ‘Kind Hearts and Coronets’ celebrating its 70th anniversary and Hitchcock’s ‘Notorious’ ahead of its re-release back into cinemas, alongside these are new documentary, ‘Filmfarsi’ delving into the near forgotten world of Iranian cinema and forgotten gems such as ‘Une Femme Douce’. They also weaved a theme within the festival exploring gluttony, decadence and resistance, screening British classic, ‘The Cook, The Thief, His Wife and Her Lover’ and French Italian classic ‘La Grande Bouffe’. 

With the Cotswold gin flowing and the film discussions abundant, the Watershed, home for the festival and as Bristol’s shining beacon for film, the festival was a great place to catch up with fellow film fans and critics alike as well as discover something new/old that you hadn’t seen before. Looking forward to next year and what the Cinema Rediscovered team create. 

Having seen ‘Notorious’ for the first time, I wrote a separate post about it which can be read HERE.

I will also being writing about ‘Eyes of Laura Mars’ which was also a first time watch for me, presented by a favourite collective of mine, The Final Girls. Post to come soon!

#CinemaRedis19  

Blind Spot Series: Notorious

“There’s nothing like a love song.... to give you a good laugh”

A film’s reputation proceeds it, especially if it’s title is ‘Notorious’. Hitchcock’s thriller, spy romance starring two of the biggest stars at the time of its release, Cary Grant and Ingrid Bergman. Screened at Cinema Rediscovered before the film is re-released back on the big screens and as part of the BFI Cary Grant season, so if you've not seen it, now you get the chance to see the film how it was meant to be seen.

As the daughter of a convicted German war criminal, Alicia, is recruited by US government agent, Devlin, to infiltrate a group of her father’s comrades, particularly Alexander Sebastian, who used to have more than a crush on her. But as with most best laid plans, Alicia and Devlin fall in love, putting a strain on her mission and leaving him jealous. This is Hitchcock though so don’t expect the usual beats to this sort of film. Hitchcock knows how to build suspense as well where to put the camera and how to break the rules.

The film is famous for breaking the Hayes Code as it includes kissing, open mouthed for more than 3 seconds. I always remember this film as the ones where Ingrid Bergman and Cary Grant’s faces are stuck together for long periods of time, but luckily this film is more than what makes it, notorious.

Alicia is an unconventional leading lady, as she does what she wants, even drunk driving in the early hours. Her reputation proceeds her and doesn’t back down from a challenge. It insinuated on more than one occasion in the film that she’s been around, slept with a few men and for this reason she is right for her mission. But her keen eye and composure, even when drunk is not seen as an asset, except by Devlin. It’s refreshing to see a character like her drink and not care for the judgement put upon her and sacrifices none of her charm and elegance. Next to Grant’s Devlin, the epitomy of suave, they create a very beautiful couple which is remarked on in the film. But they also make an excellent spy couple but this might be us being blinded by their pairing. 

As well as the romance and thrills, there is the very welcome comedic element sliced in. Any time Sebastian’s mother hears that Alicia is in pain, her happy smirk is hard not to laugh at as the hatred is so obvious. Quips and witty comments are thrown out to also create a humorous atmosphere balancing the serious tone which is the main part of the film. With the film released back into cinemas, hopefully this will give a wider audience to experience this Hitchcock classic. 

#CinemaRedis19  

Around the World: Russia

As promised from a while ago, a post just for the Russian superhero film, ‘Guardians’ as it was needed. When you see the typical superhero stance on a poster and they are dressed in ‘special’ suits, plus there’s a guy who is half bear, you can guess what sort of film you’re going to get.

With a standard plot about four individuals who were experimented on and as a result of these experiments, that turns out only a few of them agreed to, they all have super powers. Now the leader on this programme has gone rogue after getting powers of his own, a secret task force is assembled to recruit back these gifted individuals to help defeat the evil guy. Standard. The ‘Guardians’ as they are called, are defeated at first but then through the power of montage they are given weapons and go into training mode and once again go into battle with the now crazy evil guy. He’s crazy now too as he literally tears apart a building and wants to take over all the satellites. There is also a side plot where the only woman in the group can’t remember her life before the experiments but you can guess who she was married to before a mile off

This may sound like I’m not taking this film seriously but I was actually very much looking forward to seeing this film, no matter the outcome. For a standard plot, I was still very much confused throughout. I didn’t really understand the need for the experiments in the first place or what the evil guy was really up to, all I know is that he was evil and killed people and experimented on people. The real fun parts was when the task force recruited the guardians, going to various parts of the Russian domain and seeing what they could do with their powers. And of course seeing one man go full bear, that was enjoyable and most amusing as he ruined quite a few outfits but never seemed to be without clothes. 

The film was not adapted from a comic book or novel source material although considering the wider plot, I’m surprised. The fact that this film did not do very well at the box office was not a surprise. Even the filmmakers were quite optimistic and announced a sequel would happen with Chinese characters BUT that never happened. The filmmakers said to was due to the fact that no one knew the characters. There was no ready made fan base to hype the film despite the marketing team going all out. But in a movie world filled to the brim with superhero films, TV shows, comics and books, maybe there just wasn’t space for the Guardians to thrive. Except, on a late night screening at an obscure cinema that appreciates the more ridiculous things in life. 

Next up... check out all the films HERE

 

Getting Back in the Water: Celebrating ‘Jaws’

You know the music, imagine that as you read this before you check out the latest post by Ben Flanagan and myself which was published on the Cineworld blog, originally. Check HERE.

Thanks to Park Circus, who is bringing the original Summer blockbuster back to the big screen. Check out where ‘Jaws’ is showing HERE.

See you on Amity Island film fans!

The summer blockbuster, now a staple in the cinematic calendar, often overlooked at award ceremonies, unless it’s the MTV Movie Awards, but always brings in the audience for its mass appeal and the chance to escape from the everyday. Usually a fantastical action packed non-stop big budget thrill ride, or at least, it's been increasingly the case since the dawn of the superhero film era. But back in the 70s, when there was no concept of the Blockbuster. Steven Spielberg, already on the movie scene but yet to have a hit, changed all that by giving cinemas the story about a man-eating shark that terrorised a small tourist town during the height of Summer.

The arrival of ‘Jaws’ in 1975, brought with it Hollywood’s new style of accessible stories that would usually be more reserved for a grittier adult film, but here was Jaws complete with deadly death opening, Vertigo style shots that make a beach seem like it expands around you while zooming into the face of Roy Schieder, and a nautical bounty hunter who likes nails on chalkboards and has a few secrets up his sleeves. One of the most unlikely family blockbuster films, it might never have come to fruition if Spielberg had decided to make his planned biopic of Thomas Crapper, inventor of the toilet instead. That would have been a whole other water adventure and possibly not as popular. Spielberg had emerged during the New Hollywood, a period of innovation in American filmmaking when young directors, inspired by the European art films of the 60s, were making gritty, political, and even experimental films for grown-ups that did huge numbers at the box office. Films like Bonnie and Clyde, Easy Rider and The Godfather had already changed the industry. But Spielberg, slightly younger than his peers and possessed with an extra-terrestrial talent for where to put the camera and how to capture an audience, turned the New Hollywood style into a way to tell stories for everyone.

By focusing on the orange sun-soaked beaches, and the terror of what could be lurking in the water, Spielberg and writers Peter Benchley and Carl Gottlieb submerged their adult themes. Politicians who put the money reaped by tourism above the safety of their people, the PTSD suffered by Robert Shaw’s pro-shark hunter Quint, who was on the USS Indianapolis, the faint, but significant subtext of infidelity and sexual anxiety between Brody and his wife. Tying all of these things together, a 4th July setting, that most American of holidays.

Jaws wound up as the highest grossing film of all time. If that $260,000,000 box office seems paltry compared to the likes of this year’s Disney grosses, then at least consider that adjusted for inflation that number stands at $1,153,990,200. Not too bad for a 28-year-old director. But like Gone With The Wind and The Godfather before it, Jaws had such a troubled production that it seemed like a bomb. Unlike other American films of the day, he shot on the water in Martha’s Vineyard rather than on a studio backlot. Most famously, the mechanical, remote controlled shark his crew built wasn’t just too goofy to be frightening, it actively wouldn’t work. The horrifying, savage scenes Spielberg envisioned had now been replaced by a broken robot the crew named ‘Bruce’. So Spielberg decided to live by the mantra ‘What would Hitchcock Do?’ and realised that he could heighten the thrill factor by showing as little of the shark as possible. The anticipation does half the work! So through POV shots of people’s legs underwater, and that indelible John Williams score (tell us that doesn’t sound like a Shark!) Spielberg not only avoided the limits of technology, but gave audiences some of the most memorable film images and moments we’ve ever seen.

From these blood-soaked sea and waves, the ‘blockbuster’ was born of gnashing teeth and Richard Dreyfuss’ unusually squeamish aquatic expert. Before 1975, the idea of the ‘Summer blockbuster’ was unheard of. Why go to a stuffy cinema during vacation? We all know the vague structure of the cinema releasing calendar from ‘award films’ to ‘Christmas family films’ but the delays on Jaws’ production moved it away from a Christmas release and created the Summer staple film, released in time for when schools are out and the office drones are likely to need some time in a dark cinema out of the hot sun. And it’s five Oscar nominations proved that blockbusters could be as acclaimed as they are popular.

With the release of ‘Jaws’ back on the big screen, in perfect time for the height of summer (British weather pending) and a chance to relive some of the most famous scenes and quotes in cinematic history. It's time to take a trip back to Amity Island and get back in the water.

Edinburgh Film Festival: The Souvenir

Joanna Hogg's personal film about when she was first starting out as a film director and when she has a relationship with an older man. This relationship is meant to be from when it first blooms to the sad a heartbreaking end but all I could see was gloom and doom from the outset.

Previously published on VultureHound HERE.

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Films of an autobiographical nature can either delve deeper into the psyche of the person who the story is about or they can remain on the surface, only touching upon truth. With Joanna Hogg’s personal film, ‘The Souvenir’ is meant to be autobiographical and manages to be both but not in way you’d expect or wanted. 

Julia, a student at film school meets the older, more supposedly sophisticated Anthony who works for the foreign office. As their relationship develops, truths about Anthony surface forcing Julia to decide what she wants. Her ambitions of being a filmmaker are also put in jeopardy because of the difficult and complex relationship that at times puts great strain on the couple.

Julia, wants to make a feature film that tells a story outside of her comfort zone as well as outside her experience. This seems to be a passion at the start of the film, which Julia keeps talking about but as her relationship with Anthony takes over her life, her ambition and her work are left to the side and never the focus. The relationship that Julia and Anthony share is oddly introduced and it is never really clear when it becomes sexual. It manifests slowly, giving time for Julia to fall in love with Anthony but that love is never really overtly obvious from either side, even as hideous secrets are revealed about Anthony’s character, there isn’t any proper discussion but rather an acceptance by Julia. The only emotion that can be taken from this couple is that it is hindering Julia’s aspirations and closing her off from everyone else in her life.

Hogg has a keen eye for realistic moments, not giving Honor Swinton (Julia) a script to work from and only diaries and work from that time in her life produced genuine reactions to events as they unfold. As this is Honor’s first acting role, her constant vulnerability throughout is painfully real, especially during the break down of the relationship with Anthony. This is a personal film as this is all taken from Hogg’s memory and life but aside from seeing the beginnings of a artist, the relationship never feels like a good influence but rather a painful experience that has left a lasting mark on the filmmaker we admire today. Proceed with caution when watching ‘The Souvenir’ if you have ever experienced something like this.

Edinburgh Film Festival: Ruben Brandt, Collector

Where the heist film genre collides with mystery thriller and art horror, the world of Ruben Brandt is amazingly animated with an engaging story full of characters flawed and fabulous. Unlike any other, thats if there is anything like it.

Previously published om VultureHound HERE.

The heist, the thrill of the chase is usually all about the criminal and the police or similar authority, a game of cat and mouse. What Hungarian animation ‘Ruben Brandt, Collector’ does to this tried and true genre trope is add art to the mix, opening up the film to become a visually stunning feast for the eyes and every art lover’s weird twisted dream to life.

Ruben Brandt uses art therapy to help his patients, who also happen to be criminals, overcome their issues interfering with their work. But when International thief for hire arrives looking for his help, she, along with the other patients end up helping Brandt steal famous works of art from around the world to help sure him of his nightmares. Pursuing the gang is private detective Mike Kowalski who unearths for secrets than he expected.

‘Ruben Brandt’ isn’t just an art heist, it delves into the thriller side of the story, even stepping upon horror through Brandt’s truly terrifying nightmares that are all inspired by famous works of art. Each time he suffers through of these visions, he has to find and steal the painting in order to overcome the fear. The fact that he uses art as a therapy to help his patients and fellow criminals, is twisted when it comes to his own treatment. Possessing the original art gives him control. Just like with any work of that art that can be critiqued so can this story about a collector. Underneath the thefts and individual stories, there is a on going mystery about why Brandt is having these nightmares to begin with. At first it seems they are triggered by his father’s death but the truth is slightly more terrifying and an even deeper mystery is revealed but only minutes before the end and only to one character, making the film’s characters cut out of a resolution and something just for the audience to enjoy.

The animation is superb and unlike anything seen before. Combining a unique design of characters as well as a new interpretation of some of the famous paintings referenced. It’s an art history fanatic’s or art lover’s dream, even throughout the warped nightmares. The characters that inhabit this world reflect familiar artists’ work as well, some with two faces or two sets of eyes, only the three lead characters, Brandt, Mimi the femme fatale and Mike the detective on their case adhere to a ‘normal’ look. This is most likely so the audience can connect with them easily and become immersed in their world.

A hybrid of an old-fashioned heist film with mystery and horror thrown in to create an exciting story with a strange but familiar world, at least if you know your artists and galleries around the world, for anyone else it’s a thrill ride through the art world.

Edinburgh Film Festival: Love Type D

 

The ever evolving rom-com has taken many shapes and forms, using familiar plot devices and well worn characters but its not seen the likes of Sasha Collington's film about a woman, unlucky in love, discovered there's a gene that means you always get dumped in a relationship, that is something new.

My full review is over at VultureHound and can be read HERE.

Edinburgh Film Festival: We Have Always Liked in a Castle

Based on the gothic novel by Shirley Jackson, old secrets resurface, literally in this thriller, mystery family secrets drama. All Blackwood family members are odd with their own quirks and issues, even the unexpected long lost cousin.

My review is over at VultureHound and can be read HERE.

June Watch List

Thunder Road

 Jim Cummings is a force to be reckoned with, having written, directed and acting in the lead of this story about grief, pain and fatherhood. Jim, a dedicated police officer is struggling with the death of his mother and trying to connect with his daughter after a separation from his ex. He’s a good person or at least he tries to be but misfortune just seems to follow him round. The film has one of the best eulogies in cinema that opens the film and goes through all the emotions you can think of. Grief take many forms and one of those is trying to show tribute to your dance teacher mother by performing a dance to no music. 3/5

Booksmart

One of the best film I’ve seen this year so far. A brilliantly scripted story about two best friends and one night where they want to prove they are fun as well as smart. I wrote a bit more about the film HERE. 5/5

Teen Spirit

Max Minghella’s directorial debut about a quiet teenager on the Isle of Wight who loves to sing and decides to enter a reality talent show. I wrote more about the film HERE. 3/5

John Wick 2

I wish I had seen this thrill ride a long time ago, I can exactly why everyone loves John Wick. Keanu Reeves is just perfect as the ultimate hitman, continuing on from the events of the last film and feeding straight into the third chapter of the Wick story. This time round he settles with the Russians, annoys the Italian mob and has his house destroyed but he still has his adorable dog. Then he takes a job to kill off the head of the Italian crime family but instead of him be able to return to his quiet life, he’s drawn into a massive manhunt by ALL the assassins who seem to be everywhere! Can’t wait for the next part.  4/5

Animals

Two best friends, one writer, one party connoisseur, live in Dublin drinking their way through life, until one starts to look at their live without the ‘fun’ filter. I wrote more about the film HERE. 4/5

Always Be My Maybe

Netflix films seem to be hit and miss but this rom-com about best friends who drift apart after a one-night stand and grief then reunite after 16 years is actually not too bad. Ali Wong and Randall Park have great chemistry and are actually funny. I love it when a funny couple get together. But the best scenes are obviously with Keanu Reeves who is the best thing in the film. He’s superb.3/5

Murder Mystery

Murder mysteries and hitman stories are usually my kryptonite and even Adam Sandler couldn’t ruin this film. While all his other films have been….. well, terrible, this is one with Jennifer Aniston was great fun. I actually wrote a whole post about the film HERE. 4/5

Edinburgh Film Festival: Aleksi

This was my favourite film from the festival about a woman who really can't be bothered to 'grow up' and its superb. Really hoping this gets a release in the UK but if not, somehow it'll find its way to our shores.

Formally published on VultureHound HERE.

There are plenty of ‘coming of age’ stories out there and even more about twenty somethings finding their place in the world. There are also films about those approaching their 30s but refusing to ‘grow up’, these films are traditionally dominated by young male leads but in recent years, there’s been a few with women taking the lead, creeping through the gaps and one those is ‘Aleksi’.

Aleksi, 28 years old, has two internships to her name and hopefully another in Berlin. Returning home to her parents and their family run vineyard, Aleksi will do anything to avoid working for them or even helping. She spends her day scowling at visitors, flirting with tourists and older men and her nights drinking and taking drugs with her neighbour. But when she meets Goran, a local musician, her very loose plans to leave start to unfurl, but this doesn’t mean she can’t ruin everything in spectacular wild child fashion.

Aleksi doesn’t represent the millennial attitude towards work that all the other generations think they have. She is too old for that label. Aleksi is lazy, has a temper and a destructive streak but ultimately she just wants to leave home and move away from her family’s business. She says she’s creative, a photographer and that’s why she can’t work for the business and although we see her throughout taking photographers, her drive to escape the life in the idyllic town and runaway isn’t for creative reasons, she just wants no responsibility. She is character that is to admired as well as disliked. She just does what she wants, whenever she wants, using whoever is around to entertain her. She’s aware of her bad reputation and even though it upsets her, she’d not going to change her ways.

The crux of Aleksi’s issues are never really resolved or ever said out loud. When she meets Goran, someone who literally challenges her and doesn’t let get away with her bad behaviour, but she can’t bring herself to say how much she cares about him or admit that she her plan has changed. Barbara Vekaric’s debut feature is something that has been missing from the regular female character focused stories. ‘Aleksi’ crashes into the cinema full of energy and reluctance to grow up, for a film with not very clear resolutions, it really does make an impression and is, upon reflection, brilliantly executed.