It's Not a Wonderful Life

Looking over past posts, particularly Christmas themed ones, I came across something I wrote about the Christmas favourite, It’s a Wonderful Life. For some reason I waited years to watch it and when I needed films for my blindspot list, I decided now (then) was the time. But this was not the film I thought it was going to be.

From the minute George is introduced, he has ambition, he wants more from life and definitely more from the town of Bedford Falls. Each time George agrees to stay behind and stay chained to the town his eyes grow dimmer and by the time George has a family and business to cope with and he’s literally lost the will to live, the fight has left him. You can see the flicker of hope disappear from his face. All his life George just wanted to leave the town and when everyone stopped him, he wanted to leave this mortal coil but he wasn’t even allowed to do that! This isn’t the heart-warming story it’s been portrayed as. It’s a nightmare.

As someone who really does love Christmas but I may have lost a bit of spark on some years due to loss, I still find joy in the season (not the holiday). I have my own traditions I like to keep to, which usually involves decorating on 1st December, making biscuits, watching my list of Christmas films, buy presents in November, that sort of thing, as well as my family and friends’ traditions. I do love Christmas but, I cannot bear the thought of It’s a Wonderful Life as it fills me with sadness. I’d much rather watch the Moonlighting episode ‘It’s a Wonderful Job’.

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 any way 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, it's 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't 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?

Maybe there is an alternate universe where George escaped Bedford Falls, left his brother and uncle to take over the business and he ran off into the sunset. Maybe even with Mary. But if he had done that, there wouldn’t have been a film.

Confess, Fletch - Interview with John Slattery

 

Just like the previous iterations, Fletch finds himself in the middle of a mystery, art theft and a murder, with him as prime suspect. Supporting Hamm in this crime comedy is host of weird and wonderfully characters played by an equally brilliant cast. All embracing their comedic side and they obviously had a lot of fun doing so. Playing Fletch’s long suffering boss who happens to hate everyone, is Frank, played by John Slattery. Known mostly for playing Roger Sterling in Mad Men and Howard Stark in the Marvel films franchise, Slattery has also taken various comedic roles, adding Frank to the list. We got to steal a few moments of Slattery’s time to talk Fletch, directing and whether comedy is harder than crying.

Full interview in the latest issue of Filmhounds HERE.

Blue Jean - BFI London Film Festival

 

There have been stories told about life in the 80s and queer stories covering all subjects, but Blue Jean has that spark of brilliance that you long to see when sifting through all the films at the festivals in a year. Georgia Oakley’s debut feature is a fiercely emotional and at times painful frustrating story yet its so beautifully told.

Read more in the latest issue of Filmhounds HERE.

Das Cabinet des Dr. Caligari

 

First released in 1920, The Cabinet of Dr Caligari, will always be one of the silent films that will live on through cinematic history. This German expressionism silent horror, originally inspired by the writers Carl Mayer and Hans Janowitz’s experiences during World War One, is known for the twist ending and story structure, which apparently were not included by choice by the writers. Yet these devices are part of the reason the film has gained its iconic status, along with the style and design of the film that will forever be recognised.

Full review over at Filmhounds HERE.

Driving Mum - Tallinn Black Nights Film Festival

 

The journey of self-discovery, acceptance, adventure and ridding one’s self of the past comes in all shapes, sizes and lengths. Usually, a physical journey accompanies those on a spiritual one too. The death of a loved one is often a trigger and can lead to difficult truths, realisations, resentment and most painfully, regret. The Icelandic/Estonian co production of Driving Mum contains all of the above, filmed solemnly in black and white, journeying from the West to the South of Iceland. This story of grief is at times, funny and heart-warming and have you ponder events in your past, just like Jon and his dead mother in the back seat.

Full review over at Filmhounds HERE.

Emily

 

The world of the Bronte siblings has been depicted on screen before, usually in the straight forward way a biopic is presented. Focusing on their early lives briefly, then on to their writing and ultimately their success. But while all the Bronte siblings feature here, it is Emily who takes centre stage. More often than not, she has been portrayed as the sickly shy recluse with the wild imagination that created one of the most famous novels in British history. But in Frances O’Connor’s directing debut, Emily Bronte, she is wilful, adventurous in her own way and passionate beyond recognition, even in the restrictive life she is forced to lead. Emily brings a completely new and fantastic view of the author and her work.

Full review over at Filmhounds HERE.

Is Aslan on the move?

 

The Chronicles of Narnia were my fantasy realm for years. Although I would proudly say that The Lord of the Rings are my favourite films now, but before December 2001, Narnia was my Middle Earth. I loved the books, loved the BBC adaptations of old, I used to the rent them on VHS from the library all the time. I couldn’t imagine the stories I grew up with being spun out on the big screen but when the years of fantasy ruling the box office were in power, it was inevitable that C.S Lewis’ series would eventually be adapted. It's quite surprising how long it took for the books to be adapted and given the blockbuster treatment but when they were, Hollywood decided to start with the most well-known book, ignoring the actual first in the story. But thankfully in storytelling terms, at least cinematic ones, to have the prequel later on, makes sense. The Magician’s Nephew, the first book will hopefully see its day on the big screen. The BBC TV series also never included this strange tale involving other worlds and the actual creation of Narnia. 

When Disney took up the helm, releasing The Lion, the Witch and the Wardrobe in 2005, the stories literally came to life and were surprisingly loyal to the book, with added CGI flare of course. Shot in New Zealand and with WETA working their magic, it felt that fantasy stories were continuing to dominate the box office. This continued with Prince Caspian in 2008 and The Voyage of the Dawn Treader in 2010. But due to a contract expiring, the long awaited follow up, The Silver Chair, was never made. Although there was traction right up until 2018, Netflix announced their plan to adapt the book in their entirety that same year, so The Silver Chair was abandoned. 

Since the big announcement from Netflix in 2018, there have been a few more rumours circulating. Matthew Alrich, co-writer of Coco has joined the project as ‘creative architect’, whatever that means. Then more recently, that Greta Gerwig will direct 2 films in the franchise. With this new news, it feels that there is hope that the project will still go ahead.

Over the past 4 years, there has been plenty of speculation as to how the books will be adapted, whether they will be made in order or follow a similar pattern to the Disney films (which skipped two films). But there is a safe bet that all 7 books will be made into films. Netflix has also stated they want to create a Narnia universe, like Game of Thrones. Whether this means new stories (hope not) or they are referring to the prequel story, as it technically is, The Magician’s Nephew and The Horse and His Boy, which does not heavily feature any of the characters in the other books.

I embraced the Disney films, even though I’ll always love the BBC series from my childhood. I was disappointed that not all the films were made, especially as Will Poulter was cast as the perfect Eustace Scrubb. But at least one of my favourite books in the series, The Voyage of the Dawn Treader was adapted. I’ve been waiting over 30 years to see The Magician’s Nephew though, my other favourite and I’m really hoping Netflix don’t let me down.

All I hope for is that they stick to the source material, no modern-day versions please, that would be dire and kill the entire series. Keep to the time periods the books are set in and the characters as described. It’s a fantasy series so go crazy in the fantasy parts of the stories not those set in ‘the real world’. If they need pointers on how to adapt a series well, just look to A Series of Unfortunate Events. Yes, they added a few bits but the makers stuck to the books, the characters and kept the essence and atmosphere of the source material. Yes, this was TV but the format worked for the stories. Narnia works better as films. But you can see what I’m trying to say. Stick to the source material and embellish smaller parts that will not ruin it all.

With such a rich tapestry to work from and so many great characters across the books, there is a lot of potential. Of course, there are going to those obvious religious undertones and allegories galore that might not appeal to everyone (at secondary school we were actually taught the books in RE (religious education) and we read the books in primary school). But at heart the books are fantasy that can be enjoyed by all. Fingers crossed Netflix gets them made!

As far back as I can remember, I always wanted to be a femme fatale

As far back as I can remember, I always wanted to be a femme fatale. Being drawn to characters that oozed charisma, an air of cruelty and maintaining their femineity, these women where the ones to watch out for. Seen as tempting and a ‘good time’ at first, they lead (mainly) men astray and to their ultimate demise. The femme fatale very rarely got away with her destructive behaviour, usually by being caught out, set up or killed off. Sometimes this character was on a long leash, being held by a man but mostly, she worked for herself and her own selfish gain. But even at the end of all things, she looked amazing and you can’t help but admire her for trying and commend her for succeeding, even if she doesn’t ultimately win.

Born out of film noir, gritty crimes thrillers of the 30s, 40s and 50s, the femme fatale took many shapes. On occasion the femme fatale was always the ‘evil’ women, she could someone who was desperate to get out of a bad situation or someone who comes across as the stereotype and her motives justified. But any shape she took, she was always filled with mystique. The air of mystery and savage streak was why you wanted to be her. She had power, she had a plan and could get what she wanted. But usually by the end of the story, she’s seen as a mad crazy bitch. Thankfully Neo Noir femme fatales are given more depth and reasoning behind their choices and they can get away with much more than the previous femme fatales.

Wanting to be that confident woman that’s able to walk into a room and either steal the scene or slink away mysteriously into the shadows as you please is the ultimate fantasy and goal, besides getting away almost anything. The ability to embody a femme fatale is something I always wanted. The femme fatale is never painted as the hero, maybe the anti-hero if she’s given the chance, but that hasn’t been a dream of mine. I don’t want to be the outright star, but be that someone a younger me would look at and think, ‘wow, she’s so cool’. The femme fatale is admired, even if she’s the villain and that comes with an automatic admiration. There is something so damn cool about not being the ‘good’ one. The femme fatale walks on the outside of life and doesn’t let anyone make her think otherwise.

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.

Hilma

 

The story follows the artistic career and spiritual awakening of Hilma af Klint as she tries to make sense of the world when her beloved younger sister dies tragically. Young af Klint is admitted to the Royal Academy of Fine Arts in Stockholm and meets a group of like-minded artists who also share her interests and beliefs in the spiritual world. They found a collective called ‘The Five’ that creates art inspired by the spiritual world and aim to create and build a temple for the work, but the art world isn’t quite ready to welcome or understand these new ideas.

Full review over at Filmhounds HERE.

My Father's Dragon - BFI London Film Festival

 

Fantasy stories aimed at children are made of a special kind of magic. Not everything is filled with logic and you tend to believe everything put in front of you. There is a delight in letting go and being taken along for the cinematic ride. My Father’s Dragon is a story that fills your heart and soul with joy and even despair at times. It captures the innocence of childhood and offers up harsh reality alongside its fantastical moments. Cartoon Saloon has done it again, created another film that you’ll want to watch over and over, no matter what age you are.

Full review over at Filmhounds HERE. 

Medusa Deluxe - BFI London Film Festival

 

Murder mysteries currently seem to be a favourite theme in cinema, this genre is having a resurgence. But instead of the same old formulas being used, filmmakers and writers are regenerating how a story unfolds. This is not to say the tried-and-true methods are long forgotten or disliked, but audiences are always looking for something fresh. Writer and director Thomas Hardiman has found a new way to tell a story. Keeping us enthralled and on the edge of our seats with a collective of intriguing characters, an intimate view and a very disconcerting score. Medusa Deluxe is more than just a hairdressing film.

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.

Bodies Bodies Bodies

 
There is something horrifically and fantastically over the top about Bodies Bodies Bodies that makes it so delightful to watch. Every modern cliché about class, mental health, toxic behaviour, male and female, sex, relationships, you name it, it comes up at least once but none of this deters from the murder mystery game. There are weapons, blood and drugs all smeared across the screen but nothing so potent at the secrets that spill out all over the place. It’s a beautiful mess and actually really funny.

Full review Filmhounds HERE.

LOLA - Edinburgh Film Festival

 
LOLA is a science fiction fuelled wartime film that feels like a capsule moment in time but in fact impacts the whole world. With a love story and family bond broken, the film’s human elements surround this marvellous machine and its pained creator who seems to both hate and love what they have done. LOLA isn’t an easy film to define, nor is its story one that has quite been made before but not everything is perfect with this unusual film.

Full review - Filmhounds HERE.

Sharp Stick

Lena Dunham has been out of the mainstream since Girls ended in 2017. Much controversy and angst surrounded the TV series but didn’t capture the essence that her feature film, Tiny Furniture, had created. As this was the film that seem to be her breakthrough and what got her a blank deal with HBO, you would think the inspiration would leak through to the series. Now, 12 years after her last film, Dunham brings us Sharp Stick which actually has some of the same humour as her breakthrough. But it is clear Dunham has changed and developed over the years, reflected in this story and its characters.

Full review over at Filmhounds HERE.

The Island of Lost Girls

 

Family videos are usually only fun to make and watch for those involved and can be a personal adventure that doesn’t quite translate well when shared outside the circle. The Schmidt family have tried to make a combination of a fictional story mixed in with real family members playing a version of themselves. The Schmidt family are no stranger to this way of filmmaking, having debuted another film, The Incredible Adventures of Jojo (and His Annoying Little Sister Avila) at Fantasia back in 2015, but with this follow up, they’ve taken risks which on the whole do pay off.

Full review over at Filmhounds HERE.

Relax, I'm From the Future - Fantasia Film Festival

 

Every time travel film ever has always struggled with the laws and logic of the actual science. Sometimes to the point where you lose sight of the story being told and end up confused and disappointed. Time travel does come with its own issues and if it not the main focus, can ruin a great film. Relax, I’m From the Future quickly dispels the annoying and distracting elements that come with this subject and we are left to enjoy the comedic characters and excellent stylings of Rhys Darby who very easily steals the film. It really doesn’t matter whether the filmmakers have got time travel ‘right’, what’s more important is that we have a good time watching it play out. 

Full review over at Filmhounds HERE.

Sissy - Fantasia Film Festival

There have been a stream of films and TV shows about the darker side of social media and influencers. Treading lightly on certain issues and how trying to keep up appearances burns people out and questioning their honesty. This has taken form in various genres and on the surface, Sissy could easily be lumped in with the rest of the horror and dark comedy blends out there. Luckily, Sissy offers an off kilter and simpler approach to ‘the other side of influencers’ and puts a spotlight on a fractured character that has never healed from childhood bullying trauma. It’s twisted and fantastically executed, with the ray of deadly sunshine that is Aisha Dee, our Cecilia aka ‘Sissy’. 

 

Cecilia is a self-proclaimed mental health advocate, in other words, an influencer. One day she bumps into her old childhood best friend Emma who has she hasn’t seen in years. After a drunken night and wanting to reconnect, Emma invites Cecilia to her intimate hen do. But has also invited Alex, Cecilia’s bully. Old wounds are reopened and Alex, jealous of Cecilia’s success and unwilling to forgive her for past events, the weekend takes a surprisingly deadly turn as Cecilia’s already fractured facade begins to break.

Full review at Filmhounds HERE.

King Knight

 

Stories of redemption can cover any genre, some being those of the grittier and more violent nature. Usually associated with thrillers, westerns and crime, King knight takes a gentler approach that is surprisingly wholesome and slightly comedic. Bearing the tagline ‘not your basic witches’ sums up this story about a leader who hasn’t been completely honest with those he loves and those that follow him. Witches, spells and rituals all do appear in the story but its not really about being Wiccan, it’s about being honest and true to yourself, and seeking redemption along the way.

Full review over at Filmhounds HERE.

Incredible But True - Fantasia Film Festival

 
The simplest of ideas can become the most complex stories. Delving deeper into an idea that on the surface seems bizarre and too ridiculous to comprehend, along comes Quentin Dupleux with another strange tale that literally no one thought of making. Dupleux’s films are that of fantasy and other genres mixed in bottle and sprayed out to its’ audiences that they are a perfect fit for Fantasia Film Festival. Incredible But True is another success in this writer and director’s catalogue of the strange an unusual.

Middle aged couple, Alain and Marie’s lives are completely altered when they buy a house in a quiet suburban neighbourhood after discovering the powers of a hatch in the basement. Warned upon moving in, the hatch allows you to travel 12 hours into the future and also makes you 3 days younger. While Marie becomes obsessed with the hatch, Alain tries to live a normal life. Alongside this issue with the house, Alain’s friend and boss Gerard, has problems of his own, specifically with his technology enhanced genitals.

Full review over at Filmhounds HERE.

Death of a Ladies' Man

 

Looking back at your life and realising all the mistakes you’ve made, the people you’ve hurt and thinking about the way things could have been is often seen in cinema as a way to start the end of a journey. Samuel O’Shea’s (played by Gabriel Byrne) journey is coming to an end and instead of embracing changes and excepting the inevitable, he tries to ignore his fate and finds ways to numb the pain. With a charismatic actor such Byrne at the helm of the story, there is a shining light but it is just flicker as the film is over crowded with notions of regret and nostalgia that ultimately brings this story to a depressing low point throughout.

Full review over at Filmhound HERE.

Please Baby Please - Fantasia Film Festival

 

If you’re going to immerse yourself in a world that Amanda Kramer has created, you will need to accept everything that is happening on screen if you’re going to survive until the end. Kramer has the ability to suck you in to her strange universe, whether you choose to stay and indulge in the fantasies in front of you is up to you. It may not be a fast-paced thriller but the intermittent musical dance numbers and eccentric ‘guests’ that appear along the way do break up the time. The surrealist fantasy of this visual queer manifesto won’t be for everyone, especially if you don’t enjoy repetition of questions and discussions, but it is fascinating to witness. Kramer’s work fits easily into Fantasia’s programme, along with her other film also being screened at the festival this year, Give Me Pity.

Full review over at Filmhounds HERE.

Flatliners

 

The question about whether there is life after death has been the subject of a fair few films. Approaching the question from different angles and trying to gain a fresh view on the possible after life, Flatliners is one that always springs, not just because of the 90s resurgence period we are going through. With the future star-studded cast, the classic 90s film tone bleeds through the film and director Joel Schumacher was able to leave his mark on the now cult classic film. 

When medical student Nelson Wright creates an experiment to find out what happens when you die, he convinces a group of his fellow students to aid him in his dangerous experiment. When Nelson is successfully brought back from the dead, the others want to try for themselves. But soon after returning, Nelson starts to have dark visions of his past that start to physically harm in the present. At first, he says nothing to the group but soon, one by one after they return to life each member of the groups starts to see things too, as if they brought something back with them from their death.

Full review over at Filmhounds HERE.

Monstrous

 

Escaping a supposed abusive husband, Laura and her son Cody move to a small town in California. Renting a large beautiful house situated next to a lake Laura tries to make the best of things but Cody immediately feels the presence of something sinister in the lake. After several unexplained happenings in the house and Cody wanting to leave, Laura starts to slowly break down, coming to a shocking conclusion.

Full review over at Filmhounds HERE.

Thor: Love & Thunder

 

SPOILERS

There seems to be a not so universal love for Thor: Love & Thunder out there in the Marvel fan universe. This is surprising, due to the very warm welcome Thor: Ragnarok received. Applauded for the comedy, story and bringing Thor back from the brink of the Dark World debacle. Director Taika Waititi was an out the box choice for a Marvel film and it paid off. Giving the director a second chance at recreating that magic, plus picking up Thor’s character after all the grief and loss he experienced in the previous films was no easy challenge.

Including the trend of the last few Marvel films where other characters from the Avengers films make a more prominent appearance, so do the Guardians of the Galaxy, minus Gamora which isn’t talked about because rightly so, this isn’t their film. But with Star Lord and co there to ground the story in the universe, like the left fielders themselves, Thor is then transported to his own story. It’s a hilarious and a needed intro, bringing the focus to Thor and a hint to where the Guardians will be when we next see them, finally.

Similar to the Multiverse of Madness did before, Love & Thunder brings back an old flame from a previous film. Unlike the pointless and dull Dr Christine Palmer and Doctor Strange that have no chemistry, Dr Jane Foster and Thor did. The reappearance of Jane was either going to be a passing of the mantle or it was going to mean a farewell. From the minute its revealed (very early on) that she has stage 4 cancer, it was always going to be the latter. The twists and turns of her becoming the Mighty Thor were also going to be patchy and thin but it didn’t matter because it meant Jane was back and she was going to get a proper farewell. The grief and pain that Thor has had to go through is reaches the highest with the loss of the love of his life. But Jane’s death was needed in the grand scheme of things, even though some believe that that Valhalla scene means the dead could come back.

For a story that sits outside Phase 4 of the Marvelverse plan, a decent villain was needed. Gor the God-butcher seemed like a good choice; a man infected by the sword that kills gods in his thirst for revenge. Played with the utmost dedication by Christian Bale, he embodies a man who worshipped a god who did nothing for his followers, letting them perish and die. Gor actually brings up fair points in the god killing and how it could be justified but because Thor is a god himself, we can’t have the villain kill all gods. New Asgard is where the drama is set and stakes are not about saving Earth or the universe or whatever, the story is contained with Asgardians it feels like a huge relief that the story only expands to other gods. The comedy is also amped up just making this film more fun. The moments of seriousness and sadness, which are inevitable, are treated carefully and don’t over power nor feel out of place, there is a balance.

Thor is broken man, or space viking or god, he seeks clarity and in the end is given purpose which makes the film feel like a closed story which is far more refreshing that what the other films in Phase 4 are doing. The fact that this phase is far bigger and too vast to contain all the characters with their own shows and films and spin offs, its too much to take in. The picture is too wide and with no direction but this is why Thor: Love & Thunder works so well, stepping outside the chaos to deliver a great story which we’ve been missing.

The Card Counter

 

Entering the world of gambling means you leave your morals at the door. If it’s not a heist film, the hijinks and light comedy are left far behind making room for a character study and possible desperate high stakes. Paul Schrader is no stranger to the deep, dark brooding of the character piece where a man has to make some difficult choices. 

William Tell lives a solitary life since his release from military prison after completing 8 years of his sentence. Having learnt to count cards in prison, he spends his days in casinos, betting small, winning modestly so as to not attract attention and continue living under the radar. But when he meets Cirk, the son of a fellow soldier who was also convicted at the same time as Tell, he changes his routine. Wanting to help the troubled Cirk and deter him from his own path of revenge, he decides to take part in a circuit of national poker competitions, which comes with its own strings attached.

Full review over at Filmhounds HERE.

Into the Night

 

What does an insomniac, Iranian gangsters, an Elvis enthusiast and a thief have in common? The answer, aside from John Landis’ Into the Night, is emeralds. This very bizarre black comedy plays out more like a misguided thriller. Questioning where are the laughs only to be assaulted by something on screen to realise that was the joke. But despite the off kilter tone of the film, the story definitely keeps you on your toes and unlike Jeff Goldblum’s character, you won’t be needing sleep.

When insomniac Ed decides to go for a late-night drive to try and take his mind of his sorrowful situation, he ends up getting caught up with Diana and a group of Iranian gangsters. Having smuggled priceless emeralds into the country, Diana ends up being chased all over town, with Ed somewhat reluctantly in tow. Along their journey to find safety they meet a host of weird and unfriendly characters.

Getting its Blu-ray debut from 101 Films, Into the Night literally screeches in from the past. Not a well known or much talked about from 1985 and in all honesty, it's no surprise why. While there are merits to this story, the film really doesn’t know what direction or tone it wants to be. Ever shifting from gangster crime thriller to impossible romance with a twist. Taking place over two nights, a hell of a lot happens to our partners in literal crime Ed and Diana. They are naturally closer by the chaos and trauma but you wouldn’t believe it from Jeff Goldblum’s deadpan acting. He is a delight as always playing the character that drags us into the action while Michelle Pfeiffer’s Diana, named after Princess Diana she tells us, is the damsel in distress even though she is the one who put herself in that distress. Though the jokes are dark as the night Ed and Diana step into, there are some random unexplained moments such as Diana’s brother’s apartment which is covered floor to ceiling in Elvis memorabilia. Just the expression on Ed’s face is brilliant enough.

There are so many cameos in the film but the stand is the most bizarre, John Landis himself playing of the Iranian gangsters on the trail of the emeralds. Their role becomes more clearer towards the end when the plot ties together, yet still feel overly complicated. David Bowie, always a delight, plays a rather sadistic hitman for another interested party in the jewels and even had rather bloody fight scene. But as I mentioned, its always a delight to see Bowie on screen. 

A very odd and randomly structured story that covers the city of LA in two nights, someone how the film works but don’t go expecting cult status here.

Tales of an Unlikely Franchise

 

Nineties films are having a resurgence and for those who grew up in the days of the 1990s are finally able to reminisce. The nostalgia that we all had for the 80s and before has run its course as now we now so far into the millennium, two generations in, it is now time to talk about the good old days and what we used to watch when we were kids and teens. This new and acceptable appreciation for those 90s films are being explored by the young film fans of today. Discovering a treasure trove of stories that influences later films and gained notoriety for explicit scenes, characters and plot, whether they were good or bad or the ever-popular category of ‘so bad its good’. Quite a few 90s films were unceremoniously thrown into this later list due to the fact they were 90s films and not given the gravitas they deserved. Thankfully due to those physical media advocates, we have been given various versions of films from that time period.

Read the full article in the latest issue of Filmhounds HERE.

Swan Song

 

Having once been the stylist extraordinaire to the high society members in Sandusky, Ohio, Pat, now spends his days in a dull lifeless nursing home. But opportunity for escape comes in the form of a dying wish from a former client who wants him to style her hair one last time. The journey takes Pat down memory lane, remembering ghosts from the past, his once thriving business, his loves and his greatest losses, all while gathering together the items he needs to perform his duty.

Full review on Filmhounds HERE

Quiet Time

 This is probably the first time in a long time I've only written and posted less than 4 posts in a month. 

I used to make sure I write two posts a week, now that seems an insane concept to me. Partly due to time constraints because work and other commitments and partly due to lack of inspiration. This month I have been busy with day job tasks, as we get closer to Cannes, it's just become more difficult to separate from that mind set. There has also been opportunities which I have already mentioned in a previous post. This month I have written a feature but that will be in print later this month (hopefully) and I was a guest on The Matinee podcast HERE. But not much else to show for my film viewing. 

I have read quite a few scripts - but I can't discuss these. I've also watched films for work and again, I can't discuss these. It's frustrating.

I know its going to be busy over the next couple of weeks too so things won't pick up here until June, also that depends on opportunities again.

My time has been spent catching up on TV (Our Flag Means Death) and obsessing over new TV shows (Heartstopper) and getting round to Ten Percent which I am very much enjoying. A few films in between as well as watching Poirot and just taking it easy. 

Hopefully I will have more to share than this in the next month.

Benedetta

 
Controversy and Paul Verhoeven are familiar with each other, whether it’s for a reveal in a shot that is talked about for years later, or for one of the most loved ‘so bad its good’ films made or for his subject matters of his later films. His latest, Benedetta, didn’t escape controversy when the film was selected for a festival in the US and the local Catholic group protested it. Even before all of this excitement, the premise alone attracted speculation and if we’re all being honest, titillation. But as always Verhoeven tricks us with this smoke screen of expectation that there will be something to shock us when in fact he delivers a thrilling story that happens to involve a lesbian nun who claimed to have visions of Jesus.

Full review over at Filmhounds HERE. 

The Northman

 

As Hollywood goes through it’s trends, releasing films of similar veins, the outsiders continue making films that challenge the norm and new insight to genres that have been neglected. Vikings were once a source for cinematic appeal, briefly. If anyone can recall that over dramatic swashbuckling action film starring Kik Douglas and Tony Curtis as friends and rivals in the 1958 classic, The Vikings, Robert Eggers’ vision will definitely knock any remaining memory from your mind. Eggers’ take on the Vikings is something to behold and marvel at. There is violence, death, horror, copious amounts of blood and deep-seated vengeance at the core. Those who are squeamish, need not see this epic. However, they would be missing out on a truly fantastic mesmerising slice of cinema.

Full review over at Filmhounds HERE.

Success

 There have been articles, posts, comments about gate keeping and supporting others, bringing people up with you and I still see more of this ilk but there is also been a steady stream of commentators on success. I am well aware there is an argument for the natural decline of film criticism and the downfall of the ‘old white male critic’ in favour of diverse voices. 

Obviously, I still believe that film criticism is an important part of the film exhibition and distribution vein of the film industry as a whole. I also strongly believe that diverse voices are needed, as with most creative things, varied opinions spark conversation. And not the kind where people try to best each other, that should have no place in film, at any stage. The heinous issue about whether a film critic or film journalist is worth listening to is same conundrum as the writer has about whether a film is good or not, it is all based on opinion. Film criticism is not excluded from the age-old problem of ‘it’s who you know’. I’ve encountered this issue time and time again, but this has nothing to do with gate keeping but about cliques. If you are a lone wolf trying to succeed as a film critic you have to hustle in your own way but will find it much harder without a pack. I’ve seen various writers in the last few years ‘move up’ and have that ‘access’ that I’ve been striving for for years, but as I am not in the ‘right’ clique and I haven’t met anyone who genuinely wants to uplift others writers, such sharing contacts, invites etc, seeing others moving up makes me think this was all for nothing. We have moved on to the age of the ‘young male white critic’ and I have only seen a few women ‘move up’ in the film criticism sphere. Can a film critic remain at the same point and be content? Or are you only worth a damn if you are ‘successful’? I wonder what does it even mean to be considered successful. 

Having been writing for over 10 years about film, a degree I never used under my belt (also about film), in the last year I haven’t watched that new releases and having retreated back into my cine-shell watching my old favourites, the ones I gave a second chance and that never ending pit of straight to streaming platform. I think is it time to ease into what I’m used to and stop worrying whether I am successful or not. Unlike many film writers of the moment, I was constrained by needing to get a job and when I found that film criticism is what I wanted to pursue, it was already too late. I had my full-time job and writing about film on the side. Then there was the pressure to make money from your side hustles, which any writer would tell you is difficult. Not being able to have the same access as others who didn’t have to worry about their day job meant that I was cut out in favour of those who were students and had the time. Just like any uphill struggle I was faced with publications not wanting to give me an opportunity because I was still ‘new’. I am by far not unique in experiencing these problems, but it is disheartening when it keeps happening, even now. 

They say Film Twitter is poisonous and that is correct. But through the poison you find friends and fellow writers who don’t want to start an argument at the drop of a film release. I thought maybe the key to success looks like the number of followers going up steadily or maybe it is the precious blue tick but really it’s when you receive a box of gifts from a distributors on a regular basis and get to brag about because who wouldn’t? There are moments of joy that mean more privately than publicly. 

If being cut out of the running for opportunities due to my full-time job was bad, then being cut out because I live in London was even more crushing. This ‘postcode privilege’ that I kept hearing about but had never even benefitted from just made me feel like I was one of the perpetrators in stopping regional film screenings. Film screenings should be held around the country or at least screener should be sent out more willingly, regardless of postcode. I can’t help the fact I live in London. I grew up here and I like it (for the most part) here. It should not be a reason to discount someone JUST because they live in London. It’s infuriating. 

What I have learned over the last few years as to how to be successful is that I must live outside London, have the freedom to be able to go to any screening/interview/junket, automatically have the right access to films, have the right circle of film friends and if I’m being really honest, a man. 

If anyone is reading this and thinking harshly of me for saying such things, I can’t stop you. The realistic truth is not easy to swallow. I have come to terms with this reality many times. You might think I’ve done nothing to try harder, but I have, oh but I have. Emails, messages, meetings, promises made by others, I am still trying. It all comes down to who you know and unfortunately not what you know. 

Apologies for the bleakness, but it’s been a tough decade.

Nico - BFI Flare

 

Understated stories where the plot is minimal, the characters are few but the message and heart of the film speaks volumes don’t tend to get as much attention. A story like Nico is one that has probably happened to many people and to see it on screen portrayed in such a way is heart-breaking but it is a story that needs to be told. 

 

Nico is a free-spirited geriatric nurse living in Berlin. She spends her free time drinking and partying with her best friend Rosa. One night, after attending a party in the park, Nico is victim to a brutal xenophobic attack, leaving her unconscious and later hospitalised. Once back on her feet she is determined to not be left in that position again so she takes up karate lessons. But as she becomes more involved with learning this new art, she distances herself from Rosa and even her clients notice she is not the same happy and cheerful as woman anymore.

Full review over at Filmhounds HERE. 

Death on the Nile

 

SPOILERS ALERT

Despite the fact that the Kenneth Branagh is not the best Poirot, his first Agatha Christie adaptation of the famous Orient Express murder, was actually very entertaining. This was thanks to the intriguing casting and great suspect characters, Branagh himself was just there to orchestrate the whole thing. It came as no surprise that another story featuring his version of Poirot would be made, along with another set of interesting characters and a star-studded cast. Death on the Nile also seemed like a likely choice, with an exotic setting, this time in the sun and desert as well as cross overs with suspects. But, unlike the first film which was over dramatic in places and strayed from the point only but a few times, Death on the Nile is a convoluted, over dramatized, over reaching, entertaining but very flawed film. 

While on holiday in Egypt, Poirot becomes part of a wedding party for the recently married heiress Linnet Ridgeway to Simon Doyle. The small an intimate party is made up of friends and close family of Linnet’s and famous jazz singer Salome Otterbourne providing entertainment. But there is an air of scandal as Simon was actually engaged to Linnet’s school friend Jacqueline before she ‘stole’ him away. Jacqueline now stalks the happy couple in hopes of ruining their honeymoon. When the wedding party moves to the river, boarding a steamer, the Karnak, the tension heightens, especially when Jacqueline also appears on board. But the real shock is when Linnet is found murdered in her bed, everyone is a suspect.

For those who don’t know the original story, it’s a shame as it was fine the way it played out. The other adaptations follow the original plot and still create a thrilling and exciting story. The audience coming in and watching this film with fresh might still be able to see the issues that don’t flow properly. But my guess is that if you don’t know what Branagh has ruined, you might not care as much. But again, it’s a shame as the original was better and could easily have been brought to the screen. The fault doesn’t just lie with Branagh by with screenwriter Michael Green also, who wrote both adaptations.

The only commendable part of the many changes that Branagh made was the casting, which is excellent all round. The Armie Hammer’s controversy aside of course, as the film was shot before that broke, there was nothing they could do about it. But the casting alone is the only improvement.

With adaptations, there is always room for change, but it’s about how much change and whether is it justified is the question. Branagh and Green’s changes include, changing all but three characters stories, some motives, some background stories and even moulding two characters into one. The other major changes to the film which greatly impact the story was adding in a brand-new side plot that about his friend, Bouc (made up character) and his relationship with Rosalie Otterbourne. Bouc is the third person murdered which is obviously not in the book. It is there to try and create an emotional punch and connection to Poirot, unnecessary. Another big change is the opening which sees a younger Poirot on the front lines of World War I in the trenches and gives us a reason as to why he has such a huge moustache. He also gives Poirot a lover, another huge hint that Branagh and Green are taking liberties with Christie’s character. All these changes don’t make the film better. Luckily the core characters and the murderers remain the same with the same plot which works perfectly.

Getting past the parts that really don’t work, the film is once again, like the first, entertaining and the scenery is breath taking. The parts that are real anyway. The fun period drama thriller does indulge in excellent costume and décor, it’s a feast for the eyes. But the intricate details are lacking and Branagh’s Poirot just becomes very difficult to watch. Thankfully the cast of suspects are dynamic enough to makes the film bearable. But you can’t help but think there was so many missed opportunities.

There is still hope that with the impending next film in the franchise that Branagh will tone down the Poirot over dramatics and focus more on the keeping to and being faithful to a plot. There was speculation about the next title. In the film Poirot mentions retirement and The Death of Roger Ackroyd sprang to mind, but it had been announced that the next film will take place in post-war Venice and be adapted from a lesser-known novel. So this screams not faithful adaptation to be honest.

Cop Secret - BFI Flare

We all know the genre action thriller featuring two cops or agents, working together to bring down the powerful violent criminal wreaking havoc through a city. We know it so well from years of Hollywood spinning out these stories time over time. Rarely do we get a taste from outside the studios and from around the globe. Iceland may seem like an unlikely location for such a film, usually exporting low key comedies and art house films. But Cop Secret, based on a fake trailer, directed by an ex-Footballer, is a hilarious brilliantly underplayed action-comedy romance.

Full review over at Filmhounds HERE.

The Novice - BFI Flare

 
Alex is in her freshman year at college, she works hard to be the best. When she decides to sign up for the college rowing team, she becomes determined to become the best novice and make the varsity team. Alex likes a challenge, having majored in a subject she doesn’t initially excel in, she soon lets her rowing obsession take over. Her friends and girlfriend, even her school work is left behind as she propels herself further into her obsessive and damaging behaviour to the point, she can’t think of anything else. 

Full review over at Filmhounds HERE

Boulevard! A Hollywood Story - BFI Flare

 

Sunset Boulevard was one of the stories that Hollywood told about itself, not hiding the fact about how difficult it was to make it in the business and how it was when you were no longer in the spotlight. Gloria Swanson was perfectly cast as the forgotten film star, Norma Desmond, who falls in love with the younger screenwriter Joe who she hires to edit the script for the film that would be her return. The role was also very much close home for Swanson for she had been a famous silent film star and had seen roles dry up over the years as she aged. Sunset Boulevard should have been her grand come back. But after the release, the roles just weren’t there. In another part of town, actor Richard Stapley had had enough with bit parts and along with his partner Dickie Hughes, had started work on a musical. Thinking Swanson would be perfect they reached out to her but instead of wanting to do something new, she proposed a musical version of Sunset Boulevard.

Full review is on Filmhounds HERE.

The Batman

I ended up writing a 1000 word essay about Joker and although The Batman is not meant to be in the same story, I can’t help but mention the former film. I also can't promise that I won't write another 1000 words. It caused drastic discord not only amongst waring critics but with the greater audience as well. But seeing the latest form of the Dark Knight himself has taken very dark turns and creating a whole new version for fans and newcomers alike, Joker needs to be mentioned.

When Joker came out, there was promise that this was going be a darker take on the character. Christopher Nolan’s trilogy also had this promise attached. But now, we have an even darker take. The thing is, Batman has always been dark, that is the character’s nature. With the film plunged into complete darkness, night, for 90% of the film, there is no way to escape this darkness. No matter what film about Batman is released, it will always be dark. 

For those are who are familiar with DC Comics nocturnal vigilante, Batman, aka Bruce Wayne, the character needs no introduction. For those who don’t, he is a millionaire, sometimes playing the rich playboy persona as a cover for his crime fighting antics at night. Orphaned at a young age when his parents were murdered in front of him, he still relives that trauma. He lives with his confidant, his father figure and butler, Alfred Pennyworth and sometimes romances various women with varying ridiculous names. He has many arch nemesis, but The Joker is his ultimate. You could go as far to say that their relationship is one of the most famous in superhero-villain history. 

Unlike Batman Begins, Matt Reeves’ film does not take us to the beginnings, thankfully, as I think we’ve seen enough origin stories to last us a few decades. Instead, we see Bruce Wayne already in full swing of his Batman alter ego. He already has an established and rather trusting relationship with Detective Jim Gordon as the famed signal in the sky is up and running, warning criminals in the eternal crime ridden city of Gotham that the Batman is watching. However, unlike any other version of Batman we’ve seen, Bruce Wayne isn’t the sometime playboy or an active member of Wayne Enterprises, here he is a recluse. He barely steps into daylight and only ever speaks to Alfred and housekeeper, Dory, unless he’s wearing his mask, his social circle opens up. This is one way Reeves’ vision is true to the film’s darker nature. 

 

Usually, the golden rule is not to overload your superhero film with too many villains. But in the case of the famed rogue’s gallery and the intertwining characters that inhabit Gotham, there is no way around this multiple villain issue. With the TV series proving that the more villains you have, the better, having a few of them show up is good idea. Also, as proved by Christopher Nolan’s trilogy, you don’t have to play The Joker card immediately, you can wait. Having The Penguin, Catwoman and The Riddler all show up in the film was actually a brilliant idea. Firstly, The Penguin is in his gangster persona which makes him a far more intriguing character, also, he’s not centre stage which means he can appear later. Catwoman, aka Selina Kyle, isn’t even called by her villain’s name, mainly because she never she was a true villain. She is part accomplice and has her own storyline that doesn’t overcrowd the main one. Choosing The Riddler as the starting point villain, again, was a superb idea. With his violence and bloody murders and his mind games and his threat to reveal secrets that would destroy everything is perfect for the dark tone of this version. All three famous villains are perfectly cast, some unrecognisable, all play important parts and none over shadow each other. Everything is in line. The mafia man himself Carmine Falcone, who is treated like the real mayor of the city, doesn’t really wear a mask but a metaphorical one and he comes across as more menacing than any of the other, well, maybe not The Riddler as he is terrifying on social media. John Turturro plays Falcone with such glee and menace, he is a definite high point in the film and again, excellent casting. 

Having the story play out like a crime thriller is exciting and sickening at the same time. For those who have missed the gritty blood-soaked thrillers that use be released in cinemas, this will satisfy your desire. Solving puzzles, riddles and codes, The Batman takes us back the sleuthing days of Batman and not just about stopping a massive attack. These clues and deadly crimes are intricate and well thought out, its entertaining and are far more interesting than watching Bruce brood over a woman or his dead parents. Robert Pattinson is a decent Batman or should I say, Vengeance. He is quiet and calculating and has a strange impact on the screen. I know there some are other who still think of him as that guy from Twilight, despite him playing many other interesting characters over the years. He is not a full-fledged bat yet which means, there is always room for growth which is how he plays it, making sure that we know, he’s not done yet. 

The only downsides to this whole film is the running time, it doesn’t need to be 3 hours long. With the many slow motion takes, this could have been cut down. But other that, the cliches of it constantly raining in this city and that that there is only a couple of scenes in daylight, the rest of the film is in darkness, always at night. This just plays into the fact the film is really hammering home that this is a darker version than previously seen. 

 With the promise of a sequel and the mention of possible villains such as Hush, Mr Freeze and the Court of Owls appearing gives hope that this won’t be like the current superhero films we have out now. This is a strange breath of fresh air amongst the rest, much like how Joker was or at least meant to be.

Agatha & Agatha

Its’s International Women’s Day and I really wanted to celebrate this year, having missed out last year and deciding not to join in with online events, I was all Zoom-ed out. In fact, I don’t think I did anything the year before. Unfortunately, due to working from home, it’s difficult to get to any outside event at a decent time and I haven’t been proactive enough for the online events. So, this is my small tribute on IWD. 

Having been burnt out for a few months (still am) I’ve been kept sane through murder mysteries of the cosy crime variety as my other favourite, crime thrillers, was getting to me. I have been watching my favourite Agatha Christie adaptations and listening (and reading) M.C. Beaton’s series, Agatha Raisin, a PR genius turned private detective after moving to the Cotswolds. These two avenues have been a comfort and entertainment. Some new stories, some I’ve heard, watch, read many times over and don’t get bored of. 

After revisiting the David Suchet series of Poirot and the ITV series of Miss Marple, I also rewatched the BBC adaptation of The ABC Murders and I must admit, John Malkovich was a pretty decent Poirot. I also finally watched Death on the Nile (1978) which turned out to be the most faithful adaptation, complete again with an all-star cast. If anyone loves cosy crime and hasn’t yet read/listening to an Agatha Raisin, I highly recommend any of the books. Alas author M.C.Beaton died in 2019 and the latest books have been written with another author who hasn’t quite got the same flare as Beaton. If you prefer audiobooks, Penelope Keith is superb as the reader of all the books, or if you prefer to watch your cosy crimes, there is an adaptation with 4 series with Ashley Jensen as Mrs Raisin. 

This is really a thank you to Agatha and Agatha for getting me through the last few months. Also, a nod to World Book Day last week with the all the writers (mostly women) whose work I’ve been reading over the last year. Hope you’re all celebrating in your own ways.