Wildwood - London Film Festival

 

Laika Studios has always made extraordinary films, giving us the slightly more scary stories that a younger audience could still enjoy and the older could relish for their style, atmosphere and of course the story, always the story. Adapting as well as creating original works, Laika Studios has proved it is a contender on the animation playing field. But with the Missing Link (2019) not being the success their previous films were, there was a concern about what Laika would deliver next. With development beginning not long after the novel was published in 2011, it wouldn’t be until 2021 that Laika would confirm they were in production on Wildwood. This is years in the making and every single frame has been worth the wait.

After her baby brother is abducted by a murder of crows, young Prue and her friend Curtis embark on a dangerous adventure into the impenetrable woods just outside their home of Portland, Oregon.

Every great story starts with a mystery and the opening scenes from Wildwood not only immediately make you gasp but grab you, pulling you into this world. The atmospheric woods loom of Portland and feel present before we even step inside. The mist, the ivy that hides the magical hidden world becomes more and more fascinating as we are introduced to more characters and the different factions of the woods. From the lair of the villain in residence’s lair, to the bureaucratic South Wood, to the avian municipality, the bandits ancestral grounds and the North Wood whether the mystics converse with the community tree. There are so many details to absorb, so many great characters to meet and yet, Wildwood never feels overcrowded. The world building is so inviting, making everything vital to the overall outcome.

We feel for every faction, even the coyotes to a point, as they are just puppets for one person. The battle scenes are not for the faint hearted as we even see (with clever editing) someone being beheaded. With blood spilled throughout, you do have to wonder if this should be seen by very young children, but I suppose that is up to the parents taking them. Its quite exciting to watch a film, especially a children’s story, where the stakes are high and there are a lot of casualties to characters that we care about. Getting emotional over a rat is something that only an animated film can generate, thanks to how it was beautifully made and the voice performance, here being Awkwanfina, who has a very distinctive voice but channels a completely new character. This is the power that Wildwood holds.

As a story based on grief and the lengths someone will go to firstly, have a family and what they would become if they lost it. With truths about Prue’s parents being revealed, the story takes on more layers and this is probably along the lines of more adult themes. The dowager governess’ sadness has taken on a monstrous form, her obsession with finding her son has cost so many lives. Even in the climatic dramatic end, Prue pleads with her to let her son go, but grief is all this woman knows. This is the sadness at the core of the story, as well as the determination of a young girl who just wants to bring her brother back home. Simple things can tear worlds apart and that is what Wildwood captures so darn well.

Fantasy has always been a difficult genre to capture successfully. Usually a genre reserved for children in various forms but there have been attempts to reignite interest in adults as well. But with the reboot of Masters of the Universe not quite gaining traction earlier this year, there was also the highly successful Magic Faraway Tree in the UK and of course Mortal Kombat 2 which is technically a mix of action and fantasy, that enjoyed a warm audience and at least turned a profit. Wildwood definitely has the potential and scale to bring back the love of fantasy to all ages.

It's quite clear that blood, sweat and tears went into the making of Wildwood, the animation and craftsmanship of this film, as well as the storytelling is something to be in awe of. It's rare that a film, such as this, can enhance so many emotions on screen. It's an absolute marvel of a film and even more so on a big screen.

California Schemin’

Courtesy of Magenta Light Studios 

 The true story of Silibil N' Brains, the hip-hop duo who hailed from Scotland but told the world, California, had been presented previously in the 2013 documentary, The Great Hip Hop Hoax. But here in California Schemin’ we are given the glazed over version with some edits to make the story more snappy and easier to swallow for those seeking a ‘based on true story’ vibe. While the documentary goes into detail and offers a more truthful account, the fictional narrative actually makes us believe that fame really can be at one’s fingertips after a few phone calls and a big lie.

Best friends Gavin Bain and Billy Boyd, aka Silibil N' Brains, work dead end jobs in a call centre and dream of being hip-hop stars. While Boyd is content with freestyling lyrics on the way to work and hanging with his very supportive girlfriend Mary, Gavin spends his free time calling all the record companies repeatedly, even rapping on voice messages to get attention. When the guys believe all hope is lost, Gavin has the idea to pretend to be from the USA as no one takes Scottish rappers seriously. This lie gets them in the door, one show, gets the attention of a major label and suddenly they’re recording singles. But all this sudden attention and fame can’t last forever, soon the lies will catch up with them.

As a feature directorial debut from James McAvoy, the film is entertaining, hitting all the emotional and tense moments as a story about lies, deception and music can be. Samuel Bottomley and Séamus McLean Ross turn out genuinely great performances and really do convince us of the talent these two had with a crowd.

It’s an interesting story overall, but at the heart of it, there is a nagging feeling that the boys did lie about their background, but the writing, their performances, these were real. A smart producer could have seen opportunity here and turned the reveal into something more. But instead, the film goes the route of seeking redemption and deciding what is more important in life. Though this is probably what happened to the real Gavin and Billy, for the film, a bit of creative work could have given the film a little push to something more intriguing. California Schemin’ isn’t the most impressive film, but the true story definitely is.

Released in cinemas in the US from 9th October, with expansions 16th & 23rd 

The Face of Horror - London Film Festival

Courtesy of Embankment Films

 

As we’ve all been waiting, ever so patiently for the return of Anna Biller and her unique eye to the big screen. It's been 10 years since she gave us The Love Witch, the horror comedy with a 60’s flair and look. While it was announced that a take on the Bluebeard story was to be her next project, this was then released as a novel in 2023. But thankfully, Biller has delivered on the promise of her previous work to give us The Face of Horror, part revenge, part ghost story drenched in blood and tears, there isn’t anything quite like it.

Set in 14th Century, a brutal violent and unfaithful knight, becomes haunted by visions of his deceased wife, resulting in further blood shed and chaos.

Full review will be over at Filmhounds.

Wild Horse Nine - London Film Festival

Courtesy of Searchlight Pictures

 

Following his familiar structure and set up, Martin McDonagh’s latest, Wild Horse Nine, takes us to 1973 Chile, where two CIA agents are involved in setting up the political turmoil about to take place in the country. But this story isn’t really about the coup d'état, this is about the two American CIA agents who go on holiday to Easter Island where one has asked the other a really big favour. If this sounds reminiscent of In Bruges, you are not far off.

Chris is dying of cancer. He has been in the CIA for decades and involved in many operations including the assassination of JFK. Lee, Chris’ best friend and protege, has agreed to take Chris to Easter Island as a last request. He has also been tasked with shutting down Chris’ idea to dictate a memoir and find where the rifle is that was involved with JFK’s death. With Chris’ memory fading and his belligerent behaviour causing issues in public spaces, Lee becomes more agitated, especially when his cheating wife and kids are put in danger.

 
A change of scenery, nationality of the leads and add in the backdrop of the political situation looming over everyone, and this could be very much like some of McDonagh’s previous films. Though the writing is razor sharp, humorous with a darker edge, there are some genuinely bizarre laughs and reveals, there is nothing spectacular about the film. The showdown at the end is even played out at a leisurely pace, in keeping with the island aesthetics. Sam Rockwell as Lee and John Malkovich as Chris are entertaining, their chemistry and quick witted dialogue is to be admired, no doubt these performances may earn some awards attention. However, there is a sense of confusion as to why did McDonagh set the story to this political environment, it barely adds much to the overall story, the real story that is. There could have been a different angle brought to this part of the story, but really Chile sits as a backdrop and illustrates the reach of the CIA fuels conspiracies at most. The better part of this affair is between old friends and whether they can trust one another.

Paper Tiger - London Film Festival

courtesy of Neon

 

James Gray returns with an 80s set crime thriller, with family ties that are tested. This may sound very familiar as this seems to be Gray’s comfort zone, family and some kind of criminal conflict. Here we have Adam Driver and Miles Teller as brothers who try to start a legitimate business but become entangled and indebted to the Russian mob. With a side plot involving Scarlett Johansson, playing Teller’s wife who is going through a medical crisis. Unfortunately, the stories told here don’t feel like new and fresh but familiar and predictable. The crime is there but the thrills are missing.

Somehow all of Gray’s stories centre around achieving a dream, whether it is the archetypal ‘American Dream’, the dream of success, or the dream of a happy life. Paper Tiger tries to explore chasing a dream here with the two brothers Gary, the ex-cop turned businessman and Irwin, the family man with moderate business and content life. To begin with, the dream that Gary brings Irwin into seems achievable, starting their own business venture together but as soon as it means working with suspicious people, everything is thrown into chaos. The dream they are chasing quickly becomes unattainable and impossible, their lives implode and far more dramatic than what you would expect from the start.

Both Teller and Driver give us decent performances, particularly Driver who seems in his element as the confident ex-cop Gary. Johansson does what she can with her wife from New Jersey role with her side plot feeling like an add on just giving her something to do. Gray hasn’t taken any risks with the story or the characters, but those who enjoy the slowed down pacing, the thick tension and impending doom laid upon this family will get something out of the film. But overall it doesn’t feel as if much happens though the stakes are high. Save from the impressive ending scenes and shoot in the long grass, there isn’t much to take up from Paper Tiger and it won’t be a film that stays with you for long.

Julian - London Film Festival

 

Cartoon Saloon always creates the most atmospheric and heartwarming stories, even if the story is as simple as a young boy wanting to dress up as a mermaid. The Irish animation studio has transported us to fantastical places through their folktales, the Wild Island in My Father’s Dragon and the stories told by Parvana in The Breadwinner. For the next adventure, we are taken to Brooklyn, New York where Julian stays with his grandmother over a hot summer. There he makes friends with a group of mermaid obsessed girls and learns about the Coney Island Mermaid Parade. Fascinated by the ocean, Julian decides that he wants to dress up as a mermaid and take part in the parade.

Full review over at Filmhounds.

I Love Boosters - London Film Festival

 

Courtesy of Universal Pictures

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

Full review over at Filmhounds. 

The Fox - London Film Festival

courtesy of Signature Entertainment

 

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

Full review over at Filmhounds.

Lady

 

courtesy of Met Film distribution

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

Full review over at Filmhounds. 

The Last Boy Scout

 

courtesy of Arrow Video

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

Full review over at Filmhounds.