Hostages

 

Courtesy of Signature Entertainment

The driest of dry comedies, Hostages, feels as if this was tailor made for a British audience. The attitudes and weird awkward interactions shared between the characters (except for David, the most useless security guard you’ll ever find), all scream ‘this is very British’.

After an explosion in a hotel near London Bridge, the majority of the staff and guests are quickly evacuated. But due to the confusion and clarity of where to actually exist, four guests find themselves holed up in one of the rooms unsure what to do, especially when it seems everyone on social media and indeed the news say it's a terrorist attack. What follows is a series of frustrating phone calls to the police, with each other and debate about whether they should actually be tweeting any of this.

Full review over at Filmhounds.

Rose of Nevada - BFI London Film Festival

 Curses, ghosts and time travel can all feel very similar laid out on screen. What might be a story set in the present but through an object, place or person, the present soon becomes the past, with ghosts from present now haunting the place. This may seem disjointed but that’s to be expected with a Mark Jenkin’s film. Returning to BFI with his third feature, Rose of Nevada is a slightly different tale than his previous (Bait, Enys Men). Those themes of the past and the present colliding are still the backbone of the story, Rose of Nevada takes the idea of time travel and turns it into a haunting story of grief, resilience and what feels like most definitely a curse.

After it had been missing for 30 years, the fishing boat, Rose of Nevada appears in the harbour of a run-down fishing village in Cornwall. The boat sets out again, this time with two new crew members, but when it returns to harbour once more, the crew members are welcomed back as those who went missing as it is now, 30 years ago.

Full review over at Filmhounds

Bad Apples - BFI London Film Festival

 

Teachers and students, stories that can turn into sordid affairs, or lead down inspirational paths. But when the story is about how teachers are meant to handle difficult students, they can easily end in chaos. Thankfully, Bad Apples is a dark comedy and is able to show harsh realities as well bizarre events, all without taking itself too seriously.

Primary school teacher Maria is overwhelmed. Her class is constantly disrupted by one pupil, a bully with a violent streak. But when she takes drastic and desperate measures to fix the problem, everything escalates to the point of no return.

First and foremost, we all know teachers are underpaid and often overwhelmed, especially if their class is facing important exams that will affect a child’s future. Immediately, we all understand and can sympathise with Maria as she tries her best to deal with Danny, the ‘difficult child’. Everything seems to hit harder for Maria as the teacher of a Year 6 class. Not only does she need to prep the students for SATS exams (important in the UK), but she’s been left alone by her colleague and ex-boyfriend who she moved to the town to be with. She’s been left with a house, but her existence seems pathetic as she plays a tractor simulator every night. The head teacher is losing faith, her ex is too and even her class mock her to her face. You can understand why, to an extent, she does what she does with Danny. 

Director Jonatan Etzler, manages to keep the balance of between feeling sympathy for Maria as questioning how she thinks things will play out. We also end up in a similar situation with Danny. At first, we believe him to be nothing but a violent bully, until its revealed, he can’t actually write. The boy has got to Year 6 (approx. 11 years old) and he’s unable to write. In this moment, we can see his frustration, he’s been written off by previous teachers, his over worked father hasn’t even noticed. But at the same time, we see Danny’s default response is to smash anything in sight when he’s cornered. We are able to get points of view from both Maria and Danny, each played superbly by Saoirse Ronan and newcomer Eddie Waller. However, for all the merit that can admired, there is very much a sense that the film is not pushed to the realms of absolute shock. We teeter on the edge of something very serious, especially during a Parents Evening meeting where terrible truths are revealed, we witness how far parents will go for ‘the greater good’. But in truth, there are no truly shocking moments.

Things do start to feel uneasy and verge on unhinged with the inclusion of Pauline, the creepy wannabe teacher’s pet who invites herself to Maria’s house. But even then, nothing of note happens, just an awkward fallout where Pauline subtly blackmails Maria and stirs up trouble at school. In all honesty, Pauline is probably the real villain of the film, with her parents even expressing that she’s weird and not in an interesting way. Its just a shame that the bar is not pushed, especially with such an great set up and lead into a third act. Bad Apples holds the promise of repressed carnage but it would have been great to see absolute chaos.

Swede Caroline

 

Although competitive vegetable growing or more specifically, growing giant vegetables does take place around the world, the event feels very much like a typically ‘British’ pastime. Any competition steeped in tradition will be able to find the comedy and in this case it’s a mockumentary about one vegetable grower and her story to win the coveted prize of heaviest marrow. The subject and setting is humorous before the film has even started. What’s good enough for Wallace & Gromit is good enough for the amateur film crew who ‘stumble across’ a major story worthy of its own documentary. 

Set in the world of competitive giant vegetable growing, the community is rocked by scandal when relatively new competitor Caroline has her prized marrow plants stolen. Together with her partner, Paul who fancies himself an amateur sleuth and her overly helpful neighbour Willy, Caroline is determined to find the culprit and still try for the top prize at the competition.

Full review is over at Filmhounds. 

Saltburn

 

The film has divided audiences, one side disgusted, the other mesmerised but also, quite disgusted. Inspired by and somewhat a homage to Brideshead Revisited, The Talented Mr Ripley and with a smattering of Kind Hearts and Coronets, Emerald Fennell’s second feature goes further than you’d think and finally twists the knife in your side, but you can’t help but be entertained.

 

With explicit visceral sex scenes and gag inducing moments involving bathtub water and rain drenched grave, the characters that accompany these memorable parts are just as fascinating. Following Oliver, as he attends Oxford, a lonely outsider, who strikes up an unlikely friendship with the popular wealthy upper-class Felix. After becoming such good friends, and feeling sorry for him, Felix invites Oliver to stay with him and his family over the summer at his manor house, Saltburn. Oliver, desperate to stay close to Felix and be part of this life, manipulate his way through each family member until his own secrets are revealed and he makes some drastic choices.

 

If Promising Young Woman was retribution, Saltburn is obsession and entitlement. The Catton family are in privileged positions and on several occasions express the fact they feel entitled to have things their way. They want for nothing, except maybe cousin Farleigh, who is in a precarious situation. Oliver feels entitled to the same lifestyle he has partaken in through his friendship with Felix. After having a taste of this privileged existence, he believes he is entitled to take it from those around him. The argument that the film tried to make us sympathise with the upper-class characters as they come across as kind, welcoming and overall, the ‘nicer’ people is just a thin veil of what lurks beneath. Each member of the family has an underlining mean streak that appears at some point. As much of their dialogue, particularly Elspeth, comes across as absurd and comical. Making this film about class and class alone rather ruins the overarching point of the story. This isn’t about the Catton family; this is Oliver’s story and how he decides what he will become.

 

Oliver is indeed the interloper and rarely seems like a genuinely good person. From the start he pretends to be from a poor background with a difficult home life and upbringing but when it is revealed that he is from a relatively average middle class home, it reveals that Oliver is far more twisted. His lies know no end. The film begins with him insisting he wasn’t in love Felix and as the film goes on, we start to question is Oliver has told a single truth throughout and whether his opening statement was also a lie. In some ways, Oliver is an unreliable narrator who doesn’t narrate. It is his story but we don’t know how he really feels or thinks, just that he craves Felix, his family, Saltburn, his obsession grows as he starts understand himself what he really wants.

 

Femme

 

Revenge stories always have an intriguing angle, whether we see it from the victim or the perpetrator or from somewhere in between. There is always a new angle to take and Femme delivers us something that we haven't seen in a while, an actual British thriller that has on the edge of our seats throughout. Based on the short film by writers and directors, Sam H. Freeman and Ng Choon Ping, the feature film is tense emotional revenge story that feels relentless. So brilliantly executed, razor sharp characters and compelling performances from Nathan Stewart-Jarrett and George Mackay.

Full review over at Filmhounds. 

How to Have Sex

 

There really hasn’t been any ‘teen’ movie to come out of British cinema, this rites-of-passage genre is usually saved for TV shows. We’ve seen plenty of ‘Brits’ on holiday across all stories, but sometimes its takes one focused character’s journey and the genuine emotions splayed across a big screen to really capture the essence of being a teenager, who is both strong and vulnerable. 

To celebrate finishing exams, three teenage best friends, travel to party destination, Malia for what is set to be the best summer holiday ever. 

Full review over at Filmhounds.

A Gaza Weekend - LOCO (London Comedy Film Festival)

 
Any story involving or mentioning Israel, Palestine or Gaza would usually be approached carefully, sensitively and probably at arm’s length by certain filmmakers. But thankfully, director Basil Kahlil dives head first into the genuinely funny, frustrating, observant black comedy, A Gaza Weekend. Perfectly selected to open this year’s London Comedy Film Festival, the film is a fantastic example of how to broach serious subjects, with the darkest humour possible, plus a cast who deliver every single laugh. 

Full review over at Filmhounds HERE.

London Comedy Film Festival (LOCO)

 

The world’s largest festival of funny cinema is back! LOCO has been going strong for over a decade and with this year sees new Festival Director and Artistic Director, Anna Wetherell and Benedict Morrison taking up the reins, the festival promise to deliver something special. With new and classic comedies, features and shorts all to be screened in the heart of East London, Hackney Picturehouse.  

Full preview HERE.

London Comedy Film Festival 2023 (LOCO) will take place at Hackney Picturehouse from 11-14 May 2023

The Unlikely Pilgrimage of Harold Fry

 

After receiving a letter from an old colleague who has moved into a hospice, Harold Fry, in his late 60s, spontaneously decides to walk from his home in South Devon to Berwick-upon-Tweed to visit his friend. This is the start of a both an eye-opening journey full of heart-warming moments and a reflective walk through Harold’s memories and personal losses. Either way you look at it, Harold Fry is a sentimental and somewhat uplifting tearjerker that feels oh so very British.

Full review can be read HERE on Filmhounds.

God's Creatures

 

In a small fishing town, Aileen, spend her days at the canary and evenings at the local pub and in between with her family. Their world is shaken by the return of their wayward son Brian who left years before and has barely kept contact. After the initial joy at his return, Aileen soon finds herself lying for her son. This lie rips apart the family, their friends and even the community and she is left deciding whether she has done the right thing and living with the consequences.

Full review is in the latest issue of Film Stories 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.

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.

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.

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.

True Things - BFI London Film Festival

 

True things is a beast that most of us will recognise, whether we have been the unreliable person or the one who feels as if their world is caving in. Toxic relationships seem to be more a matter of perception but the film takes a look from the inside out, offering not exactly a fresh view but one that lingers on in your mind. 

Full review over at Filmhounds HERE.

When the Screaming Starts

 

Mockumentary styled comedies, when done right, can use the fourth wall to great effect but other films use this handheld camera motion as just a way to dive deeper into what a character is thinking, sharing emotions and thoughts that wouldn’t be shared normally. As a dark comedy, When the Screaming Starts, excels with comedy found in looks and matter of fact-ness dialogue. But the mockumentary style muddies the blood-soaked waters and even becomes difficult to track in the final third of the film.

 

When the Screaming Starts follows Louis Theroux wannabe Norman Graysmith who has been invited to document the journey of aspiring serial killer Aidan Mendle as he sets out on his ‘career’. Going from bad to worse, Aidan decides to start a Charles Manson like ‘family’ cult of killers. But on the night of the family’s first kill, things don’t quite go according to plan for Aiden or Norman, who thinks he’s found the story that make his career.

 

The twist in events can be seen a mile off and some of the supporting characters don’t quite hit the mark in terms of comedy, coming off as genre beats in horror comedies. Then there are even scenes that are just uncomfortable and hard to watch, such as Mickey who auditions to join the family because he was brought up in care. Moments such as these are very jarring next the scenes where the family practice their killing skills. Switching back and forth between makes the film lose focus and ultimately confuse the audience. However, the film does have some merit in the form of the bloodiest and actually quite terrifying scenes in the film; the dinner party massacre and post massacre party where the ‘family’ celebrates. These are the stand out scenes most likely as there is nearly no forced comedic moments. The final scenes of the film try and replicate this atmosphere but, again, don’t quite work.

 

There is a lot of potential within the story and even the characters who are quite one dimensional, whether that is on purpose or not it’s unclear. But the film feels very much feels like a debut effort with a much more polished and well-rounded film to follow. Maybe be worth watching out for what the creative team does next.

Censor

 

While reviewing the notorious video nasties that became popular with the arrival of home video, censor Enid goes about her day to day, until one day she watches a film that resembles the location her sister disappeared from years before. Triggering ger guilt over this past event, Enid descends further into the confusing and gory world of low budget horror film production. She soon becomes convinced that an actress in a film is her missing sister and is determined to bring her home.

 

Grief is meant to have five stages but when someone is stuck continuously in the denial, seriously bad things can happen. Denial gives people the excuse that they can justify almost any action. Being in denial makes you dangerous. This is one the lessons learned from Censor. The focus is pulled firstly to the video nasties era and censorship and whether we can be truly influenced by the films we watch. The film cleverly subverts this topic with a few lines of dialogue towards the end which could be the key to the madness. Enid’s grief is triggered not just by what she sees, but the hope and guilt that fuels her into believing her sister who disappeared years ago is still alive. 

 

The video nasties were an era when home videos were booming. Filled with gore, violence and over acting coupled with low budget props and red paint. Being almost forbidden, they were sort after, being passed round under counters of video stores. As some films were banned, the demand became higher, as viewers were curious and hungry for the next horror they could watch. But this setting is background dressing for the story. It could even be taken that Censor is a character piece presented in a horror mystery package.  The film does conform to reliable horror genre elements, which is not to say is a bad thing. There is a strange comfort in that you can feel the way things will play out at certain points, but it’s when Enid is in the woods which is where the story takes its most dramatic and bizarre turns, and it utterly brilliant. Commenting on how directors take a step too far in the name of their film, how no one can really understand where reality begins and the fakery ends. The woods are a gift to any horror film but here we blur the lines amongst the mist, the terrifying cabin, the blood and the in trees. 

 

While Enid is working as a censor, it’s almost like a default, this is how she lives until her mind is expanded by the past and present all laid out in front of her to watch. It’s as if she has been lying dormant all these years and now, she finally shows her true self. Even though there are terrifying aspects to this story, the ending, however you view it, has that sense of finality even without a solid conclusion.

 

Fantasia Film Festival - Paul Dood's Deadly Lunch Break

  

Paul Dood’s Deadly Lunch Break is that latest fresh view on the desire to be famous but with a humorous British twist. There will be dancing, there will be blood and there will be glitter, at all costs.

Full review over at Filmhounds HERE. 

Six Minutes to Midnight

 

There seems to be a standard British film set just before, during or just after the Second World War that is released each year without fail. Sometimes these films are sent straight to digital platforms, some enjoy a stint in cinemas and others are swiftly given a DVD only release. It’s difficult to tell the fate of Six Minutes to Midnight as it is slightly unusual central plot, has an impressive cast list, has some beautiful shot of the English coastline but there is something lacking from the entire film. 

 

Full review is over at Filmhounds HERE.