Holy Days

Courtesy of Lightbulb Film Distribution

 

It's strange how a story featuring nuns trying to save their convent and a young boy still grieving the death of his mother should in some way involve prayer and a closeness to God, but there is barely a religious bearing in the entire film, and oh my it is refreshing! Nat Boltt’s script, loosely based on the novel of the same name by Dame Joy Cowley, and directorial debut feature is a film that fit very well in the genre of surprisingly uplifting New Zealand based, incredibly wholesome and funny to boot films that have been released in recent years. Through all the action packed, crime ridden, violent angry films out there, its actually a pleasant diversion to go on a journey with three elderly nuns in a nearly broken down car in search of very important paperwork.

Full review over at Filmhounds.

Pools

Courtesy of KLA Media Group 

 On the verge of being kicked out of college, Kennedy decides that putting her head down and getting on with school work is not what she needs. Gathering together a group of random acquaintances also stuck at college over the long hot summer, she leads the group to go nighttime pool hopping throughout the lavish estates in her college town. But as she is still grieving the recent loss of her father, this spontaneous adventure becomes more of a journey of self discovery.

Full review over at Filmhounds.

Lesbian Space Princess

Courtesy of Peccadillo Pictures

The animated space is far too often predominantly aimed at a younger audience, or is automatically assumed to be more for children. But thankfully the animators out there that make animated content aimed at adults or exploring subjects that are more for an adult audience are doing excellent work. The latest names to be added to this group, writer-directors Emma Hough Hobbs and Leela Varghese have created what should be the newest obsession for fans of animated films and comedic entertainment. Lesbian Space Princess is a hilarious, relatable sci-fi adventure, with a fun appealing style that feels right at home amongst the likes of Adventure Time, Tuca and Bertie and Final Space.

Introverted Princess of Clitopolos Saira, is devastated when her girlfriend, Kik the Destroyer dumps her right before the Lesbian Ball, especially as she was looking forward to not attending alone this year. Saira already feel inadequate and overshadowed by the Queens, her moms who are very popular. But when Kiki is kidnapped by the Straight White Maliens, Saira has to make the dangerous journey to save her, and then maybe this will convince her ex to take her back.

Hough Hobbs and Varghese have created such a fun world with a very entertaining variety of characters, all while exploring the themes of self worth and of course, self discovery. The LGBTQ+ themes that runs throughout are also very much appreciated. The jokes are on point, whether they are subtle or absolutely in your face, with great voice performances from a fantastically assembled comedic and dramatic cast. The setting of space doesn’t dilute any of the themes or topics and is frankly, a refreshing science fiction adventure. There is very little to fault Lesbian Space Princess, except maybe some parts of the story are rushed through and not given the proper time they deserve, mainly when some important information comes to light about why Saira may be so shy, anxious and lonely. But maybe this could be explored further in a follow up adventure? Here’s hoping there may be more to explore.

Same Same But Different - SXSW

 

Courtesy of SXSW & 42 West

Romantic comedies are never just about the romance or the comedy, its all about the drama that each character can bring to the situation they all find themselves in. Same Same But Different encapsulates what it means to celebrate differences, honour your heritage and be honest about what you truly want, as well as making sure its all as chaotic as that sounds.

When poet Rana has her visa application denied again, she resigns herself to returning home to Iran, which she is looking forward to. But when Adam, the son of her wealthy employer and whom she has been secretly seeing over the summer, proposes to her. She decides to embrace this opportunity, after much deliberation and rationalising. She invites her two Iranian best friends, along with their American boyfriends, who each have their own dramas to deal with, resulting in a whirlwind weekend.

Full review over at Filmhounds.

Spaceballs

 

Courtesy of Arrow Video

Decent spoof or parody films are hard to come by these days, so much so we have to turn to the past and to one director who really knows how to tell a story, keep the jokes going and keep with whatever genre he’s chosen, Mel Brooks. Released in 1987, just 4 years after The Return of the Jedi, Spaceballs earned mixed reviews upon initial release, but like every other sci-fi film, it gained a cult following. At nearly 100 years old, Mel Brooks is still making films. Having gone back to his previous material and filmography to bring his films to the stage, he’s also involved (though not directing) the upcoming Spaceballs sequel.

Full review over at Filmhounds.

F**ktoys - BFI London Film Festival

 

With influences being pulled from everywhere; the grime of Troma, the humour of John Waters, the style and look of Anna Biller (particularly The Love Witch) and the melodramatics of Pedro Almodovar, they are responsible for the chaotic baby that is Fucktoys. Written, directed and starring Annapurna Sriram, this film is very much a labour of love and grime. Her odyssey of a sex worker who travels around on a moped going from job to job as she scrapes money together to perform a ritual that will lift the curse on her is above all, inspiring. Though it’s not a perfect work of art, a work of art it is none the less.

After being told by a psychic that she’s cursed and needs $1000 to perform a ritual to lift it, sex worker AP, heads out to make that money. Along the way she is reunites with an old friend/flame Danni, encounters numerous strange clients and three other psychics who tell her she’s cursed. But on her journey will she finally find a way to lift this curse?

This is not the happy go lucky sex worker story who is just trying to get by. Thankfully most clichés are left at the door here. Any stereotypes are leaned into and for weird comedic purposes only. Most of what happens throughout the film is to be taken with a pinch of salt, whether its watching two old friends connect while urinating in a guy’s mouth (he likes it) or believing AP’s place is just furniture in a field, or AP and Danni really badly pretending to be robbers when taking shelter in one of her client’s homes. There is plenty of fun to be had throughout but Sriram doesn’t shy away from the darkness that surrounds AP. The more serious moments are at first gently peppered in and do make you stop, step back and have a reality check, especially the rather off kilter and unhinged ending, even if it does provide an ‘oh my god I understand it all’ moment.

Sriram is absolutely a talent to watch. The B Movie feel of Fucktoys does make me anxious as to what might happen to her comedic timing and style if she was given a bitter budget. However, there is much to enjoy on screen here in the meantime.

The Nice Guys (Blu-ray/4K)

 

The Nice Guys is a throwback to the cop dramas and mis-matched buddy movies of the 70s, 80s and 90s. Even though the comedic elements are front and centre, the story and characters still manage to tread into mystery/thriller territory, feeling very much like a much less series version of Chinatown. Yet still covering a serious subject hidden by unexpected comedic chemistry between Ryan Gosling and Russell Crowe plus the frequent porn connections to the case they’re working on. Releasing on UHD and Blu-ray, The Nice Guys gets the Second Sight Films treatment, after nearly 10 years since its initial release in 2016. This release feels like it was long overdue.

Full review over at Filmhounds.

Clone Cops

 

In a world where domineering conglomerate, Nefaricorp has taken control of society, supplying replicant robots to do all blue-collar jobs, a gang of outlaws defend their hideout from said corporation. But when the truth about who they really all are is revealed, the gang must spring into action and plan their escape.

If you’re wondering why everyone on screen feels like they’re in a different film, that’s because Clone Cops is a patchwork of various other sci-fi plots melded into one. With some interesting ideas played out on screen, the film does its best with what’s assumed, a limited budget. But it isn’t the production design where the film falters.

Clone Cops does have some amusing moments and the gameshow, evil corporation aspects are weirdly enjoyable, even including the exaggerated actions and behaviour from certain characters. Its also easy to appreciate the comments being make on society and where we could all be heading as technology progresses while humanity regresses. Unfortunately, the positives of the film don’t outweigh the negative.

Every character featured in the film is either a back-to-basics stereotype, even if the cast do their best to escape these predictable character beats, or they feel as if they’re wondered into a completely different film. To an extent, this disjointed feeling between characters is meant to be there considering the set up, but the feeling that no one is on the same page becomes more jarring. The one note characters and standard dialogue, makes for film a that could have been something quite unique but unfortunately Clone Cops suffers from a clunky plot and possibly too many ideas.

Despite the negatives, Clone Cops has its moments of fun and for those enjoy a schlocky sci-fi will find more merit. But anyone looking for an exciting new tech driven comedic science fiction story will end up disappointed.

It’s Raining Men

Adultery can either be taken seriously, to the depths of a drama or erotic thriller or be taken with a pinch of salt. Rom-coms have used cheating on one’s partner for laughs, hijinks or an excuse for an elaborate set piece involving switching rooms hiding under beds, jumping out of windows etc. Writer and director Caroline Vignal seems to enjoy using this story element having included it in her previous film, My Donkey, My Lover and I. But It’s Raining Men leaves the countryside shenanigans behind and focuses more on the Iris’s journey through sexual satisfaction as well as trying to balance her family life. 

Nearing 50, parts of Iris’ life may be going well; her children, her successful business, but she has no sex life. Despite having a loving husband, though he seems to only be concerned with work these days, the two haven’t had sex in years. After a stranger suggests she take a lover, Iris’ world opens up. No sooner has she set herself up on an app aimed at married people, the matches come flooding in. But while she might be finally sexually satisfied, she starts to neglect the other important parts of her life.

Full review over at Filmhounds. 

Your Monster

 

When soft spoken actress Laura (Melissa Barrera) goes back home to recover from surgery and a Cancer diagnosis and a devasting breakup, she discovers something quite terrifying and unexpected. An intimidating, yet strangely charming Monster (Tommy Dewey) has been living in her closet. At first there is resentment for having to share the space, but this unusual set up soon grows into something more. 

Barrera and Dewey as Laura and Monster have effortless and incredibly charming chemistry, its entertaining whether they’re smashing plates, reciting Shakespeare or inciting violent acts. Your Monster perfectly encapsulates how to weave together two opposing genres. Following the beats of a typical rom-com and weaving in horror elements to even compliment the story and the characters is sheer delight. Whether you want to accept the ‘true’ nature of Monster or want to be suspended in disbelief when it comes to the fantastically dramatic and beautifully sung finale. Your Monster is an oddball of a film, complete with familiar but unique characters, its something new and unexpected, plus you’ll think twice before looking under your bed.

Full review over at Filmhounds.

My Old Ass

 

Circumventing the typical coming of age cliches is a difficult task, the key is creating fun, refreshing characters and My Old Ass succeeds all round. Not only do we have a lead character on the brink of leaving for college, but she also has an existential meeting with her older self which throws curve balls in her plans she never would have expected.

Meeting your older self could be seen as one massive spoiler, but Elliott the younger is still able to have the same experiences as her older counterpart, most likely made richer after taking advice from Elliott the elder. Her rollercoaster of emotions and discovery, in such a short space of time, feels condensed and maybe too much is meant to happen, but in retrospect a lot can happen and change your life in just a few weeks. A strange dream like scenario, as who wouldn’t want to talk to their older selves, Elliott faces this truth and accepts the situation very quickly, a trait, she points out, that is of the young. As always Aubrey Plaza, as older Elliott, is a gift on screen and even though she is only on screen (voice for the most part) for a short time, she leaves a lasting impression. But this story belongs to Maisy Stella, who plays the younger Elliott and she displays a panache for the dramedy. Encapsulating the fun carefree side of Elliott but still able to display wisdom that her older self could also learn from, the balance is maintained.

My Old Ass, is a light hearted, unexpected twist on the coming-of-age genre with a little bit of something extra thrown in. Supposedly science fiction, but who knows!

Risky Business

 

You know the scene, you know that image of very young Tom Cruise’s grinning face in sun glasses, you already know something about the film even if you’ve never seen it. Sliding around the floor in just his socks, underwear and shirt, parents gone, house to himself. This scene is the one that everyone has seen before. But what’s incredible is that this is but a snippet of what Risky Business is about. 

 

When his parents go away on holiday, leaving him in the house alone, High School senior Joel decides to make the most of it. After been hounded by his friends, Joel invites call girl Lana over. But after a night of sexual pleasure, Joel finds himself stuck with never ending problems, including having to fix up his father’s prized car. To try and help, as well as helping herself, Lana convinces Joel to have party, he invites his friends and she’ll invite her friends/co-workers.

With the famous scene near the start of the film, there is room to sink in and just watch the chaos ensue as Joel makes one bad decision after another. Joel’s naivety is what brings him down throughout the film. Teased by his friends for not having sex yet, practically hoodwinked into ending up with a call girl and then being abandoned when he needs help, at least they all show up for his extra special party. Joel can do no right in this film, except maybe in Lana’s eyes. Despite the mad dash to the finish line to have everything in the house back in order, all it takes is one tiny crack in a glass egg for his parents to be disappointed. The sense that, Joel was doomed no matter what, makes the film have a slight scent of reality and grounds the whole story just for a minute.

Unlike his friends, Joel isn’t shown to have a special skill or academically inclined, he’s painted as an average, half decent guy just trying to get through high school. But he comes into his own when he must ‘sell’ the party to his friends. Though, enticing wealthy teenage boys to come to a party with lots of willing beautiful girls isn’t a tough sell. But still, Joel seems to be finally in his element and there’s even a hint to that typical Tom Cruise ‘charm’ that we’ll see in all his later films. Pairing opposite Cruise is Rebecca De Mornay as Lana, who almost matches his energy. Coming across as someone who takes opportunities where she can Lana is an enigma and unlike Joel who we seen some development, Lana remains a mystery. We’re never quite sure who truthful she’s being, anything she does to ‘help’ Joel is also beneficial for her. From over dramatic and ethereal entrance to her ambiguous last few lines, Lana never gives too much away, which would be infuriating if the story was over a longer period but a week, she’s just a base character, she could have been more.

There’s no question as to why this 80’s teen comedy is considered a classic. It is not just the breakout roll from one of Hollywood’s biggest stars, it represents a teenage boy’s dream and pure farcical entertainment at naïve boys for the teenage girls, a common trend in 80s teen movies. Risky Business is entertaining and though would never have worked outside its release era, there’s still many laughs to be had.

The Balconettes - London Film Festival

 

Mixing genres in film is always an exciting approach, especially if the subject is darker and needs a fresh take. Director and co-writer Noémie Merlant said that she had originally set out to write a love story but ended up with The Balconettes. Though, she also pointed out, there is a love story within the film, one of female friendship. At its core, the film broaches a darker subject, but in order not to sink the characters into despair, comedy with a bit of supernatural weirdness balances the story and ultimately creates that fresh take that is needed. 

During a heatwave, three friends in living in Marseille find themselves cooped up in their apartment. Across the way, they observe a mysterious handsome man. Through a few dramatic and comedic errors, the three of them find themselves in the man’s apartment for drinks. But later that night, one of the friends returns home covered in blood and the three women find themselves living out a nightmare.

Full review over at Filmhounds.

Me, Myself & The Void

 

When a stand-up comedian, fresh from a difficult break up, finds himself staring at his unconscious body on the floor, he must work out how he got there and whether he can escape the void he’s ended up in. 

Me, Myself & The Void is an unusual film, featuring characters we have definitely seen before and story beats that are expected. But the void itself is something different and there is plenty of time given to explore it. There seems to be two sides to this self-examination, one is a well-timed comedy with a darker edge, the other is an intriguing idea that would have worked better as a short film. 

There’s no denying that Jack De Sena who plays our hero, Jack and Chris W. Smith who plays the best friend Chris, have excellent chemistry. Taking their comedic timing and entertaining banter from their TV show and bringing it into the film seemed quite seamless. The characters they both play also feel like a slight step away from themselves, enough to make it clear, their characters’ names are coincidental. Having Chris appear as Jack’s subconscious was also a narrative choice that made sense, Jack needs someone to bounce ideas off as well as a familiar face to help him through whatever it is he’s going through. Kelly Marie Tran as Jack’s fresh ex, Mia is also a welcome edition to the void as another part of Jack’s subconscious. She doesn’t upset the balance between the leads and holds her own, lighting up the flash backs with her vulnerability and her brand of charm. 

 

There is plenty to admire about Me, Myself & The Void, particularly, as pointed out by one of the characters, the Dogville style set up of the void. This separation from reality, essentially placing the real world in pieces set up like a stage making the obvious connection to Jack’s life on stage as apposed to how he is off. But there is also the nagging sensation that this exploration into the void, Jack’s version of the void, could have been resolved far quicker than it was. Part of the fun of the film is the mystery as how he ended up on the bathroom floor but this mystery is soon stripped away, leaving the again, obvious answers as why is Jack in this state. This could have been even more effective if condensed to a sharp short film, making the feature feel drawn out.

Overall, despite some narrative glitches, Me, Myself & The Void, boasts fun fresh performances from the leads.

Me Myself & The Void debuted worldwide on Digital VOD October 1, 2024, including Apple TV and Prime Video

The Gutter - London Film Festival

 

It’s been a long while since we’ve had decent sports film that wasn’t about mainstream sports. When it comes to bowling films, Kingpin and The Big Lebowski comes to mind, even though the latter isn’t about the sport it only features. Always angled as an American pastime and a fun hobby or something to do with friends on a Friday night, The Gutter manages to keep this image alive as well as creating the most ridiculous and hilarious scenarios and characters that have been seen on the big screen in a long while. 

When Walt accepts a job at AlleyCatz, a dive bowling alley, he discovers he’s a naturally gifted bowler. Along with ex-pro bowler herself, Skunk, a frequent drinker at the alley’s bar, they decide to hit the road to take part in tournaments. But when legendary champion Linda Carsen hears of Walt’s success, she decides to come out of retirement and put him in his place. 

The lack of actual laugh out loud films being made and more importantly, being seen is quite low. Aside from the narrative, the most important aspect of the film is the comedy, then maybe bowling. Directors Isaiah Lester and Yassir Lester know exactly what they’re doing. Casting their friends they’ve made working on different shows and through stand up, the array of comedic and dramatic talent alike really makes this film, as well as the fantastic costumes, particularly worn by Walt. Holding the plot up with their excellent off beat chemistry, Shameik Moore as Walt (no last name) and D’Arcy Carden as Skunk are highly entertaining. Susan Sarandon is also highly affective as the cold-hearted legendary bowling champion, who scenes steals without lifting a finger. 

The comedy, no matter how ridiculous, is non-stop, literally from the opening shot to the final showdown. The Gutter is an absolutely delight, and actual breath of fresh air amongst the mediocre offerings that get left by the studios. The real gems are always found exactly where some of the jokes from the film are found and the name of the film.

Timestalker

 

Alice Lowe’s debut feature, Prevenge (2016), is a comedy slasher that is revered amongst horror (and comedy) fans. Having also co-wrote Sightseers (2012), the black comedy about two caravaners who go on a murder spree, there was some expectation about what to expect from Lowe next. A historical science fictional rom-com like Timestalker was definitely not on the bingo card. 

Throughout the centuries, Agnes falls in love with the same man, and each time ends up dying, only to be reincarnated to relive the same scenario. Trapped in what feels like a never-ending loop, she must come to terms with the truth staring in the face the whole time.

Full review over at Filmhounds.

If You Were The Last

 

When was the last time a science fiction romantic comedy was both whimsical, in a non-nauseating way and was actually heartfelt, as well as having genuine laughs? If You Were the Last should have been the breakout film of this year but instead was cruelly left to the streamers with very little flare. Unfortunately, there are genuinely great films that do the festival circuit and never get picked up by a big enough distributor who will back the film. But aside from how the film was released, this gem of a film really does lift the spirits and brings hope that there are stories out there, like this, even being made. 

Two astronauts, Adam and Jane, drift throughout space. After their multi year mission is derailed, mostly due to their deceased crewmate Benson, Adam and Jane, over time wonder if they will ever be rescued, discuss life, love and the pros and cons of them having sex with each other. All the while falling in love, but unsure if the other feels the same. 

Setting any sort of story in space comes with the expectation on how a sci-fi should look like, but what If You Were The Last offers is something a bit extra. All the tech on the ship, resembles something out of Wes Anderson’s or Michel Gondry’s workshops. The astronauts even have a cosy living room space on the ship, to make them feel at home, complete with watching films on cartridges. The sci-fi elements are left to the setting outside the ship and the communication set up to try and reach home for rescue. All other parts are complete rom-com beats and they are most welcome. The quirky tech and set design is not overbearing, balanced out by the two actors fantastic chemistry. Zoe Chao and Anthony Mackie are so in tune together, they do not miss a step with one another, romantically or comedically. Its almost a shame when they are eventually separated in the third act when (SPOILERS) the two make it back to Earth and their spouses. 

There is a more sombre element to the story, these lost astronauts have only each other (aside from the ill fated Benson) and have been this way for a few years. The strain on their mental health and on their respective marriages, takes a toll. The joke about them deciding if they should have sex with each other goes past the joke stage is the really about connection. If You Were The Last is essentially a sweet story set against an incredible background, two people against the universe, and at one point Benson.

Thelma

 

True crime stories no longer exclusively belong to horrific murders and serial killers. Scammer revenge stories have come to the forefront more recently on the small screen and are making their way to the big screen. In the last few years, we’ve seen the likes of Inventing Anna and The Tinder Swindler detailing real crimes. We’ve also had the likes of The Beekeeper appear which heavily features scammers along with intrigue, excitement, tragedy, and full-blown action. Thelma is the latest in this sub-genre, and its quite unlike anything that’s come before. 

After getting scammed out of a hefty amount of her savings, 93-year-old Thelma decides to go out seeking justice, against her family’s advice. Enlisting the help of an old friend, Ben, who owns a scooter, the two try to track down the criminals responsible, meeting a few characters along the way. 

Full review over at Filmhounds.

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. 

Snack Shack

 

It may feel a little early for a teen summer comedy to be making a splash, but Snack Shack is ahead of the curve. With a great cast, in particular the two leads Conor Sherry as AJ and Gabriel LaBelle as Moose, and a fun vibe running throughout, there is more than meets the eye with this film from director Adam Rehmeier.

After being harangued into getting a job for the summer, teenage best friends AJ and Moose win a bid at their council to run the snack shack at the local swimming pool. Through their entrepreneurial spirit, they try to turn a profit and plan for future ventures. But when a new lifeguard, Brooke (Mika Abdalla), arrives on the scene, the boys' friendship and business are put to the test.

Full review over at  Filmhounds