Interview with Screenwriters Pen Densham and John Watson

 

As the 90s is the current era we are all nostalgic for, it seems only right that we take a look back at the second highest grossing film of 1991, Kevin Costner starring Robin Hood: Prince of Thieves. Despite there being two other versions of the legendary noble who robbed from the rich to give to the poor, the 90s classic will be remembered and celebrated for far longer. But before there fights in the forest, Bryan Adams’ theme song and Alan Rickman delivering some of the best lines of his career as the Sheriff of Nottingham, there were Pen Densham and John Watson who write the now classic Robin Hood film. We talked with Densham and Watson about how the script came into being, the hero’s journey, balancing humour and drama and who came up with the famous spoon line.

Full interview 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.

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.

Effie Gray

When Euphemia ‘Effie’ Gray marries the older celebrated art critic and writer John Ruskin, she believes she will be happy. But she soon realises that her married life is far what she imagined. Bullied by her overbearing mother-in-law and negated by her husband, who also refuses to consummate the marriage, Effie falls into loneliness and illness. While on a visit to her native Scotland she finds comfort and love with the painter, John Everett Millais. But before she can find her true happiness, she must escape her the cruelty of the Ruskin family. 

 

Full review over at Filmhounds HERE.

Watch List: October & November

 

The Other Lamb

 Full review HERE. 4/5

Alien Addiction

 Full review HERE.  3/5

Cordelia

 Full review HERE.  3/5

Saint Maud

 Full review HERE.  4/5 

Lucky Grandma

 Full review HERE.  3/5 

On the Rocks

Sofia Coppola heads back towards familiar ground with a low-key drama about a daughter and father who bond over the investigation into whether her husband has cheated on her. The story would be quite bland if it wasn't for the excellent pairing of Bill Murray and Rashida Jones who play so well off of each other through the comedic and tragic exchanges. Having them scurry around New York and at one-point Mexico just adds to the screwball essence. 3/5

Rebecca

 

As a thriller, this was delightful and ominous accordingly but as an adaptation, I’m not too sure. Ben Wheatly is a very odd choice to direct such restraint story with minimal violence on screen and lots of things implied. Kristen Scott Thomas steals the film with her pitch perfect deranged Mrs Danvers and Lily James is her usual blinking breathy naïve newcomer. Armie Hammer really does deserve better in the thankless role of Maxim DeWinter and the end court drama scenes are all over the place. Still, in the end, an enjoyable film but we all know Hitchcock’s version is better. 3/5

Holidate

 

From the poster I was worried that Emma Roberts was repeating her act again. For someone who made a great impression in Scream Queens and American Horror Story, her film choices had been lacking. But thankfully this was not the same old bit of fluff that Netflix churns out. At least not completely. The central characters, Sloane, 30-year-old, can't get over an ex constantly hounded by her family about finding a boyfriend and Jackson, Australian golf coach who doesn't want the commitment of a girlfriend. They team up to be each other's dates for various holidays and these are American holidays so there’s a few random ones in there. But of course, they end up liking each other and blah blah blah, its good Netflix fluff after all but, Sloane's attitude towards most things, apart from the ex, is refreshing and funny. So at least there’s that. 3/5

Under the Silver Lake

 

With a promising premise, slacker meets new pretty neighbour who then disappears the next day so he sets out to find out what happened, has a great hook. But as this is set in Hollywood where the rich use the poor and desperate, you just know there will be a load of weird scenes and characters that aren't exactly important. The many many derailments are the reason why the film is so damn long. It wants to be Hitchcock and De Palmer rolled into one but it just turns into the most bizarre conclusion that is satisfying as it is ridiculous. But you'll never get that time back. 2/5

 

Ammonite - BFI London Film Festival

The world of fossil finding is rarely if at all explored on screen outside of documentary series or nature programmes. The addition of a famous fossil collector, dealer and palaeontologist’s story being told add perspective and human interest, but with a passionate and secret love affair as well, Ammonite takes on the form of a typical British period romance drama. Luckily in the hands of writer and director Francis Lee, the story isn’t entirely what you’d expect.

My full review can be read HERE over at Filmhounds.

Watch List: April & May & June

This really should be called Watch List: Lockdown edition but as I don't really want to look back at posts in the future and see the words 'lockdown' in the title, I'll stick to the months. I've rewatched quite a few TV shows and binged throughed new ones but I seem to be winding down. I've gone back over my watch list on Netflix mainly and plucked a few films from there to watch. As there are no new cinema releases, the excitement of going to the cinema is still yet to happen, new releases on streaming services are less exciting but non the less available. I've taken to renting a few titles as well as watching films on Sundays with friends over Zoom but I haven't included every single film I've watched. This is a selection I wanted to write about as I really don't think me mentioning 'Mr Nanny' is going to add to anything.

The Platform

Not always eager to watch the latest horror film but the premise of this Netflix film was something that disgusted and fascinated me. Also having watched this at the start of lockdown really was the cherry on top of the hell cake. Set in a gigantic concrete tower spanning suposedly 200 floors, each floor with two peopl, some criminals, others volunteers and a rectangle hole in the floor, a platform travels down the tower stopping at each level for 1 minute. This platform is filled with food but as it travels down, there is less and less food for everyone. The film is literally a comment on the distribution of wealth and how humanity has failed this. The film is bleak, there's no way to shy away from that but its discussions between the protagonist and his cell mates are what give this story meaning and hammer home that there could be enough food for everyone if they rationed. The realisations at the end are the real horror as they aren't shock moments, they linger in your mind long after the credits roll. 4/5

Love. Wedding. Repeat.

Standard. Rom-com. This literally is a colour by numbers rom-com ticking all the boxes you'd find in the genre. But it is set apart from other films set at weddings by offering several possible outcomes, all with a very amusing scenarios but each ending in chaos and disappointment for most of the characters. With an assortment of characters each with their own plot, it is entertaining and romantic in all the right places. Would be interesting to see the original French film, 'Plan de Table' and its any different. 3/5

Proud Mary

This was a film I almost saw at the cinema, if it had been given a decent release so I was very excited to see it pop up on Netflix. Unfortunately I was left with a knot in my stomach at how disappointing it was. I love hitman films, I love them more when its female protagonist and I love Taraji P. Henson BUT there was literally nothing beyond that. Henson deserved so muc more. The plot was so thin that it didn't make any sense and it ended up being about a kid and how Mary ended up helping that kid. Why do all stories set up to seem like a thriller end up being about a woman protecting a kid? Or falling for the wrong guy? Seriously?? When are we going to get a story about a hitman or hitwoman where she's free from this and able to have her own storyline?? 1/5

The Matchmaker

As an avid fan of Janeane Garofalo I of course went looking for films she was in and hadn't seen and this very hidden gem from 1997 was one that was accessible. As with this type of rom-com, fish out of water, out of towner, culture clash, the plot is high concept for little impact. Garofalo works for a Boston politician running for re-election and sends her to Ireland to look for his supposed Irish roots. But when she arrives in the small town, its right in the middle of the annual matchmaking festival and guess what? She is a a cynic when it comes to romance. There's laughs, there's some kind of love and a bit of sad note before the end but on the whole, its was surprisingly good. 3/5

The Man Who Killed Don Quixote

We've waited over 25 years for Terry Gilliam's magnum opus and after all those changes and re-writes, i think the moment has passed. My full review is over at Vulturehound HERE.

Circus of Books

There are stories within stories when the main subject begins with a book or a film or a beloved and famous bookstore within a local community. Director Rachel Mason delves deep inside the bookstore her parents owned as it plans to close its doors, talking to the people who loved, patroned and worked at the store. The otherside to this film is about how her brothers and her didn't know until much later that it was a gay pornography store, their family history and how their parents kept it this information quiet from them. At times uplifting and inspiring but the personal history of the family steals the hard hitting moments. 4/5

Misbehaviour

Released on the cusp of the cinemas closing down and with little flare, I fear that this brilliant piece of British film will suffer the fate of 'Emma'. Based on the events surrounding the 1970 Miss World competition when Women's Liberation activists staged a protest during the live televised show. We get an insight into the activists lives, the contestants in the pagent and those hosting. These are the films and subjects that need to be shown. The end shots of the real life people and what happened to them after the event is beautifully edged into the frame and inspiring to see what these women accomplished. More of this please. 4/5

To the Stars

An unexpected gem that came out of nowhere, hopefully this will be a hit later on when an audience discovers it. Rent/buy this film!! My full review can be read HERE. 4/5

The Lovebirds

I thought this would get a cinema release but having seen it, I can see why it didn't depsite having the dynamite duo of Issa Rae and Kumail Nanjiani who are so fun to watch but even they can't save the mediocre plot about a secret organisation, blackmail and a corrupt cop. The jokes are there but the couple plot verses the film plot doesn't quite have a balance. Can we get these two in another film together? Also, enjoyed seeing the town where I live appear on screen at the end. 3/5

The Man Who Cried

This film caught my eye while looking through the endless list of films on Netflix (that will happen quite a bit as its lockdown...) and as this is a Sally Potter film, thought it was long overdue to check out her filmography. Potter directed and wrote this story about a young Russian Jewish girl who is separated from her father when he travels to America and her village is burnt down. Her journey back to her father takes her to Paris where she first becomes a dancer then part of an opera company, until the Nazis invade France and she must decide whether to stay or escape. There are low key brilliant performances all round here and it surprising how I hadn't heard of this film before, especially with the cast. An unexpected gem amongst the teen dramas. 3/5

The Legacy of the Bones

I read the first in this trilogy, 'The Invisible Guardian' and was pleased to see the rather faithful adaptation. This second enstallment focuses much closer on Amaia and her psychotic mother, delving deeper into her past and the connect that she has with serveral suicides. Discovering baby bones buried on the family home property and the possible resurrection of a witch like cult, the story and cases become entangled with Amaia once again. This story was even more terrifying than the first as we learn what Amaia's mother was really up to, more family secrets start to surface. 3/5

Body Cam

A horror film that I think was released at either the wrong or right time. My full review is over at Vulturehound HERE. 3/5

Splitting Heirs

A riduculous black comedy from 1993 where Eric Idle and Rick Moranis were switched at birth, now the latter is the Duke of Bournemouth and the former spends the film trying to bump him off so he can claim his rightful title. It is amsuing, far fetched beyond recognition but with John Cleese thrown in there as a shady lawyer along with Catherine Zeta-Jones before she disappeared off to Hollywood and had to fake her own Welsh accent, its not as unwatchable as anticipated. 3/5

The Assistant

This film was much more than I thought it was going to be it deserved it's own post which can be read HERE. 5/5

The Addams Family

Having rewatched the 90s Addams Family films many many times, its hard to picture anyone else as the family. Although the voice cast are quite good matches, the animation is not as pleasing. The story is bold and very in keeping with style of the Addams we know, involving a power hungry TV home make over host and her plans to get rid of the Addams whose home is not fitting with her asthetics but I can't help but going back to the quirky delights of the 90s. 2/5

Plus One

Two best friends from college agree to be each others plus ones at 10 weddings that seem to be happening all in the same year. This is the kind of rom-com I get enjoy, both the leads are cynical, forthright and funny, plus they are the OTP right in front of each other but take a while to realise it. There's genuine friendship followed by genuine attraction and affection. Apart from having to swallow the unrealistic amount of weddingings that they are both invited to, I really enjoyed this one. 4/5

Portrait of a Lady on Fire - BFI London Film Festival

This was one of the films that I saved from LFF because I wanted to take my time over it as I felt rushed at the time. Well it took so long to ponder over the impossibly beautiful coast, sky and sea as well as the superb women that take centre stage that the film was to be released on the perfect day, Valentines.

My full review can be read over at Vulturehound HERE.

If You Go Down to the Woods Today...

Say one things about M Night Shyamalan, he was on a roll in 2004. He'd already had three successful films (yes I mean Signs!) and could have gone anywhere. He'd given us a ghost redemption thriller horror story, with not to mention of THE twists in film, an unconventional superhero story (before he ruined it) and an existential crisis with an alien invasion story, then he gave us a story about a village in the woods that WASN'T a cult. I can understand why there were those disappointed in the film because they were expecting a 'twist' but if you think about it, what was the 'twist' in 'Signs' or 'Unbreakable'? The film also gave us Shyamalan, who insists on cameo-ing in his films, the best cameo. The real beauty is realising why he appears the way he does. But before we get too far into the weird and wonderful world of Shyamalan pre 'the Lady in the Water', I'll stop there.

To celebrate the underrated should be classic, I made a zine, obviously. I also wrote about the film for its 15th anniversary which should hopefully be posted on Vulturehound soon, so no link yet. But he's a sneak peak at the zine instead:

Novelist, Mime, Actress and Journalist

What a way to start the new year with not one, not two, but THREE British films and all period costume dramas AND all based on real people. What are the chances of that? Having been lucky to see both The Favourite and Colette at LFF last year, I will hopefully be catching Stan & Ollie later this week.

There are far too many stories about women who have propped up men's careers at the expense of their own, fictional or otherwise and say this not as someone who is fed up about hearing about them, but as someone who is appauled that there are just so many. 'Colette' is no different on the surface, as it tells the story about Gabrielle Colette who married Henry Gauthier-Villars, 14 years her senior, famous writer known as 'Willy'. With ideas at his 'factory' drying up, Willy persuaded his wife to write, thus creating the 'Claudine' series. But as Willy was the famous writer, all the novels were published under his name. As 'Claudine' rose to such famous heights, books sold out in bookshops everywhere, the novels adapted into a stage play, her picture on products aimed at young women, Colette wished for her named to be credited alongside her husband's, which he refused.

'Colette' explores her early married life with Willy, her twenties where she created Claudine, the success of her work and her wish to be acknowleged as the writer as well as her strained marriage with Willy, who, a know libertine, had affairs and even encouraged Colette's own affairs with othe women. It would seem that this story doesn't aim to shock but to witness Colette's flurry of creative and sexual desires. She experiences a sort of freedom when she writes about a ménage à trois between herself, Willy and a married woman, even though it seems as if her creative alliances come crashing down for a moment at the thought of her books being burnt. The film is occupied with three main things, Colette's beginnings as a novelist, her marriage to Willy and her burgeoning sexuality. With the author blurring the lines of her fictional character, Claudine's exploits, as the books were inspired by truth, Colette is in danger of being swept up with the Claundine hype. Her choice to take to the stage seems an odd career choice and more of a creative release.

Needing and wanting a release feels like the real theme of the story, rather than Colette just wanting recognition for her work and her husband taking all the credit. It would have been interesting to see what happened to Colette, post marriage breakdown and post Claudine, as she continued to write, most famously, 'Gigi', which was adapted and made into that 50s musical about a young girl who is being groomed to become a courtesan. But do not think that this film falls short of his dramatic and biopic service, it has a great cast, actually welcoming to see Keira Knightly back in a role that suits her perfectly and Dominic West bringing the house down with his awful obnoxious Willy. A story with more to tell and true heroine that has far more to her that what we see on screen.

#Colette

@LionsgateUK

#LFF