Sorry, Baby

 

Its difficult to get the balance of a portraying a serious issue and finding the absurd comedy within it. Sorry, Baby manages to capture this near impossible feat without diving deeper into complexities and yet the characters within the story feel natural, nothing is forced. There may be one or two encounters within the film that are definite staples of an indie drama but aside from these, the story plays out in a satisfying and above all, realistic way. Perhaps the reason why this film is so bitingly comical is because of its naturalistic characters and their behaviours. 

Three years after being sexually assaulted by her advisor during Grad school, newly appointed college professor Agnes reflects on the time its taken for her to try and heal. She welcomes back her best friend Lydie who helped her through the initial shock, recognising how far both have come in the last few years.

Full review over at Filmhounds

Lisa Frankenstein

 

Sometimes, stories are just better when retold in a fun, amusing and original way, especially when they are inspired by a literary classic. Mary Shelley’s Frankenstein has been the source of many versions, either faithful or a complete twist of the story. Lisa Frankenstein is both familiar and a bizarre iteration. Mixing together 80s teen rom-com and slasher components, the Frankenstein elements are closer to a spoof film, which is nowhere near a bad thing.

Full review over at Filmhounds.

Love Lies Bleeding

 

Love stories can appear in any genre and love coupled with revenge makes for one passionate bloodbath. Director (and co-writer) Rose Glass’ much anticipated follow up to religious horror Saint Maud (2019) has had audiences all geared up for what set to be a hot, sexually charged, bloody chaotic story. Glass absolutely delivered on the promise all the trailers and posters had set up. 

When small town gym manager Lou meets body builder drifter Jackie, there are immediate sparks. But after one violent incident threatens to tear the two apart, they are set on a path of chaotic revenge, each doing anything they can to protect the other.

Full review 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.

 

The Royal Hotel - BFI London Film Festival

 

When we see two women with backpacks in the middle of nowhere, the assumption is that we are about to watch a horror film. With one friend lusting for adventure and the other keen too but far more cautious about their surroundings. Director and co-writer Kitty Green sets us up to both show that horror doesn’t have to be displayed on screen and steers clear of a predictable narrative. The result is a highly tense thriller that has your mind racing throughout. 

Friends Liv and Hanna run out of money while travelling in Australia. To make some cash before resuming their grand adventure, they take jobs at a remotely located bar. Quickly assessing the situation, the more than rowdy regulars and the ‘culture’ of the town, Hanna wants to leave. The more open to anything Liv however wants to stay. After one too many uncomfortable incidents and altercations, the tension that Hanna feels surrounding them, comes to a climatic breaking point.

Full review over at Filmhounds.

Jess Plus None - BFI Flare

 

When old and close friends are gathered together for an important occasion in an unusual location, chaos, intrigue and revelations are bound to be happen. Jess Plus None has exactly the right mix and perfectly uncomfortable setting; a wedding in the woods involving camping, to create a romantic comedy that follows the same genre beats but has an entertaining group of characters that gives the film a boost above ordinary.

Jess Plus None screened at BFI Flare 2023

Full review at Filmhounds HERE.

Egghead & Twinkie - BFI Flare

 
Egghead & Twinkie is nothing ground breaking, we’ve seen these characters many times before and seen this story play out with both tragic and happy endings. However, there is something very charming and blissfully idealistic about the two best friends’ journey. But this is primarily Twinkie’s story, despite the title suggesting otherwise. Wanting to meet the girl she’s been talking to online for months, Twinkie convinces her best friend Egghead, who may still harbour feelings for her, to come with her on a last-minute road trip. Along the way truths are shared, feelings are hurt and new friends found. A ‘classic’ road trip film for the Gen Z crowd.

Egghead & Twinkie will have it's International Premiere at BFI Flare 2023.  

Full review at Filmhounds HERE. 

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.

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.

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. 

Titane - The F Word

 

Julia Ducournau’s latest film is hybrid of a story, meshed together with blood, sweat and oil. Dragging you into the depths of a truly disturbed mind and making you watch as everything descends into chaos around her. And what an experience it is. Shrouded in mystery before being revealed at Cannes, the entire plot has been a well-kept secret and for good reason. It’s very rare to not know and be able to find out exactly what happens in a film these days so when the opportunity to disguise the actual plot, even in the trailers, that is sign that this film needs to be seen how it was meant to, on the big screen.

Full review over at The F Word HERE.

Watch List 2021

 

It’s been yet another strange year, in general and for film too. Having stopped posting my monthly watch lists, which I thought weren’t needed anymore, I didn’t want to miss out on the year round up or rather what I feel are my top films from the year. Unlike like every other year, I haven’t been able to get to the cinema as much as I usually do. Even during 2020 I managed to see the ‘big’ and festival films. This year however, with a mix of virtual and in person events, I haven’t seen all I wanted. Including not making it to all the festival films I wanted. This list comprises of those that were released this year. There are a few omitted because they are released in cinemas/online next year and will most likely appear on my list in December 2022. 

Having forced to be more select, due to availability and the films being on at the cinemas near me, I saw all these films online rather than a cinema. This also meant I missed out on more of the big blockbuster films which is why they don’t appear on my list. I absolutely loved The Suicide Squad but I felt that it wasn’t as good as the other titles on the list.

This was always going to end up on my best films of the year list, although I saw this in 2020, the film was officially released in 2021. The sheer brilliance and captivating character of Cassandra and her request for revenge is poured out HERE if you care to relive this film with me. 

Another early in the year favourite that had stuck with me throughout. A horror story with a thriller twist and fascinating character at the centre of it all. I got to talk to the director Jill Gevargizian which gave me more insight into the filmmaking and creation, which is maybe why I love this film more than other female fronted films this year. Interview in full HERE as well as the review HERE. 

As a very avid fan of Tove Jansson and her Moomin books, I was of course very excited to see a film about her life. A very specific part of her life is explored in the biopic and love hate relationship with her own creations as well as her broken heart over her first love affair. The review in full can be read HERE. 

I have been meaning to write a full post dedicated to this great film but I could never quite capture the glee and joy I had watching this film about female friendships as well as teenage rebellion that didn’t feel cliché. Plus, the use of zines and riot grrrl camaraderie was always going to be a win my eyes, personally. Directed by a favourite of mine, Amy Poehler so I knew this would have an edge to the other teen dramas before and this definitely stands out in the sea of lesser than films. 

Story aside, because who can resist a film set entirely at a wake where a young woman is trying to hide several lies, she’s told to several people, plus avoiding certain people and try to find out more about the older guy they’ve been sleeping with, all in a closed environment, its brilliantly executed but truly, it’s the soundtrack that gives this film the perfect horror like atmosphere. If you want to read more, full post is HERE. 

Based on a true story recounted on Twitter, enough said. This was either going to be a hard sell or the best film adapted from said Twitter story. There’s nothing quite like it. Read more about the film HERE. 

 

With the video nasties of the 80s as a backdrop to this sinister story about a censor who believes her long lost sister is in of these horror films, reality is blurred with hallucinations and dreams. It was great to be back in the cinema for a special event after such long time. The entire post can be read HERE. 

Having no clue what this film was about except that I had been very excited to watch it, this slow twist thriller was one that exceeding my expectations. My spoiler free as possible post is HERE. 

Like most films this was pushed back and there was a worry we wouldn’t even get this in the cinemas. A science fiction saga spectacle deserves space, especially such a story as this. Although the books by Frank Herbert have been adapted before, they hadn’t had the Denis Villeneuve treatment and going by his previous sci-fi films this was the right director to bring this story of spice, warmongering houses and chosen ones to the life. It was exciting to see such an epic back on the big screen again, perfectly timed it turned out to celebrate the 20th anniversary of The Fellowship of the Ring, the film that brought back the epic and changed the landscape of cinema. Dune feels like its going to be the start of something spectacular. 

 

I feel like I’ve been writing about this film for months (I actually have). The film that shook Cannes, the film that will shock you and all that PR jazz, this film is fantastic, do believe the hype. Read more about it HERE.

If anyone is interested, I have zines for PROMISING YOUNG WOMAN, THE BETA TEST and TITANE - message me on Twitter or Instagram (@shelikesmovies_)

Petite Maman

 

Following on from her powerhouse romantic epic, Portrait of a Lady on Fire, Celine Sciamma returns with a very different story, an intimately framed portrait about a mother and daughter who meet each other at important times in their lives in Petite Maman. We sat down with the director-writer before the film was to screen at BFI London Film Festival to discuss her latest masterpiece, filmmaking, collaborating with actors and her thoughts on disparity between stories centred around girls and boys.

Full interview is over at Filmhounds HERE.

Titane - BFI London Film Festival

 

One the films that is guaranteed to shock you at more than one moment, this is the film that dares to go the whole nine yards without breaking a sweat. Made up of several parts, horror, thriller even fantasy if you can call sex with a car fantastical, the film and its creator Julia Ducournau knows no bounds. 

 

Full review over at Filmhounds HERE.

The Lost Daughter - BFI London Film Festival

Stories centred around motherhood tend follow a pattern and always have characters that take a strong stance whether it is about believing that having children is the thing that women should do and on the other side believing that children is not a vocation that every woman can adhere to. The Lost Daughter is that painfully honest opinion that is rarely explored, whether motherhood is for everyone and how admitting that you regret having children is one of the biggest taboo subjects. So much so that it is never once said out loud. 

 

Full review over at Filmhounds HERE.

Passing - BFI London Film Festival

 

There is beautiful imagery throughout with some innovative framing, looking and feeling elegant throughout with a story that is, unfortunately timeless, Passing is a solid debut from Rebecca Hall. 

 

Full review over at Filmhounds HERE.

Queen of Glory - BFI London Film Festival

 

On the cusp of starting a new life in Ohio with her boyfriend, as soon as he leaves his wife, scientist Sarah is left shocked when her mother suddenly dies. Hit with a wave of responsibilities and an inheritance of a Christian bookshop to take care of, Sarah becomes overwhelmed, especially when her father returns from Ghana, causing more issues. On top of all this, she can’t even find a way to grieve her loss.

 

Full review over at Filmhounds HERE.

The Souvenir Part II - BFI London Film Festival

 

When Joanna Hogg’s very personal and semi-autobiographical The Souvenir was released in 2019 the critics were split. Not quite as dramatic as some of the blockbuster films that were released around the same time but there was a definite split of opinion. Where the first part explored a toxic and strangely passionate relationship as well as glimpses into film school, The Souvenir Part II has a very different vibe and energy, a sense of anguish and despair with bursts of creativity that are far more captivating than the first part of this story. 

 

Full review over at Filmhounds HERE.

Fatal Femme: Park Circus Guest Picks

 

Loved writing this - got to pick my favourite 'Fatale Femmes' for Park Circus in the lead up to Halloween.

There are so many characters to choose from but I think these women needed a special mention.

You can read the full list HERE.

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.