100 Nights of Hero

 

Courtesy of Vue Lumiere

As the closing night of the BFI London Film Festival 2025, 100 Nights of Hero was always going to have a spotlight on it. But in truth this whimsical (on the surface) fantasy romance may be slightly too odd at first for an audience. At a glance it seems like another version of the famed Middle Eastern folktale, A Thousand And One Nights, from which it takes its inspiration, but digging deeper this is about the power a story can hold as well as a love story buried just below the surface. 

In a world not too similar to our own, a young woman, Cherry is left alone by her neglectful husband Jerome. He secretly makes a deal with a friend, Manfred, to test Cherry’s fidelity. If Manfred successfully seduces his wife, he gets the house and if he loses, Cherry will be executed, which seems win-win for Jerome. But Cherry’s fiercely loyal maid Hero has also been left to watch over Cherry. To distract Manfred from his plan, Hero tells a story each night, but how long can she keep him at bay?

Full review over at Filmhounds.

The Ice Tower

When watching a Lucille Hadzihalilovic film, even when you have no idea what the story is, you can expect something very different each and every time. Though there are stories to play out, full of mystery and existential dread, the atmosphere is set, the tone is understated and you can bet there will be a memorable character and an uncomfortable feeling in the pit of your stomach. The Ice Tower, slightly different from Hadzihalilovic’s previous offerings, in that the setting feels more definitive. Starting in the mountains, then travelling to a city and finally a studio where a film is being made. But this is not a story about the film industry, this is about infatuation and desire.

Teenage orphan Jeanne decides to run away from the current home she is in. Ending up in a city she recognises from an old postcard, she takes refuge in a studio. A film adaptation of The Snow Queen is currently being shot, starring the enigmatic actress, Cristina. As Jeanne slowly becomes infatuated with Cristina, she finds her way to being part of the production. Cristina equally is fascinated by Jeanne, though her motives become more and more unclear as the film nears its end.

Full review over at Filmhounds.

The War of the Rohirrim

 

The Lord of the Rings has a lot to answer for. As much as this trilogy has shaped cinema, whether those who dislike the films and fantasy don’t want to admit, TLOTR were three films to be admired. Changing the way blockbusters are made, stepping up the use of practical and VFX and not to mention the rich storytelling and world of Tolkien, these films have stood the test of time. However, once they had all released, they left a void that studios wanted, needed to fill. The Hobbit was made, but unfortunately three films was too much. Then Amazon decided we needed another prequel, and instead of following the many books Tolkien wrote about Middle Earth, we were gifted The Rings of Power. The show divided fans of TLOTR and the books alike. But the most irritating part of The Rings of Power is the use of The Lord of the Rings name, using like a brand. This was disappointing we; the audience couldn’t just enjoy the show for what it is, a story with new exciting characters. We are forever doomed to have the characters from TLOTR loom over these tales. When it was announced that there was another film on the horizon, this time animation and set in Rohan, there was intrigue and even excitement. But when once again TLOTR was slapped on the title, you could feel fan’s hearts sink. This branding that studios insist on having ruins the feel and tone of the film before anyone has even seen it. We are pre-programmed to expect to love what we are about to see just because of the branding. Something the studios really need to rethink. Leave The Lord of the Rings alone. By all means, create something new but stop branding it incorrectly, especially as War of the Rohirrim has nothing to do with TLOTR.

Set many years before The Hobbit, and years before The Lord of the Rings, we are told about Hera, daughter of king Helm Hammerhand of Rohan. Narrated by none other than the Shield Maiden of Rohan herself, Eowyn, she tells us of a tale about someone who could have very much inspired Eowyn’s actions in TLOTR. When Wulf, a banished son of a disgraced lord of Rohan returns for vengeance, set on killing Helm, Hera and her two brothers, the entire Rohan is threatened. After a brief battle, the people of Edoras retreat to their stronghold, a place very familiar for fans. There they try and out wait their enemies who surround them. After a series of tragedies, Hera is the one who stands up for her people and executes a plan to win back the crown and defeat this villain once and for all.

With very brief mentions of neighbouring Gondor and dig about how they cannot be trusted, along with one quick relevant cameo and a name drop. The War of the Rohirrim thankfully doesn’t fall into the same trap as The Rings of Power. The story and characters are heroic, stoic, and devastating but despite being new additions, they are far from fresh. Acting as stock characters in any other fantasy or historical drama, the story feels more like a Studio Ghibli film, complete with a ‘strong female lead’ who even mentions several times she doesn’t need a man and doesn’t want to get married. While this may seem progressive and what people think feminism is, by now, this feels old hat. Even the entire reason for the war in the first place seems like a very tired trope, with the villain, Wulf wanting revenge for his father’s death, it seems far more obvious he was annoyed Hera rejected him romantically. Thousands die - its war after all - but all because a woman said no to a man. Stripping the narrative to the bone, this is essentially what happens.

Another aspect that lets the film down is the length. A third of the film is set during a siege in Winter whether nothing momentous happens. Apart from a not so mysterious being is killing the enemy one by one. But this section drags out and it’s a shame as the action and momentum the film began with grinds to a halt and tries very hard to pick up the pace at the end but fails to rekindle the magic that could have saved it.

But it is not all cold weather and angry little men, we learn some of Rohan’s history and some mythology about certain creatures. Though the battle scenes feel and look very familiar, one is very much like the Pelennor Fields and the other is literally at Helm’s Deep (spoiler, the stronghold was named after Helm), but they are thrilling to watch, especially without the presence of Elves and the Fellowship. The animation is also the most stunning element of the film. The filmmakers have captured why we all fell in love with Middle Earth and focused in on lands that are (at first) intriguing to explore. But as for further tales of Rohan? If they were to be something completely new then they would be welcomed but of its more of the same, we have certainly reached journeys end.

Poor Things

In the wake of Academy award nominations, the somewhat fantastical science fiction comedy Poor Things is garnering further attention, both sceptical and admiring. The outcry from many was that this was a film about a woman’s liberation told through the eyes of a man (which happens often) and on the other hand it was an inspiring look into a woman breaking free from society, filled comments on current and past depictions of society and its expectations.

Bella Baxter, a young woman, resurrected and implanted with the brain of her foetus, by the Dr Godwin, begins her life anew. As she gradually ages and wants to experience more, she runs off with a cad of a lawyer to Europe. Along her journey of self-discovery, sexual liberation, she learns of philosophy, and what it truly means to be independent.

 

Adapted from the novel by Alasdair Gray, of which is told from the perspective of the male characters, the film fully concentrates on Bella Baxter’s journey and her views of the world. We see Bella being able to break free from several constraints and that includes the male characters in the story who all seek to control her at some point. This could be a feminist story but not a universal one.

 

We see Bella breaking free from society and its expectations, but to gain much of this liberation, she had to join a brothel. It’s incredibly frustrating to continuously see this depiction of sexual liberation on screen. There has rarely been an alternative. A series of events happen for Bella to end up in this situation, but the key being, she ultimately chooses to stay working in the brothel. But at first, she is too naïve to understand what is happening as she is still, technically, young. This woman’s liberation is through sexual exploitation, firstly by the lawyer who brings her to Europe in the first place, and then by her first encounter at the brothel.

 

There is something satisfying about Bella being desired continuously along the way by all these men, wanting to control her, keep her locked away but she ends up outwitting them, or in fact taking control of them in various ways. BUT at the same time, that continuous mention of how beautiful Bella is, is also how she able to behave outrageously without consequence or severe punishment. Her ‘pretty privilege’ is not discussed at length as most are too focused on the sexual elements and male controlling women, but it is something to be noted.

 

The steampunk Victorian set period makes for a fantastical world where places and things are twisted to suit this director Yorgos Lanthimos’s film world. These are the most enjoyable elements about the films, aside from the comedic dialogue and the scenes with Mark Ruffalo as the cad lawyer, Duncan Wedderburn. But the story and Bella herself are at times, too hard to swallow and the choices made to depict a woman’s liberation feels too one note and are rather basic ideas

Das Cabinet des Dr. Caligari

 

First released in 1920, The Cabinet of Dr Caligari, will always be one of the silent films that will live on through cinematic history. This German expressionism silent horror, originally inspired by the writers Carl Mayer and Hans Janowitz’s experiences during World War One, is known for the twist ending and story structure, which apparently were not included by choice by the writers. Yet these devices are part of the reason the film has gained its iconic status, along with the style and design of the film that will forever be recognised.

Full review over at Filmhounds HERE.

Is Aslan on the move?

 

The Chronicles of Narnia were my fantasy realm for years. Although I would proudly say that The Lord of the Rings are my favourite films now, but before December 2001, Narnia was my Middle Earth. I loved the books, loved the BBC adaptations of old, I used to the rent them on VHS from the library all the time. I couldn’t imagine the stories I grew up with being spun out on the big screen but when the years of fantasy ruling the box office were in power, it was inevitable that C.S Lewis’ series would eventually be adapted. It's quite surprising how long it took for the books to be adapted and given the blockbuster treatment but when they were, Hollywood decided to start with the most well-known book, ignoring the actual first in the story. But thankfully in storytelling terms, at least cinematic ones, to have the prequel later on, makes sense. The Magician’s Nephew, the first book will hopefully see its day on the big screen. The BBC TV series also never included this strange tale involving other worlds and the actual creation of Narnia. 

When Disney took up the helm, releasing The Lion, the Witch and the Wardrobe in 2005, the stories literally came to life and were surprisingly loyal to the book, with added CGI flare of course. Shot in New Zealand and with WETA working their magic, it felt that fantasy stories were continuing to dominate the box office. This continued with Prince Caspian in 2008 and The Voyage of the Dawn Treader in 2010. But due to a contract expiring, the long awaited follow up, The Silver Chair, was never made. Although there was traction right up until 2018, Netflix announced their plan to adapt the book in their entirety that same year, so The Silver Chair was abandoned. 

Since the big announcement from Netflix in 2018, there have been a few more rumours circulating. Matthew Alrich, co-writer of Coco has joined the project as ‘creative architect’, whatever that means. Then more recently, that Greta Gerwig will direct 2 films in the franchise. With this new news, it feels that there is hope that the project will still go ahead.

Over the past 4 years, there has been plenty of speculation as to how the books will be adapted, whether they will be made in order or follow a similar pattern to the Disney films (which skipped two films). But there is a safe bet that all 7 books will be made into films. Netflix has also stated they want to create a Narnia universe, like Game of Thrones. Whether this means new stories (hope not) or they are referring to the prequel story, as it technically is, The Magician’s Nephew and The Horse and His Boy, which does not heavily feature any of the characters in the other books.

I embraced the Disney films, even though I’ll always love the BBC series from my childhood. I was disappointed that not all the films were made, especially as Will Poulter was cast as the perfect Eustace Scrubb. But at least one of my favourite books in the series, The Voyage of the Dawn Treader was adapted. I’ve been waiting over 30 years to see The Magician’s Nephew though, my other favourite and I’m really hoping Netflix don’t let me down.

All I hope for is that they stick to the source material, no modern-day versions please, that would be dire and kill the entire series. Keep to the time periods the books are set in and the characters as described. It’s a fantasy series so go crazy in the fantasy parts of the stories not those set in ‘the real world’. If they need pointers on how to adapt a series well, just look to A Series of Unfortunate Events. Yes, they added a few bits but the makers stuck to the books, the characters and kept the essence and atmosphere of the source material. Yes, this was TV but the format worked for the stories. Narnia works better as films. But you can see what I’m trying to say. Stick to the source material and embellish smaller parts that will not ruin it all.

With such a rich tapestry to work from and so many great characters across the books, there is a lot of potential. Of course, there are going to those obvious religious undertones and allegories galore that might not appeal to everyone (at secondary school we were actually taught the books in RE (religious education) and we read the books in primary school). But at heart the books are fantasy that can be enjoyed by all. Fingers crossed Netflix gets them made!

My Father's Dragon - BFI London Film Festival

 

Fantasy stories aimed at children are made of a special kind of magic. Not everything is filled with logic and you tend to believe everything put in front of you. There is a delight in letting go and being taken along for the cinematic ride. My Father’s Dragon is a story that fills your heart and soul with joy and even despair at times. It captures the innocence of childhood and offers up harsh reality alongside its fantastical moments. Cartoon Saloon has done it again, created another film that you’ll want to watch over and over, no matter what age you are.

Full review over at Filmhounds HERE. 

The Northman

 

As Hollywood goes through it’s trends, releasing films of similar veins, the outsiders continue making films that challenge the norm and new insight to genres that have been neglected. Vikings were once a source for cinematic appeal, briefly. If anyone can recall that over dramatic swashbuckling action film starring Kik Douglas and Tony Curtis as friends and rivals in the 1958 classic, The Vikings, Robert Eggers’ vision will definitely knock any remaining memory from your mind. Eggers’ take on the Vikings is something to behold and marvel at. There is violence, death, horror, copious amounts of blood and deep-seated vengeance at the core. Those who are squeamish, need not see this epic. However, they would be missing out on a truly fantastic mesmerising slice of cinema.

Full review over at Filmhounds HERE.

How The Fellowship of the Ring changed the blockbuster epic

 

Most articles about films that changed the scene start with ‘back in whatever year the film was released, things were different’, which would be absolutely true about Lord of the Rings: The Fellowship of the Ring. Not only was this the return of epic cinema, but everything about the film was new, the CGI, practical effects were ground breaking. But this was a fantasy genre film, the kind of story that would be saved for a small release or in worse cases straight to video. The fantasy genre had not been looked upon favourably by Hollywood but here was the planned trilogy of films, shot back-to-back over a year and half, several years in the making, The Fellowship of the Ring changed cinema. 

The full article is available HERE.

Mayday

 

A surreal at times, when switching from reality to fantasy and with a somewhat obvious overarching ‘lesson’ to be learnt, but Mayday does have some beautiful imagery, cinematic setting and a great cast. 

 

Full review over at Filmhounds HERE.

Fantasia Film Festival - Shorts Selection

 

Often short films can capture the strange and bizarre far better than a feature can. In those few minutes we can enter a universe, a home, a being and feel completely warped by what we’ve witnessed. Fantasia Film Festival always has a selection of delightfully and sometimes downright disturbing to offer in their short programme. Highlighting a selection here that really do leave you wanting more.

 

The Lovers (Dir. Avra Fox-Learner, USA)

A woman with an over dependant roommate feels as if her relationship might hinder her new found romance. Sharing her thoughts, neither knows where this afternoon will lead them.

Whenever a tarot deck appears in a film, there is a sense that we’re not actually meant to know what the reading really means. Here, it is a teaser as one card lays unturned until the gruesome end, taunting us with what it means to the two women. The rather cute set up and sweet hand holding in the park, lulls us into a false sense of security and how we think this story will go. But the third act is so nonchalant, its perfect.

Puss (Dir. Leah Shore, USA)

Stuck in her apartment during the pandemic, Samantha, lonely and horny as hell, tries to find ways get to laid before she goes crazy.

As we are living through this pandemic and having suffered lockdown, some of us still in this situation, we all know how frustrating it is to not do the things you would do with no restrictions. Samantha’s relatable struggles will hit home to many people and find the absolute true humour in her behaviour and her avenues to try to get laid. When the story takes a turn for the very weird indeed, its almost a shock when it turns out its not all a vivid dream she’s having. Although slightly off key, this fantastical element that appears near the end is entertaining enough to pull off.

The Last Word (Dir. Lucas Warin, France)

A writer struggles to write when he discovers he has a certain power.

The classic, writer sits alone in a café trying to write something but keeps crossing out all their idea, or in short, the struggling writer keeps failing, isn’t new but if a writer is the focus, there is a million things that could be created. In this case, the writer’s ability to conjure in front of him what he writes is a fun little story. But this is very much like a certain Ruby Sparks but in a much smaller scale. Thankfully the cruel playful twist at the end makes up for this slightly unoriginal story.

Sexy Furby (Dir. Nicole Daddona, USA)

After the death of her beloved father, a reclusive girl living in the picturesque countryside decides to take her own life, only to have her life changed suddenly by an encounter with a man sized Furby.

This story is as bizarre as it sounds. In such a short time frame, so much is layered between the scenes, you want to try and take every little detail in because you want to make sure you actually saw what is happening. Told near completely through voiceover except for a few spoken lines at the end, this story about a girl who tries to kill herself but is distracted by the presence of a man sized Furby is nothing but entertaining. Played out like a melodrama complete with dramatic close ups and Vaseline on the lens, as well a conversion to Jesus and with a sinister pizza cutter ritual, Sexy Furby is a rare beast of a film, beast intended. A mixture of horror, dark comedy and the weirdest of the weird fantasy, this makes you excited to see what else director Nicole Daddona has in store next.

 

Undine - BFI London Film Festival

 A modern retelling of a folktale about a water nymph who falls in love to gain a human soul is something quite unexpected. There is something in the water in more ways than one.

For my full review, you can read it HERE over at Filmhounds.

Wolfwalkers - BFI London Film Festival

 

Magic, folklore and an unlikely friendship all wrapped up in a beyond beautiful animated splendor from Irish animation house Cartoon Saloon. I cannot express how much I loved this film, every frame is pure delight and it was just so refreshing to see a film about friendship and something other than a fairytale. Folklore is so rich with stories, there is so much to explore.

My full review can be read HERE over at Filmhounds.