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.

Edinburgh International Film Festival - The Beta Test

 

These days it’s rare to come across a film without having any prior knowledge of it. With posters, trailers, stills and various degrees of social media coverage, you can find out so much about a film before you even see it in the cinema. Or at home. The Beta Test was shrouded in mystery after it was selected at Berlinale and secured distribution which is what has given this film its edge. On the surface, it seems like similar stories about the wealthy and obnoxious pawns of Hollywood who swan around acting like they own the town until one small thing makes them stumble but it’s the execution of this strange tale that makes it stand out from all those other stories and makes you wonder, what’s really going on.

 

Full review and coverage over at Filmhounds HERE.

Watch List: May & June

Luca

Pixar and Disney's latest about two sea monster pals who dream of running away and exploring the world is adorable. The sea monsters themselves are intricate characters who feel more than just legends of the deep. When curious Luca meets confident Alberto, another sea monster living alone on an island, the two immediately bond over their desire to explore. Once the boys make their way to mainland, set in Italy, their story really begins. They meet Giulia, a little girl who's Dad is a fisherman with a cat that finds the boys very suspicious. The story it seems is about friendship and knowing when to let go and move on, but of course with Pixar there always has to be statements. The film morphs from one lesson to another, accepting others, trustung your friends and about family. One aspect which is neglected is the reason why Alberto is alone on an island when we first meet him. We get a slight insight but nothing more than one tear soaked scene and nothing more, which is shame. Overall, its an adorable story set by the idyllic Italian coast, a sweet getaway when you can't travel. 3/5

Shiva Baby

 

Full review HERE 4/5

The United States vs 

Billie Holiday

 

Full review HERE 

Summerland

 

Having missed this film, the first time round last year, I caught up with the sweet story about a reclusive writer of folklore and young boy separated from his family, far from home. Although there is heartfelt story of lost love in flashbacks and a revelation at the climax of the film, this is really all about two lost people needing comfort, one knowing and other not realising they missed it. Gemma Arterton is brilliant as the moody writer who has shut herself away from the world to the annoyance of the village, but this role suits Arterton perfectly. Adding the beautiful location, this sweet story by the coast during wartime is a delight. 3/5

Dinner in America

 

Full review HERE

When Marnie was there

 

Adapted from the book of the same name, the film brilliantly exports the story from its origianl location to a small country town in Japan. Anna is sent away to stay with relatives of her foster mother so that she can get well again. While in the town Anna becomes obsessed with a house that sits away from the town across a marsh. She has dreams about a girl named Marnie until she actually meets her in person. But its very clear the two girls are from different times but somehow can interact with each other at certain times. Over her stay, Anna tries to find out the mystery of their connection and who Marnie really is. The story is very on brand for Studio Ghibli, feeling grounded in the real world and the spirit world. The friendship between the girls is developed very quickly as if they already had a predetermined connection. Capturing pure joy and lonliness is the art that Ghibli has created so well over the years and this is no different. 4/5

God's Waiting Room

 

Full review HERE 

Nomadland

 

There was such a lowkey hype about Nomadland at festivals that I didn'y may close attention. There is no clear storyline or plot, just a year in the life of Fern, a nomad who drives from site to site taking on seasonal work in different states. We get to see her with her fellow nomad friends, on own adventure, with her sister who doesn't understand her lifestyle and in her town that no longer exists. Not only a comment on how the recession affected certain people and age groups, its showing that there are other ways to live but there is an underlying comment on how town can be so reliant on a factory to keep everything turning but within a blink of an eye that town can just disappear. Beautifully shot, a sombre character piece that is full of sadness and joy at the same time. 4/5

Shiva Baby

Capturing the age where you have just left university or school and you’re about to be flung out into the world with nothing but a piece of paper to say what you’ve achieved from the last few years is daunting. You look around at everyone else and they seem to be getting it together. They have a flat, relationship, job offers if not a job already and all you can look forward to is going back to your parents’ house, back to your old room and the what seems like the endless search for a career. This is all ten times worse if you really have no idea what you want. Shiva Baby encapsulates this horrific feeling of inadequacy perfectly as well managing to include heightened anxiety inducing sequences and situations. It’s definitely a film that sits apart from the rest of the films out there right now.

 

Danielle, a college senior about to graduate is in a sexual relationship with an older man, Max, her sugar daddy. After seeing Max one day she rushes to meet her parents at a shiva where she runs into Max, his wife and baby daughter. Throughout the awkward exchanges with numerous relatives and friends in the community, Danielle tries to stay calm and keep her secret as well as the mess that is her life, from falling apart. She also sees her ex, Maya at the shiva, who doesn’t exactly help the current situation. 

 

As a directorial feature debut Emma Seligman, who also wrote the screenplay, captures the essence of the character of Danielle to the point we know almost everything about this young woman. Not just from her interactions with others but her demeanour and expressions through the shiva. Comedies, with a darker edge, that are usually set up like this story often descend into madness but thankfully there is not such over blown breakdown, no huge climax bringing everything to a head. Not only does the story and characters feel relatable, but place these characters at another function, family gathering, occasion and you can image yourself in Danielle’s position of feeling trapped and hopeless. 

 

There are quite a few themes throughout that aren’t expanded and are touched upon, which, in this setting, makes far more sense, being that the story spans (roughly) the same length of the actual film. The feeling that everything is condensed adds to the heightened anxiety and claustrophobic nature of the film. The score creates a blissfully horrific undertone throughout, turning normal conversations into some of the most painful interactions. If there was one downside to the entire film it’s that Danielle is seen as ‘the bad apple’ because she was taking money from Max, even though he happily gave it to her. Yet Max failed to mention his wife, his child, the fact that the money was actually his wife’s and that the Soho flat wasn’t where he lived. He lays guilt on to her midway through the film but Max is not called up on about his transgressions, which seems unfair. 

 

Danielle’s bisexuality is commented on but not delved into depth, the obscurity about her degree and what she studies as well as what she wants a job in and the financial agreement between Max and Danielle all adds to the over whelmed atmosphere that there is so much going on beneath Danielle’s surface. The relationship between her an Maya is pieced together through shared moments until the final shot gesture which gives hope that Danielle will have stability and certainty.

 

 

Dinner in America

 

A mixed bag of drugs, arson and awkward family dinners, all wrapped up in punk attitude and music, its one hell of a slice of Americana. Though it doesn’t feel guaranteed from the beginning, there is an unusually sweet romance that blossoms through the screams and punches, as well as fantastic song that you’ll have in your end long after the credits roll. 

 

Full review over at Filmhounds HERE.

Dramarama - BFI Flare

 

Coming out stories can vary from film to film, but when they are of the teenage variety, there is usually drama to be found. Dramarama is not a fresh take on this momentous moment in a queer person’s life but it is a familiar set up with a fun and sometimes playful story with cookie cutter characters. The group of friends feel stagnated but also comforting to watch, a throwback to being young and ambitious and when a time when everything felt like a huge step. This story is ultimately not about someone coming out to their friends but rather a last hurrah to teenage-dom and a farewell, for now, to friends.

 

On the eve before Rose leaves for college, she hosts a murder mystery party for her friends to enjoy. All into drama, musicals, literature and theatricals; Claire, Ally, Oscar and Gene, lepat the chance to play one last game before they too leave for college. Being close friends, knowing each other better than themselves, there is of course the fights, the secrets revealed and the religious discussions. All the while Gene struggles without how to come out to his friends unsure how they will take this news.

Set over one night, five very close friends spend the evening and night hashing out everything they’ve kept bottled up as well as remembering the good times, including games they played, quoting films they love and just having or trying to have fun. The group all have very clear-cut personalities which is laid out so meanly by JD, the only outsider to feature in the film. Seen as the cool drop out by some, sad and pathetic by others. Rose, the party host is the uptight one, needing to control everything. Claire is the innocent prude who is happily going off to Christian college. Oscar is the blowhard who tries to impress others but really doesn’t know what he’s doing and hasn’t quite admitted to himself who he is. Ally is the straight talking honest one, out of everyone, she is open minded. Then there’s Gene, who is going to community college and just doesn’t know how to come out to his surprisingly narrow-minded friends. At least, they are narrow minded when it comes to religion which comes quite frequently throughout. At times its uncomfortable to hear their views, especially when they play a game where they pretend to be gay and re-enact tableau of gay couples getting caught in a flashlight. Really bizarre. Maybe there is some pent up energy that the group doesn’t want to admit to, at least that is most likely the case with Oscar.

 

The better moments are when the friends are in twos, those are when they open up to each other, sometimes tentatively, but these are still the more intimate and realistic moments. No drama, just being honest with each other. It’s clear this group of friends are going to miss one another out in the world alone so it’s nice to see that arguments are not left hanging and bad words aren’t exchanged towards the end. There is an optimistic feel to the end of the film that these friends will see each other again.

 

 

The Stylist - Final Girls Berlin Film Festival

Horror is a genre that takes all shapes, sizes, fears and even desires. It’s a genre that homages what came before its (like most genres) but it also has one of the most dedicated fanbases. When watching a new film in this genre, the need to compare it to others is automatic, whether it is in praise or disappointment. To come across something incredibly unique is a rare and beautiful thing and that is exactly what The Stylist is, in all its elegant gory glory.

For the full review, head over to Filmhounds HERE.

Interview with director Jill Gevargizian - Final Girls Berlin Film Festival

 

After the success and acclaim of her short film, The Stylist, back in 2016, director Jill Gevargizian decided to transform the short into her feature film debut. Following the lonely hairstylist Claire, played by Najarra Townsend, as she becomes obsessed with her clients lives, wanting to connect with others but instead feeding her own disturbed desires. As well as directing the film, Gevargizian is also a co-writer, producer and even has a cameo. Ahead of the Final Girls Berlin festival this month, we caught up with Gevargizian to talk about how this elegant horror came into being. 

 

For the full interview head over to Filmhounds HERE.

Anything For Jackson

With hints of Rosemary’s Baby mixed into this gory tale of grief and obsession, Justin G. Dyck’s Anything For Jackson really does get under your skin and stays there even after the bone chilling end.

 

Mourning the tragic death of their grandson, Satanic couple Audrey and Henry, kidnap a pregnant woman in order to use her baby to bring their grandson back. Using an ancient book and reciting a ritual they don’t quite understand, they invite more than Jackson’s spirit into their home.

 

Having made quite an impression at the latter end of last year, Anything for Jackson is something of an oddity as well as any horror film aficionado’s dream. Packing into the film several terrifying moments, twists and turns, the sweetest Satan worshiping couple you’ll ever see and of the most architectural marvels of a house. As the bare bones of the plot is easy to add on to Dyck is able to add more into scenes and the main characters. Beginning with a calm and distressing hoping, which is given context through a flashback later on in the film, the story unfolds in a peculiar way, creating tension and curiosity. This is thanks mostly to our protagonists, Audrey and Henry. They are in a Satanic cult but are also a friendly doctor and devoted grandmother. They are the least suspecting couple to kidnap and perform dangerous and evil filled rituals on, but grief does take us to dark and desperate places. Despite the heinous acts Audrey and Henry commit, they remain themselves, never over dramatic, never cruel. Treating their captive with as much dignity as they can without letting her get away. The bumbling behaviour of people their age is also brilliantly observed and manages to stay authentic amongst the ghosts and Satanic church gatherings. 

 

Strangely enough, director Justin G. Dyck’s background has been in making cheerful, frothy ‘holiday’ films, but they have prepared him for his transition to the dark depths of horror, keeping the family element alive here. With familiar genre tropes used, the injections of dark comedy seep through the crack and a make a clever relief from the gore and blood we’re inflicted with. The best moments and scenes in the film belong to Shelia McCarthy and Julian Richings as the central couple. Their chemistry and charm are what makes this horror an utter delight to watch which you can’t say for any other film in this genre out there. The surprises thrown out throughout the film, including the bloody end, are ones we’ll hopefully see in more ‘traditional’ horror films, just to keep things fresh.

Summerland

No, not that British film that came out a few months ago, this is SUMMERLAND! The road trip film that was shot on an RV that was both set and the cast & crew's accommodation. A crazy ride on and off screen.

 

Best friends Bray and Oliver are planning on going to music festival Summerland to celebrate graduation. Oliver’s girlfriend Stacy also comes along, providing a much-needed RV for the trip. Unknown to his travel buddies, Bray has been using Stacy’s photos pretending to be a girl talking to a guy online who he hopes to meet at the festival. Along the way to the festival, the three companions visit different places and cities, determined to have a good time. 

 

There are several ethical things that come up in the story that should be addressed that aren’t really solved, some with little consequence. Ultimately, the story isn’t about such issues, merely points that dress up the main story and theme. Luckily it isn’t cliché as it may seem. Both Bray and Oliver have to accept realities, Bray that he can’t hide behind a lie, Oliver that he has to leave the US. Stacy is the unlucky female character caught in between them, serving the purpose of being the catalyst and victim of their selfishness. She provides the transport for the journey, she practically bank rolls the trip, she is being lied to by Oliver and being used (to an extent) by Bray, for which she never really finds out how or why, at least we assume she doesn’t. Her only reward is that she gets to experience some of the music festival free from the burdens she had at the start. Although one of the fallouts from the trip we don’t see is how her parents react to her taking the precious RV. Oliver and Bray’s journey is both physical, on the road to the McGuffin of a festival and personally. But that fact that Bray was pretending to be a girl in order to meet a guy online is never really addressed properly, which doesn’t quite sit well. Oliver using Stacy’s credit card in Vegas after disappearing on them is also never really addressed properly either. We don’t find out what he was actually doing, again, this doesn’t sit well. It’s difficult to feel for the characters because of these issues but if we think about the fact it’s not about who’s on the journey, it’s the journey itself, it’s easier to just go with the flow of the story. 

 

 

 

The film should be commended on how it was actually shot, with the entire cast and crew travelling from location to location on the RV and shooting on it too. They got away with shooting in certain places without permission and permits, which is no easy task. Its impressive with what they all accomplished and I would be keen to see what the Lankyboy team create next. 

Any road or journey film goes through its similar stages and beats, with the characters growing or coming to an understanding and conclusion. But this story ends in a much more satisfactory way, picking up as it started but with the characters in a much better place, where they are meant to be. The places and cities the three companions stop off at on the way to the festival are the real moments of clarity, especially early on when the three of them jump off a waterfall. Illustrating the giant leap the journey really is and not just a road trip to a festival.

 

Summerland is available now on VOD.