Femme

 

Revenge stories always have an intriguing angle, whether we see it from the victim or the perpetrator or from somewhere in between. There is always a new angle to take and Femme delivers us something that we haven't seen in a while, an actual British thriller that has on the edge of our seats throughout. Based on the short film by writers and directors, Sam H. Freeman and Ng Choon Ping, the feature film is tense emotional revenge story that feels relentless. So brilliantly executed, razor sharp characters and compelling performances from Nathan Stewart-Jarrett and George Mackay.

Full review over at Filmhounds. 

Cat Person

 

Dating can provide some of the most ridiculous, excruciating, and horrific stories. There are endless possibilities where dating stories can take you and Cat Person is both just one in a million and a story that really nails down the intricate thoughts and feelings one can feel in the moment. The flirtatious beginning to the absolute insane climatic end, Cat Person explores the paranoia that comes with dating and the gut instinct that something is just not quite right.

College student Margot meets Robert, an older guy, at the cinema where she works. They start texting, fun and flirty messages and she is soon attached, despite a few odd moments with him. Her best friend, and near recluse, Taylor, thinks there’s something not quite right with Robert. However, Margot still decides to continue the relationship. But soon things take a turn, causing Margot to sink into paranoia, believing she is isn’t safe.

Full review over at Filmhounds.

Don't Worry Darling

 

SPOILERS OF THEMES, NOT PLOT

Usually, there is no need for the Cinema assistant to say ‘good luck in there’ when entering the screen. Unless they’ve seen the film and it's particularly awful. But this friendly warning was when we arrived at the cinema to see a group of 15 teenage girls (and a few other smaller groups of girls) all waiting to get into the screen, but had to have their IDs checked. Usually, a large group of teenagers in general is something you would want to avoid but is expected in a blockbuster, not a psychological thriller. Of course, the girls were there for Harry Styles and maybe, to a lesser degree, the controversy that has surrounded this film since it began filming.

Don’t Worry Darling, when it was announced a few years ago was set to be the intriguing and much anticipated directing follow up from Olivia Wilde. Casting announcements then rumours on set followed, but it was when Wilde and Harry Styles appeared to be a couple was when things really kicked off, especially at Venice Film Festival. It’s a shame that the gossip has overtaken how the film has been received, with people comparing the lead being more exciting than the film itself which is such a shame as Wilde has delivered a worthy film. It’s by no means perfect but it’s still entertaining with some fantastic shots and a great performance from Florence Pugh. 

Jack and Alice are very much in love. Living the dream, along with other couples who have been chosen to take part in the Victory Project, a community built out in the desert. While the men go off to work each day to headquarters, the women live a relaxing existence, keeping house. But when a friend appears to lose her mind and question everything, especially the strict rules, Alice too starts to notice strange things happening. Questioning her own sanity she tries to go looking for answers with life shattering consequences.

Set in the 1950s, desert company town, California, everything is pristine and elegant. Everything feels and seems perfect right down to how the eggs appear to be, perfect. When everything looks this perfect, its dreamlike and we’re left with an uneasy feeling. This discomfort doesn’t go away as you try to unravel the mystery in time with Alice, played by Florence Pugh. From the outset, we are brought into this world where everyone is happy and content and when something is too good to be true, it most certainly is. Debating whether this is an experiment, a cult or a combination of the two is all wrapped up in what the men are actually doing at headquarters and what Frank, the enigmatic leader is trying to achieve. The mystery isn’t what the Victory Project really is, its about the people as we already know that something is not right from the start. The setting, layout of the town and small clues along the way, such as the club where they all celebrate being called ‘The Dollhouse’ are all pieces of the puzzle left for us to observe rather than for Alice to pick up on. We are being fed lies and misdirection as well which adds to the anticipation at the end. But as things are rushed, there isn’t enough to completely satisfy. The story isn’t wrapped up neatly but nor should it if the story answers the questions. Unfortunately, there is too much focus on the ‘showdown’ at the end which could have been shorter in favour of more dialogue scenes. 

The atmosphere reminds me very heavily of The Stepford Wives, not the remake that missed the point no matter how enjoyable. As well as other more recent films like Old, which relies on the explanation squashed in at the end or even The Village which has its reveal on screen rather than through long amounts of dialogue. There are so many questions that are left unanswered, which might be on purpose as we can’t know absolutely everything. Our focus is on Jack and Alice and how their lives are impacted by everything. Though the ‘big’ question is sort of answered, the question of why did this happen isn’t given a full satisfying end. Apparently, there were a lot of scenes cut that included Margaret, the women who discovers the truth first, these might have been more useful and created a bigger picture. Maybe we’ll get these in a home release. 

While the cast as a whole is great, Pugh stands out as she is carrying the film. But as Styles also has a huge role to play too, he needs a mention. Dare I say it, that this role would have worked better with Shia LaBeouf who was originally cast but dropped out. On one hand he would have brought the intensity and ‘weird energy’ needed but Styles is much better as the naïve and at times insecure person Jack is meant to be, inside and out. But LaBeouf would have sold the climatic reveal. Casting Styles was an interesting choice and yes, would bring in a whole different audience who wouldn’t necessarily see this genre of film. 

There is an otherworldly quality to Wilde’s film that is to be admired and unfortunately is being judged more harshly due to the events surrounding the making of it. Despite the rushed moments towards the end and lack of further explanation in others, Don’t Worry Darling is a film that could grow on you or could deter you from the subjects explored (trying not to spoil it here). Ignore the controversy, see the film and make up your own mind.

Flatliners

 

The question about whether there is life after death has been the subject of a fair few films. Approaching the question from different angles and trying to gain a fresh view on the possible after life, Flatliners is one that always springs, not just because of the 90s resurgence period we are going through. With the future star-studded cast, the classic 90s film tone bleeds through the film and director Joel Schumacher was able to leave his mark on the now cult classic film. 

When medical student Nelson Wright creates an experiment to find out what happens when you die, he convinces a group of his fellow students to aid him in his dangerous experiment. When Nelson is successfully brought back from the dead, the others want to try for themselves. But soon after returning, Nelson starts to have dark visions of his past that start to physically harm in the present. At first, he says nothing to the group but soon, one by one after they return to life each member of the groups starts to see things too, as if they brought something back with them from their death.

Full review over at Filmhounds HERE.

True Things - BFI London Film Festival

 

True things is a beast that most of us will recognise, whether we have been the unreliable person or the one who feels as if their world is caving in. Toxic relationships seem to be more a matter of perception but the film takes a look from the inside out, offering not exactly a fresh view but one that lingers on in your mind. 

Full review over at Filmhounds 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.

 

Saint Maud

  

SPOILERS

 

One of the finest and easiest targets of horror is to include religion or some sort of belief system, much like a cult with very rigid views and preaching. Those who are religious, devout, pious or simply have faith are either pictured as weak, dangerous or a sanctuary, although the latter is rare in the horror genre. But for Saint Maud it isn’t the fact that Maud herself is religious or that her beliefs closes her mind to how others think and act, it is her blind faith and complete reliance on God speaking to her and through her that is to be feared.

 

Maud, a private healthcare nurse, who has newly found religion is assigned a new client, the terminally ill, ex-dancer Amanda. She witnesses and judges Amanda’s drinking and sexual escapades, she believes she was sent there to save her soul tries to connect with her by including her in prayers and telling her how she can sometimes feel God’s presence. But after over stepping her duties, Maud finds herself fired and questioning her faith, trying to understand her purpose with demonic and devastating visions.

At first the story seems to be about Maud and Amanda and how the former believes she can save the latter from eternal damnation but in fact, this is just part of the story of Maud’s journey to how she found faith, what she did and how she came to such a dramatic final end. As Maud experiences God speaking to her, her face distorts as she writhes on the floor in slow motion and even levitates completely. Some have interpreted this as being epilepsy and although that is an interesting way to look these moments and links in with Maud’s experiences, I think there is something more demonic taking place. Where Maud thinks she’s communicating with God, she expresses frustration that God has no answered her and won’t explain his plan for her. But when the cockroach that is seen in her flat talks to her, it isn’t God. Or at least, doesn’t seem as it is. There is another presence that has latched onto her since her traumatic experience in the hospital at her previous job, which is hinted at and alluded to but never fully explained. We are left to assume certain things about Maud, especially when we find out from an old colleague, out of the blue that her name is also Katie. Maud immediately becomes untrustworthy and her spiralling out of control when she lets her hair down, has a drink, gives a guy a hand job then later has sex with another random guy after spilling his drink, this is Katie. The other self she didn’t like so she created Maud, the religious Maud. So instead of finding God, Maud or Katie finds a demon that has manifested itself from her actions. This is why I don’t just think it could be an interpretation of epilepsy. This is in the supernatural realm, where religious symbolism thrives.  

 

There are quite a few shocking images throughout the film and not the visions of terror. Maud calmly putting drawing pins into her shoes so she pays penance for actions is nothing short of visceral. Her other acts of violence against herself are far more sinister than her crazed attack/defence of the demon Amanda reveals herself to be. They are calculated, coupled with Morfydd Clark who plays Maud’s innocence face creates such an uncomfortable image on screen, its near genius level casting and directing all in a scene. Clark is able to switch from timid, quiet and vigilant pious Maud to the sexually free and fearless Maud (or is this Katie) within a few scenes. Of course, the ending is literally what shocks the most both because you don’t see it coming and because you always knew that something like this would happen the minute, she fashions her bedsheets into robes. 

 

Writer and director Rose Glass has tapped into a story and character of immense depth of serene terror that rivals many films featuring religious fanatics before her. She’s found the balance of thriller and horror and only uses one jump scare at just the right time but still manages to really chill us to the bone. Saint Maud is coming to save us and the British horror.

 

Cordelia

 

The poster grabs people's attention andd went viral, once Cordelia has your attention you'll be hooked. Seductive, ominous, mysterious and at times unnerning as hell. Its not just about the poster image, there is a whole world and story to go with it.

Full review can be read HERE over at Filmhounds.

Above and Below

Like many of you, I have not been lucky enough to see 'Parasite' yet. This week, thankfully, the wait is over. But just before we enter one of the most talked about films of last year and this year (so far) let us delve deep into the mind of Bong Joon-ho and see what lies beneath. In other words, lets go back and watch his previous films an revel in his fantastic genre twisting storytelling.

I wrote (at length) for Zavvi and the full post can be read HERE.

Joker

I think the ‘Joker’ discourse has calmed down enough for me to write this, at least until awards season comes around and the up roar may start again, which it may or may not. Although from what I’ve seen, it will but from what I’ve read, it won’t. From the very first rumblings about the ‘Joker’ film being made there was excitement. With Todd ‘The Hangover’ Phillips at the helm I did lose interest ever so slightly as I really don’t like those damn hangover films, they’re terrible. But my love for Joaquin Phoenix trumps my dislike for him. As the story started to shape up with teasers and even more rumours, it all started up again. But once the film was show at Venice Film Festival, things go way out of hand. Not only did Film twitter explode but the media in general did too. And I thought ‘The Souvenir’ was going to be the film of discourse this year.

It’s clear that from the outset Warner Bros. knew they’d have to change things up as their DC Comics films weren’t going according to plan (except Wonder Woman). They decided to go down the ‘dark’ route and take an indie filmmaking approach to how they make their comic book films, so far, not a bad plan. The unpacking of the end result has been gone over multiple times by many people who love, hate, loathe, obsess over it and all have valid and interesting takes. Maybe it’s because I’m fed up with the discourse or maybe I really do like dark as hell films once in a while, not everything can be sunshine and roses, but I really loved this film. If you’re reading this is disgust at why I love this film, please save yourself the time and stop, but don’t finish reading this just to have a go at me. Please also do not take my love for this film as reason to think I think the people who didn’t like it missed a point or are wrong. I love this film BUT I can totally understand why others don’t. Some of my fellow writers who did/didn’t like the film have taken some abuse online for their opinion. It’s not respectful and downright inhumane, don’t be THAT person. At the end of the day, it’s a film and we all are allowed to have a difference of opinion. Discussion or debate are fine, that’s part of the fun of writing/talking about film but abuse will not be tolerated.

As an origin story, it fits quietly and comfortably within the DC world. With enough open references to Batman and its characters, the story is not burdened down with making sure that it ticks boxes and able to concentrate on the hideous and brilliantly executed transformation of Arthur Fleck into what we know as the Joker. This film is a character study of a poor wretch that never fit into ‘normal’ society and never will. There are some other films of this nature that focus on someone as they go through hell and continue to go through pain and suffering and everyone just watches those films without blinking. But as this film is technically within the comic book universe and therefore a comic book film it is elevated and given a higher platform for people to see it. But people don’t like depressing films, at least not at this high level. They don’t want to see a grown man dressed as a clown being kicked on the floor leaving him crying and bleeding, and definitely not in IMAX cinemas they don’t.

As we all know, ‘The Joker’ is a supervillain, so an origin story would either evoke sympathy and we’d understand the character better as well as his intentions and motives however, as ‘The Joker’ isn’t meant to have an origin story, which is the beauty of the character itself, this film offers just one possible iteration of the character’s origin. All the previous Jokers have either just appeared or been given an origin, whether it’s been on screen or in the comics, Arthur Fleck is not the ultimate Joker, but he is a fascinating character. As well as exploration into this clown for hire, it is also a mystery as we find out where Fleck came from, who is parents are and why he is the way he is. It’s actually feels quite easy to pity the poor man but at the same time you would cross the street to avoid him as there is something not quite right about him. He gives off these dangerous vibes because he’s unnerving. But you sympathise with him, even after the turning point scene on the subway, you get swept up in the anger bubbling at the surface that turns into full blown madness by the end. But the moment you start to question whether you should be rooting for this character is when his fragile mind is questioned, when he enters his neighbour Sophie’s apartment and it’s revealed all the previous scenes with her in are in his mind. Fleck is an unreliable protagonist which means the entire story and how it plays out can be questioned. But this is truly what makes him a perfect Joker. He’s dangerous, yes but the fact you don’t really know what’s going on just makes this story even better as the Joker’s way has always been, chaos.

There are several outstanding moments, a particular favourite of mine being Fleck dressed in a red suit, full make up, dancing on the stairs to THAT song, but the scene on the Murray Franklin show, which is what half the film was leading up to. With several nods to Scorsese films through Fleck and the fact that he loves talk show host Murray, we all knew what was coming even with the misleads and if we’re all honest, we wanted this scene to happen. When I tell people I liked the film, not only because I think Phoenix is true genius actor and even after the film will be underrated, I say I liked this film for the wrong reasons. The film goes to dark hideous places and plays out things I would never do and throughout Fleck’s personal discoveries you really want to go ‘full Joker’ that’s why you came to watch the film right? Or did you watch the film just so you could say it was terrible? If Fleck had just carried on with his miserable little life and did nothing and watched someone else become the Joker, would that have been better? No. We all know Fleck becomes Joker, but we get see HOW he evolves into this human manifestation of chaos and someone who just wants to watch the world burn. He also may have a reason to want that but as we only know him has the villain, this is where you can if its nature or nurture situation, or in Fleck’s case, both. We meet him as a victim but we leave him as the villain, but what I think he was always a villain, just waiting to come out.

If ‘Joker’ had been called something else or had barely hinted that it was part of the DC Comics/film universe, I wonder if the response would have been different. If the film hadn’t been given a Hollywood marketing budget, would people have gone to see it as much as they did? I believe that half the audience who went to see the film wanted to see a ‘comic book’ film and the other half heard about the discourse and wanted to see what the fuss was about. I was excited from the minute Phoenix’s name was attached to the film and loved the trailer. This was not going to be like other films, that much was guaranteed but since the film’s rise in controversy, the film has lost a bit of its soul. If you’re wondering how that is possible and what that even means, I see it that films are sometimes treated liked the animals of Animal Farm by George Orwell. All films are released equal (as in no one has seen them) but some films are more equal than others. Thin analogy, I know. Circumstances surrounding the release and the reaction have all been orchestrated and if things had gone slightly different, I wouldn’t be writing this long-winded post.

Let's Talk About Greta

Let’s talk about Greta.

Please be aware, there are SPOILERS, but none that would spoil the film.

Earlier this year it seemed that a new trend in psychological thrillers was starting, one involving older women as the villain, the threat but after ‘Ma’ and ‘Greta’, the trend died down. Unlike the former, ‘Greta’ had something different to bring to the horror/ psychological thriller border, it’s all about the women and barely a man in sight.

For those who didn’t watch any of the trailers out there for the film and for those who didn’t see it at all, ‘Greta’ is about a young woman, Frances, who has recently lost her mother and moved to the city to be away from her father who doesn’t show much interest in her. While she stays with her best friend and works as a waitress in a fancy restaurant, she feels as if she’s missing something. This is when she finds a small green handbag and does the opposite of what any old city dweller would do, she decides to take it to back to the owner in person. She meets Greta, a widow, living a quiet lonely existence and who appreciates the kind gesture. The two soon becoming friends, giving what the other seeks, comfort. But with all too good to be true happy coincidences, Frances discovers that Greta actually has lots of small green handbags, each with names and numbers on them as well as fresh ones just waiting to be left around the city.

This isn’t just your basic lonely lady turns stalker thriller horror, there is thought behind the divinely simplistic plot and the three main character triangle. In any other story, there would be a lame half constructed love story somewhere buried and in another type of story, there would a sexual element, especially if Greta was switched for male character instead. But these twists and turns aren’t needed in Neil Jordan’s film, he has two leads and one supporting that make their own impact on screen. Suspense and intrigue are still part of the story, with information about Greta’s past coming to light little by little and it’s not a completely unbelievable one either. She had a ‘difficult’ relationship with her daughter who is now dead so the information is second hand, adding more to the suspense and mystery of what Greta is really capable of and as Greta’s crazy outbursts get worse, you really don’t want to know what she will do, you would think that was enough to never go back to her house again, but Frances doesn’t stop to think about this.  

With Isabelle Huppert as Greta, the mystery and charm that surrounds the character is already built into her persona. Making Greta a piano teacher was also an excellent touch as not only could it be a nod to one of her most famous films but piano is and will always be seen as something you must control. Greta wants to be a mother to Frances but she wants everything her way, she must have ultimate control, much like the piano teacher. Chloe Grace Moretz as Frances is probably having the thankless role in the story, as the kind of person who still holds small town ideals and believes that you can be kind to everyone. Selfishly, she does want a mother figure to be around as she misses that connection but in doing so, she ignores her friend’s very open and obvious warnings. But her role is thankless because she is the victim caught in Greta’s web of madness so has to act accordingly. The ace in the pocket of the film is Erica, Maika Monroe, who continues her scream queen status (sort of). She is the voice of reason, be it from a wealthy family who lives in an amazing loft apartment in New York. She is meant to be the rich clueless party going background noise to Frances’ kind simple values and quiet demeanour, but instead she is the third piece in the character triangle. Refreshingly, Erica takes the place of the ‘love interest’ and is the best friend/roommate/street wise New Yorker who doesn’t hold a grudge and doesn’t let arguments with friends be the end of the conversation, she is the saviour. But the best part of this whole film is that because it’s a very simple plot, with characters that have very obvious motives (to an extent) everything is accepted. There is very little to question apart from why is Frances’ dad so useless and why was Stephen Rea even in the film? Which again, is something so rarely thought about with this type of genre film. The threat of Greta is something to be feared but if you have friends like Erica, they have your back.

Its time to take another look at ‘Greta’ and appreciate what she is.