Arco

 

Courtesy of Picturehouse Entertainment

In the distant peaceful future, 2932,, time travel is a normal occurrence, where anyone aged 12 and over is able to experience. Impatient to travel through time himself, 10 year old Arco steals his sister’s flight suit and sets out, only to find himself, by mistake, in 2075. Robots are common in homes and society, performing essential jobs and services. Extreme weather conditions ravage the Earth, but most homes and buildings can be kept in protective bubbles. Here is where Arco befriends 10 year old Iris who had been wishing for something in her life to change.

Full review over at Filmhounds.

Spaceballs

 

Courtesy of Arrow Video

Decent spoof or parody films are hard to come by these days, so much so we have to turn to the past and to one director who really knows how to tell a story, keep the jokes going and keep with whatever genre he’s chosen, Mel Brooks. Released in 1987, just 4 years after The Return of the Jedi, Spaceballs earned mixed reviews upon initial release, but like every other sci-fi film, it gained a cult following. At nearly 100 years old, Mel Brooks is still making films. Having gone back to his previous material and filmography to bring his films to the stage, he’s also involved (though not directing) the upcoming Spaceballs sequel.

Full review over at Filmhounds.

The Running Man

Courtesy of Paramount Pictures

 

Having been an avid fan of Edgar Wright’s, my curiosity peaked with his adaptation of The Running Man. Having only seen the 1987 version and enjoyed it well enough, I was keen to see how this film would turn out. But as the release date grew closer my interest began to drop, the main reason being Ben Richards’ motivation. In the 80s version Richards was escaping a labour camp and wanted to clear his name of crimes he didn’t commit, but the latest Richards has a sick child and family to look after. I find this motivation a dull over used cop out. Longing for the days the reason a so called hero does something is save his own skin and everyone else’s by accident. But this is my own issue and moving that aside I delved into the film.

Needing to take care of his family, blacklisted labourer Ben Richards signed up to take part in the deadliest TV show on the Network, The Running Man, where contestants have to last 30 days on the street, while hunters and members of the public, hunt them down. The winner is awarded a hell of large sum of money if they last the full 30 days. Taking the chance, Richards meets people along the way that help him hide and outwit the ruthless hunters, as well as discovering just how manipulative the Network is, changing his whole personality to fit in with the show.

Overall, this was as entertaining as the 1987 film. There were plenty of fight sequences to shock and awe as well as some very kooky side characters that stole the film almost, in particular Michael Cera’s rebel Elton who has been trying to get the truth about the Network out. Colman Domingo makes an impression too (as always) as the show’s enigmatic host and again, Lee Pace proves he can do more to steal a scene while wearing a mask for most of the film than Glen Powell does the whole film. Not to say Powell doesn’t do a good job as the ‘good guy’, its pretty much a one note character and he does well. And yet, Powell doesn’t feel like an action star. He has a style that worked so well in Hitman and Set It Up, but this really didn’t feel like the right fit for him. Along those same lines, this did not feel, look or sound like an Edgar Wright film in any shape or form, which was probably the most shocking part of the whole film experience. The film had a great cast, great elements but didn’t quite hit the heights of a great film.

Lost in Space

 

Inspired by the 1812 novel, Swiss Family Robinson by Johann David Wyss, the original Lost in Space TV show aired for 3 seasons in the 1960s. Then in 2018, Netflix released another iteration, again, inspired by the novel from 1812 and the 1962 comic, Space Family Robinson. But in-between these TV shows there was the film, which, is a strange mix of both. Lost in Space, released in 1998, directed by Stephen Hopkins and written by the same person who gave us Batman Forever, Batman & Robin, I Robot and The DaVinci Code. Despite it being a box office smash hit, knocking Titanic of the top spot in the US, the film was absolutely panned by critics. Most noted the film was not the same tone at the wholesome 60s show and felt like a basic science fiction story. But, Lost in Space is getting a new lease of life through Arrow Video who know when its time to revitalise a film.

Full review over at Filmhounds.

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.

Turn Me On

 

The idea that supressing emotions would be the answer to all life’s problems and would solve conflicts, with people living harmoniously and being left, content, is plot device that seems to be cropping up more than expected. But thankfully each iteration focuses on certain aspects that at least has a familiar but different feel. Turn Me On offers something new, in losing your emotions, you also lose your memories when taking the magic pill, or in this case, vitamin. But there is more to this story that at first meets the eye. 

Living in a closed off community where residents take a daily vitamin which eradicates all emotions, Joy (Bel Powley) skips her daily dose. Going on an emotional journey of discovery, she convinces her partner William (Nick Robinson) to stop taking the vitamin. Together, their world opens up, but also exposes them to not only damage emotions can cause, but also leaves them in a precarious position within the community with strict rules.

Full review over at Filmhounds 

Timestalker

 

Alice Lowe’s debut feature, Prevenge (2016), is a comedy slasher that is revered amongst horror (and comedy) fans. Having also co-wrote Sightseers (2012), the black comedy about two caravaners who go on a murder spree, there was some expectation about what to expect from Lowe next. A historical science fictional rom-com like Timestalker was definitely not on the bingo card. 

Throughout the centuries, Agnes falls in love with the same man, and each time ends up dying, only to be reincarnated to relive the same scenario. Trapped in what feels like a never-ending loop, she must come to terms with the truth staring in the face the whole time.

Full review over at Filmhounds.

Subservience

 

It is a tale as old as time, when a man, struggles to cope with day-to-day life, taking care of his family while his wife is sick, he seeks out help. In this case, he buys a robot which ends up malfunctioning and terrorising said man’s family including his sick wife. Humanised robots is by far not a new concept and amongst the countless stories out there, Subservience doesn’t try to reinvent the AI dangerous narrative but merely tell us a story which we have seen before.

Full review over at Filmhounds.

If You Were The Last

 

When was the last time a science fiction romantic comedy was both whimsical, in a non-nauseating way and was actually heartfelt, as well as having genuine laughs? If You Were the Last should have been the breakout film of this year but instead was cruelly left to the streamers with very little flare. Unfortunately, there are genuinely great films that do the festival circuit and never get picked up by a big enough distributor who will back the film. But aside from how the film was released, this gem of a film really does lift the spirits and brings hope that there are stories out there, like this, even being made. 

Two astronauts, Adam and Jane, drift throughout space. After their multi year mission is derailed, mostly due to their deceased crewmate Benson, Adam and Jane, over time wonder if they will ever be rescued, discuss life, love and the pros and cons of them having sex with each other. All the while falling in love, but unsure if the other feels the same. 

Setting any sort of story in space comes with the expectation on how a sci-fi should look like, but what If You Were The Last offers is something a bit extra. All the tech on the ship, resembles something out of Wes Anderson’s or Michel Gondry’s workshops. The astronauts even have a cosy living room space on the ship, to make them feel at home, complete with watching films on cartridges. The sci-fi elements are left to the setting outside the ship and the communication set up to try and reach home for rescue. All other parts are complete rom-com beats and they are most welcome. The quirky tech and set design is not overbearing, balanced out by the two actors fantastic chemistry. Zoe Chao and Anthony Mackie are so in tune together, they do not miss a step with one another, romantically or comedically. Its almost a shame when they are eventually separated in the third act when (SPOILERS) the two make it back to Earth and their spouses. 

There is a more sombre element to the story, these lost astronauts have only each other (aside from the ill fated Benson) and have been this way for a few years. The strain on their mental health and on their respective marriages, takes a toll. The joke about them deciding if they should have sex with each other goes past the joke stage is the really about connection. If You Were The Last is essentially a sweet story set against an incredible background, two people against the universe, and at one point Benson.

Infinite Summer - Fantasia Film Festival

 

With the concept of summer films being about adventure, exploration, loves and that impossibly positive stereotypical content expected in film about the season, Miguel Llansó’s latest is a swift turn away from anything familiar. 

Three friends, spending a week by the beach over summer, end up dabbling in chemical induced meditation, supplied by the nefarious ‘Doctor Mindfulness’. But when people start disappearing, these so called ‘trips’ start to gain the attention of the authorities. The group of friends end up experiencing something they never could have anticipated. 

As with Llansó’s previous film, Jesus Shows You the Way to the Highway, the concept for Infinite Summer is fascinating. A mixture of a typical coming of age, science fiction and a low-key mystery, the idea that there is a device that could take you to a higher plane of existence has the potential to be memorising. While the VFX are very easy to get sucked into and the higher plane is well constructed, the characters and narrative are not as enticing. A major part of the film’s failing is that everyone speaks English which most of the time produces wooden acting. The very few scenes not the English language, the actors are more relaxed and the story moves with ease. Its an unfortunate choice but you can understand the motive behind this choice, trying to appeal to a wider audience, but instead it stunts the growth of the story. 

We mainly follow Mia who seems dissatisfied with her life and distance from her friends who have clearly changed prior to the summer. But she is not forthcoming with many if any emotions, even when she goes on her first trip. The other characters that populate the story are all very much one dimensional and at times its frustrating to watch. The over dramatic final act thankfully brings the action and further bizarre scenes which at least brings in some excitement. However, the climax of the story is inclusive and you’re left empty. It feels as if there was meant to be some kind of bliss expressed by anyone who puts on a respirator and goes on the ultimate trip, but this sense of utter freedom is lost within the strange structure of the narrative and stunted characters.

Ultimately, Infinite Summer had a bizarre and intriguing concept that never really came to a conclusion, satisfying or otherwise. Being left with a sense of emptiness may have been the goal and if so, Llansó achieved something.

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

Simulant

 
In a world where androids (SIMS) and humans coexist, the former in more domestic and care giving roles. Having already pulled the plug on her husband after a tragic accident, artist Faye debates whether to do the same for his SIM counterpart. Instead, she sends him to live illegally on his own. There he meets the radical Casey, a programmer who believes that all SIMS should be free, helping them become more human by hacking their systems. And hunting both of them down is Artificial Intelligence Compliance Enforcement agent Kessler, who has suffered his own tragic loss at the hands of a SIM, is trying to stop a global event that will alter SIMS forever.

Full review over at Filmhounds HERE

Interview with director Andrew Legge

 

Director and writer of a series of award-winning shorts, Andrew Legge makes his feature film debut with LOLA. He took the time to chat with Filmhounds about all the aesthetics of old machinery, twisting the concept of the mad scientist and the pros and cons of making a found footage film.

Full interview over at Filmhounds HERE. 

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.

LOLA - Edinburgh Film Festival

 
LOLA is a science fiction fuelled wartime film that feels like a capsule moment in time but in fact impacts the whole world. With a love story and family bond broken, the film’s human elements surround this marvellous machine and its pained creator who seems to both hate and love what they have done. LOLA isn’t an easy film to define, nor is its story one that has quite been made before but not everything is perfect with this unusual film.

Full review - Filmhounds HERE.

Relax, I'm From the Future - Fantasia Film Festival

 

Every time travel film ever has always struggled with the laws and logic of the actual science. Sometimes to the point where you lose sight of the story being told and end up confused and disappointed. Time travel does come with its own issues and if it not the main focus, can ruin a great film. Relax, I’m From the Future quickly dispels the annoying and distracting elements that come with this subject and we are left to enjoy the comedic characters and excellent stylings of Rhys Darby who very easily steals the film. It really doesn’t matter whether the filmmakers have got time travel ‘right’, what’s more important is that we have a good time watching it play out. 

Full review over at Filmhounds HERE.

Incredible But True - Fantasia Film Festival

 
The simplest of ideas can become the most complex stories. Delving deeper into an idea that on the surface seems bizarre and too ridiculous to comprehend, along comes Quentin Dupleux with another strange tale that literally no one thought of making. Dupleux’s films are that of fantasy and other genres mixed in bottle and sprayed out to its’ audiences that they are a perfect fit for Fantasia Film Festival. Incredible But True is another success in this writer and director’s catalogue of the strange an unusual.

Middle aged couple, Alain and Marie’s lives are completely altered when they buy a house in a quiet suburban neighbourhood after discovering the powers of a hatch in the basement. Warned upon moving in, the hatch allows you to travel 12 hours into the future and also makes you 3 days younger. While Marie becomes obsessed with the hatch, Alain tries to live a normal life. Alongside this issue with the house, Alain’s friend and boss Gerard, has problems of his own, specifically with his technology enhanced genitals.

Full review over at Filmhounds HERE.

Fantasia Film Festival - Glasshouse

 

In a secluded haven, far away from the city, the Glasshouse serves as a sanctuary for a chosen few. Years after a debilitating disease, The Shred, which causes memory loss has affected most of the people on the planet, a family lives within the safety of the house. Growing planets for oxygen for just the five of them, they protect their home by shooting any intruders. But when the eldest, B, takes in a stranger believing they may know where their lost brother is, each family member start to question whether they really are safe in their Glasshouse. 

 

Full review is over at Filmhounds HERE.

Lucky

 

After self-help book author May and her husband Ted are attacked at night by a mysterious man in a mask, she is left in shock by the attack but Ted just shrugs the incident off mentioning it happens every night. But when the masked man returns, even after May has killed him multiple times, she tries to figure out why this keeps happening. Things take another turn when Ted goes missing and other women in her life share the same scares as her.

Full review is over at Filmhounds HERE. 

They Came From Beyond Space

When a strange formation of meteors crash land on a farm in Cornwall, top scientists form a team to investigate. Dr Curtis Temple, highly regarded in his field of expertise, exterritorial life, is unable to join the team as he is still recovering an accident that left him with a silver plate in his head. At the meteor site the team of scientists have their bodies and minds taken over by aliens through strange lights and sounds. As the aliens begin to take over the people in the local area as well as infect several other with a mysterious red plague, Temple discovers the meteors came from the Moon. He attempts to try and find out what exactly is going on and what the aliens want with Earth.

All I can say is, thank god for Arnold Gray.

 

Full review over at Filmhounds HERE.