Come As You Are

Its rare to find a film featuring three main characters who happen to be disabled, this element aludes films, frequently in independent and never in blockbusters or Hollywood films. But 'Come As you Are' which is based on real life experiences and is in fact the third film inspired by those events, been so welcome on the cinematic scene.

Previously published on Vulturehound HERE.

Trying to lose one’s virginity has be a staple plot, character arc, climax of many teen dramas and comedies, usually the latter because sex is funny right? It’s the basis for a character’s motivation through these genre films and usually has the same outcome, but the journey is the real story where we find out there’s more to the character than we realised. ‘Come As You Are’ doesn’t exactly flip this genre trope on its head but instead takes this plot point and makes a human story that you had hoped to see one day told in cinema.

Scotty is 24 years old, likes to rap and enjoys a drink at the pub, thinks about sex, a lot and he also restricted to using an automated wheelchair and has limited use of one of his hands to operate it. After finding out about a brothel in Canada that specialises in taking care of disabled people, Scotty rounds up his blind friend Mo and potential new friend Matt, also wheelchair bound, to make the journey, against their parents and caregivers wishes. Driven by ex-nurse Sam, the group bonds over the course the trip with heartfelt and painful realisations along the way.

There is the obvious criticism that this film will face and that is that the lead actors are all able bodied. It is a shame that the filmmakers didn’t take the opportunity to cast for the roles. Despite this, the story and characters are amusing, treading in some cases down the black comedic route and usually whenever Scotty talks. The three leads; Grant Rosenmeyer, Hayden Szeto and Ravi Patel all give fantastic performances giving the balance between the everyday lives of these characters and that extra comedic push. Gabourey Sidibe isn’t just a side character either, she makes her presence known in this film and it’s great to see her on form again.

Based on the real experiences of Asta Phipot, who is affected with arthrogryposis and was part of a documentary following his exploits in Spain at a legal brothel who caters to disabled people. The film brings to the forefront the very real needs and desires that we all, no matter who we are and does so in a very matter of fact way. There is something appealing about this story, especially as it’s a remake of the 2011 Belgian film ‘Hasta La Vista’ which also spawned another remake, from the Netherlands, ‘Adios Amigos’ released in 2016. This is a very human story about wants and needs wrapped up in a friendship road trip of discovery. Its not only refreshing to see disabled characters front and centre (although could have been slightly better with disabled actors taking the spotlight) but to have a story that everyone can understand that everyone just wants to be treated like everyone else, no barriers.

We need to talk about 'The Old Guard'

We need to talk about 'The Old Guard'.

 

When it first appeared in the 'coming soon' section on Netflix I saw that Charlize Theron and Matthias Schoenaerts were in an action film and automatically added it to my watch list. However, when I finally saw the film, there was something that didn't sit quite right with me. It's rare that I watch a film with no prior knowledge or reading up on it. I saw the trailer and nothing else so I knew what to expect in terms of the genre but no details. My first impressions are very different to my opinion now. The Old Guard is both like any other action film in the genre and something entirely new.

 

SPOILERS WARNING

 

Imagine the disappointment of watching yet another American action film and the villains, the antagonists are British. This is probably the most annoying stereotype (aside those left over for female characters) in the modern genre book.

 

The actual plot of the film is over taken by the fascinating nature of this group of immortal warriors who have been working together for decades, centuries even. A longer intro to each member of the guard would have be beneficial, maybe with flashbacks? But instead we jump right into the story. The Old Guard in modern day are a special ops team for hire working various high-profile covert missions, but they are gunned down by the CIA in an attempt to reveal their real nature. Then, while in hiding, they have a vision of a new member, Nile, a US Marine who they must find. No sooner do they pick her up and begin initiating her into her new life, the real plot takes shape. An evil tech genius what the immortals to use as guinea pigs for a new drug to battle alzheimer's disease but really he just wants to pick them apart, constantly saying they could cure the world. Of course, the guard won’t go willingly.

 

 

The mythology and history behind the characters is fascinating and most likely explored differently in the comic books, but here on film, the visual and imagination take over. The attention to detail and the loyalty to the source material is very much unlike any other comic book adaption out there. Some changes that come with bringing a comic to the screen make sense in that things won’t translate well from the page but some are pointlessly changed, however ‘The Old Guard’ only seems to have change a few things, but the biggest being Andy losing her ability to heal again. It makes sense within the story and gives a decent explanation for Nile’s appearance and excuse for Andy to realise her humanity again. Realise instead of discover as she has doesn’t need to find it again, she just needs to realise why she is the way she is.

 

Discovering that the film was a comic book adaptation and that it was a very faithful one, changed the perspective of the film. It was not a stereotypical action film, as everything that happens, how the characters are presented, this is all part of the story and not a genre check list, which makes it’s more difficult to be satisfied with the way Nile and Andy are portrayed, especially Andy. She is the leader, but she’s the leader of a group consisting of all men and she herself blends into this all-male group. Her haircut, her clothes, her stance are all very masculine. If this wasn’t an action film, this wouldn’t feel like such an issue but because it is, it feels as if Andy is only accepted into this group because she exudes masculine qualities. Who do the women in action films always have to be this way? Having Nile join the group, she is just like Andy, except new to the whole immortal life, but she also exudes masculine qualities, but only once she’s joined the group. The fact that these are who and what the characters are like in the comic, there is praise for the accuracy and staying true to the original natures but I can’t help but think that ALL action films follow this trait in female characters, even the ones who wear dresses and high heels while they fight. The idea that a woman must be masculine to fit into the genre norm is something that really needs to change. But we must take solace in the fact that two of the main characters in this action film are women and even better, neither is involved in a side romance plot with a man. That’s progress.

 

Refreshing representation that is an integral part of the film is the love story between guard members Joe and Nicky, Yusuf Al-Kaysani, a Muslim warrior and Nicoló di Genova, a former Crusader. They are the heart of the group and something to hope for. Joe’s speech in response to their captors asking if Nicky is his boyfriend is over the top and out of the blue but is one of the best moments in the film as even Nicky looks stunned by this declaration of love. Having a gay couple as two of the central and main characters in an action film is a huge leap and it’s about time too.

 

Upon a second look at the film, there is far more to celebrate than worry about in terms of tired genre tropes, this is a step in the right direction as well as the director herself, Gina Prince-Bythewood, lets hope we see more films from her. The only part of the film that I really think could be reworked was that darn soundtrack. Amazing fight scenes, terrible music choices.

 

 

 

Let's Play!

Park Circus are doing what they do best, celebrating classic films. This month their attention has been on films that embody the theme of 'play'.

When we think of ‘playful’ cinematic films, what could be more playful than two desperate out of work musicians, Joe and Gerald, who witness a mob killing and got on the run disguised as women. Of course, Billy Wilder’s classic comedy is much more than the premise. With fun, fast laughs and jazz, real hot, the fact that Tony Curtis and Jack Lemmon are dressed as their counterparts Josephine and Daphne is only the surface.

 Men dressing up as women has been a comedic play in many a film, but what sets this film apart is the details ranging from the stereotypes such as the perverted old millionaire who sets his sights on Daphne or the mobsters who hide their weapons in interesting places to the ridiculous, involving ice being dropped, causing an emergency stop of the train. In fact, one the most playful elements of the film is when Joe dresses up as a man again, but this time, he’s an emotionally stunted millionaire, in an attempt to seduce Sugar (Marilyn Monroe), singer of the all-girl jazz band. It’s strange to think a man dressed up as a woman but dresses up as a man is the oddest delight in the film’s narrative.

Celebrating its 60^th anniversary, the film stands the test of time through its comedic timing, performances (especially Lemmon) and heart, whether its broken, beating or bruised. Despite being a film ‘of its time’ it can still be watched through a modern lens with appreciation, because, well, ‘nobody’s perfect’. 

For a more in depth look at 'Some Like it Hot' have a read of what I wrote HERE.

The Beach House

As with all things, they must evolve, especially in film when a genre becomes predictable and over used with the same old elements appearing in each film. The horror genre, over the last decade has branched out, taking in new material, influences and merging with other genres. Science fiction is the companion to horror, fear of the known and unknown go hand in hand creating numerous opportunities to get creative and that exactly what writer and director Jeffrey A. Brown has done.

 

Young couple Emily and Randal, escape to a beach house, for a romantic weekend but are surprised to find Mitch & Jane, friends of Randal’s father also taking advantage of the picturesque setting. The four guests have dinner together and later decide to partake in some edibles. With effects of the drugs and the strange mist in the air, things take a dark turn. Things are not what they seem in the morning. With the mist returning and the beach house becoming a more hostile environment, a weekend by the sea maybe wasn’t such a great idea.

As far as an ominous presence goes, the ocean looks and feels like an idyllic view but as the film progresses, this shimmering inviting blue mass is a deadly trap. With the mist appearing slowly each time the situation changes for the characters, the impending doom is that much more terrifying. A remote location, beautiful view and intruders unknown all screams; horror story. But the weird blue lights, the strange mist and etherical and dusky colour palette, says, science fiction. A clever and twisting feeling as body horror elements creep into the narrative, involving a knife and foot, you know what you’re going to see next but you’re never fully sure what’s going to appear.

As a slow paced at first thriller, then morphs into the spectacle by the end, there are some horror fans out there who will want the pace to quicken. Leaving too much room for situations to linger, patience is needed for a film like this which doesn’t really get moving until nearly an hour in, which is quite a bit to ask when it’s a 90-minute film. The build-up to the climax of the film can be forgiven for being exposition but when this doesn’t really matter, its shame the story does lose momentum.

 

A welcome addition to a genre just beginning to make traction, ‘The Beach House’ could definitely be the low-key companion to ‘Color Out of Space’, especially with the somewhat Lovecraft-esque setting and bizarre nature of the whole film. They’ll be more stories like this to tell, let’s just hope the elements that make up this genre don’t go stale.

The Beach House is now available on Shudder.

 

Watch List: April & May & June

This really should be called Watch List: Lockdown edition but as I don't really want to look back at posts in the future and see the words 'lockdown' in the title, I'll stick to the months. I've rewatched quite a few TV shows and binged throughed new ones but I seem to be winding down. I've gone back over my watch list on Netflix mainly and plucked a few films from there to watch. As there are no new cinema releases, the excitement of going to the cinema is still yet to happen, new releases on streaming services are less exciting but non the less available. I've taken to renting a few titles as well as watching films on Sundays with friends over Zoom but I haven't included every single film I've watched. This is a selection I wanted to write about as I really don't think me mentioning 'Mr Nanny' is going to add to anything.

The Platform

Not always eager to watch the latest horror film but the premise of this Netflix film was something that disgusted and fascinated me. Also having watched this at the start of lockdown really was the cherry on top of the hell cake. Set in a gigantic concrete tower spanning suposedly 200 floors, each floor with two peopl, some criminals, others volunteers and a rectangle hole in the floor, a platform travels down the tower stopping at each level for 1 minute. This platform is filled with food but as it travels down, there is less and less food for everyone. The film is literally a comment on the distribution of wealth and how humanity has failed this. The film is bleak, there's no way to shy away from that but its discussions between the protagonist and his cell mates are what give this story meaning and hammer home that there could be enough food for everyone if they rationed. The realisations at the end are the real horror as they aren't shock moments, they linger in your mind long after the credits roll. 4/5

Love. Wedding. Repeat.

Standard. Rom-com. This literally is a colour by numbers rom-com ticking all the boxes you'd find in the genre. But it is set apart from other films set at weddings by offering several possible outcomes, all with a very amusing scenarios but each ending in chaos and disappointment for most of the characters. With an assortment of characters each with their own plot, it is entertaining and romantic in all the right places. Would be interesting to see the original French film, 'Plan de Table' and its any different. 3/5

Proud Mary

This was a film I almost saw at the cinema, if it had been given a decent release so I was very excited to see it pop up on Netflix. Unfortunately I was left with a knot in my stomach at how disappointing it was. I love hitman films, I love them more when its female protagonist and I love Taraji P. Henson BUT there was literally nothing beyond that. Henson deserved so muc more. The plot was so thin that it didn't make any sense and it ended up being about a kid and how Mary ended up helping that kid. Why do all stories set up to seem like a thriller end up being about a woman protecting a kid? Or falling for the wrong guy? Seriously?? When are we going to get a story about a hitman or hitwoman where she's free from this and able to have her own storyline?? 1/5

The Matchmaker

As an avid fan of Janeane Garofalo I of course went looking for films she was in and hadn't seen and this very hidden gem from 1997 was one that was accessible. As with this type of rom-com, fish out of water, out of towner, culture clash, the plot is high concept for little impact. Garofalo works for a Boston politician running for re-election and sends her to Ireland to look for his supposed Irish roots. But when she arrives in the small town, its right in the middle of the annual matchmaking festival and guess what? She is a a cynic when it comes to romance. There's laughs, there's some kind of love and a bit of sad note before the end but on the whole, its was surprisingly good. 3/5

The Man Who Killed Don Quixote

We've waited over 25 years for Terry Gilliam's magnum opus and after all those changes and re-writes, i think the moment has passed. My full review is over at Vulturehound HERE.

Circus of Books

There are stories within stories when the main subject begins with a book or a film or a beloved and famous bookstore within a local community. Director Rachel Mason delves deep inside the bookstore her parents owned as it plans to close its doors, talking to the people who loved, patroned and worked at the store. The otherside to this film is about how her brothers and her didn't know until much later that it was a gay pornography store, their family history and how their parents kept it this information quiet from them. At times uplifting and inspiring but the personal history of the family steals the hard hitting moments. 4/5

Misbehaviour

Released on the cusp of the cinemas closing down and with little flare, I fear that this brilliant piece of British film will suffer the fate of 'Emma'. Based on the events surrounding the 1970 Miss World competition when Women's Liberation activists staged a protest during the live televised show. We get an insight into the activists lives, the contestants in the pagent and those hosting. These are the films and subjects that need to be shown. The end shots of the real life people and what happened to them after the event is beautifully edged into the frame and inspiring to see what these women accomplished. More of this please. 4/5

To the Stars

An unexpected gem that came out of nowhere, hopefully this will be a hit later on when an audience discovers it. Rent/buy this film!! My full review can be read HERE. 4/5

The Lovebirds

I thought this would get a cinema release but having seen it, I can see why it didn't depsite having the dynamite duo of Issa Rae and Kumail Nanjiani who are so fun to watch but even they can't save the mediocre plot about a secret organisation, blackmail and a corrupt cop. The jokes are there but the couple plot verses the film plot doesn't quite have a balance. Can we get these two in another film together? Also, enjoyed seeing the town where I live appear on screen at the end. 3/5

The Man Who Cried

This film caught my eye while looking through the endless list of films on Netflix (that will happen quite a bit as its lockdown...) and as this is a Sally Potter film, thought it was long overdue to check out her filmography. Potter directed and wrote this story about a young Russian Jewish girl who is separated from her father when he travels to America and her village is burnt down. Her journey back to her father takes her to Paris where she first becomes a dancer then part of an opera company, until the Nazis invade France and she must decide whether to stay or escape. There are low key brilliant performances all round here and it surprising how I hadn't heard of this film before, especially with the cast. An unexpected gem amongst the teen dramas. 3/5

The Legacy of the Bones

I read the first in this trilogy, 'The Invisible Guardian' and was pleased to see the rather faithful adaptation. This second enstallment focuses much closer on Amaia and her psychotic mother, delving deeper into her past and the connect that she has with serveral suicides. Discovering baby bones buried on the family home property and the possible resurrection of a witch like cult, the story and cases become entangled with Amaia once again. This story was even more terrifying than the first as we learn what Amaia's mother was really up to, more family secrets start to surface. 3/5

Body Cam

A horror film that I think was released at either the wrong or right time. My full review is over at Vulturehound HERE. 3/5

Splitting Heirs

A riduculous black comedy from 1993 where Eric Idle and Rick Moranis were switched at birth, now the latter is the Duke of Bournemouth and the former spends the film trying to bump him off so he can claim his rightful title. It is amsuing, far fetched beyond recognition but with John Cleese thrown in there as a shady lawyer along with Catherine Zeta-Jones before she disappeared off to Hollywood and had to fake her own Welsh accent, its not as unwatchable as anticipated. 3/5

The Assistant

This film was much more than I thought it was going to be it deserved it's own post which can be read HERE. 5/5

The Addams Family

Having rewatched the 90s Addams Family films many many times, its hard to picture anyone else as the family. Although the voice cast are quite good matches, the animation is not as pleasing. The story is bold and very in keeping with style of the Addams we know, involving a power hungry TV home make over host and her plans to get rid of the Addams whose home is not fitting with her asthetics but I can't help but going back to the quirky delights of the 90s. 2/5

Plus One

Two best friends from college agree to be each others plus ones at 10 weddings that seem to be happening all in the same year. This is the kind of rom-com I get enjoy, both the leads are cynical, forthright and funny, plus they are the OTP right in front of each other but take a while to realise it. There's genuine friendship followed by genuine attraction and affection. Apart from having to swallow the unrealistic amount of weddingings that they are both invited to, I really enjoyed this one. 4/5

Is It So Wrong?

Is it wrong to want to see a female character who isn't size 8 or below take centre stage or is plus size? There are plenty of inbetween sizes, as people come in all shapes and sizes. And when will we get films where the way they look is not part of the story, when will it be normalised? Is it wrong to want that character be a hitman/woman or a spy where they don't seduce anyone to get to where they need to be? Whenever the character is female or playing a female role, they always do this. Very rare is it when sex is not involved. Is it wrong to want an indepth character study where children are not part of the story? I'm really fed up of this plot element, why do women always have to be attached to children? Or they were tricked, betrayed by a former lover in the past? There are a myriad of plot devices that could be used but kids and former lovers are usually the reason for the characters motives. Is it wrong to want to see these things in films? If its wrong, I don't want to be right.

I'm sure anyone reading this can think of a few examples where these things aren't in play BUT I want to see it normalised, as normalised as seeing an all star male cast in an action film without batting an eyelid. That's what I want to see. Its also not unattainable. But with the pace that Hollywood moves at and like it or not they have the power to change but take their sweet time about it, I'm not sure when this will all happen. I mean, we're still waiting on a lead LGBTQ+ character to appear in a Disney film. Background, side characters and extras are not acceptable. Let alone a disabled character where their disability isn't the story.

I think I'm just a little more than fed up with the current attitudes in film and cinema. TV are ahead of the game by far, not sure why, by film just doesn't seem to take the risks.

I do love genre films and indie films alike but I really just wish I could see something else. I'm all about story but this story needs to change.