Slotherhouse

We all know the story of the creature, the monster, loose in the enclosed building. There’s no way to escape, despite there being many exits but those unlucky souls trapped inside are doomed no matter what they do. We are also familiar with slasher horror films. A mysterious person or entity kills a group of people one by one in violent and bloody ways. Mashing up horror genres with comedy isn’t something new. However, having one of the slowest animals on Earth become the creature of the feature, as well as the antagonist slasher, is one of the most bizarre twists on film.

Desperate for popularity points so that she can become her sorority’s president, senior Emily adopts a three-toed sloth, making it the house mascot. But as her popularity rises, so do the number of mysterious deaths and disappearances within the house. Realising too late the havoc and bloodshed the sloth can cause, Emily and her remaining Sigma Lambda Theta sisters must fight for their lives.

Full review over at Filmhounds 

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

Mean Streets

 

Martin Scorsese has been known for his gangster films, as well as a foray into other genres, but his third film, Mean Streets was the one that pushed him into the spotlight. A gangster film about violence, crime and fraught friendship, Mean Streets not only showcased Scorsese's talent, this was Harvey Keitel and Robert De Niro's first appearance together in a film, as well as the first in a long line of films, the latter worked on with the director. It could be said that Mean Streets was the start of something special.

Following a group of 20-somethings as they each try to make a name for themselves in New York city, going from small time criminals to aspiring gangsters. Charlie, trying his best to avoid crime but working for his mafia boss uncle, dreams of opening his own restaurant. Along with Tony, who runs the local bar and Michael, a loan shark who runs small dodgy deals, Charlie spends his time cleaning up the messes of his sometimes friend, Johnny Boy, a petty thug who rips off loan sharks for a living. But sooner or later, Johnny Boy's bad habits will catch up with him.

Full review over at Filmhounds HERE.

Watch List 2023

 

Another year of film and what a spectacular one it has been. Thankfully and with much effort I was able to see more films this time around, hopefully following that trend into 2024. With the all the voting done and lists revealed, here's my top films from the year.

A profound and most understated story that could be interpreted many ways, but for me it was about longing, lost love and the all too heartbreaking, 'what if'. I wrote about Past Lives for Filmhounds in the latest issue, which can be bought HERE.

All I have to say about the deliciously twisted film can be read HERE

This was the end of an era, my personal favourite Marvel storyline and with this ending the fighting family gang adventures, I don't need to see anymore Marvel film. This was as heartbreaking as any ending would have been. There were laughs and rage and tears, which pretty much sums up the film. Letting our gang go out with a bang and appropriate endings for them all. 

Based on the fantasy sci-fi graphic novel of the same name, the shapeshifter Nimona graced out screens via Netflix and left quite an impression. Amazing animation and special effects with gut wrenching storylines and great characters, my only wish would have been a theatrical release. I wrote about the film, in particular one of the best scenes in the film for Filmhounds, which can be read HERE.

One of the most under seen films of the year but with an ever pressing message. My review can be read HERE.

A favourite from LFF 2023, the slow burn thriller set in the Outback. My review can be read HERE.

Just when you thought romantic comedies had gone stale and were only for streamers. We get a story with two electric leads (with fantastic chemistry) set over the course of one day. The comedy was genuine, the romance not over kill, it was a perfect mix and thankfully, this was on the big screen where it should be.

The title feels hard hitting but its more than that. My review can be read HERE.

Taking the world literally by storm. We all willing took that hand and were drawn into the world of possession. This hit a chord with so much so I made a zine! My full review can be read HERE. Sadly, all the zines are sold out.

The biggest question of the Summer, Barbie or Oppenheimer? Of course I saw the one about a land where all the Barbies dolls live out their most progressive careers, until one Barbie and Ken escape to the real world. Christopher Nolan's biopic was decent but in no way would I choose that over Barbie. This film had everything (except the ending, for me I had some issues), with not only hilarious moments, but a Ken musical number, toxic masculinity dive, and seeing the entire board of Mattel chasing Barbie all over town and into her world. There's too much to condense into a few sentences here to convey all the amazing aspects of the film, so thats Kenough for now.

Saltburn

 

The film has divided audiences, one side disgusted, the other mesmerised but also, quite disgusted. Inspired by and somewhat a homage to Brideshead Revisited, The Talented Mr Ripley and with a smattering of Kind Hearts and Coronets, Emerald Fennell’s second feature goes further than you’d think and finally twists the knife in your side, but you can’t help but be entertained.

 

With explicit visceral sex scenes and gag inducing moments involving bathtub water and rain drenched grave, the characters that accompany these memorable parts are just as fascinating. Following Oliver, as he attends Oxford, a lonely outsider, who strikes up an unlikely friendship with the popular wealthy upper-class Felix. After becoming such good friends, and feeling sorry for him, Felix invites Oliver to stay with him and his family over the summer at his manor house, Saltburn. Oliver, desperate to stay close to Felix and be part of this life, manipulate his way through each family member until his own secrets are revealed and he makes some drastic choices.

 

If Promising Young Woman was retribution, Saltburn is obsession and entitlement. The Catton family are in privileged positions and on several occasions express the fact they feel entitled to have things their way. They want for nothing, except maybe cousin Farleigh, who is in a precarious situation. Oliver feels entitled to the same lifestyle he has partaken in through his friendship with Felix. After having a taste of this privileged existence, he believes he is entitled to take it from those around him. The argument that the film tried to make us sympathise with the upper-class characters as they come across as kind, welcoming and overall, the ‘nicer’ people is just a thin veil of what lurks beneath. Each member of the family has an underlining mean streak that appears at some point. As much of their dialogue, particularly Elspeth, comes across as absurd and comical. Making this film about class and class alone rather ruins the overarching point of the story. This isn’t about the Catton family; this is Oliver’s story and how he decides what he will become.

 

Oliver is indeed the interloper and rarely seems like a genuinely good person. From the start he pretends to be from a poor background with a difficult home life and upbringing but when it is revealed that he is from a relatively average middle class home, it reveals that Oliver is far more twisted. His lies know no end. The film begins with him insisting he wasn’t in love Felix and as the film goes on, we start to question is Oliver has told a single truth throughout and whether his opening statement was also a lie. In some ways, Oliver is an unreliable narrator who doesn’t narrate. It is his story but we don’t know how he really feels or thinks, just that he craves Felix, his family, Saltburn, his obsession grows as he starts understand himself what he really wants.

 

The Boy and the Heron

 The cries of 'hes done it again, another masterpiece' would and have followed Hayao Miyazaki's latest, The Boy and The Heron. But the illusion that every film now made by animation studio is worthy of this title is starting to fade. The resounding success of Studio Ghibli, in particular the films by Hayao Miyazaki, have made them popular around the globe. Every time Miyazaki announces his retirement the film world eagerly awaits his 'final film' and it's always praised without question. 

Yet, The Boy and the Heron doesn't feel like a last hurrah, or acclamation of a brilliant filmmaker showing us he still has stories to tell. The film lacks direction, consistency and a coherent story. There seem to be too many ideas crammed into one and this time, the as always, beautiful animation, doesn't make up for this. There is a sense of desperation to say everything all at once, this isn't just shown in the story but through characters, the man in the tower trying to balance everything out. It could be too much to view this as Miyazaki himself. Not willing to let go and feel as if he's running out of time. 

There are indeed some amazing images alongside the more visceral and quite grotesque. The tower itself is fantastic, but the various time travel parralell universes behind doors is too much. Making the story about a boy, who misses his mother but is trying to find his aunt who will be his new mother is also, slightly over complicated. Hardcore Miyazaki fans will get something out of the film and those who have enjoyed previous films may seen some value but, this isn't really for a younger audience and for those just starting to discover Ghibli. It's a shame as the first half if the film felt so promising.