The impending apocalypse finds a mother and her autistic daughter spending their last moments together.
Silence is one of these short films that you watch and the first question that comes to your mind is: “What is happening?”. Upon establishing that, the question that follows is: “Why is this happening?” The answer to that lies in the hands of the filmmakers and their effort to get the funding they need to turn it into a feature. Official selection at the Los Angeles Film Festival, so I keep my fingers crossed to be seen by the right people who can add a solid setup and confrontation. Something along the lines of Knowing (2009)?
While discontinuous editing has proved to be innovative and effective in the past – see Breathless (1960) – in Silence this is not the case. I believe though that the strong message, the impressive photography (observe the changes as the doom is nearing), and the great performances by both Louise Rhian Poole and Riann Mutlow will win the impressions and writer Rachael Howard, director Lee Burgess, and producer John Ninnis will come out of the festival with a signed deal that will answer the “why”. You can watch it here: https://www.youtube.com/watch?v=16Gwlb2-gw0
A man’s mind is playing tricks regarding when and how his relationship took a turn for the worse.
Did you ever wake up one day asking yourself, “what happened”? Struggling to put together the where, who, why, what, and when? A Case of You is exactly that! John wakes up in his apartment one morning and, in real time, he wanders from room to room trying to figure out what went wrong between him and Emily. Why he is alone. What happened.
The one 18-minute shot is impressive. It takes a huge amount of preparation in preproduction where EVERYONE in front and behind the camera gets to know EXACTLY what they need to do when filming starts. The beauty though in Jack Davie’s creation is the marriage of his directing and writing which provides practical answers and raises existential questions. No spoonfed drama here. The mind works in mysterious and, more often than not, incomprehensible ways. Try to keep track of how John and Emily’s relationship deteriorated. It’s a non-linear jigsaw and every event, every utterance, and every action is part of it.
A mother and her little girl go on a picnic but the past resurfaces, bringing nothing but pain.
Vague yet intriguing development from writer/director John Ninnis whose inciting incident in the first act stealthily forewarns about the second act’s conflict and intensifies the denouement’s mystery. Mummy Fell Asleep falls under the category of shorts where filmmakers purely rely on solid script and acting as money is not an option. And in this case, both pay off. Ninnis’ narrative is a reminder of Sean Ellis’ intriguing first shorts – and brilliant later features. Speaking of, imagine a feature version where characters are fully developed and you get to know the preexistent, obscure events that lead to breaking the camel’s back. Proud winner of:
The 2010 Heart of England Film Festival: Best Short film Internationally
The Irish International Film Festival: Best Short Film under 10 mins
The chronicle of a girl who decided to become a transgender man and learned to express himself and overcome his tribulations through art.
Show me a person who claims they have no skeletons in their closet and I’ll show you a liar.
Writer/director James Land follows his fellow Devonian Kay Jane Browning who got mocked, bullied, and beaten up as a little girl only to grow up a proud young man who transcended both genders’ limitations, and became a person of his own; an artist.
It doesn’t take money to tell your story. It takes to be truthful to it. It takes to say it out loud to feel liberated. Let haters laugh at you, among others, they are only shameful, dishonest, and deceiptive. Because the rest of the world will follow you, engage with you, and give you a standing ovation for who you really are. Hats off to both James and Kay for bringing this story to the surface. You can find it here: https://www.facebook.com/TheArtofMyScars/
Watching Kay’s story, I couldn’t help but wonder, is it our generation who’s gonna put an end to discrimination? Against people who just look different than we are. Against people who are physically and/or mentally attracted to whoever they choose to? Against people who just happen to believe in something different than we do? Is it gonna be us who’s gonna make this world welcome to EVERYONE?
Show me a person who found the courage and strength to reveal their skeletons in their closet and I’ll show you a hero.
Trying to find their ideal home, a young couple is lured and trapped in a suburban neighbourhood where every house and street is identical and seemingly no way out.
Entirely allegorical, Vivarium joins the club of independent mind-bending films such as Triangle (2009) and Coherence (2013). Does it hit the mark though? It starts by trying to but halfway there it seems that it abandons the idea itself. Based on the short film Foxes (2012), also written and directed by Garrett Shanley and Lorcan Finnegan respectively, its feature adaptation gives the impression of “surrendering”, flattens out until the end of the second act, then it picks up until the end… but the viewer is already “gone” by then. Third collaboration between Imogen Poots and Jesse Eisenberg, showcasing once more the undeniable on-screen chemistry between them.
Personally, I did like it and it did kill some time but when it comes to “Sisyphusean” films, killing some time is just not enough. The end of the second act is worth watching so the toughest part is to try and keep track until then. Maybe not the best film during the quarantine days but if, like me, you are a fan of one-location allegorical thrillers, don’t have any high hopes and give it a shot. You might find yourselves relating to the protagonists more than you expect.
A young boy who struggles in Hitler’s Youth finds out that his well-respected by the Nazi party mother is hiding a Jewish girl in their house.
Unwillingly, I was informed that an archipelago of 10/10’s swarm across IMDb about JoJo Rabbit. So, I thought to myself, ‘interesting…’ Having been familiar with the plot, I thought that it would be The Pianist (2002) meets Top Secret! (1984) – weird, I know! Well, it wasn’t. So, I am partially to blame for this as I prepared myself for something that was simply not. The first hour or so made me smile on a couple of occasions but I struggled to find it funny. Then, due to the particular type of satire, I struggled to find it dramatic. 30 wins and 142 nominations, including Oscar win for Best Adapted Screenplay, and I couldn’t make my mind until about an hour into the film whether I like it or not.
But then the last half an hour the film found a balance that, me personally, I think it lacked before. And Roman Griffin Davis, Thomasin McKenzie, and Sam Rockwell made this last half an hour a proper gem. This last half an hour got my undivided attention. If you’ve watched it or if you intend to watch it, let me know what you think. Rebel Wilson, Alfie Allen, and Stephen Merchand are brilliant additions to the cast. Scarlet Johansson’s two Oscar nominations this year must have a put a yet greater smile on her (lovely) face. In the Marriage Story (2019) she definitely deserved that nomination. Here, once again, I struggle to see why. Shame that Sam Rockwell wasn’t heard much, he makes all the difference in the world.
Regardless of what I think of the film, Taika Waititi is a true artist so, I really hope you enjoy it.
Men in Black, the secret government organisation with the cream of the crop agents and the advanced technology from all over the known Universe is now having a mole who threatens to destroy the Earth.
The reasons are obvious as to why it didn’t perform well. Barry Sonnenfeld, director of Men in Black I (1997), Men in Black II (2002), and Men in Black III (2012) gave MIB an appealing character to men, women, and children of all ages. F. Gary Gray and the studios decided it’s a wise choice to ‘devote’ Men in Black: International to millennials and, as a result, it was turned into something unfulfilling for everyone else – even them evidently. To be more specific:
Online childish slang (?) such as ‘you had one job’ and ‘that happened…’ were only put there just to have these lines heard by their favourite actors/actresses.
Both men and women, we acknowledge that Chris Hemsworth is attractive. Fair enough, but to make him look like he just finished a fragrance photoshoot or an underwear ad throughout the whole film kills the vibe, throws the fans of MIB off, and ultimately depreciates the franchise’s value.
I know it’s an action/comedy/adventure but the main hero comes to realise something he never expected about himself (no spoilers). Do we feel like he is really affected by it? No. That kills the drama. And as a whole, I didn’t really feel anything about anyone as it was all…
Fun! Comedy works in mysterious ways and what makes people tick varies. BUT… having a punchline for everything that happens for almost two hours creates one emotion for every situation.
Men in Black: International became a lose-lose situation for studios and audiences alike. Will Smith and Tommy Lee Jones (even Josh Brolin) became MIB by earning their stripes. F. Gary Gray is an amazing director. Friday (1995) and Straight Outta Compton (2015) are brilliant examples of his work but Matt Holloway’s and Art Marcum’s script didn’t do any favours to anyone. If you also want to admire Chris Hemsworth as a presence but also a thespian, watch Rush (2013), In the Heart of Sea (2015), Bad Time at the El Royale (2018), and of course, the Thor/Avengers franchise.
I’m not even gonna go into production details and I feel sorry for not having something good to say (except that Tessa Thompson is always mesmerising).
Having gone missing for seven years, spaceship ‘Event Horizon’ reappears having come back from a darkness beyond human understanding.
One of the best psychological, sci-fi horrors you have ever watched: Alien (1979) meets Hellraiser (1987)! The ‘tragedy’ with Event Horizon is, as usual, the studio. When uncreative people in high places interfere with art, art always suffers the consequences. Paul W.S. Anderson’s 130′ original, ‘graphically violent’ cut forced Paramount to cut 30′ and water it down. Both the studio and Anderson regretted doing it! Twenty years later (2017), Anderson stated that the year after the film’s release he and a producer started looking for footage that due to bad archiving had gone missing. Most of it was destroyed, some of it was of poor quality and some of it was found as far as a Transylvanian salt mine!
From cruciform shapes to spinning tunnels and rotating interlocking circles, Event Horizon marries the antithesis between religion and science, showcasing the man-playing-God hubris, and offering us the results in an entertainingly, bloody way. The film has become a cult for both sci-fi and horror fans alike. The Making of ‘Event Horizon’ (2006) is a documentary that whoever liked the film MUST watch. The production details give away the great lengths Anderson went to, to bring this film to life. Philip Eisner’s script is solid, Laurence Fishburne and Sam Neill are brilliant, and the Production Design is Oskar-worthy. Unfortunately, the studio forced the editing to damage the film’s unimaginable potential. It is wishful thinking that the series in development will live up to the film’s expectations and include the ‘Old Testament Speech’ and the ‘Dimension of Pure Chaos’ analysis.
The detailed, infamous captain’s log ‘orgy of death’, the ship’s return, and the extended black hole’s Bosh-influenced ‘visions from hell’ have made all our imagination run wild over the years, hoping that, one day, the film’s re-release will re-surface missing footage, and will re-appear to us to reveal what it has seen…
A British Intelligence whistleblower decides to leak information about an illegal NSA spy operation that would force the UN Security Council to authorise the invasion of Iraq in 2003.
Based on the book by Marcia and Thomas Mitchell “The Spy Who Tried to Stop a War: Katharine Gun and the Secret Plot to Sanction the Iraq Invasion”, the script of Sarah and Gregory Bernstein, and the directing of Gavin Hood (also co-writer), make Official Secrets as one of the most realistic espionage films of its time. The fiasco of the “weapons of mass destruction” that led to hundreds of thousands of people dying is seen through the eyes of Katharine Gun, showcasing her enormous courage and the incredible risk she took (both personally and professionally) to disclose the truth to the public. Subsequently, it stirs the focus towards the brave journalists and lawyers who backed her up, reinstating our faith that not all of them are government puppets and leeches respectively. All of us who served in the army at the time or were glued to the television, and saw the live footage were disgusted by both the war itself, but also our governments. I feel sorry for the ones who were actually there – fighting for either side. Here is an interesting fact: https://www.imdb.com/title/tt5431890/trivia?item=tr4849190
The story is solid and the editing is beautifully crafted. Every actor pours their soul into their characters and Hood, side to side with cinematographer Florian Hoffmeister do a brilliant job behind the camera. Keira Knightley, Matthew Goode, MyAnna Buring, Matt Smith, Ralph Fiennes, Indira Varma, Rhys Ifans, Conleth Hill, and all cast and crew deserve a round of applause for their achievement in front and behind the lens.
Highly recommended for all filmgoers as it will definitely rock your boat. Especially, in times like these where both the US and the UK suffer from the twin buffoons. Apologies for delving into politics.