film reviews, interviews, features | BRWC

Author: Alex Cole

  • The BRWC Review: Carnage, Swallowing The Past

    It’s 2067; the world is peaceful. The world is perfect. The world has outlawed meat and dairy. Welcome to a world where animals have human rights and older generations struggle with the guilt of a barbaric ‘carnist’ world where people ate meat. This is the plot of Simon Amstell’s first feature length mockumentary set in a vegan future investigating the world’s barbaric omnivorous past.

    Carnage: Swallowing the Past is manifesto, and despite apologising for its open message, Amstell has created a unique, entertaining and oddly convincing piece of propaganda for veganism. Mocking both veganism and the rise of populist science and ‘experiment television’ Carnage revolves around two aspects, firstly Dr Yasmin Vondenburgen’s (Linda Bassett) attempts to relieve the guilt felt by former ‘carnists’ in a world where vegans are the norm and those who ate meat are vilified. It’s second theme focuses on the rise of the vegan movement led by Troyte King Jones (John MacMillan) and Freddy Jayashanka (Mawaan Rizwan) allowing Amstell to mock two genres at once.

    Mockingly teaching us that we only eat meat because we ‘don’t know any better’ is a unique way to go about this. It works particularly well when matched with Amstell’s natural and hilarious brand of self-deprecating comedy it allows him to mock the approach of the vegan cause as much as those who eat meat. Amstell’s documentary incorporates some big names into its cast including Linday Duncan (Birdman, Rome) and Martin Freeman (The Hobbit, Sherlock Holmes), and whilst mockumentaries always struggle to bring something new to the table by their very nature, the skill with which Amstell has created a believable and plausible fictional world, but also matched perfectly the tone of television science is astounding.

    Despite being propaganda at its core, much like Snowden (except better) Amstell creates both an entertaining piece of comedy and a convincing piece. Although I won’t be becoming vegan anytime soon, I would watch this mockumentary again and I’ll certainly be looking for Amstell’s next venture into feature film.

  • Snowden: Review

    Snowden: Review

    Disillusioned, desperate and idealistic. Oliver Stone’s film brings us the dramatised biopic of U.S. whistleblower Edward Snowden. About to be accused of treason, Snowden illustrates the making of a traitor as we map the moments that lead to Edward Snowden’s heroic betrayal  in this overly patriotic yet revelatory tale of freedom versus security.

    The Social Network proved that tainted and biased biopics can be exciting, and can appear genuine in their nature. Combined with the  knowledge that hacking can be coo,l demonstrated by possibly the worlds greatest cinematic success, Hackers, you’d think Snowden was in for a success…well…you’d be half right. A lot of reviews call the film drab and dull, often forced, and with too much focus on the lover affair between Snowden (Joseph Gordon-Levitt) and long time girlfiend Lindsay Mills (Shailene Woodley). Yet I actually thought the film was exciting, interesting and brought the world of true  espionage to exciting new ends.

    The only thing holding Snowden back is the last half an hour, and especially the last five minutes. An exciting tale and character development led by a brilliant portrayal of real life Snowden by Levitt as well as the constant and consistent personality of Woodley, soon develops into God like devotion for the real man that brings vomit to the mouth. The final scene  has real-life Snowden taking Levitts place whilst a heavenly glow emanates  from behind his head during a ‘heroic’  and chillingly sickly speech about freedom. Stone managed to take a film I expected to hate into likable territory only to destroy it in one scene.

    Despite some good performances and a decent attempt to turn nothing events exciting, Stone cannot escape the overt political motivation behind this film to create an entertaining and standalone piece. Instead of creating an entertaining picture, Stone has created a pretty decent propaganda  piece. It’s good enough to watch, and I wouldn’t say no to a second viewing, but far too political for me to recommend as entertainment.

    It’s now out on Blu-ray.

  • Review: Blind Sun

    As Ashraf Idriss (Ziad Bakri) house sits for a wealthy couple in the mountains, Blind Sun brings multiple threats both imaginary and real as he attempts to keep his sanity and his cool.

    A startling metaphor for both global warming and the erupting refugee crisis in Europe, this Greek tale is a mix of arthouse immersion and mystery flick, dominated by a slow-cinema style that’s either loved or hated. For those afraid of slow cinema (like myself), Blind Sun is a well-paced affair, and at only an hour and a half long it doesn’t leave you yearning for death in usual way of a 3 hour slow cinema epic. Thankfully it’s far from your usual piece of slow moving cinema.

    Although very little happens in Blind Sun, it builds its intrigue well, introducing and answering questions well, building the character and the scene as it progresses. Social unrest, police state and unbearable heat create a mental state of confusion in Bakri’s character. Bakri delivers a strong and powerful performance as a man drifting, and gives a performance with the strength to hold the viewers interest during this plodding tale. Joyce A. Nashawati, who directs this tale brings some steady and beautiful shots and with an excellent capture of light creates an ever pervading sense of oppression both politically and physically.

    Blind Sun is not a unique film, but it has subtle differences that for me make it stand out from the crowd. Its length keeps it entertaining and interesting, whilst it’s beauty captures the mind. Most importantly there is a subtlety in Blind Sun that is powerful. This is a film well worth watching and I would recommend it to all.

  • The BRWC Review: Jackie

    The BRWC Review: Jackie

    In the wake of John F. Kennedy’s assassination, Jackie takes us down a path of grief and trauma as Jacqueline Kennedy (Natalie Portman) tries to regain her faith, bury her husband and protect her family.

    Caked in dark undertones, Portman delivers a mesmerising performance as Jackie Kennedy, delivering such curiosity and ferocity that it is almost impossible to understand the real motivation of her character. Neither can we understand ultimate aim of anything we see in Jackie. The political intrigue is deep, allowing each audience member to determine and mould their own motivation around both the characters and the events.

    Jackie
    Jackie

    Portman is supported by a array of fantastic supporting actors and actresses which makes Jackie even more impressive in it’s intricacies. Unfortunately, none of the spectacular acting makes up for a slow and trudging plotline.  With such a small number of events and little to go on, Jackie builds itself on performance and expression, but it certainly doesn’t stop it being a tad…boring.

    The direction is good with a great mixture of  documentary shots and  brilliant cinematography bringing the 60s to life creating a picturesque and natural world. There’s a little bit of an overuse of strings  which kills the musical score for me, but otherwise it’s a very well built picture.

    Ultimately, Jackie is a mix of brilliance and over indulgence. Jackie was built for Oscar noms, but doesn’t have enough to hold itself as a truly great film. Jackie is fantastic for lovers of biopics and The Kennedy’s, but I  don’t think it’ll win over a mainstream audience.

  • Review: The Sitter

    Review: The Sitter

    Little Tommy’s been having bad dreams, but babysitter Megan can’t have expected what was coming next.

    The Sitter is a short horror story brought to us by new to the scene director Edward Harvey. Trying to avoid the ‘jumpscare‘ horror genre, you can see that The Sitter is trying to bring us mystery and intrigue, but unfortunately it suffers from some unconvincing action, and to be honest some poor fake blood. I try not to be critical of films made by new directors and clearly starring new actors, but The Sitter just doesn’t work. It’s a bit bland and really just not very scary.

    The face made by young actor Noah Leggott (Tommy) at the end of the film meant to distress and upset the viewer should not have been the shot they chose. I’m critical of the director here for using that take, not young actor Leggott who puts in an otherwise solid performance. Both Chloe Oxley and Katie Louise McMillan give poor delivery throughout and it’s all a little wooden.

    All of that could be forgiven if The Sitter scared you at all, but the reactions of Megan are just so strange and unconvincing. In truth the whole piece is just flat. For me, The Sitter didn’t work, but never one to dump on a independent production please watch and judge for yourself!

    The trailer is below.