Author: Alex Cole

It’s another chilli night in Scarborough & Whitby, as Labour Candidate Bertie Oldcross (Rodger Ringrose)and his trusted campaign manager Simon (Ryan Early) prepare for the final day of campaigning ahead of the 1997 general election.  

On their way to a celebration party, in just one moment, their lives are changed forever. What follows is an adventure into questions of conscience, morals, and what any good person can live with.  

A Night in 97 is a crime & politics thriller that seems to have been designed for the theatrical stage rather the cinema screen. Dark exteriors, monologueing galore and Shakespeareianesque speeches make it feel like I should be in a tiny theatre on the West End rather than watching it on an ipad while I devour my lunch in my small flat.

I’d argue this is both a plus and a minus point. Rodger Ringrose (The Witcher) and Ryan Early (The Crown – Radio Series) give an excellent and uncannily believable performance as a political duo doing whatever it takes to win. I particularly enjoyed the radio interview where Bertie is constantly checking with his manager that he’s said the right thing, with nodding and thumbs up-ahoy.

The interviewer meanwhile seems completely numb to the fact her guests is clearly just given well prepared answers to callers with particular questions. The negative to all of this though seems to have been the settings and direction. it didn’t bring the realism and ‘suck-me-in’ factor that film productions normally do.

I did feel like these people were in front of me, but not that I was in their world, and that’s where the theatre point comes in. It was a great performance, but it came across like one.

It’s not a unique script either. While trying not to give away the plot, it follows the usual troupe of questions of conscience cinema such as A Christmas Carol or The Machinist where something they’ve done weighs on them heavily until the secrets out, or they enter a dream to learn a lesson from it. It’s nothing new. It’s simple, it’s good, but not inventive. At around 87 minutes it’s an entertaining watch, I just felt there is more to watch out there that’s better.

Rodger’s performance is by far the standout part, and some credit for that must go to writer and director Sam Prudence who directs the monologue scenes, and the sweet sweet timing of facial expressions and statements. He’s hit politics on the head, the way they lie, the way they want to win and the fact it’s just a job interview for most, even if they believe they’re doing something more. For that, I applaud him.

If you’re interested in politics, labour & sweet little British crime films I’d recommend A Night in 97, but for most I’d say watch something a bit more developed like Prisoners or The Machinist

‘An Allegory of America’, Kill the Monsters is the tale of three men struggling to keep their polyamorous relationship together whilst travelling across the US.

This epic journey is all in search of a doctor to save the most naive of their three way relationship, Frankie (Jake Ball). Frankie is sick, but ‘it’s not cancer’, he is suffering from a ‘general feeling of malaise’ that leaves him regularly hospitalised and unwell.

Announcing itself as an allegory in its opening credits, the relationship in Kill the Monsters is not the only plot within the film. Their entire adventure is a nod to American history. We start with Frankie’s break from an oppressive British employer to a round table with German and Russian lesbian couples as they fight over the rights to an apartment block and disagree about how romantic relationships should be managed.

The entire relationship between Frankie, Patrick (Ryan Lonergan) and Sutton (Garrett Mckechnie) seems to a representation of political powers (Patrick & Sutton) vying for the affections of The American People (Frankie) as they make decisions about their money and relationship.

This includes the partners’ interactions with a menagerie of lesbian couples from different nations with Frankie always having the deciding vote following arguments from either side (which he doesn’t really listen to).

Most of it is clever and subtle. The French doctor who convinces them to break west, the British Banker who employs Frankie are not overt and don’t directly mention their connection to American history. As Kill The Monsters develops it becomes more in your face as we reach modern history. The German characters directly out our American throuple for thinking ‘their relationship’ is equally as oppressive as theirs.

Later it becomes so obvious Sutton is a republican allegory and Patrick a Democrat it loses itself a little as it becomes easier to decipher the allegory’s meaning.

None of this makes it any less enjoyable though. I actually loved watching American history through the eyes of director Ryan Lonergan and I was incredibly impressed how this film changed my mind minute by minute.  As a lifelong cynic, whenever I see a film which appears needlessly in black and white I roll my eyes and guffaw at the silliness. Jim Jarmusch must have been watched numerous times before making this film, and whilst I still don’t see what it added other than an aesthetic to fit the old timey font with which they introduce each chapter.

Luckily Kill the Monsters had a very obvious comedic and satiric element that made it bearable. Though I won’t admit it if you ask me face to face, I ended up not caring it was in black and white at all, or even noticing.

With snappy cuts, fast paced excited dialogue, some intense moments of fantastic acting, Kill the Monsters is a genuinely GOOD film. It may not streak the awards ceremony but anyone interested in American History, or ANY history should definitely watch this film.

It may not be a choice for fans of Donald Trump though as he’s hilariously alluded to towards the end of the film. Kill the Monsters surprised me with how it kept me engaged and I didn’t actually want it to end. I thoroughly recommend giving it a watch.

A story of love and responsibility, Angelfish is story of a young couple from different sides of the track. Forced to look after his family Brenan (Jimi Stanton) meets the college bound Eva (Princess Nokia) before dreams of something better threaten to tear them apart.

Angelfish is your typical watered down Romeo & Juliet. Though their families may not be at war, they do disobey the family’s plan for them. What I don’t get with Angelfish is that its built on the idea of a beautiful young couple transforming each others’ lives, yet, Eva didn’t seem to inspire Brendan that often. Brendan seems to be inspired more by the wise old gent Mr Nunez (Bobby Pasencia) during their numerous deli counter chinwags.

There was a particular scene in which Eva tells Brendan to follow his own advice, which seemed to be pushing it that way, but in the end Brendan is more inspired to change his life by his absolutely terrible mum incapable of helping his little brother out of trouble. In a way you could say finding someone he loves brings him to this point, but it was hard to see and could have done with a little more screen time and development.  

Where Angelfish really succeeds is in its portrayal of young people with way too responsibility thrust on them for their entire lives. Brendan and Eva have opportunities ahead but a family to care for first. It’s difficult to watch at times as two clearly loving and GOOD people are forced into things they don’t want to do, or rejected by the ones that they love. Jimi Stanton and Princess Nokia do a stunning job in displaying the heartache and raging battle inside. Director Peter Andrew Lee does a solid as well directing them and the cinematography to make them feel alone. The gritty realism of the sound quality does add an extra tension to the scenes. The background characters, background actors don’t add much. Add this to a weak and strange middle section a lot of Angelfish seems strange and unconnected.

The inspirational speech which eventually heals Eva’s woes is OK, but doesn’t really address the problems Eva faced from her mother. Ultimately at the end, I wanted more happy moments and more love I know that not all films end with that magical ‘happy ending’ which although frustrating for me led me in the end to decide I quite likes Angelfish as a whole, despite its drawbacks.   

As for drawbacks, Angelfish has a few. The brother was a weak character. I didn’t really get how or why he was pulled into drugs, and why the dealers wanted him involved so badly, or why on earth they thought the brother would help them. It seemed a bit forced, as if included just to create some kind of conflict, but with very little threat. The film made a big deal of the mixing communities in its blurb, but as an outsider it seemed to make little difference to their story.

Having watched the BBC’s Normal People in almost complete succession, I know that not much happening doesn’t mean a lack of excitement or tension. Angelfish had a lot of these moments and lot of similarities, but it didn’t hold you in anywhere near the same way. The dialogue felt like a bunch of scripted inspirational speeches pieced together and didn’t feel natural. The only natural character was Eva’s gossiping pal Ricky (Sebastian Chacon) who’s short but sweet screen time made for some of my favourite moments, but again, ultimately redundant to the plot…or anything. Give him a sequel!

Princess Nokia will be making waves at some point, with a music career and feuds with Ariana Grande to back her up and certainly Jimi Stanton will make a good few movies like Angelfish before he’s done. Unfortunately Angelfish is not going to be on the watch list on Netflix for a lot of people. For those into emotional dramas it’s a nice simple easy watch and will fulfil an evening’s filmy duties. It’s the sort of film you finish and say ‘I quite like that’ but may forget the name when telling your mates the next day.

10 years from now Britain is in civil war.  Split between loyalists to the newly establish Queen Bear and the extremist group led by Galahad, the newly Arthurian nation is on the brink of civil war. For those in the middle, loneliness, despair and fear rule. The Good Book is the story of one such middle grounder Avalon (Riana Duce) who, in her search for companionship and meaning, is tasked with preserving hope as she hurries to save the soul of a humanity lost to extremism.

The first production of the Leeds People’s Theatre, The Good Book, is community theatre on film. Directed by Brett Chapman and written by James Phillip it stars over 100 citizens of Leeds alongside its three main stars Riana Duce (Avalon), Angus Immie (Geraint) and Katie Eldred (Vivian). Community is at the centre of this film. Community exists in both its production and the content within. The Good Book even shows off the company’s Slung Low roots by featuring the working men’s club The Holbeck from which they now operate.

It’s always great to see community projects realised, and it’s even better when they make something worth watching. The Good Book is good, but it does have limitations. I LOVE a near future dystopian film; especially one that is such a good allegory for the political situation in which countries exist. The Good Book has huge potential and was so so close. All it lacks is a touch of context dialogue. The Arthurian future is never really explained, and there’s no reason or context to why people are acting the way that they do. Maybe we’re not supposed to know, but at least a sign of a major crisis that happened or something come have been threaded in through an extra line hear or there. It just felt a little lacking. Avalon also seems to be using a mobile phone from 1995 that can still record video. I don’t really get why phones would go backwards, but at the same time stay where they were. Maybe production stopped, or government issued phones were created, but it seemed again, lacking context and for that typifies what The Good Book lacked.

Having said all of that, The Good Book also has an incredible amount to give, and delivers on it. For me, whilst a lack of context somewhat diminishes things, it doesn’t take away completely from what they’re trying to create. The sets, the props and the acting are all excellent. They’ve done a lot with the little they have and they’ve managed to create a truly compelling main character and deliver a heartfelt message of hope and reason. Avalon’s lust for change, but fear of the consequences is possibly the most realistic character I’ve seen in the dystopian future. She’s neither out for herself, nor intent on saving others. All she craves is understanding, affection and someone who feels the same confusion she does. She’s not a hero, although it is thrust on her. Unlike several characters we didn’t get to know well enough, she was relatable and felt very 3D. Only Vivian, with her interest in protecting Avalon by encouraging her to take on the Queen’s teachings,, showed any other deep sense personality.

I loved the concept of taking on Arthurian legend to save the country. I loved the rendition of a much changed national anthem before a politically motivated beating in the pub. It was all very Britain First and was a good representation of the idiocy of hating those who don’t agree for no reason other than differing beliefs. Vivian I think said it best, when she suggest Avalon take on her beliefs… so she could be safe.

At 30 minutes, The Good Book is well worth a watch. It captivated me from start to finish, and I truly felt for Avalon by the end despite the lack of context. Community production is always worth keeping alive, and if this is their first feature, I can’t wait to see what else they come up with.

The Good Book is set to be released on the 1^st of May. You can watch the trailer below and checkout behind the scenes footage at www.slunglow.org.   

When crisis hits, we all know that the best thing to do is to take your entire family to rural Texas to stay with the aunt you haven’t seen in years. Of COURSE it is, we’ve all done it. Well, that happens to be the very plotline of Vicky Wright’s The Lost Husband and I wouldn’t change a thing.

Libby Moran is played by Leslie Bibb who after the death of her husband has lost all sense of purpose but is forced to break her now steadfast routine by an Aunt who believes in what she can do, and believes with all her heart the rough farm life is for everyone.

As you’d expect she meets a beautiful farmland, her life is changed, and we reveal family secrets…and I loved it.

Poorly rated on IMDB, and probably by reviewers everywhere, The Lost Husband is silver screen gold. Weirdly though, it is in cinemas, though it will be also appearing on Apple TV from the 10^th of April, which we all know is basically the same thing.

I’m a personal lover of cheesy cinema. Don’t get me wrong; beautiful cinematography, unique and insightful scripts are incredible, but there remains a place for the simple picture, and I will always champion it. Leslie Bibb and Josh Duhamel give standard silver screen performances, and they do very well despite the simplistic and unrealistic script.

Rarely does a forced conversation about their deep rooted problems come naturally, and rarely do the secrets revealed make any sense. They were also oddly kept to the very last 30 minutes of the film and were given very little time to be developed or understood.

Nonetheless, The Lost Husband is a nice easy flowing, sometimes funny, sometimes heart warming film that doesn’t give a lot, but doesn’t ask a lot either. In difficult times, if you’re stressed…or locked indoors, sometimes we don’t want a hard watch and sometimes we don’t want to think. There are probably better versions, but The Lost Husband is a decent coming of middle age film where someone finds their path.

It’s beautifully simple, beautifully easy and elegant for it. The Lost Husband is a Sunday afternoon watch if there ever was one, and a good one at that, just don’t expect to be blown away.