film reviews, interviews, features | BRWC

Author: BRWC

  • Destructors: Review

    Destructors: Review

    This short film follows a band of young teens in England, searching for ways to get by and ways to kill time, wandering the countryside. One day, group member Trevor (Billy Ward) is kicked out of a store, presumably after an attempted theft. As Trevor returns to the group empty-handed, an older and sickly man (portrayed by Hamilton Wilson, named Old Misery in credits) stops by and offers some food to the gang.

    After Old Misery leaves, it is discovered that the youngest member of the group, Spence (Archie Deeks) stole his wallet. Feeling guilt over victimizing an older person, Trevor returns the wallet to him at his home and sits with him for a cup of tea. Later that evening, Trevor and company return to the home, their intentions unclear. Once there, they discover things about Old Misery and themselves.

    Director/writer/editor Otis Tree does a solid job of giving us a glimpse into a “day in the life” of these people. There are a lot of scenes consisting of the group talking and kidding around with each other as they get through the day. There is also depth to these characters however. There are various moments in the film when one member is off by themselves, and it is plain to see on their faces that there is an undercurrent of sadness about where life and time has currently placed them.

    The conversation between Old Misery and Trevor over tea is filled with meditations on pain and loss. This layered character depth is accomplished in no small part through great subtle acting from the entire cast, where the emotional subtext is portrayed only through facial expressions and line deliveries. The handheld cinematography by James Gallagher allows these notions to be presented clearly visually. In addition, it gives the audience the sense that they themselves are a part of this group as the camera tracks the group from location to location or studies the characters in their quiet moments as a silent observer would do.

    There are areas in which the film runs into the  confines of the short film format. While Tree does a good job of utilizing voice-over and layered dialogue to introduce themes such as the inevitability of the passing of time, how suffering and pain can be cyclical and affect generations, and that actions have consequences, the 13 minute runtime restricts the extent to which any of these ideas can become fully realized. 

    If one is looking for a film that features naturalistic performances, and an ability to get the audience thinking without providing obvious or easy answers, check out this film if given the chance.    

  • Nine Days: Review

    Nine Days: Review

    Nine Days: Review. By Liam Trump.

    Looking into what we are before we’re born, Nine Days shows life before life. Souls have to make their way through tedious interviews in order to be given the gift of life. Most movies show consciousness after death, but Nine Days goes a different route. This keeps it from falling into many of the same clichés that movies covering similar subject matter often do. 

    This very original story follows Will (Winston Duke) as he must deal with the death of the only soul that still remembers him, Amanda. He’s the only character who’s actually been alive and this differentiates him from the rest of the characters; he’s seen struggles of life first hand. Together, both Will and Kyo (Benedict Wong) must conduct several interviews across nine days in order to find a suitable replacement for Amanda. 

    The opening immediately shows the intimate bond that exists between Will and Amanda. It’s framed in a similar fashion to a documentary; with it emulating found-footage. This scene is vital in setting up the unique bond that Will and Amanda have. 

    Interviewees are then brought in to replace Amanda. They’re given multiple what-if questions that reveal traits about their personalities, showing Will and Kyo what type of people they’ll be if they’re given the opportunity of life. All but one of the interviewees show up on time. The last one to show up is Emma. She’s quite different than the rest of them which brings out parts of Will’s past that he has pushed down in this emotionally stunted world in which he resides. 

    The world in which Nine Days is set in is brilliantly written. This is a world where its inhabitants live vicariously through other people. They seemingly do nothing but what and report on what the people in the real world are doing. Subtlety is given to many aspects of this world. Nothing is overly explained except for the interview process. This is a smart move since focusing on the interview process makes it so the character writing can shine through the already impressive worldbuilding. 

    Edson Oda’s screenplay tackles many complex themes in a way that’s accessible to any type of audience. It’s clear to see why it won the Waldo Salt Screenwriting Award at this year’s Sundance Film Festival. This is by far one of the most beautiful films of 2020. 

  • Minari: The BRWC Review

    Minari: The BRWC Review

    Minari: The BRWC Review. By Liam Trump.

    Ever since its initial release at Sundance, people can’t stop talking about Lee Isaac Chung’s Minari. Since Sundance, Minari won awards at nearly every film festival it was shown at. The H\hype stems from a number of reasons. This film is distributed by A24, it won the Audience Award and the Grand Jury Prize at Sundance, and the ensemble cast got nothing but praise. It’s clear to see that Minari is one of the most prominent films of 2020.

    The story of Minari mainly follows a Korean family as they must adapt to their new living conditions after moving to Arkansas. Each member of the family has distinct character traits, creating poignant, dramatic beats throughout the film. The father, Jacob played by Steven Yeun has a burning desire to live the American dream at all costs. The mother, Monica played by Yeri Han doesn’t have the same ambitions as her husband, wanting to live a simple, normal life. Both of their children now have to get used to the new living conditions, a mobile home in the middle of a field. 

    Later on, Monica’s mother comes to join the family, bring her own Korean culture which strongly clashes with Jacob and Monica’s son, David. David hasn’t been to Korea and is confused with Soonja’s mannerisms. The fact that both David and Soonja were born and experienced two different countries is the main driving force of their relationship. 

    Going back to Jacob, he wants to have a garden where he can gown Korean vegetables and capitalize off of that market. He’s told at the beginning of the film that Reagon’s new policies would help with these aspirations. He even has help from Will Patton’s character, Paul, who gives advice to Jacob and is even the first guest that the Yi family hosts. Everything seems to be working out for Jacob: he’s bonding with his son, has found a source of free water, and a store that will sell his food. 

    The first time the Yi family go to church is when it can be clearly seen how different they are from all the other families. The pastor asks everyone who’s new to stand up and, in one of the best-framed shots in the movie, it’s just the Yi family that stood up. During this sequence, David meets an American boy around his own age, Johnnie. Johnnie, more than anything, is fascinated by David. They form a type of friendship with ending up with David sleeping over at Johnnie’s house. While the sleepover isn’t necessarily integral to the part, it does expose David to the nature of another American family. Johnnie’s Dad pretty much leaves them to their own devices, asking Johnnie not to tell his mother of this. Before he leaves; however, he tells David of the Yi family’s house previous owner and how he killed himself since the land offered him no success. 

    While everything was going well for Jacob, his success runs out. The well where he bounded with his son and was the foundation of his garden ran dry. His solution to this is to simply take from the water supply that they’re actually paying for in order for his produce to grow. Monica notices this immediately and see’s first hand how this idea of the American dream has tampered with Jacob’s priorities, creating an obsession in the process. 

    Filmmaking-wise, Minari excels in nearly every aspect. The acting from the aforementioned Steven Yeun is truly amazing. Basically, the entire cast does a terrific job in delivering dialogue and emotion. The color palette is quite simple on the surface, but it brilliantly captures the scenery of this field in Arkansas. This coupled with Emile Mosseri’s score creates a beautiful atmosphere through the art direction and music alone. Minari also had some great comedy. The dynamic between David and Soonja lead to many creative scenarios. This dynamic is special in the way that it doesn’t show brainless humor, but there’s a real emotional core to it. 

    All in all, Minari is a wonderful film full of endearing characters and a legitimate commentary on America. Lee Isaac Chung deconstructed the American dream, ambition, and family in a grounded, natural way. There could’ve easily been a stronger focus on racism, but that would’ve contradicted the story he’s trying to express. While some of the tonal changes were a bit jarring, Minari still manages to be one of the best movies 2020 has to offer. 

  • Wonder Woman 1984: The BRWC Review

    Wonder Woman 1984: The BRWC Review

    Wonder Woman 1984: The BRWC Review. By Alif Majeed.

    After watching Avengers Endgame, you realize that it would be hard to top that movie in a long while. Especially now, with Marvel focusing as much on their TV shows and the DC universe, it is hellbent on steering its superhero movies into TV shows or giving it the small screen treatment. But I’m happy to say that WW84 makes a case for solo hero movies, which does not hold back with spectacle and creates a sequel that mostly works. 

    I was apprehensive when the movie started, as it opens with a Quidditch cum Hunger Games like contest set among the Amazonian where special effects looked pretty quizzical. As the scene progressed, though, I felt myself getting caught with the escalating spectacle.

    One thing that bothered me when I knew Chris Pine was returning was how they planned to bring back Steve Trevor. Dead characters coming back is not that unusual in the comics, and Steve has come back from the dead in the books, but you do wonder how it would convince on screen. Thankfully, they got him back in a way that makes sense and is in line with what was happening in the movie. 

    After Wonder Woman thwarts a robbery in a mall, the Smithsonian Institute, where she works under her Diana Prince identity, comes in possession of some rare artifacts, including an ancient one that seems to have some strange powers. Pretty soon, it catches the attention of Maxwell Lord (Pedro Pascal), a TV millionaire hiding a lot more than he lets on and desperately wanting the artifact for himself. 

    Kooky artifacts asides, a large part of what works in the movie is the cast and how invested they are in what is happening. Gal Gadot has long become the face of the DC universe, and this movie makes it clear that it will remain so for quite a while. She is the living, breathing center of the film, and, to her credit, she lets none of the supporting cast upstage her even while remaining secure and gracious with others getting their place under the sun.

    As Steve Trevor, Chris Pine is one of the better superheroes’ other halves, and you are glad seeing him in Diana’s corner. There is a scene where Steve Trevor and Diane Lane are trying to break into a building to investigate the artifact. The moment he sees the entrance locked, he immediately lets Diane do the honors without an iota of ego or a misplaced sense of masculinity.

    Here is a guy who knows his place, which makes it satisfying to see him know precisely when to take charge, even coming to her rescue when she needs it. There may be a time when Diane gets together with other people with Steve long becoming a footnote, but the pleasure and clear love Patty Jenkins and the team had for this couple shows.

    The secret weapon of the movie is an effective Kristen Wiig as Barbara Minerva, aka Cheetah. Actors who are known for their comedic talents tend to add their quirks and personality to the character. Or try to adlib their way through many of their lines, which sometimes come across as showy. Many may not agree with me, but I was grateful that she plays the character straight because she could have gone overboard to Jim Carrey in Batman Returns level proportions.

    Speaking of Jim Carrey’s Tommy Lee Jones, Pedro Pascal plays the big bad in a role supposed to have been offered to Tom Cruise first. That is not surprising as Maxwell Lord appears as a cross between Lex Luthor and Donald Trump bunny looped with Tom Cruise. (Or at least Christian Bale’s interpretation of him in American Psycho). To his credit, even when he is hamming his way around the character, Pedro Pascal holds your attention and sometimes even your sympathy. It is also quite a pleasure to see Maxwell going all out with the artifact and its powers and Wonder Woman trying to stop him with some help from Steve Trevor. 

    Despite a lot of what works in the movie, there are still things that don’t. For example, the special effects in some places, especially during the climax boss fight between Cheetah (Kristen Wiig) and Wonder Woman, threatens to derail the movie. It almost did for the prequel where the climactic battle looked out of place with the rest of the film, and the same thing happens here. 

    And the rules about how the artifact works and what powers it is also a bit confusing. There were at least a couple of times where I caught myself asking, “Wait, what are the rules of that thing again?”. But it is easy to let go of the nitpicking when you realize that what you are watching is a pretty fun movie.

    It is a real shame that the movie would not get a full release in the theaters in some regions. Giving the present situation that might be what the future business model will be but WW84 does make a case for the theatre spectacle. It deserves to be seen in the theatres as it is a real big event blockbuster that needs the big screen treatment.

  • Monster Hunter: The BRWC Review

    Monster Hunter: The BRWC Review

    Monster Hunter: The BRWC Review. By Alif Majeed.

    In a parallel universe like the one where Milla Jovovich gets swooped into, Monster Hunter was destined to get terrible reviews, a middling haul at the US box office while ending up making its money worldwide. But in the post covid world, it is already riding the infamy wave because of some unfortunate dialogue choices that further limits its run.

    Paul WS Anderson is back with another adaptation of a video games series after milking the Resident Evil series to the ground. Whether it matches our expectations is another story.

    Speaking of story, it is relatively simple. When Captain Natalie Artemis (Milla Jovovich) falls through a portal with her team in a world filled with monsters, she has to team up with a mysterious hunter (Tony Jaa) to get back to her world. Now, how many times have you heard that plotline? It is a movie riddled with stock troupes right from the beginning, even though it was under active development for quite a while, giving the makers a chance enough time to expand on the game’s mythology.

    The sad thing is Paul WS Anderson seems to be a genuine fan of the game series rather than someone who went in trying to make a quick buck after the video game Monster Hunter: World became an acclaimed hit worldwide a couple of years ago.

    But as a movie, he tips his hat to everything he loves and then maybe some to things he does not. You can immediately recognize various tributes to Predator, Aliens, Lord of the Rings, body horror movies like the Thing, and even his own movies.

    Unlike those movies, there are hardly any memorable characters in the film. When the primary crew is killed off within 3 seconds of the movie’s opening, that would be a tad hard. When Milla Jovovich does meets other humans in the monster verse, they are quickly forgotten as they are just a plot convenience to help her get to the portal and the next plot point.

    You also have characters who are just there as fan service, like the Meowscular Chef character, which works well as a video game character but seems pretty jarring and out of place here. That is a significant problem it has in common with many video game movies. They have multiple scenes and characters who are just there as fan service instead of telling a reasonably good yarn. That might still work but not when they are shoehorned in by force, which happens here. And the makers also stop short of going all out as they are holding back for the sequel, leaving many things unanswered.

    Ron Perlman (looking disinterested throughout) exemplifies it, perhaps waiting to go all out for any sequel that might never happen. Fans of the series might recognize him as the Admiral, but a layperson might wonder why he dresses up in a hybrid animal costume. During the ending scene, I realized that maybe they were also gunning for the Christopher Lambert character in Mortal Kombat, one of the better-received video game movies, with an ending that is a direct rip off to that movie.

    The “Chi-knees” scene that is causing much furor online for its racial implications was absent from the version I saw, but the line feels pretty groan-inducing, as does much of the film’s dialogues.

    The good thing about Monster Hunter is that it moves at a rapid-fire pace that doesn’t allow you much breathing space but makes you aware of its potholes. The creatures and set design are pretty decent, and there are a couple of scenes that have some excellent jumps scares. If only Paul Anderson curbed the temptation to use the Samuel Jackson Deep Blue Sea peekaboo moments, which he keeps repeating throughout its short run time.

    Tony Jaa is arguably one of the best action actors out there, but filmmakers still find it hard to use him properly. The clean camera moments where the audience can see what he is doing made him famous with his Ong Bak and Protector movies. But since his comeback after his self-imposed exile, the filmmakers still shoots his scenes in a hazardous way where you can’t figure out what he is doing at any point.

    Milla Jovovich also proves once again why she would be a shoo-in for a female Expendables movie. As a character, she has a lot to do, and though it ultimately amounts to mostly nothing, she is very believable and reliable in the action scenes as usual.

    But the way she and Tony Jaa lose their initial hostility and join forces and move on to their mandatory training montage that lasts precisely one morning is the epitome of forced platonic chemistry.

    Despite all the myriad problems plaguing the movie and none of which relates to pun-inducing dialogues, it entertains on an elementary level. That is because Monster Hunter delivers exactly what it promises. Even though that is very little in the end.