Author: BRWC

  • The Very Best Of Josh Hartnett

    The Very Best Of Josh Hartnett

    Josh Hartnett is halfway up a mountain. He can barely see his hand in front of his face, so heavy is the snow battering him from all sides. He’s playing Eric LeMarque in his latest movie, the thrilling true story of survival against the odds that is 6 Below (in cinemas from October 13th) and whilst he knows he’s delivering a powerhouse performance he can’t help but think that maybe it’s about time he picked something a little easier next time. You see, however brilliant Hartnett is (and he always is), he doesn’t give himself the easiest of times on film sets, something this handy retrospective goes some way to proving…

    Halloween H20 (1998)

    Original scream queen Jamie Lee Curtis returns to the genre that defined her early career in this blistering return to force for the original slasher franchise. Having faked her own death, Laurie Strode is now the headmistress of a secluded private school, hitting the bottle and driving her rebellious son (an early heartthrob role for Hartnett) to despair with her over-protective schtick and an obsession with her dead brother, Michael.

    But when that brother is Michael Myers and, oh yeah, he’s not dead at all, her paranoia just might be justified. Hartnett provides a square jaw and, fittingly given his lineage, a propensity towards surviving but sadly he didn’t crop up in any further sequels (although Jamie Lee is back, back, back for the forthcoming reboot so there are reasons to be cheerful).

    The Faculty (1998)

    Having burst onto the scene in Halloween H20, Hartnett took a gig working alongside Robert Rodriguez (From Dusk Till Dawn, Planet Terror) on another modern horror classic in the form of The Faculty. As part of an ensemble cast that included Elijah Wood, Usher, Clea Duvall and Jordana Brewster, Hartnett starred as Zeke, one of a clutch if disparate high school students who notice that there’s something very wrong with their teachers (including genre stalwarts Piper Laurie (Carrie), Robert Patrick (Terminator 2: Judgment Day) and Famke Janssen (X-Men)).

    What they don’t initially realise, however, is that said teachers have been replaced by be-tentacled aliens hell-bent on taking over the rest of Smalltown, USA. Played for laughs as much as for thrills, The Faculty did brisk business in multiplexes, establishing Hartnett as heartthrob du jour.

    The Virgin Suicides (1999)

    Just by looking at the guy, Josh Hartnett clearly has all the attributes to play the movie heartthrob. But what better role to display those qualities than in the fierce and provocative feature debut of Sofia Coppola, a director who would later become a powerhouse in independent cinema.

    Josh plays dreamy eyed, six pack flaunting Trip Fontain, who has a short-lived romance with Kirsten Dunst’s character, Lux, who the film follows during her school year as she attempts to get over the suicide of her younger sister whilst simultaneously trying to escape the clutches of her strict parents. Following this smart and intriguing breakout performance there was no stopping Hartnett from becoming Hollywood’s next superstar!

    Black Hawk Down (2001)

    After breaking out onto the Hollywood scene, Hartnett was offered one of the most defining roles of his career so far, in Ridley Scott’s modern war epic Black Hawk Down. The film follows a team of soldiers dropped in to civil war-torn Mogadishu, Somalia, in an effort to kidnap two of local crime lord Mohamed Farah Aidid’s top lieutenants.

    When two of the mission’s Black Hawk helicopters are shot down by enemy forces, the Americans — committed to recovering every man, dead or alive — stay in the area too long and are quickly surrounded. Hartnett plays one of the many soldiers in the film that has to battle his way out of the centre of Mogadishu under heavy, heavy fire. He also gives a very moving speech at the film’s climax about heroism, leaving many a war-movie fan in the cinema teary-eyed.

    Pearl Harbor (2001)

    Michael Bay’s wartime epic and Box Office smash, Pearl Harbor, cemented what was a blistering year for Josh Hartnett. But perhaps more importantly, it provided a vehicle for the ultimate All American Male pairing of Hartnett and Ben Affleck, sending teenage girls across the globe running for the Blu-Tac to adorn their bedroom walls with posters of the pair. In the film, Hartnett plays Captain Danny Walker who, along with his childhood friend, Rafe McCawley (Ben Affleck) serve in the US Eagle Squadron which becomes drawn into the battle of Pearl Harbor; the trigger for the US joining WWII.

    https://www.youtube.com/watch?v=HT9S95PjplQ

    Ahead of the battle, Rafe meets Nurse Evelyn (played by Kate Beckinsale) and the pair begins a tentative relationship before Rafe is drawn away into combat. Cue complicated – and emotional – love triangle… Whilst not received too well by critics the film was a hit, taking $450 million at the Box Office and proving that Hartnett was fast-becoming one of Hollywood’s most commercially bankable actors.

    Lucky Number Slevin (2001)

    With Hartnett now established as Leading Man Material, he had his pick of the roles. In this Guy-Richie-esque gangster flick, he plays a man who gets embroiled in a dangerous series of events after being mistaken for the very man he is visiting in The Big Apple.

    With his wallet stolen and unable to prove his identity, Slevin is forced to step up his desperate search for his friend and reclaim his identity before he’s forced to pay a debt that could cost him his life. With Hartnett starring opposite some of the film scene’s biggest players (including Bruce Willis and Morgan Freeman), he comfortably holds his own, proving he is a force to be reckoned with.

    30 Days of Night (2007)

    Another truly terrible day for Hartnett results in another great movie for his audience as he fends off a horde of really nasty vampires in the acclaimed, unremittingly bleak interpretation of the comic book of the same name.

    From the get go Hartnett’s good guy is up against it as the long northern night falls on the Alaskan town he protects as it’s sheriff. The snow might not be quite up to 6 Below proportions but the feral monsters he has to tackle more than make up for that, as does one of modern horror cinema’s most effective but downbeat endings…

    Penny Dreadful (2014 – 2016)

    A versatile man of many talents, Hartnett once again catches the eye in another unconventional piece, starring as Ethan Chandler, a troubled sharpshooter turned monster-hunter in TV series Penny Dreadful. Executive-produced by Sam Mendes (Spectre) and written by John Logan (Skyfall), Penny Dreadful is a dark and disturbing mash-up of many of Victorian literature’s most scary monsters, including Frankenstein’s Creature, Count Dracula and Dr Jekyll and Mr Hyde.

    It emerges that Ethan has a dark side as well; when there is a full moon, he metamorphoses into a werewolf. Making a formidable team alongside Eva Green in the role of temptress Vanessa Ives, Hartnett proves that he can play any role a casting director throws at him – man or beast!

    6 Below (2017)

    As you can see from the above examples, Josh Hartnett is no stranger to playing a man in great peril, and that is no different for this latest venture into getting himself into a bit of a pickle. In Scott Waugh’s 6 Below he plays real life subject Eric LeMarque; a thrill-seeking ex-Olympic hockey player and keen snowboarder with the weight of personal demons on his back.

    When he gets lost in a massive winter storm in the back country of the High Sierra Mountains, LeMarque is pushed to the limit and forced to battle those demons head-on as he fights against the worst the elements can throw at him. With Hartnett well and truly made to suffer for taking the risk of going off piste (quite literally and in the broader sense of his career), this epic survival thriller is sure to grip fans old and new when it opens in cinemas this Friday.

    6 BELOW is in cinemas and on demand now.

  • Rock Dog: Great Animated Films

    Rock Dog: Great Animated Films

    If the past few years have proved anything, it is that the popularity for animated storytelling is dramatically increasing. Films like Minions and Inside Out were some of the highest grossing films of 2015, highlighting viewers desire to see original animated movies. The anticipated DVD release of Altitude’s Rock Dog seems to be following this ever growing trend. Starring Luke Wilson, Eddie Izzard and J.K Simmons, Rock Dog is a great family friendly story that explores the journey of Bodi (Luke Wilson), a Tibetan Mastiff who stumbles across a radio falling from the sky. After becoming inspired by rock legend Angus Scattergood (Eddie Izzard), he leaves home to fulfil his dream of becoming a musician, setting into motion a series of completely unexpected events.

    To celebrate the DVD release of Rock Dog on 16th October, we’ve had a look back at some great animated films…

    The Secret Life of Pets

    The Secret Life of Pets was one of the most eagerly anticipated films of 2016. It was a great success with its young target audience, and supplied a perfect film for the whole family to enjoy.  The story follows the life of a domestic terrier named Max, and how quickly his peaceful life is turned upside down by the arrival of a large sloppy mongrel named Duke.

    But upon finding out that a white bunny named Snowball is building an army of lost pets, they must put their problems aside to defeat him. The film sends us on an emotional rollercoaster, encouraging us to re-evaluate the importance of our pets, and like many animal friendly films, it leaves us longing for a soft and fluffy companion to greet us after a hard day’s work.

    Finding Dory

    2016 saw the return of Disney fan favourite, Dory. Having first appeared in Finding Nemo back in 2003, fans had been patiently waiting for Ellen DeGeneres to reprise her role as the friendly, and hilariously forgetful, blue fish.

    The plot follows Dory and her search for her long-lost parents, sending a great message to its younger fan base about the importance of family. With an all-star cast, including Ed O’Neill, Ty Burrell, Idris Elba and Diane Keaton, Finding Dory is a great film for everyone to enjoy.

    Zootropolis

    In a city of anthropomorphic animals, a rookie bunny cop and a cynical con artist fox must work together to uncover a conspiracy. Similarly to Rock Dog, this story focuses on themes of determination, bravery and friendship.

    With voices from talented actors such as Idris Elba, Jason Bateman, Octavia Spencer and J.K. Simmons, it is no surprise that the film was a massive success, leaving the audience wanting to see more of Judy, Mrs Otterton and Duke.

    Inside Out

    Inside Out is an original take on a classic coming-of-age story. Various emotions, including; Joy, Fear, Anger, Disgust and Sadness, are all assigned interesting human characteristics. With the action taking place inside Riley’s mind, helping to guide her through everyday life, the film creatively uses imagery to highlight Riley’s conflicting emotions.

    While Joy tries to keep things positive, various other emotions attempt to take over -resulting in chaos. The original concept and overall execution led this film to become a huge success, winning a BAFTA for best animation film in 2016.

    Frozen

    In 2013 Disney released Frozen, one of the most successful animated films to date and another on our list to win a BAFTA for best animated film, taking home the prestigious award in 2014.  Inspired by ‘The Snow Queen’, the story follows newly crowned Queen, Elsa.

    Having accidentally used her power to turn things into ice to curse her home in infinite winter, her sister Anna teams up with a mountain man, his playful reindeer, and a snowman to bring back summer. Its impressive soundtrack and loveable characters meant that the film went on to win both an Oscar and a Golden Globe for the Best Animated Feature Film of the Year.

    Fantastic Mr Fox

    Directed by Wes Anderson, Fantastic Mr Fox follows a mischievous, hen heckling, nocturnal Mr. Fox who has to put his wild days behind him and become a responsible father. It is a tale of family responsibilities, adventure and team work.

    With an all-star cast including; George Clooney, Meryl Streep and Bill Murray, Fantastic Mr Fox was nominated for two Oscars, and in 2016 claimed the top spot in Rolling Stone’s 40 Greatest Animated Movies Ever.

    ROCK DOG is released in the UK on DVD from the 16th October

  • How To Write A Movie Review

    How To Write A Movie Review

    By Rachel Summers.

    Whether you’ve recently seen a movie you love or one that you never want to see again, people across the world want to know your opinions. There are too many movies out there to see them all so film-fans turn to reviews to help them sort through what they should watch and what they shouldn’t.

    A movie review can be a difficult thing to write. It’s got to be entertaining, detailed, educational and engaging. In some cases, a movie review needs to be on par with the movie it’s representing. Today, we’re going to explore ways to craft your very own.

    Choose a Style

    There are many ways you could approach writing a movie review. You could write it quite formally, much like a college essay, or you could include a lot of wit and personality. Through your writing, give your readers the impression of you talking to them with charisma.

    Creating a Draft

    Just like you would with any other piece of writing, you need to start by structuring your review and making sure you make a good impact on your reader from the word ‘go.’ In the beginning, you’ll also want to make sure you make it incredibly clear what direction the review is heading in.

    Then set out to create sub-headings for what you’re going to go into, for example, the personality of the characters, the overall storyline or the digital effects quality. Try to pick between 3-5 points that make the movie what it is.

    Make Your Opinion Clear

    It’s important that you give your opinion early on, so you don’t leave the reader trying to guess whether you like the movie or not. When writing your review, you may have limited space so you’ll want to state how you feel and then the rest of the review will be you proving your point.

    Summarise the Movie

    Much like the trailer for a movie, it’s important to give your readers a quick insight into the movie in the form of a summary. This helps the reader put them in the same frame of mind as the movie, and everything you say thereon will be in context.

    In this summary, include who the main characters are while listing who the actors are, include a bit of information about the director and always make sure you let the readers know if you’re going to include information that could ‘spoil’ the film, such as twists in the point.

    Always Use Facts

    When you’re watching a movie, it’s essential that you take notes that you can refer back to during this writing stage. Nobody’s going to want to read a review where the statements made aren’t backed up by hard evidence.

    Rebecca Barnes, a professional writer for UK Services Review, states;

    “You can go into quite a bit of detail when giving examples to back up your points. Describe what the scene looks like, what kind of camera angles are used and what the acting skills are like. This helps to provide your reader with context.”

    Don’t Just Recap the Story

    It’s quite tempting to move throughout the movie in chronological order and to end up retelling it in brief statements, scattered with an opinion here and there. However, you need to move past the storyline to see what layers make the movie what it is underneath.

    For example, you may want to consider the cinematography, what kind of soundtrack the movie uses, the tone of voice that the movie has and what the quality of the acting talent is.

    Use Writing Guides

    A movie review is structured very differently from most other kinds of traditional writing forms. However, there are many guides available online that can take you through the process of writing a review, ensuring you don’t miss out on any important sections or bits of information.

    Using websites such as State of Writing, you can download and read a tonne of material that can help you to get this process right the first time. Alternatively, you can read other kinds of review for an idea of what style you’d like your review to be. For example, take this post about writing on the Huffington Post.

    As you can see, the review takes a pretty informal approach, and although the review doesn’t utilize subheadings, the article is still nicely structured and moves with a good readability level throughout.

    Write Full-Circle

    When closing off your review, you’ll want to make sure that you include an absolute ending and that you don’t leave any questions hanging in the air. If you can, try and relate it back to the opening fact that you started the review with.

    Always remember that people are reading your review, so they know whether or not they want to watch said movie. Your final line should always be one that reiterates your final decision and, in theory, a reader should just be able to read this and learn your overall opinion of it.

    Rachel Summers is a freelance writer whose passion is helping students get the most out of their learning journey. She started out as a writer and journalist in the newspaper industry, including UK Top Writers, before breaking out to go freelance and follow her own passions. Her writing is designed to help you get the most out of college.

    My Blog

  • LFF 2017 Review Round-Up #5

    LFF 2017 Review Round-Up #5

    By Orla Smith.

    RUSH TO SEE…

    The Florida Project

    //www.youtube.com/watch?v=WwQ-NH1rRT4

    The Florida Project is one of the biggest crowdpleasers of the festival ― and the year. Sean Baker’s film captures marginalised American in the same vivid colour as Andrea Arnold’s American Honey did, however, The Florida Project is destined to find a wider audience than Arnold’s film. It is told accessibly through the eyes of a group of six-year-olds on their summer break, and Baker’s filmmaking reflects their precociousness. It is an empathetic, funny film about the invisible homeless living in a dingy motel just outside of Disneyworld. Willem Defoe will capture hearts as the motel’s stern but caring manager Bobby.

    FIND OUT MORE HERE

    Thelma

    //www.youtube.com/watch?v=0IrxnehO5mc

    Joachim Trier’s Thelma has been called a riff on Carrie, but it deserves an identity of its own. Eili Harboe is brilliant as the title character, a deeply religious new college student who discovers terrifying supernatural powers when she begins to fall in love with a classmate (Kaya Wilkins). Thelma is polished and directed with subtle flair; the images Trier creates may be subdued but they are often haunting in a way that burrows deep into your subconscious. The film also works on a metaphorical level. Clues to unlocking it are scattered everywhere, like pieces of a frustrating but compulsive puzzle. It’s far from a removed intellectual exercise though. The emotions Thelma wishes to suppress burst out of her in the form of seizures ― causing her embarrassment as her body betrays who she really is and how she really feels. Harboe is heartbreaking as a young woman losing her sense of security in her own body, and Thelma is an emotional experience due to her and her natural chemistry with Wilkins.

    FIND OUT MORE HERE

    You Were Never Really Here

    //www.youtube.com/watch?v=k1APnf3Y_W8

    You Were Never Really Here is an impossible film to take in all at once. Lynne Ramsay’s most brutish film and most experimental film is this 95 minute cinematic throbbing headache. It traps you within the mind of a PTSD-stricken hitman Joe (Joaquin Phoenix) as he attempts to rescue a young girl who has been kidnapped by sex traffickers. Ramsay’s film is an assault on the senses that will be too abrasive and violently stylised for some. It’s a film that leaves you physically battered and unable to move. Since, I have found myself thinking back on specific moments that only Ramsay could have dreamed up ― of which there are many. Jonny Greenwood’s blaring score sounds like a hangover, externalising the fractured, dejected grogginess of Joe’s mind. It can be unpleasant to be trapped in his head for so long, but it is always electrifying.

    FIND OUT MORE HERE

    TRY TO SEE…

    The Big Bad Fox and Other Tales

    //www.youtube.com/watch?v=3clkH3C5VFw

    What we show children at a young age is formative, and so it is vital that it conveys the right messages. French animation The Big Bad Fox and Other Tales is worrying in that respect, as it has a nearly all male voice casts with female parts reserved only for mother hens and baby animals whose genders are indiscernible. Otherwise, it is a nice film ― a palate cleanser, let’s say. The animation is simplistic and tactile, and visual gags are executed with humour. A shame about the other stuff.

    FIND OUT MORE HERE

    Faces Places

    //www.youtube.com/watch?v=2rKZcAiLHlY

    89-year-old French New Wave pioneer Agnès Varda is losing her eyesight, and she may not have another film left in her. That’s ok though: Faces Places is a perfect farewell, if that’s what this is. Co-directing with visual artist JR, the two travelled around France documenting their meetings with strangers in the towns they passed through. Their project had the intention of taking small lives and blowing them up big ― literally photographing the townspeople and pasting their faces on the sides of buildings. Faces Places is a lovely ode to community, friendship and the bittersweet nature of aging.

    FIND OUT MORE HERE

    Jane

    //www.youtube.com/watch?v=01BW2vGoqbY

    Pioneering primatologist Jane Goodall is given sweeping cinematic treatment in this Brett Morgen documentary. Using gorgeous, newly uncovered footage of her work with chimpanzees in the 60s, Morgen weaves a montage of images that add up to something monumentally more cinematic than a typical talking heads doc. With the help of Philip Glass’ phenomenal score, Jane often transcends. It’s a shame that the film loses its impact over its runtime. In a smaller package it could have been truly astounding.

    FIND OUT MORE HERE

    Let the Sun Shine In

    Let the Sun Shine In
    Let the Sun Shine In

    Claire Denis’ latest was not made for only a single viewing. Juliette Binoche plays Isabelle, a woman looking for true love who spends the whole film not quite finding it. Denis’ take on a rom-com is a lot more intellectual than the works of Richard Curtis; in the place of melodramatic declarations of love are flirtatious debates washed down with a glass of fine wine. Before you know it, Let the Sunshine In is over, ending where a third act would typically begin. I suspect that, on rewatch knowing the brief and simple structure of the film, it will flourish. As it is, it’s already growing on me.

    FIND OUT MORE HERE

    AVOID…

    The Rider

    The Rider
    The Rider

    Chloé Zhao’s The Rider was loved at Cannes and at every festival it’s visited since. I was surprised to be underwhelmed by the film. Zhao’s direction is often beautiful, but its grounded looseness is a poor match for the more obviously “written” dialogue. Tonally, The Rider struggles to settle. It can’t decide what kind of film it is, and that out of place feeling breaks the immersion of the story.

    FIND OUT MORE HERE

    Sicilian Ghost Story

    LFF 2017 Review Round-Up #5
    Sicilian Ghost Story

    At the end of Sicilian Ghost Story, a title card informs you that it was based on a true story. For a second, I felt bad for deciding to damn the film as pointless while I was watching it ― but the question still remains: why? Impressively fluid filmmaking and sharp sound design doesn’t make up for the fact that Sicilian Ghost Story dredges up a horrific tragedy without purpose. Depicting a young boy’s kidnapping by the mafia, directors Fabio Grassadonia and Antonio Piazza contrast his torture with the everyday life of the girl he had a crush on ― which goes on as normal. However, whatever point they were trying to make never comes together. The whole thing feels like a hollow technical exercise, and a meaningless depiction of cruelty.

    FIND OUT MORE HERE

  • Keeping Justice: Review

    Keeping Justice: Review

    By Last Caress.

    Keeping Justice, the new movie written, directed, produced and edited by RJ Cusyk (Through the Devil’s Eyes, A Final Hit) does not begin especially encouragingly. After witnessing a woman being mugged and murdered immediately outside the window of the Commercial Equity building in which he’s employed, Michael Pierson (Hayden Mackey) takes to his desk and enters into a conversation with Kevin (Michael Lakota Dillon), a work colleague who bowls into Michael’s office, sits down and puts his feet up on the desk. The dialogue plays out as follows:

    -“Hey Mike! How ya doin’?”
    -“I’m fine. How are you?”
    -“Good, man. Just got done banging the secretary, that’s all.”
    -“What do you mean, ‘just’? As in, right now?”
    -“Yyyyup. And you know what? If she gives the boss half as much head as she does to me, she’ll be moving up the ladder. Dude, she has the tightest box I’ve ever f*cked, and I’ve seen a lot of tight boxes. I even f*cked a virgin.”
    -“Kevin, would you kindly shut the f*ck up?”
    -“Jeez, what the hell’s your problem?”
    -“Nothing. I just don’t want to hear about how you just f*cked the new secretary.”
    -“Dude, admit it: You’re just mad because you didn’t f*ck her first.”
    -“No, that has nothing to do with it.”
    -“Dude, you’re just jealous you didn’t… you didn’t tap that first. That’s it.”
    -(sarcastically) “Yep. You got me. I’m super-jealous that I wasn’t able to f*ck her first, and make her my sex-slave.”
    -“Dude, I know you well.”
    -“You read me like a book! Like that time you read The Dark Tower series. How’s that Gunslinger workin’ out for ya? Or The Man in Black? Was it Johnny Cash like you thought all along?”
    -“F*ck you.”

    Keeping Justice
    Keeping Justice

    Now this was a static-camera exchange and I couldn’t tell if the actors were playing the dialogue for laughs or were trying to replicate everyday office conversation but, either way, I almost switched it off there and then, and we’re barely two minutes into the picture. Didn’t Michael just witness a robbery and homicide mere yards away outside his window moments prior to this inane back-and-forth with the odious Kevin? Well yes he did (“Ah, that’s a shame,” remarks another co-worker as she joins Michael looking back out of the window at the dead woman on the lawn), and he finally calls it in, but upon being questioned by the police (“What can you tell us about what happened?” “There’s not much to tell.” “Then why did you call us?”) it transpires that, had Michael not been sidetracked by Kevin’s carnal office f*ckwittery and called in the mugging immediately, the victim might have lived. Still, at least Michael called it in, yeah? That’s better than, as he put it to the officers, “the countless people who walked over her body just to go about their day-to-day lives.” Okay then.

    Keeping Justice
    Keeping Justice

    This apathy toward the increasingly violent and crime-ridden world in which we live is at the heart of Michael’s trajectory and represents the main thrust of Keeping Justice, as his dreams of becoming more than an inured bystander bleed out into the world and manifest as actual vigilantism. Unfortunately for us, the script doesn’t improve even as the fundamental plot basics do. I hate being negatively critical about independent filmmakers but I cannot in all good conscience recommend Keeping Justice, but I’ll try to pick out some positives anyway: First off, anybody involving themselves as utterly in the process of making a movie as Keeping Justice‘s auteur RJ Cusyk deserves all the respect in the world for his industry, and I want to encourage him to keep plugging away at it. Secondly, lead Hayden Mackey has an inherent likeability and his performance grows as Keeping Justice progresses. Thirdly, some of Michael’s vigilante daydreams are presented in clay stop-motion animation, which is actually quite amusing. And finally, well, the shaky-as-hell character motivations and matching dialogue are often so hilariously bad (sorry, guys!) that in truth I possibly could recommend Keeping Justice as a good “bad” movie, should any of you out there be so inclined towards availing yourselves of such pictures.