Author: BRWC

  • A Brian Cox Retrospective

    A Brian Cox Retrospective

    Long held as one of our finest actors, Brian Cox (the weathered, gruff Scottish genius thesp as opposed to the leggy, grinning genius physicist, let’s get that out of the way first) is embedded in the minds of cinephiles everywhere thanks to a lengthy career littered with indelible performances. Not least of these is his turn as greatest Briton Winston Churchill in, well, Churchill, arriving on digital platforms, Blu-ray and DVD from October 16th, courtesy of Lionsgate Home Entertainment UK, but we’ve decided to delve a little deeper into Cox’s career to unearth some more of his finest hours:

    Churchill (2017)

    Jonathan Teplitzky’s beautifully shot drama examines the 96 hours leading up to the Normandy Landings during World War Two, focusing on Churchill’s internal struggles with his conscience as well as his increasing search for relevance in a government trying to sideline him.

    https://www.youtube.com/watch?v=sVOzMZ4IrMA

    Placing such a short space of time under a microscope rather than going for the full biopic treatment gives Cox the chance to add nuance to a character so often portrayed as a ball of bombast and bluster. A career-best performance if ever there was one, Cox shines alongside a similarly peerless cast of supporting stars that includes Miranda Richardson, John Slattery and James Purefoy.

    RED 2 (2013)

    If Churchill sees Cox deliver a masterclass in studied nuance, RED 2 is him showing everyone how to throw a party. Starring brilliantly as a Russian spy, Cox is clearly having the time of his life in this geriatric action thriller that sees Bruce Willis, Helen Mirren and John Malkovich star as espionage old timers pulled back into the fray by an unhinged bomb maker (Anthony Hopkins, naturally).

    Whether he’s rescuing our heroes from a firing squad or kissing Mirren’s feet as she takes pot shots at the villains, Cox, replete with a velvet hat and a cheeky grin, is having a ball and it’s frankly infectious.

    The Bourne Identity (2002)

    Diverse as Cox is as a performer, he can do double-dealing bureaucrat better than almost anyone, something he demonstrated with aplomb across The Bourne Identity and The Bourne Supremacy.

    As the brilliantly American-sounding Ward Abbott, Cox was the puppetmaster behind the Treadstone programme and ultimately, in a sense, the creator of Jason Bourne: killing machine. Doesn’t stop him being as oily as they come, mind, or as cowardly, with Cox convincing at every turn.

    X-Men 2 (2002)

    It’s de rigueur for British thesps to take the lead as villains, a trend that pre-dates even the Bond films. Cox, however, took a slightly different direction when he debuted in the X-Men universe in the first sequel, starring as a US army general, William Stryker, singlehandedly responsible for the creation of walking razor blade Wolverine, as well as for nearly wiping out all mutants by harnessing his son’s telekinetic powers and Charles Xavier’s supercomputer.

    https://www.youtube.com/watch?v=dX5E0NUmQFo

    Obviously. Cox convinces amid all the heightened sci-fi drama to create one of the series most memorable villains and someone deftly able to match the on-screen might of the likes of Sir Patrick Stewart and Sir Ian McKellen.

    Manhunter (1986)

    It’s easy to forget that before Hannibal Lector there was Hannibal Lektor – Thomas Harris’s psychotic cannibal originally being portrayed by Cox in Michael Mann’s brilliantly 80s take on the first novel in the Silence Of The Lambs series, Red Dragon.

    Although the role was bolstered in the later remake that brought the story into Anthony Hopkins’ pantheon, Manhunter sees Lektor pop up for little more than a nevertheless mesmerising cameo. Cox plays Lektor as a little more urbane, a little more accessible, but no less terrifying. Essential viewing.

    Churchill is available on digital platforms, Blu-ray and DVD from October 16th courtesy of Lionsgate Home Entertainment UK

  • Double Date: A Beautiful Nightmare

    Double Date: A Beautiful Nightmare

    By Angelique Halliburton.

    Besties Jim and Alex can’t believe their luck when they meet beautiful siblings Lulu and Kitty who appear to be up for absolutely anything. Result. Little do they know that the sinister sisters are on the murder hunt for sacrificial lambs as part of a hell-raising ritual and will stop at nothing to get what they want. Throw in some ecstasy, the narcotic variety, and what you get is a horror/comedy movie that just keeps on giving.

    Poor old Jim (Danny Morgan). At 29, he’s not a hit with the ladies by any stretch of the imagination and he’s just been dumped by his girlfriend on the eve of his 30th birthday.  To add to his despair, Jim confesses to his lovable but mental best mate, Alex (Michael Socha), that he looses his mojo during crucial intimate moments and is in fact a still a virgin. So, Alex decrees that Jim with pop his cherry before he turns 30 if it kills him. And that’s what very nearly happens to them both when Lulu (Georgia Groome) and Kitty (Kelly Wenham) just happen to cross their paths in a bar.

    Lulu and Kitty’s killer streak is spelled out from the outset so there are no real surprises as to their motive for targeting Jim and Alex, but what is shocking are the violent and gory scenes throughout the movie.  In fact, those sequences are Double Date’s most redeeming features. That and several other memorable laugh-out-loud scenes like Jim’s impromptu non-starter date with a bereaved bag-vomiting drunk, his visit with his happy clappy Christian family and a kick-ass fight between at Alex and Kitty that gets low down and dirty.

    Ok, so some bits look fake and totally unbelievable but it’s all bloody good fun. Double Date is apologetically British, with a solid cast and a musical cameo by Big Narstie thrown in for added authenticity. An impressive writing debut by Danny Morgan, who recently won the the Screen International/FrightFest Genre Rising Star 2017 award.

    Double Date is due for UK cinema release on Friday 13 October.

  • LFF 2017 Review Round-Up #4

    LFF 2017 Review Round-Up #4

    By Orla Smith.

    RUSH TO SEE…

    Summer 1993

    Summer 1993
    Summer 1993

    Carla Simón’s debut Summer 1993 has a lot to say about the way children process grief. Extracting some of the most realistic child acting I’ve ever seen from children as young as six, Simón proves to be a master of her craft. Her film is plotless, but every scene has purpose. The gutwrenching moments are gentle and unexpected rather than blindingly obvious, as we watch 6-year-old Frida process the death of her parents over one summer. Simón observes Frida for as long as is necessary, and the film ends the second everything that needs to be said has been said. That kind of confidence in a first time filmmaker is extraordinary.

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

    FIND OUT MORE HERE

    TRY TO SEE…

    Princess Cyd

    Princess Cyd
    Princess Cyd

    Princess Cyd is a drifting film, but an amiable one at that. Stephen Cone’s direction attempts to be unfussy, although some of the flourishes he allows himself get in the way of the drama. Still, Cone has a strong understanding of his characters and their relationships ― the standout being Rebecca Spence as the successful writer aunt of teenager Cyd (Jessie Pinnick).

    FIND OUT MORE HERE

    AVOID…

    Makala

    Makala
    Makala

    Makala‘s opening minutes are beautiful. Wordlessly, we follow Makala, a worker in the Congo going about his grinding daily routine. In the opening scene, he chops down a tree with the camera as a drifting observer. The soundscape director Emmanuel Gras captures is soothing, creating a poetic viewing experience. However, the problems emerge as the film goes on like this: it becomes clear that the documentary’s conceit ― to not include interviews or many spoken words by the subject at all ― is by nature othering. Makala is reduced to an object rather than a person.

    FIND OUT MORE HERE

  • The Mother Of All Movies

    The Mother Of All Movies

    Anyone familiar with Darren Aronofsky’s previous work, such as Black Swan, will think they know what to expect with his latest film mother! But in truth, there is nothing that can really prepare you for what lies in store. Everything you have heard about this film is true and then some, yet in many ways, it defies description. But let’s try anyway…

    mother!
    mother! Source: Vimeo

    mother! stars Jennifer Lawrence and Javier Bardem, two Oscar winners at the very top of their game. He (played by Bardem) is a frustrated poet with writer’s block, she (played by Lawrence) is his wife, who keeps herself occupied renovating his burnt out old house in the middle of nowhere. All is fine until a stranger comes knocking at the door one evening and Bardem invites him to stay the night. This sets off a chain of events that spiral out of control so fast and so spectacularly, that you will be left breathless just trying to keep up.

    Taken on face value, mother! is a completely over the top horror film about the danger of letting strangers into your home. A full house might be a great thing to have when you’re playing poker, but for Jennifer Lawrence, it is anything but, as the never-ending onslaught of visitors start to tear her home apart.

    But then to take this film at face value is to miss the point completely. mother! is designed to work on so many other levels, from the seven deadly sins on display in Michelle Pfeiffer and Ed Harris’s performances to a far bigger environmental message.

    Heavily portrayed throughout the film is the allegory of the house as our planet, with too many people, all wanting their share, showing a complete disrespect for the environment. Some critics have an issue with how quickly the film descends into madness, yet when you look at the speed with which we have ravaged our planet, creating massive and destructive environmental problems in just a matter of years, it is perhaps not as far-fetched as it seems.

    Jennifer Lawrence
    Jennifer Lawrence. Source: Wikimedia

    mother! is certainly not a film for the faint-hearted, and many people will hate everything about it, whether they get the deeper meanings or not. Even Jennifer Lawrence herself has gone on record to say that it is: “not enjoyable while you are watching it”. “It’s hard to watch. It’s an assault,” she continued. And she should know; filmed in the first person, every single shot in mother! is either of Lawrence’s face, over her shoulder, or her direct point of view, with 66 minutes of the 2hours analyzing her expressions up close and personal.

    This result is a fully immersive, claustrophobic viewing experience that drags you into the action, rather than simply letting you watch. You will sit, gripping your cinema seat, with every muscle in your body tensed, and you’ll emerge at the end battered, baffled, and bewildered.

    Darren Aronofsky
    Jury president American director and producer Darren Aronofsky
    Opening of the 65th Berlin International Film Festival at the Berlinale Palast. Source: Wikimedia

    Writer/director Darren Aronofsky says he wrote mother! in a five-day fever dream, and you will share that sense of delirious confusion; that disconcerting feeling of not quite knowing what is real anymore.

    But then you will start to think it all through and you’ll find that you won’t stop thinking about it for a very long time. The more you think about it, the more you will find within the onion-like layers of this complex piece of cinema. And the more you find, the more you will come to appreciate its mood and meaning, until, like all the most terrifying fairground rides, you’ll find yourself wanting to rush back around to do it all again.

    There is no denying that mother! is utter mayhem. It is madness. It is macabre. It is malevolent. But it might just be a masterpiece, too.

    https://www.youtube.com/watch?v=7TJ8a2_O7IY

  • LFF 2017 Review Round-Up #3

    LFF 2017 Review Round-Up #3

    By Orla Smith.

    RUSH TO SEE…

    Call Me By Your Name

    //www.youtube.com/watch?v=pAYeaXFb9w4

    Call Me By Your Name is destined to be considered one of the great movie romances. Astounding breakout Timothée Chalamet (who was also astounding in last year’s little seen Miss Stevens) stars as Elio, a 17-year-old bilingual, hyper-literate piano maestro staying in Italy for the summer with his professor father. Elio knows a lot, but he admits himself that he knows nothing about “the things that matter”. The film is a coming-of-age tale that charts his process of learning about the ways of love and heartbreak as a brief but passionate romance develops between him and Oliver (Armie Hammer), an American student come to work alongside Elio’s father (Michael Stuhlbarg). Call Me By Your Name approaches first love in a wholly unique way. It allows its characters to fumble in their attempts to connect, and presents a relationship that is refreshingly balanced and supportive. There is little conflict in Elio and Oliver’s romance, so we are allowed the simple pleasure of observing two people yearning for and enjoying each other’s company ― shot through the sensual gaze of Italian director Luca Guadagnino. No conflict that is, except for the summer’s impending and inevitable end. The joy they feel when together is tinged by bittersweet sadness and regret for how much more they could have shared.

    FIND OUT MORE HERE

    Person to Person

    //www.youtube.com/watch?v=3TdxQHTs3XI

    Going in to Person to Person I didn’t know what it was about. Turns out, it’s not about anything. Dustin Guy Defa’s retro 16mm portrait of scattered lives in NYC takes place over one day, and it’s a day I’d happily relive again and again. What at first appears to be a series of banal and sporadically funny vignettes builds to something much more ― without ever upping the stakes. Defa’s protagonists are not traditionally cinematic: amongst them, Michael Cera plays an immature, heavy metal loving investigative journalist, and Abbi Jacobson is his introverted new recruit who’d much rather be at home with her cat. Combined, the characters’ various amusing encounters add up to form a sweet, sensitive portrait of common decency and the joys of the everyday. It is as successful in achieving that as last year’s Paterson.

    FIND OUT MORE HERE

    TRY TO SEE…

    Blade of the Immortal

    //www.youtube.com/watch?v=9C20QLlVY-8

    Takashi Miike’s 100th feature is proof that he hasn’t lost his magic. While Blade of the Immortal is often structurally creaky (and it would have packed a more lasting punch in a compact package), the fight scenes are choreographed with the effortless glee of a master. They are graphical, large-scale and often joyously creative. Takuya Kimura’s lead turn as a grizzled immortal samurai is masterful. He is the perfect reluctant action hero, managing to keep up his half-hearted, begrudging physicality while simultaneously murdering hordes of assailants.

    FIND OUT MORE HERE

    Funny Cow

    Funny Cow
    Funny Cow

    Maxine Peake is predictably brilliant in Funny Cow, an awkwardly built but endearing British tragicomedy. Peake plays a woman who describes herself as having “a funny bone instead of a backbone” ― but one might argue that, in her case, the former serves the same purpose as the latter. As a child, she fights back against her abusive father with jokes. As an adult, she does the same to her abusive husband. Peake shines when performing stand-up comedy routines, and fills in the gaps in her unique and interesting character where the film itself fails to pick up the slack.

    FIND OUT MORE HERE

    Thoroughbreds

    Thoroughbreds
    Thoroughbreds

    Thoroughbreds has almost nothing on its mind, but taken at faces value it’s giddily entertaining. Olivia Cooke shines as an emotionless, psychopathic teenager who is keenly aware of her own inability to experience emotion. Cooke treats her character’s condition with integrity, yet again elevating the material after she did the same with The Limehouse Golem earlier this year (a far weaker film overall). First time director Cory Finley does an impeccable technical job, and on a script level delivers an uproariously funny dark-comedy. It may be nothing more at all, but as pure entertainment, Thoroughbreds is a very impressive piece of work.

    FIND OUT MORE HERE