Author: BRWC

Marriage Unplugged: Review. By Christopher Patterson.

A Magnificent Drama And Overall Just A Brilliant Short Film

Marriage Unplugged is a must-see in the mountain of short films right now. Truly. Sharp and particular in its execution, and a flat out captivating watch. Easily this short film could’ve become too melodramatic, yet it holds back and perseveres its beauty for the duration. It’s quite rare to see a realistic marriage on display, and especially when it uses sci-fi, and rather than likely ruining the realism, sci-fi here makes the realism even harder. James as a character is almost a tool to show the failure of the marriage. A test to see if they are ready for the next stage. The next step. And like many marriages, it crumbles beneath the weight. Without indulging or even discussing how a sex robot like James even exists, the film opens the doors for discussion even more. And that is the power of the film. Knowing what to keep and not to do in the film. It’s a film that feels as nested up as it could be into a bow known as stimulating cinema.

Right at the start of this short film, we see a couple argue over one looking at a sex doll through the window. While she believes he looked, with understanding, he very much disagrees, leaving a fascinating scene to think about. In my eyes, all great openings give you something to think about, and quite honestly, this one does. It doesn’t overstay its welcome nor indulgence itself in the conversation that could quite easily go on and on or be too short. Just right if I had a word for it.

The sex robot of the film is used, interestingly, to show the flaws of the relationship more clearly. With the sex robot in the room with the couple, our characters’ thoughts feel more clear due to the sex robot’s very direct invasion of their life, their way of communication and their behavior. James is like a spotlight, interrogating each person by sometimes doing nothing. But saying a million words all the same.

One thing I despise about sci-fi is when I see the plot could be better done without any futuristic nonsense. If the world was just our world, it could hit even harder. That is, in my eyes, the worst thing sci-fi can provide. A waste of thought. Here, thankfully, that never really occurs. The plot is brilliantly weaved with each character to where it depends on them. Without James, this relationship likely would just go down without us seeing, being another broken marriage, but with James, they are thrown into the spotlight of truth where their love is tested. 

This short film, like some of the best, rather than feeling trite or banal or flat out too short, just feels right in its decisions. Rewatching it, I can’t find a place where the script could be indulgent without the whole film having to be indulgent, losing its sharpness. And you could do this with anything; the film really is held together like steel and cannot be loosened. And this grip is what makes the film addicting.

And awesomely, the film is never overly sad or overly happy, unlike many films that explore this unknown thing called marriage. Rather, it is just a simple showing of a dysfunctional relationship at play without ever feeling excessive in its showing of the downfall of it. In so many films about dysfunctional relationships, the films can get so dull with very dry writing and so much overuse of shock value that one can feel like the film is intending to waste the rest of your life out of spite. Thankfully, when I was watching Marriage Unplugged, I couldn’t help but wanna clap for it just being itself and not one of those excessive, indulgent marriage flicks that come out so often and are so often just plain awful and make you upset thinking about all the awesome things you could’ve done and instead you chose that.

VERDICT

Marriage Unplugged is a surprising short film. It’s well directed, better than some films in theaters; it’s neat in its precise use of dialogue and sharp acting that plays into its subtle yet at points very clear script; and it’s simply a very entertaining short film. Thankfully not banal due to its use of sci-fi and not lost in the plethora of doors it opens with a sex robot. The acting is pretty strong and feels lifted from script to screen quite satisfyingly, with the standout being the actor for James, who is able to do a lot with how little he’s intentionally given in dialogue. This is one of those short films where the time passes by just like that. If you are hooked in the introduction, then you will be hooked to the final shot. A true must-see in short films that doesn’t come often.

4.5/5 

Bring Them Down: Review. By Simon Thompson.

Writer/director Christopher Andrew’s debut Bring Them Down is a dark, taut, and claustrophobic thriller that I would describe, tonally, as a cross between John Michael Mcdonaugh’s Calvary and a pastoral No Country For Old Men. From the opening scene alone, Bring Them Down drags you into its atmosphere and doesn’t allow the audience any breathing room at all, with the many scenes depicting the quiet stillness of the film’s rural setting acting as a foreboding set-up for the horrific events lurking right around the corner. 

The plot of Bring Them Down focuses on Michael (Christopher Abbott), a sheep farmer juggling the responsibilities of running the family farm and looking after his ill and curmudgeonly father Ray (Colm Meaney). On top of these day to day responsibilities, Michael is also keeping a dark secret from his past, which, thanks to a family feud with neighbouring farmer Gary (Paul Ready) and his son Jack (Barry Keoghan), Michael is now forced to confront. 

The acting in this movie is absolutely superb, especially from the lead, Christopher Abbott, in his performance as Michael. I was genuinely shocked to discover that Abbott is American, because his Irish accent didn’t sound out of place at all when paired with those of the rest of the cast. In his performance Abbott completely captures both Michael’s weariness and also his anger, which lurks under the surface ready to spring out at any time. 

Colm Meaney and Barry Keoghan are both extremely well cast in their individual parts, and giving the high quality performances you’d expect from actors of their calibre. Meaney in particular is fantastic as Ray, using his ability to play spitefully miserable characters to its full potential, allowing the audience both to loathe, yet also feel sorry for Ray at the same time. Keoghan, on the other hand, adds another lovable screw-up to his back catalogue in his empathetic portrayal of Jack, a teenager from an extremely dysfunctional home caught in the middle of a feud that he’d like nothing to do with. 

Andrew’s direction is accomplished and understated especially for a first time filmmaker, his use of close ups, Ozu style pillow shots of the film’s setting, and the way that he plays with the contrast of day and night, all show a level of skill that is beyond what you’d typically expect in a debut. 

Bring Them Down is a nearly pitch-black drama boosted by a strong cast, a solid script, and fundamentally sound directing. If you’re into crime-family drama and want something a little bit off the beaten track, then this might just be the movie for you.

https://www.youtube.com/watch?v=zvYTvaM1MUA

Sanatorium Under The Sign Of Hourglass: Review. By Simon Thompson.

Sanatorium Under The Sign Of Hourglass,a stop-motion adaptation of the novel of the same name by Bruno Schulz directed by the Quay Brothers, is a hypnotic, yet also a frustrating and puzzling viewing experience, that will leave you in awe of the animation on display whilst scratching your head at the same time. 

Before viewing the movie, I thought that the plot sounded pretty familiar then I realised that I had seen another adaptation of Schulz’s novel, directed by esteemed Polish filmmaker Wojech Has, from the 1970s. Given that Has’s adaptation is one of the most well regarded Polish films of all time, in what has been termed a golden age for the country’s cinema, the Quay Brother’s adaptation has a lot to live up to.

While I don’t think this adaptation of Schulz’s novel quite hits the heights of Has’s movie, this is still an arresting and different take on the same story, with the Quay Brother’s willingness to experiment with both a classic film and an established Polish literary classic something to be commended rather than criticised. 

The plot of Sanatorium Under The Sign Of Hourglass follows Jozef, a man visiting his dead father whose body is resting at a remote sanatorium. When Jozef arrives at the sanatorium he finds it to be run by a shady doctor, who reveals that his father is alive because the sanatorium exists within a world between sleep and wakefulness and that time within the structure can’t be measured in any form whatsoever.  

The black and white cinematography that the Quay Brothers employ for the film is absolutely striking to look at, and when combined with the FW Murnau style shadow, the use of intense close ups, the unconventional camera angles that play with the audience’s sense of perspective, creates a lasting effect. These elements both give the movie roots in German expressionism but also in the works of Eastern European animation greats such as Jan Svankmajer whose style seems to have highly influenced the Quay Brothers.

With a taut 1 hour and 15 minute runtime, this adaptation of Schulz’s novel isn’t as plot heavy as the Wojciech Has version, but through the medium of animation adds a new dimension to the surrealism in Schulz’s writing. If you’re a fan of both stop motion animation and the Quay Brothers, Sanatorium Under The Sign Of Hourglass is well worth a watch simply on the strength of its visual choices alone. 

Last Party: Review. By Callum Ward.

After the success of his previous projects, Nicolas Dozol returns with Last Party, a compelling French coming-of-age thriller that defies genre boundaries. Set during a high school graduation party, the film centres on four teenagers—Angela, Alexander, Lily, and Ethan—each confronting their inner turmoil in a single night. When they’re unexpectedly locked inside, they face an existential dread, wondering if they’ll make it out or if this is indeed their last party.

The film initially sets an eerie, almost dreamlike tone, amplified by the movie’s technically impressive use of long takes. The film’s 28 intricate shots give it the illusion of a single, continuous shot that immerses viewers in the characters’ world. Dozol’s direction and Aurel Ganz’s cinematography shine, capturing each scene’s intimacy and tension while establishing a moody but cool aesthetic. The camera work, especially during moments of heightened intensity—such as Angela’s hallucinogenic tilt and Alex’s shocking injury—is masterful, reflecting the characters’ instability.

The cast delivers solid performances all around, effectively capturing the angst and tension of their characters. However, they’re somewhat let down by the script’s overreliance on classic high school archetypes—the jock, the popular girl, the nerd, the aloof rich kid etc. While these familiar roles provide a quick entry into the characters’ dynamics, they occasionally detract from the film’s more nuanced themes, making it harder for any one performance to truly stand out.

Niels Caron’s score deserves special mention, weaving an atmosphere of unease that fits seamlessly with the narrative’s dark undertones. The music enhances the film’s immersive quality, lending a persistent sense of nervous anticipation that builds up as the story unfolds. Yet, as the film weaves between characters, its ambitious goal of encapsulating young adulthood in one night occasionally falters. With limited screen time for each, certain characters’ backstories and motivations feel underdeveloped, making it challenging to fully invest in each narrative arc.

While Last Party excels in its technical execution and the cohesion between cinematography and score, some viewers may find the ending ambiguous, leaving more questions than answers. However, Dozol’s choice to leave the conclusion open can be seen as an invitation to reflect on the character’s journey and what they represent in the transition from adolescence to adulthood.

In conclusion, Last Party is an ambitious, visually striking addition to the coming-of-age genre, blending romance, drama, and horror with a uniquely choreographed style. It leaves a haunting, lasting impression, capturing the anxieties and fleeting joys of teenage life. For those interested in an intense, artistically crafted film that leans into emotional uncertainty, Last Party is an experience worth exploring.

Super/Man: The Christopher Reeve Story – The BRWC Review. By Simon Thompson.

When you think of the perfect castings in movie history, the usual suspects spring to mind: Sean Connery as James Bond; Harrison Ford as Indiana Jones; Robert De Niro as Jake La Motta; Audrey Hepburn as Holly Golightly;  Brad Pitt as Tyler Durden; Humphrey Bogart as Sam Spade etc. For me that accolade will always belong to the absolute genius who decided to cast a lanky, unknown, 25 year old straight out of drama school, named Christopher Reeve as one of the most recognisable and important comic book characters of all time : Superman. 

Reeve absolutely embodies that character for me, ever since I saw his movies being regularly replayed on tv during my childhood. However before watching Ian Bonhôte and Peter Ettedgui’s excellent documentary Super/Man: The Christopher Reeve Story, I realised that I knew very little about Christopher Reeve the human being, aside from the tragic accident that left him paralysed from the neck down during the last nine years of his life. 

Ettedgui’s and Bonhôte’s documentary rectified this and then some, as through voiceovers by Reeve himself, spliced together with archive footage of his life as well as interviews from his family and friends, you leave the cinema with as comprehensive a portrait of an inspirational human being as you’re ever likely to find. 

Before watching the movie I assumed that the narrative was going to start with Reeve’s early life and then move to his accident in the 1990s chronologically, instead, however the audience is confronted with the accident right away. While Reeve is in coma, we are treated to his fears, anxieties, and suicidal thoughts in a very intimate way, as well as the intrusive media circus which accompanied his hospital stay that his poor family where stuck having to bat away- on top of everything else. 

From this point on we flip to his early life, growing up the son of divorced parents and struggling to please his extremely intellectual, competitive, almost renaissance man of a  father named Franklin which led him to discovering his love of acting as a form of solace. From here the action switches to his attending Julliard, then winning the part of Superman bringing him worldwide international fame and recognition, his attempt to try and break away from the Superman image to little success, his life as a family man later on, and finally his tireless work as a disability rights activist helping to raise funding for spinal cord injury research, amongst other causes. 

Through putting his life in focus and interviewing his longtime partner Gae Exton, his children Will, Alexandra, and Matthew, and friends such as Glenn Close, John Kerry, Whoopi Goldberg, and Jeff Daniels, the audience is given a portrait of Reeve in totality allowing us to get a sense of the legacy he left both artistically and socially through his charity the Christopher Reeve Foundation. 

If you’re into either documentaries or Superman or are looking to be inspired in any way, Super/Man: The Christopher Reeve Story is the perfect movie for you.