Author: BRWC

I am a believer in fate, and I love when something enters my life unexpectedly and changes my perception of the world. This also applies to exquisite moments captured in film, which hit a hidden emotional cord and last with me permanently. I started to write for brwc because I was hoping that by sifting through a multitude of unusual films, I would be struck by a film that moved me, by surprise and coincidence, in the same way some of my other favourite films did when I first saw them. This is my third film review for brwc, and I’ve already found it.  Touchy, Feely has everything I could want from a film. A beautiful soundtrack which compliments the fantastic film work, excellent acting despite a mostly unexceptional cast, and complex emotional exploration.

The storyline is a simple but effective one; Abby (DeWitt) is a masseuse who suddenly develops a fear of skin on skin contact, and her life begins to spiral out of control. Her brother’s (Pais) empty dental practise suddenly picks up business as rumours start to spread that he can cure dental illness. The contrast of these two characters is the crux of the film, but there is an excellent side story with the wonderful Ellen Page as Paul’s daughter Jenny. Despite her being much more successful than the rest of the cast, at no point are they out-shined, the performances are excellent. The film is almost hypnotic, I found myself lost completely in my own thought several times throughout the film whilst the characters are going through their development

Having found a film this fantastic so soon, I can now only assume by default I will watch numerous films that have no lasting emotional connection with me, but here’s hoping I’m back next week with another corker! If you find yourself with any spare time at all this week, watch this film, ten minutes in and you’ll never look back.

In 2001, American Samoa suffered a 31-0 defeat to Australia. By 2011 when Next Goal Wins was filmed, they were ranked the worst team in the world and hadn’t won a game in 17 years. This is the documentation of attempting to change that and reach the 2014 World Cup. To do this, they enlist the help of Dutch coach Thomas Rongen who has just 3 weeks to turn the team around and help them bag their elusive first victory.

Firstly, while I’m not a football philistine I am neither a huge lover or follower of the game. Thankfully, this follows in the footsteps of documentaries like Senna and Fire in Babylon where the storytelling is so well done with such engrossing subjects, a passion for the sport becomes irrelevant.

The first feature from film making duo Mike Brett and Steve Jamison, it is structurally what has become the classic style of documentary storytelling with not a lot of innovation and edited and scored more like a fictional narrative, which for such a classic underdog story is no bad thing. By the time they reach their qualifying matches, I was literally biting my nails, praying as much as they were for a win. This is a documentary with a positive bias, asking if not expecting you to side with the team, which isn’t all too hard.

This shows us a grass roots style of international football without the stadiums and huge salaries, where it is played for the love of the sport and not for the fame and fortune. As such, the team is filled with charming and passionate people who’s company is an absolute delight. It is refreshing to see such a passion for the sport on the pitch but, as is epitomised in transgender defender Jaiyah, instead of just being about the team or the sport, this film is more about the inclusiveness of sport and it’s importance as a positive force. It reminds us why it engrosses people and unifies communities in the first place.

Having said this, limiting the drive of the film to the sport alone is wrong. It is very much about American Samoan culture, how these people lead their lives and how that ties into their passion for football. It goes into their deeply held religious beliefs, tolerance and the generosity of spirit, and while it may take a Western touch to turn them around on the pitch, it is their culture that affects him and not the other way around.

A classic underdog story with as big a heart as its subjects and a great watch to get in the mood for this summer. While not deviating too much or doing anything new, it still has the quality of subject and craftsmanship to be an engaging sports documentary.

Next Goal Wins is released on DVD on 1st September

Rik Mayall goes fucking nuts!

No unfortunately Rik Mayall doesn’t feature in The Last Horror Movie, although lead actor Kevin Howarth does look a bit like him.

The set-up is a relatively novel but dated one. The film begins with a scene from a fake slasher film which then switches to the face of Max (Kevin Howarth). An incredibly smug and well spoken man who tells us he has taped over the remainder of the film (oh VHS tapes how retro) and teases us with glimpses of him committing actual murders. His point being; why watch fake murder when he can give you the real thing. So begins a “documentary” of Max, along with his camera man and accomplice played by Mark Stevenson, murdering various people in different ways all the while daring us to turn off . Mixed in with this we see moments of Max’s domestic life and job.

The Last Horror Movie, released in 2003 was already becoming dated by the time of it’s release what with it’s reliance of video as the chief story device. Reviewers have been somewhat kind to it over the years describing it as genuinely frightening and hailing Max as a great horror creation. Sadly I found neither of this to be true. The film feels like a rehash of Man Bites Dog with it’s use of killer as documentary subject. We also get an expansion of the scene in Henry: Portrait of a Serial Killer where they film themselves murdering a family. It’s just that we get to see it over and over again. Then there’s Funny Game’s whole ethos of making the audience complicit in the violence because it is being created for our consumption, but this film feels the need to actually lecture us about this. Max tells the viewer many times to turn off if we didn’t like what we watching. So I did.

But then I thought that I would have no business writing about the film if I didn’t finish it so I sat being lectured by this complete anus for a further twenty five minutes. The real galling thing I found about the film was none of the visuals and situations but the fact that he seemed so sure and proud of it’s revolutionary idea whereas in fact it’s all been covered before by better film makers who didn’t feel the need to literally spell out the films ethos. Max too makes for an irritating guide through the journey of murder. Like a British version of Patrick Bateman – I imagine was the concept – but coming across as a entirely massive prick instead. Apologies to the wealth of “horror” fans who think The Last Horror Movie deserves re-evaluation. But it doesn’t. It’s dated. Annoying. Patronising. Dull and doesn’t feature one original idea. With that I take my leave.

Since it’s popularisation in The Blair Witch Project, it seems that every kind of found footage film that can be made has been made and is now an overused idea that keeps being drudged back. However, every so often a new found footage film comes out that restores my faith. First was [REC], then The Bay and now Bobcat Goldthwait’s new horror, Willow Creek.

Jim (Bryce Johnson), a Bigfoot believer, and his girlfriend Kelly (Goldthwait regular Alexie Gilmore), an unabashed naysayer, head on a trip to Willow Creek, the home of the Bigfoot legend. There, Jim hopes to make a documentary, visiting the important sites to the myth, but as they get closer and the locals get colder, how much is myth and what is the reality?

Johnson and Gilmore are fantastic, remaining authentic and watchable in every situation. While it’s hard to tell if there is a supporting cast, which is a good thing, anyone who is (who may or may no be supporting cast?) is just as good.

As with previous Goldthwait films like World’s Greatest Dad and God Bless America, there is a certain playful contemplation about modern American madness present in parts of and the concept of Willow Creek. This isn’t Harry and the Henderson’s, going out of it’s way to make fun of the commercialised, almost infantilised idea of Bigfoot in the American consciousness. This playfulness shouldn’t be understated and there is a fantastic sense of humour here that feels organic and real.

Neither does it attempt the Paranormal Activity route of hammering this tension from the get go. We’re relaxed into a false sense of security before things get going so that once we are going, it hits even harder. There’s also a strange mixing of documentary and fiction that works well. Some of the interviews definitely feel real and add to this lulling of the audience. The layman certainly leaves knowing far more about the mythology and history of Bigfoot than before.

In both performance and it’s situations, there is an effort made so that any sense of contrivance usual in found footage films is avoided. Despite my personal feelings on found footage, this is a film that utilises that particular style not just for cheap effects but as a immensely satisfying and integral part of the story. It allows for one particularly incredible long take in a tent to occur without feeling ridiculous and making immediate sense to be in there. It goes from nail-biting to slightly trying to down right torturous. It is something quite incredible and might not have been as convincing or interesting if it had been filmed in a typical style.

It feels like a feature length section of V/H/S in the best way. In a similar way to V/H/S, this isn’t a film that is fiddling around with a deeper meaning, and as such manages to focus on scares and tension. Goldthwait is taking from the Val Lewton play book, using tension and anticipation over jump scares and gore, playing with what could be in the dense forest instead of what is. The best part is, it works. It may not have everyone’s idea of a satisfying ending, but it is the right ending.

Delivering genuine tension with authenticity and one of my favourite scenes for a good long while, this is one that no horror fan should miss. An excellent addition to both Goldthwait’s filmography and the found footage sub-genre.

Willow Creek is out in select UK cinemas 2^nd May

I’m sure I saw something like this on Channel 5 years ago.

Curse of the Dragon Slayer, or SAGA: Curse of the Shadow plays out as a fantasy to please all parties. There’s strong elements of The Lord of the Rings. Plenty of Game of Thrones. Plus some Xena: Warrior Princess vibes, but that might be mostly down to the budget constraints.

The plot involves The Dragon Slayer of the title Nemyt Akaia (Danielle Chuchran) who is infected with a dark illness after a scrap with an orc-like creature in the opening scene. She bands together with Keltus The Wanderer (Richard McWilliams), a sort of night templar but a bit more mercenary and Kullimon The Black (Paul D. Hunt), a less angry version of Piccolo from Dragon Ball. On their journey through a whole host of wooded area – the budget clearly went on costume rather than location they encounter a whole host of other orc-like creatures, a ring-wraithey type thing and mermaids. Yes mermaids!

Fantasy film fans might find plenty to enjoy. The world, although unmistakably Earth, is a fully realized realm of magic and oddities. The only problem being that most of these oddities feel ripped from other more successful franchises. The makers clearly have a passion for action adventure yarns set in alternative worlds but there doesn’t seem to be an original idea at work here at all. Even Conan the Destroyer’s memory is invoked at times.

The acting and script are perfunctory at best but at least the whole thing bolts along with a good pace. So if anything it succeeds in being a diverting action romp.