film reviews, interviews, features | BRWC

Author: Grace Williams

  • Dead Air: Review

    Dead Air: Review

    Do you like rock bands, scary creatures and British humour? Then you’ll LOVE Geoff Harmer’s Dead Air. The film centres on girl rock-band Monster Kitten, who are on a plane travelling to their next gig. Unbeknownst to them, there is a mysterious Japanese crate in the hold with some very strange sounds coming out of it…

    The little critters that are eventually unleashed are actually lovingly made puppets which make for a fun little film Theres a particularly wonderful moment where The Bassist (played hilariously by Kate Davis-Speak) whacks one of the creatures with her guitar which made me chuckle. 

    It’s Josie and The Pussycats feel injected with thoroughly British punk girls makes for a very silly dynamic. There’s also some wonderful use of animation which shows that one can pack a lot of different techniques into a low budget short.

    And guess who’s driving this bad-luck plane? Terry from the Inbetweeners who adds some extra banter. (That’s veteran British TV actor David Schall btw, you’ve probably seen him in at least two of your favourite shows). 

    Geoff Harmer and writer Peter Hearn have created a very interesting concept here, and we here at BRWC are looking forward to a feature film announcement, or TV mini-series… maybe? You can do it Geoff!

    Dead Air
    Dead Air

    You can listen to an interview with Geoff and Kate on the BRWC podcast. 

    Dead Air is screening at film festivals internationally. Congrats to Kate Davies-Speak on the birth of her baby boy.

    Dead Air – Teaser Trailer from Geoff Harmer on Vimeo.

  • Red Devil: Review

    Red Devil: Review

    Savvas D. Michael’s second feature, Red Devil is an interesting and surreal watch. The opening sequence see’s our leads Oscar and Ella Knight talking to Oscar’s dementia suffering mother. Her far right rhetoric and Edina Monsoon inspired memory loss conversation is an indication to the sort of grizzly characters the rest of the film has in store.

    We then follow Ella (Fernanda Diniz) and Oscar (Jack Turner), who turn out to be erotic vigilantes, on a quest to rid their town of a mysterious drug called Red Devil (roll credits). 

    The cinematography and colour-tone are similar to a Mighty Boost episode, lots of over saturation and chromakey layers that give Savvas’ Britain a multi-dimensional feel. As Ela and Oscar go around having sex whilst killing drug dealers, we follow a secondary plot of a Red Devil addict named Riley.

    Jamie Crew’s performance as this character is flawless. Riley’s drug addiction is like something out of Trainspotting with a touch of Heath Ledger’s Joker. He contorts his whole body from face to feet and reels in pain when he is not taking the drug. An amazing performance which should see him win some best actor awards on the Indie circuit, I hope. 

    Red Devil
    Red Devil

    Another side character we follow is Hugo, played fantastically by established British actor Ian Reddington (Highlander, The Sisters Brothers, Coronation Street). Hugo is a lonely drug dealer who loved to have a long chat with his clients before sending them on their way with their chosen high. I could have watched a separate short with this Hugo. 

    The film is a bit weird at points and its visuals may not be everyone’s cup of tea, but it’s an interesting take on a side of Britain that is often portrayed as grey and gritty. Oh, and Stephen Berkoff is in this too – wowzers! 

  • TRANSformational: BRWC Raindance Review

    TRANSformational: BRWC Raindance Review

    TRANSformational: BRWC Raindance Review

    Gina Hole Lazarowich’s LGBTQ documentary centres on male model Krow Kian and his transformation from female to male international supermodel. This intimate fillm follows the lives of a small transgender community centering around Krow’s transition (all female to male op).

    Weaving in personal family photos, music and film, the documentary is made from the heart and oozes authenticity. I particularly liked how Lazarowich cut back and forth between Krow post op and pre op. This strayed away from the usual trope of journey to ‘transformation’, instead focusing more on the narrative and case studies.

    Krow is a particularly interesting case study, as he stays within the fashion industry as a model, but has to reshape his skills. This film is important as is highlights the different levels, processes and routes an individual has to take and access before making such a big decision, and what happens during the process. I hope that it shakes any stigma about gender reassignment, hormone therapy and psychiatry that people have.

    It is difficult to review this, for me, as it’s such a personal.film.. technically speaking the sound editing is fantastic and Lazarowich has managed to catch some gorgeous, intimate moments which really shake Krow’s journey. Krow is a very powerful, enigmatic presence on screen and I hope that this will give him opportunities on the big screen, not just the runway.

    We need more trans actors in the industry, so although documentaries like this are fantastic, let’s start casting more trans actors in roles for their gender, not about the past or present gender. I’m using this review as a bit out of sounding board now, sorry about that.

    Thank you for sharing your story, Krow – it was extremely moving and inspirational. TRANSformational opened this year’s Raindance film festival 2019. 

  • Here Comes Hell: BRWC FrightFest Review

    Here Comes Hell: BRWC FrightFest Review

    Here Comes Hell: BRWC FrightFest Review

    Here Comes Hell is a low budget, black and white horror movie starring Red Dwarf’s Robert Llewellyn as a rich ‘American’ (the Southern drawl often falls into English gent) who comes to England to visit his best buddy at his new country estate.

    There, he meets old flame Christine (a photogenic Margaret Clunie) and his tennis player buddy, who’s bought along a very fine spoken innocent secretary.  

    First time director Jack McHenry has shot the entire film as an ode to early Hammer Horror films, using a mixture of green screen and practical effects, often doing so effectively. Occasionally, though, missing the mark. McHenry obviously knows his classic horror – much like Tarantino uses certain camera angles and colour grading to reference his favourite films, McHenry’s use of zoom, point of view shots and freeze frame are a love letter to a by gone era. 

    All the actors play their part well and when the effects work, they are Evil Dead-esque. However, what lets this film down is the sound editing and the fast pace of the plot. Although, I’m somewhat wondering now if the sound mix was purposely supposed to replicate that era of film, and if the rush from seance to possession also does this.

    If it was purposeful then it did certainly result in some comedic moments at times. Although this film is not quite Garth Marenghi’s Dark Place, or Dracula, Dead and Loving It, it certainly has a certain charm and an A* for effort. I’d very much like to see what this director can create on a larger budget. 

    ENGLISH PREMIERE – It was our critically acclaimed, crowd-pleasing Glasgow FrightFest sensation and now Jack McHenry’s astonishing feature debut comes to London. ‘Downtown Abbey’ meets THE EVIL DEAD in a pitch-perfect evocation of THE OLD DARK HOUSE style of mystery horror thriller where Agatha Christie goes Lucio Fulci in stunning Black & White. With cut-glass British accents and a dodgy American in the cocktail party mix, a sophisticated 1930s soiree at an isolated country mansion descends into carnage, gore and demonic possession as rivalries and old friendships are put to the test when a gateway to Hell opens up without warning.

  • Feedback: Grace’s FrightFest Take

    Feedback: Grace’s FrightFest Take

    Feedback: BRWC FrightFest Review. Pedro C. Alonso makes his English language and feature debut with the intense and moral questioning thriller Feedback. 

    The film has an amazing cast, including Eddie Marsan at the helm, a small part by Giles himself Antony Head and an all-grown up Ivana Baquero (who you might recognise from a little known film called Pan’s Labyrinth…). 

    The premise is a basic hijack movie, set at LBC like radio station. Eddie Marsan plays Jarvis, a controversial radio host who’s boss (Anthony Head) says he must team up with his old co-host, the party animal Andrew (Paul Anderson). However, when Eddie is on air, a mysterious group of masked people take over the studio. 

    The tension is built brilliantly and the plot keeps you guessing right up until the end. There is also something to be said about developing a plot almost entirely in one room. It’s an Indie film trick but not always pulled off well.

    The acting is (mostly) fantastic in this film. I especially enjoyed horror-film veteran Richard Brake, who plays one of the ‘baddies’ (as I like to call them…). The way he carries himself physically and emotionally heightens the drama. 

    There’s some generically British script weaved into this film which can occasionally be off putting, but certainly doesn’t take away from the overall impact. 

    Much like stand-up’s have no end of material to lift from the current socio-political climate, the film world, especially horror, is booming with horror plots that are very close to home. That said, I don’t want a horror film where a town in Surrey runs out of Prosecco in January… *shudder*. 

    Make sure you watch Feedback – you’ll never listen to LBC in the same way again! 

    Director: Pedro C. Alonso. With: Eddie Marsan, Paul Anderson, Ivana Baquero, Richard Brake. Spain/USA 2019. 97 mins.

    National Treasure Eddie Marsan gives a career defining performance in a startling horror thriller co-written by Alberto (SUMMER CAMP) Marini. Jarvis Dolan is the star host of ‘The Grim Reality’, a successful late night radio show. But his whole life turns upside down when two armed, masked men burst into the studio taking him and his entire show hostage. They want Jarvis to confess to a scandal that could destroy his life and decimate his career. However, he has no clue what they are talking about. And when the murder starts he finally discovers what his grim reality truly means.