Author: Joel Fisher

  • He Dreams Of Giants: Review

    He Dreams Of Giants: Review

    Terry Gilliam has a long career spanning over 40 years which sky rocketed after his involvement with Monty Python’s Flying Circus made him a household name. His feature directorial debut was Monty Python and The Holy Grail which soon caught Hollywood’s attention and before they knew it, Gilliam was unleashing his unique brand of cinema onto the silver screen.

    However, as unique an eye that Gilliam has as a director, his films weren’t really making the kind of box office bucks that film studios like. So, after a time Gilliam was starting to find his films were getting harder to make.

    Lost in La Mancha documented his attempts at trying to get a film made of Don Quixote, with stars lined up such as Johnny Depp, Miranda Richardson and Christopher Eccleston among the cast, it seemed that it was going to be a sure-fire hit. The problem was that despite the passion that Gilliam had for the project, passion wasn’t going to get him the financial backing he needed to create his dream project.

    Although by that point Gilliam had a dogged determination to get it done and he was going to get it done his way, even if it took nearly 20 years more to make it. He Dreams of Giants is the documentary about the making of The Man Who Killed Don Quixote and how Terry Gilliam finally made it happen.

    Starting out as a semi behind the scenes documentary of the making of the film, the documentary does start to talk more about its subject. Gilliam was on top of his game 30 years ago, but now it seems that he’s all too aware of his life, his career and still wonders whether it was all meant to be.

    What could have been a rousing tribute to the Minnesotan born director who captured the hearts of the British public turns into a rather realistic and non-self-aggrandising depiction of a man who fears his time may be up.

    Gilliam’s obsession, much like Don Quixote’s could have been the death of him, but thankfully this noble knight of cinema may still ride once again.

  • Too Late: Review

    Too Late: Review

    Violet Fields (Alyssa Limperis) is an assistant to world renowned stand-up comedian, Bob Devore (Ron Lynch) who runs a late-night variety show called Too Late. Like many people stuck in menial jobs, Violet is sick of her life, sick of her boss and is starting to think that her love life will never be the same again.

    Then she meets Jimmy Rhodes (Will Weldon), an up-and-coming comedian with a lot of talent and after they hit it off, Violet starts to realise that Jimmy’s life is in danger. That’s because there’s a very good reason why Bob Devore has lasted for so long in the industry, he gets Violet to bring him any talent that she finds so that Bob can devour them – literally.

    Too Late is a horror comedy and feature debut of D. W. Thomas, with a script written by Tom Becker. Set in the world of talent with a particular focus on stand-up comedy, Too Late knows all too well what kind of a world it is where in order to succeed you either have to be the eater or get eaten.

    Although Too Late wears this analogy proudly, it seems that there was a choice to let it run from the start until it got old, or wait a little too long for its premise to kick in while setting things up. Unfortunately, it chose to do the latter, so for those expecting a laugh a minute horror thriller, they may be disappointed.

    There are moments that could keep the audience interested, including cameos from people such as Mary Lynn Rajskub and Fred Arminsen. However, these are fleeting and they have to be invested in Violet’s life and her pursuit of love so this takes up the bulk of the movie.

    Although it could be said that it’s worth the wait as the final act is full of moments of body horror, practical effects and enough jokes for audiences to realise what where its all been going.

    The problem is that despite its original premise and good performances, it all feels like it’s too little, too late.

  • Vicious Fun: Review

    Vicious Fun: Review

    Joel (Evan Marsh) is a film critic and deputy editor at a magazine that specialises in horror. He’s got the self inflated importance of a critic, but his private life is a mess and he just can’t get over his ex, Sarah (Alexa Rose Steele).

    Then one night he gets talking to a strange man in a bar named Bob (Ari Millen) and after a few drinks too many he stumbles into a room holding a private meeting. He sits down and introduces himself (under an assumed name) and the meeting begins and that’s when Joel starts to realise that he may be in trouble.

    Heading the meeting is Zachary (David Koechner) and among the members are fritz (Julian Richings), Hideo (Sean Baek), Mike (Robert Maillet) and Carrie (Amber Goldfarb) who has a more relax attitude than the rest of the group. They’re all there for the same reason and that’s what makes Joel nervous – they’re all serial killers, and when they find out that Joel is not one of them, he has to fight for his life.

    Vicious Fun is an action horror comedy directed by Cody Calahan and co-written by James Villeneuve. Set during the 80’s, there are plenty of throwback references to what some consider to be the golden age of horror.

    The film also pays homage to other films such as Assault on Precinct 13 and Joel’s clothing are a clear reference to Back to The Future.

    All the cast are great, from Goldfarb’s no nonsense femme fatale to Millen’s eccentric and psychotic villain and it all feels very well scripted, with little time for the audience to take a breath. Marsh also puts in a funny and likeable performance which makes a change for a character who is a film critic, Marsh’s personality shines through and he makes a worthy hero to route for when things start to get bloody.

    There are also many moments of horror which would have been appropriate to the genre at the time, so fans of that era will not be disappointed when the bodies start piling up. Vicious Fun is exactly that and may even spawn a sequel.

  • Fried Barry: Review

    Fried Barry: Review

    Barry (Gary Green) is a junkie, a low life and a waste of space. His wife, Suz (Chanelle de Jager) has had enough of his behaviour and kicks him out, only for him to go and get high as he usually does. However, on this particular occasion Barry has an encounter of the third kind and has his body inhabited by an alien.

    Awaking from his all-night bender, Barry is now controlled by said alien and it gets to experience the best and worst of humanity first hand. It even gets the opportunity to inject a little of itself into the world as he goes along.

    Fried Barry is the feature debut from writer/director Ryan Kruger. Inspired by science fiction from the 80’s, Fried Barry is as much of a love letter to those times of childhood wonder as it is a surreal trip into the fantastical mind of its director.

    The film has a lot of things going for it, including its lead who was chosen mainly because of his unique appearance, but Green also manages to put in a funny and likeable performance due to his expressive face and comedic timing.

    Fried Barry is not for the feint hearted and it feels like the entire film was meant to be an exploration of the worst kind of debauchery that the filmmakers thought they could get away with. Based on Kruger’s short film, Fried Barry does also seem to be a little stretched out and seems to run out of ideas coming up to the last half hour of the film.

    Visually stunning, Fried Barry certainly does showcase Kruger’s artistic eye, but it just feels like there was a bit more padding than perhaps was necessary.

    Using references from everything from E.T. to Flight of The Navigator, it’s clear that Kruger has his heart on showing the audience that he’s a movie fan just like them. However, by the end it feels that the story is comprised of many elements of those films in order to finish the story. Fried Barry is certainly a trip, but one that may outstay its welcome.

  • Holler: Review

    Holler: Review

    Ruth (Jessica Bardem) is in her last year of high school and is looking to her future. However, it seems that her brother, Blaze (Gus Halper) cares more about it than she does. She’s a quick witted and bright girl, but all she wants to do is get on with life by her brother’s side and that suits her just fine.

    Although, when Ruth gets a letter saying she’s been accepted into college and that they’re about to be evicted from their home, Ruth makes a decision to get involved with a scrapping business. She knows the risks involved, but she knows that if she makes enough money then she can build a brighter future.

    Holler is a poignant coming of age drama written and directed by Nicole Riegal that tells a story about a teenager coming to a crossroads in life. However, this is not a tale of true love or tragedy as Holler tells its story as realistically as possible and has Bowden front and centre.

    Giving a great performance, Jessica Bowden holds the screen with the energy of a bright and determined teenage girl despite being somewhat older than her character. Thankfully though, the casting of Bowden is just as realistic as the tone of the rest of the film. The chemistry between her and Halper also feels real, making a sweet and loving bond between siblings which helps later on down the line where Ruth’s life unexpectedly changes.

    Holler may also feel a little slow to some, as the setting although feeling familiar, and it may come across a little mundane. However, this is something that is rarely seen where teenagers are so often depicted as self-obsessed narcissists and not adults just waiting to happen.

    Ruth also has issues with her mother, Rhonda (Pamela Adlon) who has drug addiction problems and although theses scenes are short, they add yet another layer. Also, although Ruth’s relationship with her mother is fraught, it also feels real with no sense of hyperbole.

    Holler is a slow moving and thoughtful drama about a side of life rarely seen in cinema for someone so young, but it’s worth seeing all the same.