film reviews, interviews, features | BRWC

Author: Mark Goodyear

  • The Woman In The Window: Another Review

    The Woman In The Window: Another Review

    The Woman In The Window: Another Review – Initially slated for a 2019 release, it was destiny that Joe Wrights adaption of The Woman in The Window would be Fox 2000’s last ever film, and what could possibly live up to something like that? Fox 2000 was responsible for numerous classics that have and will endure the test of time, from Fight Club to Life of Pi and whilst it never hit the heights of Searchlight, it didn’t need to, thanks to a consistent flow of hits. So all this is to say, the studio deserved one last success story and, unfortunately, despite reshoots, the complexity of A. J. Finn’s novel proves all too much to tame for the silver screen, or more aptly, for your Netflix screen, because they bought it for some reason. Leaving a once-beloved studio to go out with a fizzle.

    Events start on well enough, and for those unfamiliar with the wildly successful novel, I’ll briefly touch on the premise. Anna (Amy Addams) is severely agoraphobic, so much so that she’s trapped inside her New York home, unable to leave without falling unconscious. Cooped up inside all day and boasting some fantastic vantage points from her windows, she watches. She watches everything worth watching, and for her, that is mainly the comings and goings of her neighbours. 

    It’s all very Rear Window. However, where Wright’s film differs from the 1954 classic is all in the mind. Anna’s condition hampers her reliability, and there’s a delirious coming and going of characters which makes it impossible to tell what’s real or delusion. Ultimately, when she witnesses a brutal murder through the window of her new neighbours, she is thrown into a pit of uncertainty and doubt as she looks for the truth. 

    This alone feels like too much but believe me when I say there’s even more to it. Therein lies where this adaption loses its way. So much happens leading us in one direction, only for the film to come to a dead halt and tell us, no actually, this other completely irrelevant thing is what you should be thinking about. It makes for a film with a very deliberate and jarring pace and a very non-Joe Wright experience.

    Wright is a filmmaker oozing with talent, capable of both wondrous set pieces and pitch-perfect restraint. The Woman in the Window showcases neither and instead is a very frustrating concoction, frustrating because there are good elements to be found here. Addams was more than up to the task, and Gary Oldman and Julianne Moore both put in some strong work. Regrettably, it’s in vain. Despite their efforts, there’s not a single moment in the entire endeavour where my interest, in what is supposed to be a thriller, rose above mere curiosity, and that isn’t enough. One twist in particular, involving a dark realisation for Anna, completely brings a sequence to a stop, and you can almost hear the sound of the film dropping the ball as it happens. 

    I don’t think cinema needs to completely avoid the Rear Window concept, but I think filmmakers should approach it with a little more reverence than occurred here. Inherently it remains exciting and still holds a lot of potential thrills; only The Woman in the Window doesn’t pick up on any of that and instead haphazardly stumbles in the dark. I feel for all involved because I believe this book, like The Goldfinch, is a tough one to translate to another medium. And while the essence of the text is there, it only appears splattered on the screen in a cacophony of themes and twists. 

    The Woman in The Window plays host to some solid elements but ultimately succumbs to its complexity and becomes a misfire.

  • Demon Slayer The Movie – Mugen Train: Review

    Demon Slayer The Movie – Mugen Train: Review

    Some of the biggest movie news all of last year slipped right in at the end without much fuss or fanfare, and for good reason, the world was dealing with more significant problems. However, now the west is finding out exactly what that news was. Japan has a new highest-grossing film of all time, knocking off cultural juggernaut and near-unanimously praised masterpiece Spirited Away. So, what knocked off such a beloved film from top place? A TV anime tie in film by the name of “Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train”, and I’m delighted to report that it’s faced paced thrilling entertainment well worthy of the loving fans it was made for. 

    As is the case with every tie in film of this nature, anyone who hasn’t seen the hugely popular series will initially be thrown in the deep end, which was the case for me. And yes, there’s a delirium to overcome, but generally, the film explains itself rather well, at least enough to get to grips. We drop in on a group of four hero’s composed of the central character Tanjiro (Natsuki Hanae), his demon sister Nezuko (Akari Kitō), his friend, the perpetually mortified Zenitsu (Hiro Shimono), and Tanjiro’s comical rival Inosuke (Yoshitsugu Matsuoka), who is depicted exclusively wearing a boar mask. The gang are boarding the Mugen train to greet Kyōjurō Rengoku (Satoshi Hino), a master of fire in the art of demon-slaying. He is there to investigate strange disappearances that can only be the work of demons, and as such, events are set in motion to ensure the train gets to its destination safely. 

    Perhaps this films biggest achievement, outside of its staggeringly beautiful animation, is how the narrative tricks you into caring for someone you’ve just met. Of course, this is what every good original screenplay does, but this isn’t quite the same. Here we meet Rengoku halfway through a larger story, and surrounding him are characters with 26 episodes of depth and backstory, yet he remains endearing. Obnoxious at the start and brilliantly heroic by the end, Rengoku’s arc is pitch-perfect throughout Mugen Train, and he is the beating heart of why this film works. 

    The runtime is also a surprise success. When I read I was going to spend 2 hours with Mugen Train, I almost audibly groaned. Other films in this vein tend to hang around for a pleasant 90 minutes, maybe 100, like any recent Dragon Ball Super picture. Demon Slayer has no interest in that. Instead, it takes a shot of adrenaline and manages all 2 hours of near-constant thrill, from hellish dream sequences to brutal beheadings, Mugen Train pulls no punches, and I wouldn’t have it any other way. Director Haruo Sotozaki came to this project knowing precisely what it had to be; an orchestral arrangement of anime gore conducted by hero’s worth rooting for. 

    Yes, this comes with drawbacks. The main villain, Enmu (Hirakawa Daisuke), is campy and hardly inspires any real sense of danger; he also finds himself in the shadow of a figure who appears later in the film. Furthermore, not every character is utilised adequately, with Zenitsu literally only being along for the ride and Nezuko only popping up here and there. While that is a shame, the sheer pace of the action justifies it, and fans of those characters will still have a couple of scenes they can gleefully enjoy. 

    Overall, don’t come into this film desperately seeking answers about how anything could better Spirited Away’s box office, Mugen Train isn’t a Ghibli film; you won’t find anything but a bad taste in your mouth. Instead, see Mugen Train if you want a dose of raw thrill, wonderfully brought to life by state-of-the-art animation.

    Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train is in theatres now in North America and Australia, and will release in the UK May 26

  • Ghost: Review

    Ghost: Review

    Indie filmmakers are some of the bravest entrepreneurs of all. And when I say indie, I mean the most indie of indie, the ones scraping together money for a camera and debuting actors because no one who’s anyone will leap with them. These small-time filmmakers do what they do for the love of cinema, and no matter how rough the edges are of their final product, so long as they make the film with their heart, they deserve applause. Anthony Z. James is one such filmmaker taking that audacious leap and, armed with only an iPhone and a specially made lens, he gifts cinema his heart with his debut feature Ghost. 

    Ghost follows Tony Ward (Anthony Mark Streeter), an ex-con newly released from prison now left with plenty of doors to close from his old criminal life. When he returns home, he is ignored by his wife (Emmy Happisburgh) and left with nowhere to go. So he wanders until he meets his son Conor (Nathan Hamilton), and they awkwardly interact the way only two people separated for a long time can. From here begins a tale of reconnection that is often touching and endearing, only suffering from an unfortunately uneven ending. 

    The life of crime Tony led creeps up on him and his son throughout the film. From their first trip to see some old friends to their final violent crescendo. Interwoven between that is Conor stressing over the revelation he too is soon to be a father, when his friend Kat (Severija Bielskyte) informs him unexpectedly, and he spirals into denial. Here Conor is put on the precipice of following a path darker than he knows. Tony once stood there too, young and on the verge of fatherhood; it’s what began his life of crime, the delirious need for money. The anxiety and building tensions of the world around him push Conor to the edge, and the core of the film is us following the two men seeing if they can fight off the temptation to walk on the dark side.

    All in all, these themes are very well presented by James. The locations are consistently gritty and cold, echoing the theme of grey that shrouds the main characters. Though, perhaps the most surprising and enjoyable aspect is the two performances themselves. Low budget films struggle in the acting department, sometimes because of time constraints and other times simply because of a lack of experience; no matter the reason, it’s the nature of the game. However, Hamilton and Streeter defy the odds and deliver consistently powerful work. They share a bond built on the resentment of a son losing his father and perfectly evolve it as Conor sees more and more of his father in himself. 

    What doesn’t work so well is the films ending, which tags on in a manner that feels like the film couldn’t figure out where else to go. It would be harsh to go so far as to say it’s completely random, but it is tonally off with the rest of the film. It takes the catharsis we were beginning to see and throws it in the blender, and I’m just unsure why. However, it ultimately does bring all the characters to a conclusion, and it is respectable that the script didn’t leave characters hanging, as that would not have worked here either.

    Ghost is the perfect encapsulation of a debut feature and will serve as a sturdy foundation for Antony Z. James to build upon.

  • High Ground: Review

    High Ground: Review

    In Australia’s Northern Territory in 1919, a group of Australian frontier servicemen advance on a camp of Aboriginal men and women peacefully going about life. Their goals are unclear, but their rifles remain prominent, and the tension continues to rise. The events that follow start rapidly, an indigenous man spots one of the trespassers and rushes him with a spear, only to be shot down. Suddenly, hearing the gunshot, the other servicemen rush to the scene, and a blood-curdling massacre begins.

    All the while, upon a nearby cliff face is Travis (Simon Baker), a sniper from The Great War, under orders to be the only one doing any shooting should any be required. He soon makes his way down to the drama and, in a fit of outrage, ends the life of one of the Queen’s men who was continuing to kill. With only his spotter from the war, Eddy (Callan Mulvey), and distraught priest Braddock (Ryan Corr) left alive, all Travis can do is soak in the misery and leave, but not before finding one final survivor, a young boy named Gutjuk (Jacob Junior Nayinggul), hiding in the river. 

    This is how Stephen Johnson’s High Ground opens, ruthlessly. Then the film cuts and begins again 12 years later as word goes around of a dangerous mob burning outposts and murdering those who get in their way, a discovery that points to High Ground’s narrative core, cycles of revenge. Revenge beginning with one previously unknown survivor of the opening events, Baywara (Sean Mununggurr), Gutjuk’s uncle. Johnson’s approach changes drastically after this revelation from high-intensity slaughter to drawn-out goose hunt. With no sign of the violence stopping, Travis takes Gutjuk to hunt Baywara down, showing no indication of if he will kill or spare him, and Eddy is sent out behind them to ensure the job gets done. Here is where the film will win over or lose everyone who watches it. 

    High Ground will move and absorb anyone drawn in by the subtle beauty of Travis and Gutjuk’s relationship. Those more interested in the grander scope of the period, and perhaps looking for more of a history lesson, will find themselves disinterested about as soon as Travis sets off. Of course, I don’t mean to insinuate that this isn’t firmly historically inspired, I’m just saying these characters aren’t real, and unlike Jennifer Kent’s “The Nightingale”, they don’t feel real either. The characters come across more as tools than people, or chess pieces, plenty of function and no personality. The story itself is full of near countless twists and turns, most of which land quite well, but there’s just a lack of humanity at times that only Baker and Mulvey manage to overcome. 

    The pair are enthralling together at times, often at each other’s throats in their own ways. Travis the much wiser and calm man, always knowing what Eddy will do before he does it, and Eddy, the aggressor, never understanding any of Travis’ motivations but never able to entirely turn his back on him. High Ground is at its best when they share the screen, which is unfortunately not all too often. Corr is also good, but his screen time almost amounts to only a cameo which is a shame. 

    As a whole, there is a lot to enjoy for those with the patience. The cinematography by Andrew Commis does a massive credit to the beauty in the harsh Northern Territory environment. The use of indigenous language throughout is also well worth noting as it is far too uncommon in films with similar subject matters, but is utilised frequently here. Nayinggul and Witiyana Marika who plays Gutjuk’s grandfather, provide strong turns as well, but neither gets as much to work with as you would assume. All of these aspects are things to like about High Ground, but you’ll still be looking for something to love. 

    Overall High Ground always teases that it’s going to be something exceptional and never manages to fully deliver. It’s still very much worth watching, but the sensation that it all should have been more will hang in the air as the credits roll.

  • The Dig: The BRWC Review

    The Dig: The BRWC Review

    Countless moments make up the grand expanse of time, many of them little, a select few exceptionally large. Some are so monumental that they cast shadows over all the other moments happening simultaneously, leaving us pieces of history that, whilst not necessarily forgotten, are certainly overlooked.

    The second World War overshadowed many moments, and cinema, and all other forms of art and many forms of academia have endeavoured to shine new light upon them. One such effort is Simon Stone’s latest feature “The Dig”. It’s a tale told in that tumultuous time leading into WWII, one which reminds us that even amongst such raw chaos, the great and heartwarming stories of existence are still occurring.

    This tale is about Basil Brown (Ralph Fiennes), a self-taught archaeologist and excavator who comes into the employ of widow Edith Pretty (Carey Mulligan), as tensions rapidly rise throughout Europe in 1938. What follows is an exploration of one of the most significant archaeological discoveries in history and truth about the man who began the monumental undertaking. Eventually joining them are a plethora of both charming and antagonising figures who come to make up one of the great moments lost amongst humanity destroying itself. 

    Basil Brown grew up on dig sites; his father would bring him along and teach him the trade. It became a livelihood for Basil, and something he had a deep, immeasurable love for, born from the fact he was very good at it. When Edith Pretty contacts him about digging up mounds on her property you can tell Basil senses he has made it. Not thanks to any burst of excitement, or any outward showing of relief or gratitude, but because of how he examines the land. He knows he will find something, he may not pick the exact spot, but he knows that this land is special, just as Edith does. 

    Upon getting the job things move along rather spectacularly, and all is well until national authorities get involved. When it becomes apparent that Basil is uncovering a burial ship potentially full of priceless artefacts, the British museum is sent in to take over. It is these men sent in who for years were given the credit of the discoveries at Sutton Hoo, and as the films end text states, it is only recently that Basil has received his due. This catapults the film further into the realms of conflict as the minds trying to lead the excavation clash and the peripheral figures grow in prominence.

    And that’s precisely why this film is so moving. Everyone involved knows this is special, from Edith’s young son Robert (Archie Barnes) to the often-antagonistic British museum representative Charles Phillips (Ken Stott), and when it matters, they are all in it together. Supplemented wonderfully by two rising British stars in Johnny Flynn and Lily James and the ensemble is one of Netflix’s most loveable to date, especially when it comes to their UK endeavours. 

    As things roll along and the drama amps up seeing Edith’s health fail, the actors raise their game and as do those behind the camera. Stone and his cinematographer Mike Eley capture an England bathed in summer sunlight and juxtapose it brilliantly against vicious rain. Their efforts further buoyed by the simply gorgeous score composed by Stefan Gregory in his first-ever feature film.

    When everything comes together, you feel that this team had every desire to tell this story properly and spark their figures’ legacies to life on screen. So touching and compassionate is near every moment that you completely ignore the generally straightforward way they present the events.

    Sometimes a bit of heart-warming movie magic is enough, and it’s enough for The Dig.