film reviews, interviews, features | BRWC

Author: Matt Conway

  • News Of The World: The BRWC Review

    News Of The World: The BRWC Review

    His low-key persona may not grab attention, but Paul Greengrass’ virtuosic verve behind the camera has morphed mainstream cinema. With United 93 and The Bourne Trilogy, the unheralded director employed kinetic handheld framing to intensify his distinct zeitgeist titles. Greengrass’ fresh persona changed action filmmaking forever, even though some of his recent endeavors haven’t been as inspiring (22 July and the long-awaited Jason Bourne were missed opportunities). In an intriguing switch-up, Greengrass trades his modern sensibility for the old-school appeals of the wild west in News of the World, a winning adventure elevated by one of the industry’s marquee talents.

    News of the World follows Captain Jefferson Kyle Kid (Tom Hanks), a Civil War veteran now working to spread the news to local townsfolk. When he discovers a kidnapped native girl (Helena Zengel), the two journey across the dangerous Texas landscape to return her home.

    It’s refreshing to see Greengrass adopt a new visceral identity, trading his usually sweaty intimacy for a sweeping grandiosity. Indulging in the barren deserts and rocky locales, the film aptly sets a setting for audiences to get lost in, along with portraying the inherent dangers behind Captain Jefferson’s mission. There are a lot of traditionalist elements to Greengrass’ presentation (the film boasts your typically subdued western score), but the director also discovers avenues to leave his mark on the material. He enhances the action/adventure elements with nail-biting tension, including a 20-minute standoff that sings with authenticity and gritty impact. I credit Greengrass for taking the familiar husk of the subgenre and enriching it through his accomplished craftsmanship.

    News of the World rests much of its success on its well-matched leads. In the least shocking news ever, Tom Hanks delivers a strong effort as Captain Jefferson, intimately exploring the gooey emotions under the character’s stern facade. Along with developing a well-constructed character, Hanks shines as a masterful orator when performing his unique job. The news-telling scenes could have been woefully flat in the wrong hands, but his ever-present charisma engages the audience from jump street. Young newcomer Helena Zengel deserves a lot of credit for disappearing into her role as the timid Johanna. Zengel conveys the character’s stark journey with emotional sincerity while forming genuine comradery with Hanks onscreen. The characters’ lack of verbal communication doesn’t mask their shared desire to grow from their past traumas, with that kinship molding into a heartfelt emotional core.

    News of the World works capably as an old-school adventure, but Greengrass’ film misses the boat on deeper conceits. There are frames where audiences can see the thematic ideas behind Captain Kyle’s journey, observing the ways news and news manipulation shape a populous’s notions about the world around them (a lawless cult makes Kyle read ignorantly curated stories). It’s a thoughtful idea, one that’s often handled with a clumsy obviousness by Greengrass and Luke Davies screenplay (the film’s Reconstruction setting also rarely gets the attention it deserves). The third act also loses some of its pacing momenta as the narrative searches for a satisfying conclusion (the strong last few frames help combat the ending’s predictably).

    News of the World is the type of old-school epic that we don’t see enough of these days. While inherently straight-forward, Paul Greengrass and company’s sincerity rings true within the material.

    News of the World will be on Netflix from 10th February. It won’t be in cinemas in the UK.

  • The Intergalactic Adventures Of Max Cloud: Review

    The Intergalactic Adventures Of Max Cloud: Review

    In an age where low-rent actioners are often pushed aside for bombastic blockbusters, Scott Akins’ endurance as a strong-willed action star has been a welcomed development. The Debt Collector star has pushed out a steady output of agreeable offerings, with Adkins’ steady presence often carrying middling material over the finish line. His latest lo-fi effort The Intergalactic Adventures of Max Cloud warmly delves into 80’s gamer culture with mostly winning results.

    Max Cloud follows Sarah (Isabella Allen) a skilled gamer who suddenly gets transported into the world of a new science fiction game. To escape this eternal purgatory, Sarah relies on her good friend Cowboy (Franz Drameh) and game’s heroic protagonist Max Cloud (Scott Akins) to defeat the nefarious Revengor (John Hannah).

    Writer/director Martin Owen has been searching for his footing as a genre filmmaker (Killers Anonymous was a well-intended mixed bag). Thankfully, Max Cloud extenuates his strengths and passions as a director. Owen adeptly dials into the 80’s bright synths and colors, evoking the period’s innate charms without overplaying his hand. The inspired visceral choices aid the film’s cheeky action setpieces, with Owen often finding a comfortable middle ground between well-coordinated stunts and entertaining action camp. Unlike other genre vehicles that tirelessly try (and fail) to evoke a finite cultural subsection, Max Cloud displays genuine knowledge and adoration for its unique time period (the melding of video game-esque frames with Cloud’s live-action setting is engaging and often quite clever).

    The cast is well-calibrated with the film’s tonal frequency. Scott Adkins has a blast as the self-serious Max Cloud, often finding ways to subvert the action star pastiche with his deft lampooning hand. His over-the-top bravado rings with an earnest cheesiness that registers most of the film’s best laughs. Isabella Allen and Franz Drameh infuse an infectious charisma into their archetype roles, morphing seemingly cliched characters into likable lived in personas. Supporting players Tommy Flanagan, John Hannah, and the future James Bond Lashana Lynch also have a blast with their colorful roles.

    The Intergalactic Adventures of Max Cloud boasts a scrappy energy that’s often endearing, yet there are still glaring inconsistencies present throughout. Owen’s screenplay serviceably tells a light-hearted narrative, but his effort does little to build an experience with substantive impact. The characters are relatively one-dimensional while the story beats play out with a casual obviousness. Max Cloud’s humor streak also lacks consistency, overplaying gags till they become tiresome to endure.

    It may play into genre formula, but Max Cloud offers an agreeable diversion through its creative video game lens.

    The Intergalactic Adventures of Max Cloud is now available on VOD platforms, and in the UK on digital, DVD & Blu-ray from 18th January 2021.

  • A Recipe For Seduction: The BRWC Review

    A Recipe For Seduction: The BRWC Review

    I understand we’re in the heart of awards season, but I am endlessly compelled by the Lifetime TV short/KFC commercial-hybrid A Recipe for Seduction. Featuring the talents of Mario Lopez as the famed Colonel Harlan Sanders, this 15-minute mini-movie gained waves of attention when it was announced early last week. I was amped to experience an unabashedly goofy TV experience that would generate waves of conversation.

    To my surprise, it’s Sunday mid-day release was met with muted apathy. I found a mere few reactions to the special’s existence last night, leaving me searching for hours (okay, more like a few minutes) for where I could watch a re-run. Once I finally engulfed the short-lived special, I was utterly baffled and amused by what’s on display.

    A Recipe for Seduction Jessica (Justene Alpert), a precocious heiress stuck in a loveless relationship with the brash Billy (Chad Doreck). After declining his proposal, Jessica begins to have an affair with the affable chef Colonel Sanders (Mario Lopez). Their relationship draws ire from Jessica’s mom Bunny (Tessa Munro), who works with Billy to break up the pair at any cost.

    That’s the gist of what this 15-minute experience has to offer. While it was impossible to outstretch audience’s grand preconceived notions, the short deliveries the kind of guilty-pleasure comfort food that’s synonymous with its brand.

    The secret ingredient behind A Recipe for Seduction’s success lies in its straight-faced self-awareness. This mini-movie packs the gamut of a Lifetime movie conflicts into its truncated package, stuffing every frame with outlandish twists and turns. The trio of directors (Armand Prisco, Natalie Prisco, and Eric Ecklerman, who work under the pseudonym of Jean) operate with a bright adoration for soap opera melodrama, mining several humorous bits out of the genre’s over-the-top nature (characters are often lightly hit but fall over as they had just been shot).

    Perhaps the short’s biggest allure lies in Mario Lopez’s casting as Colonel Sanders. Lopez may be more synonymous with his recent hosting duties, but the Saved by the Bell star delivers a strong performance as the restaurant’s iconic mascot. Instead of playing the role with a campy cheekiness, the actor’s deadpan sincerity sells the Colonel’s equally distinguished and mysterious image. He commands the screen throughout the special, often leaving audience’s hungry for more of his steely-eyed delivery.

    https://www.youtube.com/watch?v=j0e7Bj_7T3k

    A Recipe for Seduction is a uniquely enjoyable oddity, though its appeals are relatively limited. I don’t mind the reduced screentime, as the KFC-based gag could get tiresome if stretched out to a feature-length film. That being said, I wish the short had a little more meat on the bone. A lot of the wild twists are made without proper development, with scenes often feeling disconnected as the narrative propels forward at a scatter-shot pace. I wish the material had more time to marinate, as the final result can sometimes feel like a half-baked gimmick.

    Some will write off the short for its evident corporate motivations (at the end of the day, it’s basically a well-produced KFC skit), but I had a blast with A Recipe for Seduction. In a year chock-full of bad news, it’s a pleasure to delve into something that’s so openly farcical (and yes, I had to include as many food puns as possible).

  • Breach: Review

    Breach: Review

    While his box office glory days may be fading, Bruce Willis’ steely persona continues to endure onscreen. Alongside a few assured dramatic performances (Glass and Looper), the Die Hard action star continues to gun down foes on the big and small screen alike. His latest low-budget sci-fi/action hybrid Breach packs some self-aware charms, but this by-the-numbers Alien clone never elevates its disposable roots.

    Breach follows a well-traveled mechanic (Bruce Willis) who maintains an interstellar ark fleeing the dying planet. Unfortunately, humans are not the only passengers on board. A shapeshifting alien creature takes residence, infesting the last vessels of humanity in the process. The crew must think quickly to stop this menace before it destroys mankind.

    Some elements of Breach are well-tuned to the film’s makeshift B-movie frequency. Bruce Willis delivers one of his most affable performances of late, livening his grizzly bear presence with some deadpan comedic frames (his character spends most of the movie drinking moonshine while bad-mouthing his alien foes). There’s an endearing “I don’t care” energy that fits his jaded character like a glove. Few spew corny machismo lines with Willis’ sternly charismatic touch, often elevating the standard-issue material on the page. Thomas Jane also indulges in his character’s campy roots, having a blast as an over-eager military admiral.

    Breach reaches agreeable competence for its inherently midnight-movie form, but there are few areas where the film truly excels. Director John Suits’ familiarity with genre machinations doesn’t serve his noticeably cheap production values well. The Xbox 360-level visual effects are clumsily drawn onscreen (the aliens are more humorous than scary), while Suits’ flat visceral eye fails to imbue any creative flourishes to overcome the cheapness. There’s some potential in Suit’s semi self-aware approach (the practical alien/zombie effects are cheekily crafted), though the wishy-washy tone never finds a consistent voice.

    When the sturdy veterans aren’t onscreen, Breach struggles to stay afloat. Screenwriters Corey Large and Edward Drake underserve the cast with blandly-flavored stereotypes. Up-and-comer Cody Kearsley’s wet blanket protagonist rarely brings enough energy to leave an impression onscreen, while Rachel Nichols has little to do in her thanklessly truncated role. Similar to the uninteresting characters, Large and Drake don’t know how to re-spin the film’s formulaic conventions. You can sense a few earnest attempts to pay tribute to its genre forefathers, but they are done with little understanding of what made those predecessors so enthralling.

    Breach does little to stretch above typical Sci-fi channel fare. I wasn’t entirely disinterested by this campy throwback, but its runtime flies by to mostly disposable results.

  • Promising Young Woman: The BRWC Review

    Promising Young Woman: The BRWC Review

    Hollywood tries to operate as an inclusive space, but the lingering racial and gender inequalities still exist throughout all working industries. Thankfully, more diverse voices are getting their opportunity to express intimate sentiments on screen, including acclaimed Killing Eve screenwriter Emerald Fennell. Her debut effort Promising Young Woman has endured a long journey since its Sundance debut (originally scheduled for an April release), but this lighting-rod effort will surely become a focal point of awards conversations. Simply put, this an exceptional film, one that critiques its relevant subject matter with weight and thoughtful craftsmanship.

    Promising Young Woman follows Cassandra Thomas (Carey Mulligan), who spends her days working her ordinary coffee shop gig. Once night comes, Cassandra hits the town to exploit ill-advised men, catching them amidst their forceful behavior. After stumbling upon a forgotten foe, Cassandra seeks vengeance for the crimes that impacted her past.

    Fennell’s big-screen debut lacks the frequent missteps of first-time filmmakers. She allures audiences in with her electric visual flourishes, utilizing luminous lighting and pop confectionary tracks to set the mood effectively. Right when we’re comfortable, Fennell grounds her narrative with a settled realism, with the two contrasting styles playing seamlessly into her thematic conceits. The vibrantly-stylized visual dynamics are a fitting critique of the male’s sexualized gaze towards innocuous women, while the grittier visual elements represent Cassandra’s lingering demons. Every shot is constructed with thought and flair, as Fennell marries the two sensibilities with effortless ease (she also imbues a sense of unease that permeates throughout the runtime).

    Several films have zeroed their sights on male’s casual abuse and objectification, but few have hammered that conceit home with such gravitas. Whether it’s vapid-PC yuppies or overtly vulgar cave men, Fennell’s screenplay dispels any simplistic truths by running the full gamut of problematic behaviors. A loaded supporting cast of notable character actors helps portray this dynamic further (Bo Burnham, Max Greenfield, Adam Brody are among the group), with Fennell cleverly taking well-liked figures and showing the dark behaviors behind their personas. Fennell also does an adept job of displaying the multitude of ways women are pushed into subservient roles.

    After entertaining audiences with a bevy of twists and turns, Fennell empathetically delivers her thesis with a stunning third act change-up on conventional formula. While it won’t win everyone over, I appreciate the writer/director’s favoring of realistic steaks while still balancing the dourness with some crowd-pleasing frames. It’s a joy to watch a film fearless in its pursuit, continually playing off the audience’s expectations with winning results.

    The true heart of Promising Young Woman lies in Carey Mulligan’s awards-worthy performance. Mulligan has excelled throughout her career, but the role of Cassandra gives the actress new dimensionality to employ in her performance. When she’s going through town to punish cruel males, Mulligan adopts a chameleon-like persona as she balances her own persona with common female tropes. When the character is given an isolated space onscreen, Mulligan powerfully displays the emotional loss that drives her actions. Mulligan and Fennel extract thoughtful nuances from Cassandra’s continual struggle to move forward, reflecting the everlasting damage done by the cruel acts the film powerfully condemns.

    Emerald Fennell’s astute balance between style and substance morphs Promising Young Woman into one of the year’s most accomplished features. I hope the writer/director and Mulligan receive the awards recognition they deserve.