film reviews, interviews, features | BRWC

Author: Trent Neely

  • Wendy: Review

    Wendy: Review

    This drama film follows Wendy (Devin France) and her two brothers Douglas (Gage Naquin) and James (Gavin Naquin). The trio have grown up in a rural town living above the diner where their mother Angie Darling (Shay Walker) works, which is located next to a railroad. The children spend their time watching the trains roll by their window day by day. As time passes, the kids desire to have adventures and resist the idea of growing up. One night, Wendy wakes up as a train passes by her window. She notices a boy riding on top of the train. Eventually, Wendy and her brothers decide to run away and get on the train. The boy introduces himself as Peter (Yashua Mack). Peter eventually takes the siblings to a mysterious island populated with more runaways. On this island, the kids never grow up and can do as they please as long as they believe in the “Mother” of the island. At first it seems like an idyllic fantasy, but it soon becomes apparent that the island and those who inhabit it are not entirely what they appear to be. Soon the kids are forced to face some harsh truths about life and growing up.

    Director/co-writer Benh Zeitlin along with co-writer Eliza Zeitlin offer up a bold re-imagining of the Peter Pan mythos. While this film features homages to the established Peter Pan canon, such as the concept of never growing old and adversarial pirates, this film also follows its own path. Laced within this story are deep meditations on why kids feel the need to indulge in fantasy, the calling many feel to see the world beyond where they live and grow up, and how crucial it is to balance imagination, belief, and fantasy, with the true, tactile, and honest experiences of life. This emphasis on character and complex ideas not only offers a unique and fresh experience for viewers familiar with the Pan legend, but also allows this film to move away from some of the more problematic aspects of other Pan stories.

    While the themes are explored in very interesting ways, there are large durations of the film that feature the characters roaming around in the various environments without much plot or dialogue occuring. These poetic stretches sometimes create the feeling that we are watching someone recount a dream. While that may be a deliberate choice by the filmmakers, as it fits in with the themes of the story, it has the effect of pulling the audience out of the narrative experience, which some may find jolting.

    With regards to other technical aspects of the film, the cinematography by Sturla Brandth Grøvlen is a particular standout. Grøvlen keeps the camera close to the performers and often fills the frame with a lot of light and grain, which aids in creating the fantastical and somewhat nostalgic feel of the film. In addition, this photography highlights the beauty of the many landscapes featured. The close, intimate camera also helps heighten the tension during the more dramatic sections of the film. Similarly, the score by Dan Romer and Benh Zeitlin is at different times wistful, romantic, tense, and melancholic, perfectly accompanying the layered emotional aspects of the film. The performances by all the young actors are also very strong, particularly France and Mack, both of whom imbue their characters with a strong sense of maturity and intention, despite their age and the fantastical story.

    Wendy is a film that boldly pursues its own vision for a Peter Pan story. Featuring thoughtful meditations on imagination, fantasy, belief, growing up, as well as beautiful cinematography and music pieces, fans of innovative dramas should seek this film out. Though some may find the surrealist aspects of the film distracting from the larger story.

  • For Madmen Only: Review

    For Madmen Only: Review

    For Madmen Only chronicles the life, career, and mythos of Del Close, one of the teachers and innovators of improvisational comedy. Close’s genealogy of students spans from John Candy and John Belushi, to Tina Fey, Amy Poehler and many more. The film follows Close from his early days on the theatre scene, his work with Elaine May and Mike Nichols, his tenure at Second City, eventually leading the founding of the ImprovOlympic and his quest to bring “The Harold,”  long-form, teachable improv comedy to life. Throughout the film, we hear from former students of Close as well as comedy historians and scholars about how Close changed the game of improvisational comedy, while also walking the line between genius and insanity as he battled mental health issues throughout his life.

    Director and writer Heather Ross, along with co-writer Adam Samuel Goldman craft a documentary that is unique and versatile. This is fitting considering that Close himself balked at convention in virtually every aspect of his life, whether it be his approach to comedy, writing, or spirituality. It is truly fascinating to see improvisation, an artform so associated with spontaneity, be carefully analyzed and dissected.

    While For Madmen Only does feature the familiar format of having interviewees share insights and anecdotes regarding Close, ranging from retellings of stories Close told them of his youth, to reminiscing about their experiences at his workshops, Ross and the crew complement these testimonials with a variety of different techniques and formats. 

    These formats span from conventional archival footage and the use of Close’s own tape recordings to panels from Close’s semi-biographical comic book Wasteland, all the way to dramatic reenactments of certain moments of Close’s life performed by actors, with James Urbaniak playing the fictionalized version of Close. Editors George Mandall and Tova Goodman cut between these various styles in a way that paradoxically works to create a cohesive film, while also creating the sense of spontaneity and sincerity that Close constantly chased after in his improv work. In a similar eclectic vein, Jacques Brautbar’s score for the film features everything from soft piano to more surrealist electronic sounds.

    One of the more fascinating insights gathered from this film is seeing how many iconic and influential talents were taught by Close, and by extension, the far-reaching and diverse careers that originated from one man. The likes of Belushi, Farley, Poehler, and Fey helped sketch comedy enter the pop culture with their stints on SNL, while other Close students like Adam McKay and Jon Favreau started in comedy, but went on to direct some of the most acclaimed dramatic works in recent memory. A thread throughout the documentary investigates and theorizes on the complexity Close must have felt having trained such a vast amount of influential artists, while he himself never reached a significant level of notoriety outside of comedy circles.


    For Madmen Only is required viewing for anyone who considers themselves a student of comedy. Featuring great insights from some of the most impactful performers of the modern era, diverse and engaging storytelling formats, and thoughtful meditations on the balance between insanity and genius, as well as inspiration and care for craft, this film should not be missed.  

  • Riders Of Justice: Review

    Riders Of Justice: Review

    Riders Of Justice: Review – In this drama/thriller, Markus (Mads Mikkelsen) a soldier serving overseas returns home after his wife Emma (Anne Birgitte Lind) dies in a train accident along with several other passengers. Their daughter Mathilde (Andrea Heick Gadeberg) was also on the train but survived. Markus tries to reconnect with Mathilde as they wrestle with their loss. For her part, Mathilde hopes to directly confront her grief and find a reason for the tragedy whereas Markus appears distant. Meanwhile, a man named Otto (Nikolaj Lie Kaas) who offered Emma his seat on the train, begins to investigate the crash. Otto specializes in collecting data to explain and theoretically one day predict human behavior.

    Otto finds out that a passenger on the train was scheduled to testify against his biker gang, The Riders of Justice. This knowledge leads Otto to believe the accident was no accident, but an assination by the gang in order to silence the informant. When the police opt not to investigate this theory, Otto and his research partner Lennart (Lars Brygmann) present this information to Markus. The trio along with computer expert Emmenthaler (Nicolas Bro) resolve to track down and kill members of the biker gang as retribution for the deaths on the train. As their mission grows more complex, each of the characters must learn to cope with the loss and injustice they have experienced in their lives.

    Director/writer Anders Thomas Jensen working from an idea he developed with Nikolaj Arcel presents a very thoughtful and nuanced film. While there have been many films about people exacting revenge after the death of a loved one, this film offers a more character-driven, philosophical approach. As opposed to the film moving from one set piece filled with action and violence to another, Jensen instead places the emphasis on the people in the story. Choosing to examine the various ways humans handle grief and give meaning to the events that happen in the world around them, whether it be religion, violence, or embracing a sort of “randomness” of the universe. Many scenes feature characters sitting in a room together talking about why people do what they do. When violence does occur on screen, it is not a fantastical celebration of revenge, it is gritty, visceral, and does not shy away from the impact it has on both the perpetrators and the victims. Additionally, while the film has a very serious story and deals with mature themes, Jensen allows for natural humor and levity to emerge as a result of the report between the characters. This ensures the film has layers and emotional range throughout, rather than fatiguing the audience with only drama and tension for the two hour runtime.

    All the performers here do an excellent job bringing their characters to life, particularly Mikkelsen as Markus, a man who by way of his occupation is used to loss and violence and who appears quite stoic, but who is also enraged by the loss of his wife. Mikkelsen does a great job presenting this cold exterior while still showing the sadness and pain that is barely below the surface. Nikolaj Lie Kaas and Andrea Heick Gadeberg are also standouts as Otto and Mathilde respectively. Both characters are affected by grief like the rest of the cast, but unlike how some characters choose to deflect or resort to violence, Otto and Mathilde speak openly about their pain and wish to help others do the same. Both performers do a fine job of embodying this more vulnerable and open approach to the grieving process.

    The cinematography by Kasper Tuxen is also a highlight of the film. Tuxen makes great use of handheld camerawork which adds a more visceral feel to the moments of action in the film while also crafting a more personal and intimate feel for the dialogue scenes between characters. In addition, Tuxen makes great use of low-light throughout the film. Early on in the film, there is a scene where Markus is flying back home after the accident. In one shot he is on a dark plane with only soft blue and red lighting partially lighting his figure. This limited but intentional use of lighting does a great job of placing us in Markus’ shocked and isolated headspace.

    Riders of Justice is a revenge film that may not have enough action for some viewers familiar with revenge thrillers, but if viewers are looking for a film that earnestly looks at how people respond to tragedy and grief and try to make sense of the world, featuring great writing, memorable performances and thoughtful framing, viewers should not miss this.        

  • Sing, Freetown: Review

    Sing, Freetown: Review

    Sing, Freetown: Review – This documentary follows journalist/filmmaker Sorious Samura and renowned artist Charlie Haffner as they attempt to put on a play about their home country of Sierra Leone. The pair aim to tell a story that not only speaks to the country’s tribulations and struggles resulting from the slave trade, colonialism, poverty, and corrupt politicans, but also teaches people about the culture and traditions of Sierra Leone. The goal of the project being to inspire younger generations to have pride in their country and give them hope moving forward as a nation. The film follows these men as they struggle in finding a collaborative process, have difficulty raising funds, stress about whether the show will be presentable in time, and meditate on how best to honor and represent Sierra Leone with the project.

    While there have been many films that center on the process and stress of making pieces of art, a lot of these stories tend to focus on actors forgetting their lines or whether the project will be completed on time. With this film however, not only do Haffner and Samura grapple with the usual difficulties of staging a play such as cast preparedness and the pressures of running out of time and money. Additionally, both men feel the tremendous pressure of representing their country not only accurately, but with a sense of joy and respect. We follow Haffner and Samura as they meet with important tribal and cultural leaders about what traditions and stories to honor in their production. Throughout the film, Samura and Haffner speak on the fact that Sierra Leone, specifically Freetown, was at one time a vibrant cultural center for theatre and education. A reputation both men strive to restore.

    As stated above, both Samura and Haffner state their intentions to put on a show that not only speaks to the hardships Sierra Leone has faced, but one that also provides a sense of hope and optimism for the future. One of the most moving sections of the film centers on Samura as he reflects on being a child in Sierra Leone and disliking how western media only focused on the violence and disease outbreaks in the country. At the same time, Samura recognizes that when he became a journalist, he too did many pieces that emphasized the suffering in Sierra Leone. Participating in this exploitative news culture appears to be in part what motivated Samura to produce this play with it’s more positive outlook. For his part, Haffner struggles throughout the film finding balance between following his artistic process, while coming up against the realities and pressures of the logistical process of putting on the play such as budgeting and sponsorship. As Samura serves as one of the main producers of the play, and somewhat represents the logistical aspect of the process, one of the focal points of the film is the building tension between the friends and collaborators as a result the creative coming up against the more business-centric aspects of the project.

    Director/producer/editor/cinematographer Clive Patterson does a great job of highlighting the inner lives of the two main subjects. There are many scenes in the film where both men express their fears and frustrations regarding the play and getting it done on time, both individually and to each other. Patterson and the rest of the crew are able to put the camera and audience into these vulnerable moments without creating the feeling of an obtrusive presence. In addition, Patterson and the crew capture the beauty of Sierra Leone, with shots that emphasize the colorful artworks, vibrant coastlines, and intricate traditional garb present. If there is anything missing in the film, it is that viewers mainly stay focused on Samura’s and Haffner’s thoughts and feelings surrounding the play, whereas we only hear a couple soundbites and see a few lines of text regarding how the people of Sierra Leone received the play.

    Sing, Freetown is a documentary that covers a fair amount in its 90 minute runtime, discussing themes such as the difficult nature of collaborating on and completing an artistic endeavor, the friction between people can result, and a meditating on what art can do for people. The film speaks on the hardships that Sierra Leone has endured while at the same time celebrating the beauty of the art and culture that is there as well.   

  • Don’t Go Gentle: Review

    Don’t Go Gentle: Review

    This documentary tells the story of IDLES, a British rock band. The film covers the band’s history from their formation, the release of multiple albums, and their growth from underground band, to playing in arenas at home and abroad. The documentary features the members of the band talking about their hopes and goals when it comes to the type of music they create. We also hear from the group, others in the music industry, and their fans about the community that has formed as a result of the group’s music.

    Director Mark Archer and editor Tom Weller, along with the rest of the crew craft a film that feels distinct from other documentaries with musicians as the subject matter. Instead of feeling like a formal interview about the band and its history and impact, it feels as though the filmmakers have crafted a space for both the band members themselves to honestly reflect on their journey, and for fans to talk about what the group’s music has meant to them. One thing that solidifies this more relaxed feel is that a majority of the interview with guitarist Mark Bowen is conducted while he is in a hot tub. Another way the film creates the feeling that the band and their fans are guiding the film as much as the filmmakers, is that while Mark Archer and the crew have clearly assembled great footage of the band performing, there appears to be home video footage of concerts occasionally mixed in. This allows the viewer to feel like they too are experiencing the frenetic yet welcoming atmosphere of IDLES concerts that the band and others talk about repeatedly throughout the film.

    While this film follows some of the structure common in music documentaries, particularly starting with the group’s formation and ending at the point of the band playing big shows, some documentaries in this sub-genre focus on the mounting pressure put on musicians as their success grows and the friction that forms amongst bandmates as a result. In this film however, while the bandmates do talk about disagreements they have had, they are usually brief moments that are moved past quickly. The emphasis in this film is instead placed on how the members of the band have increasingly relied on each other and their fans over the years in the face of tragedy, stress, and anxiety. It soon becomes apparent that if the members of IDLES feel any pressure associated with their growth in popularity, it is the pressure to ensure that their increased success does not change their fundamental identity of a group of people who love making music about honest topics such as political and social strife and mental health, all done in the hope that the music will bring people together.

    This notion of the unifying and communal nature of music is at the center of the film. Throughout the film people talk about the close-knit nature of the fandom surrounding IDLES. A group not only bonded by their shared love for a band, but a group that can love and support each other during hard times. One fan relays a story of how a woman who lost her husband unexpectedly was able to find solace in the group. Early on in the film, bassist Adam “Dev” Devonshire talks about the importance of the rest of the band standing by him as he struggled with the passing of his mother. This communal aspect is very important to the members themselves and something that serves as a motivator for them when making music. In the film we see footage of lead singer Joe Talbot during concerts telling people he hopes that the experience is uplifting and unifying.

    Don’t Go Gentle: A Film about IDLES is a documentary that not only provides insight into the formation and rise of a band, but speaks to the power art has to bring people together and build people up. Featuring honest interviews, arresting concert footage, and a meditation on what art can do, this film is a must see for all documentary and music lovers alike.