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  • 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.  

  • Here After: Review

    Here After: Review

    Michael (Andy Karl) has never really found the one true love of his life. He’s just broken up with another girlfriend, and before he knows it, he’s killed in a traffic accident and his soul is carried over into the hereafter. That’s where he meets Scarlett (Christina Ricci), a woman tasked with helping new souls to transition into the afterlife, but there’s a catch.

    Because Michael was single when he died and he never found his soulmate, he has to spend his time looking for the one true love he never found in life so that he can cross over. However, what Michael doesn’t realise is that his time in the hereafter is limited and so just when he thought his dating life was hell, he starts to hate it when he’s dead. Good thing there’s still alcohol.

    Here After is a romantic comedy with some mixed messages about being single, finding love and what really happens when you least expect it. Michael tries to find somebody to talk to and he eventually finds Angelo (Michael Rispoli), a friend that died before he did and he finds him in death just as he did in life; single, lonely and depressed.

    This leads the men to talk about what it means to find love, how to carry on when all you feel is rejection and the perks of being single. However, this just isn’t enough for Michael and eventually he meets Honey (Nora Arnezeder), a woman who can inexplicably see the dead. Although, with her still being alive, Michael starts to realise their relationship might not take off.

    Unfortunately, although Here After does have an interesting premise, the script isn’t that well thought out and doesn’t really know what it wants to say about love. This is particularly evident when Honey’s dark secret is revealed halfway through which may lead the audience to think of the worst possible ending. An ending that they may realise that they were right about.

    There’s also never really any attempt at making Michael a likeable character either. When the script starts to talk about love, being alone and finding the one it may think it’s sounding intelligent, but the characterisations sadly give away its true feelings.

    The audience may realise that Michael is only the better man in Honey’s life is because he’s not the other guy, and as options go, that doesn’t make for a very compelling love story.

  • The Best Of Jonny Lee Miller

    The Best Of Jonny Lee Miller

    The Best Of Jonny Lee Miller – Since his iconic turn as Sick Boy in the smash hit 1996 film Trainspotting, actor Jonny Lee Miller’s career has gone from strength to strength, and shows no signs of slowing down. In the dazzling new sci-fi thriller SETTLERS, he plays a father who, along with his wife (Sofia Boutella) and child, have made their home in a barren wilderness on Mars, only to have it torn apart when a dangerous stranger intrudes into their compound. It was recently announced that Jonny has joined the cast of the Netflix series The Crown – making him a hotter property than ever. Here’s a look at his career over the years. 

    Hackers (1995)

    After appearances in TV shows including EastEnders, Doctor Who and Casualty, Jonny Lee Miller made his feature film debut in Iain Softley’s crime comedy about computer hackers attempting to prevent a dangerous virus from being unleashed. Miller and his co-star Angelina Jolie, both on the brink of stardom, fell in love on set, and were married the following year. They were divorced in 1999. 

    Trainspotting (1996)

    Danny Boyle’s adaptation of Irvine Welsh’s cult novel caused a sensation when it was released – a wildly, irreverent and exuberant dive into the Edinburgh drug scene, packed with terrific performances and an of the moment soundtrack, it launched the careers of stars Ewan McGregor as Renton, Robert Carlyle as Begbie, Ewan Bremner as Spud and Miller as Sick Boy. The four reunited for the sequel in 2017.

    Plunkett & Macleane (1999)

    Miller reunited with his Trainspotting co-star Robert Carlyle for this period romp with a very modern edge, directed by Jake Scott, son of Ridley Scott.  Miller and Carlyle play ‘Gentlemen Highwaymen’ in 18th century England, attempting to lighten the purses of aristocrats whilst avoiding the long arm of the law. It’s infectious fun, and the Trainspotting duo light up the screen once again. 

    The Escapist (2002)

    In this action thriller Miller stars as a man seeking revenge for his wife’s death. Her killer is in a maximum security prison, so Miller gets himself arrested, with a plan to get thrown into the same prison as the man he wants to kill. But things don’t go quite how he expects them to.

    Dexter (2010)

    Miller appeared in Season Five of the TV show starring Michael C Hall as the police analyst who is also a serial killer who only targets other killers. Miller played Jordan Chase, a self-help guru who is secretly the head of a gang of torturers who target young women. That is, until Chase crosses paths with Dexter…

    Elementary (2012)

    This new version of Arthur Conan Doyle’s character, starred Miller as  Sherlock Holmes and Lucy Liu as Doctor Watson, and was set in modern day New York. Miller was up against some stiff competition back in his native UK – where Benedict Cumberbatch was starring in the BBC’s Sherlock, But Miller could rest easy – The Hollywood Reporter said he was “superb and compelling” as Holmes, and the show proved a hit and ran for seven seasons.  

    Settlers (2021)

    In Wyatt Rockefeller’s remarkable debut feature, Miller plays Reza, a father who will do anything to protect his family from an intruder on their remote Martian homestead. This is no longer the fresh-faced Jonny Lee Miller we’re used to – sporting a full beard, his face weathered by experience,  Reza is protective, loving and the calm at the centre of a storm that threatens his family – Miller’s come a long way from Sick Boy!

    The Crown (2022)

    The award-winning Netflix drama series, chronicling the intrigues and scandals of the British Royal Family, has proved tremendously popular, and has attracted a high calibre of actors to play the various members of the Windsor family through the ages, including Oscar winner Olivia Coleman as the Queen and Matt Smith as Prince Philip. Miller will appear as Conservative Prime Minister John Major in Series 5 of the show, which will air next year. His predecessor on the show, Gillian Anderson, won a Golden Globe for her portrayal of Margaret Thatcher. Perhaps The Crown will nab Miller his well-deserved first gong?

    SETTLERS WILL BE RELEASED ON DIGITAL PLATFORMS IN THE UK & IRELAND ON 30TH JULY

  • Snake Eyes: The BRWC Review

    Snake Eyes: The BRWC Review

    Snake Eyes Synopsis: After saving the life of their heir apparent, tenacious loner Snake Eyes (Henry Goldin) is welcomed into an ancient Japanese clan called the Arashikage where he is taught the ways of the ninja warrior. When secrets from his past are revealed, Snake Eyes’ honor and allegiance will be tested – even if that means losing the trust of his closest ally Storm Shadow (Andrew Koji).

    All brands, even relatively obscure ones, hold significant currency in Hollywood. Studios would rather roll the dice reviving a decayed staple rather than taking a chance on original material, which often leaves audiences with a massive wave of nostalgia-pandering reboots. Did you miss The Addams Family? What about The Craft? It doesn’t matter, because Hollywood is coming fast and furious either way with a plethora of perplexing reboots.

    Many would put the G.I. Joe spin-off Snake Eyes in that cynical category, but this is one of the few random reboots that imbues me with some genuine nostalgia. I was always amused by Joe as a kid, particularly the silent feud between dueling ninja crusaders Snake Eyes and Storm Shadow. Giving these scene-stealing side players their own starring vehicle presents a fresh new perspective for the notoriously rah-rah brand (Snake Eyes and Storm Shadow always took a backseat to the goofy propaganda).

    While it may boast a different aesthetic, Snake Eyes never strives away from conventional blockbuster formula. In fact, director Robert Schwentke’s mildly diverting origin story loses itself amidst its strikingly formulaic design. It’s a passable feature, one that reeks with a half-baked, TV-pilot aroma instead of igniting a promising first chapter.

    Snake Eyes isn’t without promise. Schwentke and assistant director/stunt master Kenji Tanigaki enhance the standard-issue action numbers with a lively creative pulse. Tanigaki makes his presence felt through precise choreography, crafting a satisfying dance filled with impactful punches and swift movements. A third-act nighttime car chase soundly highlights their adept work, with a mixture of slashing swords and chaotic gunplay fully utilizing the character’s immense skills. Certain aesthetic choices are remnants of the overused Western sensibility (frenetic editing occasionally mucks up smooth setpieces), but Schwentke and Tanigaki deserve credit for embracing Eastern influences with genuine craft and understanding.

    The passionate rivalry at the heart of Snake Eyes and Storm Shadow’s existence also shows moments of vitality. Star Henry Golding lends his swaggering charisma to make Snake Eyes pop as an action hero. His Americanized accent displays some inconsistencies, yet the actor still strongly conveys the character’s conflict as he deals with his painful past. If anything, I hope this film serves as a breakout for co-star Andrew Koji. As the somber and rage-filled Storm Shadow, Koji steals the show while injecting genuine gravity into the character’s stark pursuit for honor and justice.

    Even with two promising performances at its center, Snake Eyes never finds cohesion on a fundamental level. Screenwriters Anna Waterhouse, Joe Shrapnel, and Evan Spiliotpoulos are stuck mindlessly operating in the confines of studio blockbuster territory. Their final product is as aimless and devoid of personality as it gets, fitting the cookie-cutter mold without ever presenting an understanding of what makes these characters work. G.I. Joe has never been a brand known for its nuance, but Snake Eyes‘ lack of focus can’t even match the series’ straightforward narrative objectives.

    As an origin story, the film’s breakneck pace gives no time for the character dynamics to marinate. Making Snake Eyes a more complex and morally ambiguous character has promise on paper, with the screenwriters thankfully drifting away from the blanketed hero-worship of most origin stories. However, Snake Eye’s lust for revenge is never imbued with much emotion or agency. The audience rarely gets time to toil with his pains, making his simplistic quest more of a plot device than defining character motivation. The same can be said about his relationship with Storm Shadow. Both characters are conveyed through strong performances, yet the screenplay underserves them at every turn with over-simplistic plotting. If this film is supposed to establish their lifelong rivalry, then the slapdash screenplay should pay more attention to their passionate feud (the final ten minutes forces several revelations without earning them).

    Instead of establishing a succinct origin story, Snake Eyes bloats itself within the vast G.I. Joe universe. Before Snake Eyes can even establish his own presence, G.I. Joe favorites Scarlett and the Baroness show up to muck up the proceedings. Both characters are spiritedly performed (Samara Weaving and Úrsula Corberó nail the material’s corny playfulness), but their appearance only serves to tease a potential cinematic universe. Why can’t a film act as one cohesive experience? The trend of forcing sequel teases without even having any potential follow-ups greenlit only works to hurt a franchise’s essential foundation (we’ll see how the box office turns out).

    Snake Eyes will serve as passable entertainment for some. As one of the few fans of the brand, its half-baked and aggressively mediocre delivery only left me with mere ambivalence.

    Snake Eyes is now playing in theaters nationwide.

  • 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.