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  • Zola: The BRWC Review

    Zola: The BRWC Review

    Zola Synopsis: Zola (Taylour Paige), a Detroit waitress, is seduced into a weekend of stripping in Florida for some quick cash — but the trip becomes a sleepless 48-hour odyssey involving a nefarious friend (Riley Keough), her pimp (Colman Domingo), and her simple-minded boyfriend (Nicholas Braun).

    From a Twitter thread to the big screen, writer/director Janicza Bravo (who co-wrote the screenplay with Tony-winner Jeremy O. Harris) undertakes an intriguing risk with Zola. Bravo descends alongside her titular protagonist into the seedy underbelly of America’s toxic bigotry, extracting a vibrant and socially provocative tale that ranks among 2021’s finest offerings to date.

    Some would consider Bravo’s transformation of segmented tweets into a succinct cinematic experience impressive enough, but the writer/director never rests on those laurels. Her second feature is equally fearless and astute, with Zola standing for far more than a sensationalized series of occurrences. Bravo intelligently crafts her protagonist’s journey as a twisted fairy tale through dreamy montages and whimsical score choices (she and Cinematographer Ari Wegner skillfully embrace subversive imagery as a means of juxtaposing Zola’s seedy environment).

    Peppered with a flurrying wave of tactful phone notifications, Bravo crafts pulsating electricity as Zola’s initial unease builds to downright fear. I give Bravo credit for incorporating several bold techniques while never overworking her material. Aside from a few tricks that oversell the film’s simmering ideas, the director rarely misses a beat in incorporating thoughtful and artistically inventive imagery. I particularly enjoyed how Bravo juxtaposes Zola’s empowered sexuality versus the grotesque perversion of her creepy male clientele. She aptly views Zola’s esteemed presence while humorously critiquing the people who attempt to commodify her.

    Thematically, Zola is bursting with worthwhile conceits. Bravo and Harris intelligently analyze the conditions behind our protagonist’s bizarre odyssey. The journey from Detroit to Florida brings Zola into an environment charged with racial prejudice and toxic masculinity, both of which work to turn the sex worker’s world into an uncomfortable reality of oppressive objectification. Zola impressively challenges societal standards without bluntly spelling sentiments out. A well-calibrated script from Bravo and Harris ranges from sharply-timed satire to downright disturbing revelations, with the duo’s deft touch marrying the dissident tonalities into a cohesive experience.

    All of these potent ideas form a great canvas for the talented cast to shine. As the self-assured Zola, Taylour Paige delivers an impressive breakout performance brimming with nuance and vitality. In a film full of boisterous characters and strange narrative detours, Paige’s defined presence provides a much-needed center. Riley Keough’s take on Zola’s trashy “friend” could have easily slipped into caricature territory, but the actress skillfully represents the fictitious veneer behind Stefani’s posturing persona. Nicholas Bruan and Colman Domingo also stand out in their supporting roles, with Domingo, in particular, imbuing erratic energy that constantly keeps audiences on their toes.

    Zola represents everything I love in filmmaking. Bravo crafts an artistically brazen and thematically rich tale full of intrigue and depth, catapulting the film’s simple roots to meteoric heights. I am very excited to see where Bravo, Harris, and the talented cast go from here.

    Zola is now playing in theaters nationwide.

  • Scarlett Edition: Bits & Pieces

    Scarlett Edition: Bits & Pieces

    Scarlett Edition: Bits & Pieces – Eureka Entertainment to release DUEL TO THE DEATH, the action-packed kung-fu extravaganza often hailed by critics as ‘the Best Swordplay Movie ever’, presented on Blu-ray from a brand new 2K restoration as part of the Eureka Classics range from 20 September 2021. The first print run of 2000 copies will feature a Limited-Edition O-card Slipcase and Collector’s Booklet.

    Following the rise of Aretha Franklin’s career from a child singing in her father’s church’s choir to her international superstardom, RESPECT is the remarkable true story of the music icon’s journey to find her voice.

    Inspired by true events, featuring a stunning performance from James Norton (Happy Valley, War & Peace, McMafia) and a heart-warming debut by Daniel Lamont, NOWHERE SPECIAL follows a thirty-five-year-old window cleaner, John, who has dedicated his life to bringing up his son after the child’s mother left them soon after giving birth.

    Celebrating its tenth anniversary and released in high definition for the first time, The Story of Film: An Odyssey, written and directed by award-winning filmmaker Mark Cousins, is a landmark documentary on international film told through the history of cinematic innovation, which has influenced film teaching around the world.

    Ready to say goodbye to superficial dating? SEXY BEASTS is the dating show that takes looks completely out of the equation using fantastical, cutting edge prosthetics to transform the daters – giving them a chance to find love purely based on personality!

    Variance Films is proud to present SCALES, the spellbinding debut feature by Saudi Arabian writer/director Shahad Ameen. The film’s premiere took place at the 2019 Venice International Film Festival’s Critics’ Week, where it won the Verona Film Club Award, before touring notable festivals around the world, including London, Carthage, Cairo, Singapore and at SXSW 2020. Ameen’s debut is a welcome addition to Saudi cinema’s ongoing, female-led cinematic renaissance. The visually arresting film was selected as Saudi Arabia’s Official Oscar® entry for Best International Feature Film at the 2021 Academy Awards, marking Saudi Arabia’s fourth ever submission in the history of the Oscars®.  SCALES will open in theaters on July 9th at IFC Center in New York and Laemmle’s Royal in Los Angeles with rollout to follow.

    Deerskin stars Jean Dujardin and Adèle Haenel, and is directed by the truly unique Quentin Dupieux. Georges (Academy Award winner Jean Dujardin), is a man who has one ambition – to possess the finest jacket in the world at the expense of all others. Deerskin releases in cinemas on Friday 16th July.

    Adapted from JoJo Moyes’ best-selling novel THE LAST LETTER FROM YOUR LOVER is a passionate, dual-narrative love story set in the French Riviera and London during the 1960s and present day.

    Thus began the odyssey of one A’Ziah King, aka ZOLA. From acclaimed writer/director Janicza Bravo, Zola’s stranger-than-fiction saga, which she first told in a now-iconic series of viral, uproarious tweets, comes to dazzling cinematic life.

  • The Forever Purge: The BRWC Review

    The Forever Purge: The BRWC Review

    The Forever Purge Synopsis: All the rules are broken as a sect of lawless marauders decides that the annual Purge does not stop at daybreak and instead should never end. A recently immigrated couple, Juan (Tenoch Huerta) and Adela (Ana de la Reguera), now must travel back across the Mexican border before the country is consumed by a “forever purge”.

    From the humble beginnings of high-concept/low-budget horror, few could have guessed that 2013’s The Purge would act as the igniting point to a blockbuster franchise. Each sequel continues to push the envelope in terms of scale and zeitgeist ideas, as series figurehead James DeMonaco boldly evolves his initial premise into our challenging times.

    If only the films’ execution were up to the task of DeMonaco’s idealism (the only halfway decent sequel was the spirited The First Purge). I’ve largely felt disconnected from the series’ brand of airless thrills, always putting a precedent on posturing sensationalism rather than saying anything of note. Fittingly enough, the series final entry, The Forever Purge, sinks to the lowest levels yet.

    I can’t fault DeMonaco and director Everardo Gout for trying here. Their portrait of jaded extremists releasing prejudicial beliefs rings with harrowing relevance at times (this was filmed long before the terrorist attack at the Capitol). DeMonaco’s script endearingly embraces hot-button issues, while Gout imbues a thoughtful touch within the protagonists’ character-driven moments. The first 15-20 minutes strikes surprisingly composed marks for the franchise, sincerely delving into immigrant struggles despite sifting through some hokey writing.

    Everything goes downhill from there. In an instance, the intriguing politics and sensitive character beats are brushed aside for a chaotic array of flat setpieces. I respect that Gout tries to incorporate guerilla realism during the close-knit setpieces, but an endless onslaught of bullets and mayhem only creates a dulling effect. The pacing rarely breaks for meaningful developments. Instead, the inconsistently filmed action takes centerstage (Gout relies too much on shaky-cam despite a few well-orchestrated setpieces), ultimately morphing worthwhile concepts into an empty parade of blood-soaked carnage. Audiences should be disturbed by the heinous acts, yet the textureless delivery only inspires mere ambivalence.

    The Forever Purge represents the series overarching weakness: the writing is never up to the task. DeMonaco continues to reduce vital conceits into a medley of poorly conceived contrivances. All of the characters are empty action figures only serving to battle through the hellscape (a forced racist redemption arc feels painfully dated), while DeMonaco’s political insights continue to trivialize vital issues. Aspects like the Candian/Mexico border opening up and America’s violent self-destruction are handled like ironic punchlines. It’s a shame that DeMonaco reduces our challenging times into mere window dressing during his oppressively empty exercise in brutality.

    I respect the Purge’s confrontational edge, but The Forever Purge only works to display the franchise’s glaring expiration date.

    The Forever Purge is now playing in theaters nationwide.

  • 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.

  • Monsters At Work Episode 1+2: The BRWC Review

    Monsters At Work Episode 1+2: The BRWC Review

    Ten years after the release of Pixar’s animated classic, ‘Monsters Inc.’, fans finally have a sequel, in the form of a Disney+ show. ‘Monsters at Work’ will be released on Disney+ on the 7th of July, and will be a 10-episode series. The show takes place right after the events of the 2001 film and sees a new recruit, Tylor Tuskmon, join the company just as the company overseas a huge change. Now Tuskmon must adapt to these new rules, replacing scares with laughter, and relearn everything he knew.

    The first two episodes act as an introduction to the characters of the show as well as the state of the company after the events of the 2001 film. And, while Mike and Sully did save their friend and ‘save the day’, it makes sense that the running’s of the workplace would be affected by this huge change. By taking away the CEO and changing the overall set up of what Monsters Inc. does, the show immediately opens with chaos. The city is experiencing blackouts due to a reduce in energy, and it was already experiencing a shortage, as the 2001 film mentions, so this drastic change doesn’t help matters. But it also questions the stability of the current workers. With scaring now being replaced with laughter, humour and jokes, the top scarers are now struggling because they have to completely change their work performance. It’s interesting and eye-opening to see that not everything is going right for the company, and it makes sense that, with the drastic changes, Monsters Inc. has been flipped around completely.

    What is pleasant to see is the original voice cast returning! Billy Crystal and John Goodman reprise their roles as Mike Wazowski and James. P. Sullivan, who are now the new CEOs of the company. Despite the minor appearances they make in the first two episodes, the voice performances are fantastic and demonstrate to the audience that these two actors still know the characters despite the decade long gap. The episodes also show how much the two friends have grown and that they may be a great fit as the new CEOs of Monsters Inc. after all. Their brief appearances in the first two episodes may deter fans who were expecting them to be the lead characters, but this aspect works for the story it’s telling.

    The animation is the only critique so far. It’s not as good as the animation quality of Pixar’s usual work, but it’s ultimately fine for the show. The character designs, for the most part, have stayed the same which helps with the continuity of the series and the new character designs are unique and creative. Each monster is different and there isn’t a single one that looks identical. However, the shading, specifically in episode 2, is a little odd. Some scenes are strangely lit and shaded, and even Celia’s colouring changes in episode 2, which is a baffling decision. But the animation isn’t unwatchable; there’s just some strange choices when it comes to this aspect.

    The first episode, ‘Welcome to Monsters Incorporated’, introduces viewers to the new character, voiced by Ben Feldman (As Above So Below, Cloverfield) at his chaotic first day at work. It’s a good introduction to the show and a great continuation to the result of the 2001 film’s ending. Understandably, Tylor is confused and frustrated at the sudden change the company’s going through, especially since it was his dream to become a scarer to now being told that that doesn’t matter anymore. He then meets the MIFT’s, Monsters Inc. Facilities Team, who are the company’s repair team and their strange behaviour due to them being situated underground a lot.

    The second episode is called ‘Meet the MIFT’s’ and this is where Tylor truly sees the work that the repair department carry out. While they are strange, as seen in the surreal Initiation scene, they also know what they’re doing when something breaks in the company. This episode specifically demonstrates their skills at fixing a malfunctioning door and it shows that the team are truly valuable to the workings of Monsters Inc. Of course, if something breaks, a repair team would be needed so this episode, and show, highlight a side of the company that audiences have never seen before.

    https://www.youtube.com/watch?v=ijsh5RVYnoY

    Episode 2 also shows the skills that some monsters have who were previously just assistants to the scarers. Because of the big change in how the city’s energy is gained, it turns out that Mike is a great jokester (not scarer), and even teaches the Comedy classes in a hilariously fast-paced sequence. While he wasn’t a good scarer, he makes a fantastic jokester.

    The first two episodes of ‘Monsters at Work’ have caught my attention and re-captured my childhood. While the animation quality isn’t as polished as Pixar’s feature films, the beloved characters are back, and the new characters are interesting. The show highlights a side of Monsters Inc. that wasn’t previously seen before, but one that is valuable to the workings of the company. The company has also gone through a big change, and it makes sense that it would not work straight away. The first two episodes are ultimately great at re-introducing fans into the Monster world and to the new and (sort of) improved Monsters Incorporated.