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  • Captive: Review

    Captive: Review

    Written and directed by Savvas Christou, “Captive” or “Katherine’s Lullaby” is the first feature film of the young Cypriot director, who is a regular of short films. During its various presentations, the film received several awards, including Best Writing, Best Performance, Best Supporting Performance and Best Feature Film at the Horrorhound Film Festival, organized by Zoe Judd, it’s one of the bigger genre specific conventions and film festivals in the US.

    The film revolves around the meeting of Lily (played by Tori Kostic), a teenage girl who has run away from his home and his alcoholic father, with Evan (played by William Kircher, known for his role as Bifur in the Hobbit films), a father who has lost touch with reality after the disappearance of his daughter. 

    Lily will find herself trapped by Evan, and will have to play the role of his daughter Katherine to have a chance to survive and escape.

    Through the two characters, the film tackles several very interesting themes. We find in particular the themes of the point of view and the denial of reality with the character of Evan. Themes that can also be found in “Ghostland” (2018) by Pascal Laugier or “The Voices” (2014) by Marjane Satrapi. In order to face a reality that they cannot bear, we find characters who unconsciously decide to alter their vision of the world and the life that surrounds them.  

    We also find the well-known Stockholm syndrome through the character of Lily, quite common in the cinema, as for example in “V for Vendetta” (2006) by James McTeigue. Indeed, the relationship between Evan and Lily seems to become almost natural, Lily will gradually see in Evan, the first person who has any interest in her, who believes in her, in total opposition to her father whom she fled. 

    Evan’s behavior, angry and authoritarian, reminds us of Howard’s character, played by John Goodman in the movie “10 Cloverfield Lane” (2016) by Dan Trachtenberg. Throughout the film, we fear that Evan fall into a crisis of violence that would lead to a drama, this fear of the unknown is a real strength of the film.

    Alternating between a lack of rhythm and sequences that follow each other too quickly, the first part of the film is not very convincing, but we finally let ourselves be carried away by this thriller which depicts in an interesting way a complex relationship. The performance of the actors is rather good, in particular William Karcher’s, who is really very convincing.

    The film enjoys a good writing and a scenario that leaves a constant and diffuse pressure on the spectator, between the attempts to escape and the different twists, “Captive” is therefore a very good thriller.

  • James Bond & His Most Iconic 007 Accessories

    James Bond & His Most Iconic 007 Accessories

    James Bond & His Most Iconic 007 Accessories

    In film history, the James Bond movies have become synonymous with opulence, excitement and luxury. Every Bond fan will have their favourite actor, movie scene, and even villain that epitomises the essence of what James Bond represents. Of course the Bond villains and the Bond girls are just some of the most well-known associates of Bond, but what are some other factors associated with Ian Fleming’s iconic character? From his classic drinks order to his chosen watch brands, here are just some common accessories that Bond usually has close by during his secret missions.

    His beloved Aston Martin cars

    Bond would not be Bond without his fast cars. Over the years, 007 has enjoyed racing, stealing, and even totalling many luxurious cars. A range of classy cars have appeared in Bond films over the years from stand out brands such as BMW, Bently, Jaguar, Lotus, but the true car for Bond is an Aston Martin. Specifically his famous Aston Martin DB5 that quickly became part of Bond’s lifestyle. 007’s DB5 has featured in seven of the Bond films so far and was first seen in Goldfinger (1964) starring Sean Connery.

    The use of the car in the Bond films heightened its popularity throughout the 1960s, making it recognised as one of the world’s most famous and desirable vehicles. Bond fans can thank Academy Award-winning special effects expert John Stears for the presence of the car throughout the film franchise, as he first modified the DB5 for use in the movies, inextricably linking Aston Martin and Bond forever.

    His iconic signature weapons

    Perhaps above all else, the secret agent is associated with iconic guns and creative gadgets. His gadgets have ranged from cameras hidden in rings to even a simple briefcase that’s actually packed with a variety of gadgets. In Tomorrow Never Dies (1997), Q even went as far as supplying Bond with a remote control car, one that he could operate remotely with his mobile phone. In practically every Bond film, James has also been equipped with firearms that will help him defeat his enemies on his missions. 

    Throughout the film series Bond has used a variety of models from Walther, Heckler & Koch, Smith & Wesson, Beretta, and more. However, it was the Walther PPK that became Bond’s favourite weapon from the very first movie and he has used it as a signature weapon in almost every film since. Along with other replicas, the Walther PPK has become one of the most famous guns used in movies. Airsoft specialists now even sell realistic models of the original weapon, allowing fans of the enduring Bond movie franchise to own a little piece of the excitement of what it means to be James Bond.

    His classic drinks order

    Sean Connery’s Bond first uttered the iconic line of “shaken, not stirred” in the 1962 film, Dr. No, at which point the line entered the canons of classic movie catchphrases. The line spawned generations of cocktail drinkers who tried to emulate the famous spy by refusing to allow their martinis to be stirred. Some people believe that stirring a martini can bruise the alcohol, spoiling the taste of the drink. 

    While Bond has occasionally drunk other drinks, the film character is most iconically associated with his specifically made martini order. Now and then he might also spice things up a bit, such as when he added a twist to his order at the casino table in Casino Royale (2006).

    His famous luxury wristwatches

    Throughout the Bond films, 007 is not just known for his fast cars and laid back attitude, but also his style too. He’s worn suits from Tom Ford, shirts from Turnbull & Asser, and shoes from Crockett & Jones. Bond’s also been known for pairing stylish luxury wristwatches with his outfits too. There has been a variety of James Bond watches in films that 007 has been seen sporting, such as various Rolex models, watches from Tag Heuer, and Seiko was also popular for him to wear in the 1980s. But his two most favoured brands to wear are Omega and Rolex with Rolex Submariner and the Omega Seamaster being two of his most popular watches. 

    The films are popular for featuring not only iconic villains, Bond girls, and fast cars, but also some of the coolest James Bond gadgets too. Many of his items have been concealed in everyday items such as a briefcase, fountain pen, his shoes, or even his wristwatches. Bond is given an explosive Seiko wristwatch in Moonraker (1979) and also a modified Rolex Submariner in Live And Let Die (1973). It’s not every day that someone’s Rolex is not only magnetic but also contains a small buzzsaw.  

  • Safe Inside: Review

    Safe Inside: Review

    This drama/thriller follows a couple Ana (Andrea Tivadar) and Tom (Tomas Ainsley) as they travel to France in search of seasonal work as maintenance workers for a house. While traveling to their destination, their bus gets into an accident. Seemingly unharmed, Ana and Tom find their way to the house. While it appears different than the one advertised, the landowner Richard (Steven Brand) is inviting and offers fair wages. While Tom is wary of Richard, eventually the pair decide to accept the job. At first things seem relatively normal, even idyllic. Soon however, strange occurrences begin to happen and it gradually becomes clear that nothing and no one is what it seems.

    Director Renata Gabryjelska and writer Blazej Dzikowski (working off an idea from Gabryjelska) construct a thriller that succeeds in holding the viewer’s attention. This is in part due to the fact that the film puts forth meditations on diverse themes such as; control, what people will do to secure love and companionship, what people will do to survive and so on. While the film is examining all of this, it also does a great job of escalating the tension. From the opening scene, things feel ever-so-slightly off-kilter, but in a way that is difficult to put your finger on as Gabryjelska and the rest of the cast and crew slowly reveal the film’s many facets.

    All of the actors do a great job of conveying the complex journeys their characters are going through, particularly Brand as Richard. Throughout the film, it is unclear who Richard is exactly and what his motives and intentions truly are. At different points of the film, Richard seemingly switches from warm and friendly to a more insidious deposition. Brand handles this dichotomy well, playing both faithfully without leaning too hard in either direction or creating the feeling that any side of Richard’s personality comes completely out of nowhere.

    Tivadar is also great as Ana, a character who, like the audience, starts the film from a place of confusion as to what is going on. However, as more is revealed to her and the audience, Ana begins to take charge and Tivadar embodies this growth into boldness well.

    While the actors do a fine job in their roles grappling with each other and the various themes, a big twist occurs about halfway through the film that completely changes the viewer’s understanding of the story up to that point. While this twist does deepen and even clarify some thematic ideas that were introduced earlier in the film, it also introduces into the film a need to dive into how it changes the story in terms of mechanics and structure. This results in the feeling that while there are changes that occur for the characters and important themes and ideas being discussed, at times it feels as though those aspects go on the backburner in order to focus on the twist itself. Unfortunately this need to divert attention to the twist upsets the unease and suspense generated from the performances and technical work of the film.    

    Contributing to this feeling of unease is Piotr Kukla’s cinematography, which often tracks in front of characters as they make their way through environments, leading to the feeling that something is lurking around every corner. In addition, Kukla makes effective use of dutch tilts for certain scenes which subtly plants the idea in the viewer’s mind that things are not as they should be.

    https://vimeo.com/356710957

    In addition to visuals, the sound of the film also adds to the feelings of tension and dread. Elia Cmiral’s piano and string laden score is at times unnerving and other times sombre and melancholic. Accompanying this score is great sound design by Michal Fojcik who, during action heavy scenes, incorporates the sounds of a ticking clock, adding to to the kinetic and urgent nature of these scenes and the score.

    Safe Inside is a film that features great craftsmanship, strong performances, and offers intriguing ideas for its audience to consider that should please a lot of thriller fans. However, the nature of the film’s plot twist distracts from a lot of the impressive work on display.      

  • Caveat: Review

    Caveat: Review

    Isaac (Jonathon French) is a lone drifter suffering from partial memory loss. He has no prospects, no future, no family or friends that he can think of and he has nowhere to go. Then one day he accepts from his old landlord in an abandoned house on an isolated island where his niece, Olga (Leila Sykes) is being kept.

    Olga has seemingly had a psychological break and has gone into a catatonic state and seeing as Isaac has nothing else to his name, he accepts the job without question. Although the rules of his stay are a little unusual.

    Caveat is an Irish horror movie written and directed by Damian McCarthy in his directorial feature debut. Impressively directed for a first feature, McCarthy already seems to know exactly how to direct a horror movie and how to keep the tension throughout.

    Caveat creates a sinister, slightly off kilter atmosphere and doesn’t let go until the very last second. Although his style of slow burn, cautious horror may not be for everyone. Those looking for a violent gore fest with jump scares may want to look elsewhere, but for those who want to see a horror movie that’s a little bit different from all the rest then Caveat may satisfy them.

    There’s just something special about Caveat that sets it apart from the rest and it’s hard to put a finger on exactly what that is. It may be the unique setting and original story, it could be the way that it’s shot and how it pulls in its audience, it may even be the sparing use of the mechanical rabbit with a drum that seems to have a deep connection with Olga.

    Either way, Caveat is the type of horror movie that many have never seen before and it’s all the better for doing something so different.

    All the cast do well and without any scenes that overly explain the plot, a lot of the movie has to do with their actions. Isaac becomes increasingly more afraid of his surroundings and French’s performance portrays that well, right up until the end. Those looking for a neat and tidy ending may be disappointed, but Caveat may stay with them long after it has finished.

  • Under The Stadium Lights: Review

    Under The Stadium Lights: Review

    Under the Stadium Lights Synopsis: After a crushing defeat ended their prior season, everyone counted the Abilene Eagles out of title contention. Facing doubts and personal challenges both on and off the field, it takes the guidance of their team chaplain and a surrogate father figure (Milo Gibson) for the players to realize what they can achieve when they stand united.

    My adoration for sports always gravitates me towards every athletic release, no matter how modest and overly-earnest they end up being. While the genre is certainly a dying breed in contemporary marketplaces (most new offerings like Safety are restricted to streaming), I still believe sport’s films have an untapped ceiling. Iconic efforts like Any Given Sunday and Moneyball analyze their sport’s taxing conditions while connecting to thoughtful conceits about life’s tumultuous sacrifices.

    First-time director Todd Randall attempts a similar balance with Under the Stadium Lights, a well-intended football ensemble following the coming of age journey of athletes reaching the end of their high school days. Randall certainly has a pulse on worthwhile ideas, but the painfully cheap and downright inauthentic execution leaves audiences with an unwatchable blowout.

    There’s a good film buried amidst Under the Stadium Lights’ after-school special delivery. Screenwriters John Collins and Hamid Torabpour wisely center their narrative around the athletes’ struggles off the field. Between absentee parents and the upcoming reality of their football mortality, glimmers of compelling drama become present. It’s clear the team involved understands the value of sports, as they properly weigh football’s communal power over a series of emptily energetic frames.

    Good intentions are sadly the film’s only distinct strength. A majority of the runtime plays out like a poorly cobbled-together Friday Night Lights episode, clumsily dancing between humanistic character beats and roaring speeches without much cohesion. Neither of these elements strikes a genuine chord under Collins and Torabpour’s by-the-numbers screenplay. The characters serve as thankless amalgams of familial poverty struggles, with none of the four central protagonists having their own distinct personalities or agency. For a supposedly moving drama, everything is painted in such broad and simplistic strokes. I never felt like the movie reached authentic platitudes with its characters or world-building.

    To put it bluntly, Under the Stadium Lights never defines a reason to exist. I can’t help thinking of all the pertinent and deeply moving real-life stories surrounding athletes’ dual struggles on and off the field. In a world where those stories never see the light of day, why do we need a faux crowdpleaser that only brings Hallmark-level depth and sentimentality to the table? Every story beat feels borrowed from far superior films, while Todd Randall’s director-for-hire effort doesn’t mask the inherent tiredness. Even stars Milo Gibson and Laurence Fishburn are just clearly here for the checks in their barebones roles.

    Even as a sports movie apologist, Under the Stadium Lights’ lazy delivery does little to excite or inspire. I’ll always look forward to new sports movies, but hopefully whatever is next in the pipeline brings a lot more to the table.

    Under the Stadium Lights releases on VOD and select theaters on June 4th.