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  • The Little Things Debuts At Number 1

    The Little Things Debuts At Number 1

    The Little Things starring Denzel Washington and Rami Malek has made a Number 1 debut on the Official Film Chart, leading the list of the UK’s most popular films as the week’s biggest release on DVD and Blu-ray.

    In the film, deputy sheriff Joe Deacon (Washington) is sent to Los Angeles for a quick evidence-gathering assignment – but as he teams up with detective Jim Baxter (Malek) to help solve a serial killer case in the city, disturbing secrets from his past are unearthed that could threaten more than the case.

    Wonder Woman 1984 holds for another week at Number 2, as three-week chart topper Zack Snyder’s Justice League drops to Number 3. Fellow DC animated adventure Justice Society: World War II debuts at Number 4, knocking Spider-Man: Far From Home down one spot to Number 5.

    Crime thriller The Virtuoso starring recent Oscar Winner, Anthony Hopkins debuts at Number 6, landing just ahead of Eric Cantona’s produced, Man United documentary – The United Way at Number 7. Venom returns to the Official Film Chart at Number 8, andTenet finishes at Number 9.

    Finally, 2018 comedy adventure Peter Rabbit flies back up to Number 10, thanks to fans catching up with the beloved character ahead of the release of sequel, Peter Rabbit 2, which is in in cinemas now.

    This week’s Official Film Chart online show features a sneak peek at Oscar-nominated drama Minari, which is available to buy on DVD and Blu-ray from 24 May.

    Now, as well as OfficialCharts.com, the Official Film Chart can also be found on FindAnyFilm.com – the ultimate site for Film and TV fans to discover all the legal ways to buy the entertainment they want on disc and digital formats.

    The Official Film Chart Top 10 – 19th May 2021

    LWPosTitleLabel
    NEW1THE LITTLE THINGSWARNER HOME VIDEO
    22WONDER WOMAN 1984WARNER HOME VIDEO
    13ZACK SNYDER’S JUSTICE LEAGUEWARNER HOME VIDEO
    NEW4JUSTICE SOCIETY – WORLD WAR IIWARNER HOME VIDEO
    45SPIDER-MAN – FAR FROM HOMESONY PICTURES HE
    NEW6THE VIRTUOSOLIONSGATE
    NEW7THE UNITED WAYSPIRIT ENTERTAINMENT
    RE8VENOMSONY PICTURES HE
    89TENETWARNER HOME VIDEO
    2610PETER RABBITSONY PICTURES HE

    © Official Charts Company 2021

    VIEW THE FULL TOP 40 – https://www.officialcharts.com/charts/film-chart/

  • Paperman: Disney+ Talk

    Paperman: Disney+ Talk

    Disney+ Talk With Megan Williams: Paperman Short Film (2012)

    As is obvious by now, the Disney+ Talk feature doesn’t just cover feature films, but shorts too. And the 2012 short ‘Paperman’ was one that was going to be covered before the release of ‘The Falcon and the Winter Soldier’. However, this did not occur purely because I wasn’t sure whether it was a Disney production despite being on the streaming service. Disney+ also contains National Geographic and Star, hence where the confusion lied. But ‘Paperman’ does count as a Disney short as it was distributed by them.

    ‘Paperman’ is a 7-minute short that was released on the DVD for ‘Wreck It Ralph‘. It follows two people as they reconnect after their initial encounter in a unique way.

    While it’s a simple story of a man trying to capture the heart of a woman that he met at a train station, the execution of this common story is what makes it stand out. The hand drawn/CGI hybrid animation is gorgeous and the movements are fluid. Despite this being released nearly ten years ago, it still looks fantastic. This was a short that originated in the 1990’s, with it being pitched several times. So, it makes sense that the animation style reflects the Disney films that have long since been forgotten about by the company. It makes me wish Disney would be more willing to take a risk when it comes to their animated films. 

    The use of the black & white overlay gives it a 1930’s feel too, which is unique to the usual colourful films that Disney makes. However, this doesn’t mean ‘Paperman’ is gloomy. It’s in fact the opposite. The story is hopeful and charming, not just because of the story, but because of the playful characters and musical score. This short is essentially two adults experiencing the innocent wonders of connecting with a significant other for the first time and it’s delightful. It’s also playful with the execution; the man uses paper planes to try and get the woman’s attention and ends up failing, leading to those planes following him and showing him where she is. It’s silly and funny but, once again, charming and innocent. The music also reacts with the planes, specifically when he’s attempting to catch her attention and failing. This adds meaning to the score: it’s minimalistic but it gives the planes a sense of personality and purpose. 

    Overall, ‘Paperman’ is a short I’m glad to finally cover on the Disney+ Talk feature. It’s charming and innocent, while also standing out from a modern Disney film/short. Long gone are the hand drawn-style films that Disney used to create, but it’s wonderful to catch a glimpse of what that might look like today.

  • The Human Factor: Review

    The Human Factor: Review

    The news coming out of Israel and Gaza is as dire as ever.  The events of these past two weeks could develop into the biggest conflict in decades between Israelis and Palestinians.  Director Dror Moreh’s documentary The Human Factor recalls what was perhaps the decade that held the most hope for a peace between Israelis and Palestinians, the 90s.  The Human Factor delights those of us fascinated by international relations and diplomacy to insider accounts given by the negotiators and mediators who were in the room with American, Israeli, Syrian, and Palestinian leaders as they attempted to work on a lasting peace. 

    The machinations of Israeli, Palestinian, Syrian, and even the “honest broker” American delegations are outlined by veteran diplomats as peace negotiations shifted from Oslo to Geneva to Camp David.  The Human Factor brims over with stories and insights by the likes of diplomatic heavyweights such as Martin Indyk, Robert Malley, Aaron Miller, and Dennis Ross.  One of the most insightful comments comes from the interpreter and diplomat Gamal Helal.  According to Helal, diplomacy comes down to an all too human factor, language.  As he puts it, the word “future” means very different things for Israelis and Arabs.  For Israelis, “future” means that which comes after the present.  For Arabs, any talk of “future” is connected with mending the injustices of the past. 

    Diplomacy is a chess game.  What The Human Factor does exceedingly well is that it clearly articulates how the outcome of this chess game—one that effects the lives of millions—comes down to the intimate trust and cooperation of individuals forged by sitting in a room, negotiating details both big and small, while sharing a cup of coffee or sharing a meal.  The chess metaphor is admittedly an imperfect one.  Chess involves two players, competing head-to-head, until an outcome emerges.  Peace diplomacy is a long-term game played out along different peace summits by a revolving door of players.  In the 90s, the only two constants were from the Palestinian and Syrian sides—Yasser Arafat and Hafez al-Assad. 

    On the American side, there was a shift in personalities and tones from George H. W. Bush and his Secretary of State James Baker to Bill Clinton and his Secretary of State Warren Christopher.  On the Israeli side, each time the door revolved, the new individual in power marked a sudden shift in temperament—from Yitzhak Rabin to Shimon Peres to Bibi Netanyahu to Ehud Barak.  As if all of this were not complicated enough, each of these individuals faced the pressure of advancing peace while trying to maintain the national interests of their respective countries while also feeling the pressure of reactionary forces within their own countries.  In the case of Rabin, the signing of a peace accord cost him his life at the hands of a domestic right-wing extremist. 

    The Human Factor should be required viewing for students of international relations or even those struggling to understand the current state of Israeli-Palestinian relations.  Peace requires a long-term outlook.  Working toward lasting peace is the equivalent of building a cathedral.  It requires agonizing labor by many hands across generations.  But here again, metaphors and language fail.  The word “peace” connotes a final resting place, an ultimate calm, a convivial utopia.  In the case of Israelis and Palestinians, realistic expectations are necessary.  “Peace,” in their case, may just be an uneasy accommodation.  Given the last two weeks, even an uneasy accommodation seems worlds away.

  • Promising Young Woman: Review

    Promising Young Woman: Review

    Promising Young Woman: Review. By Will Steele.

    Promising Young Woman touted its arrival as a motion picture event which would ignite a conversation. Safe to say, it has delivered on this promise with the film sparking debate amongst casual viewers and cinephiles alike. So successful was Promising Young Woman at tapping into a public discourse that its writer and director Emerald Fennell’s screenplay triumphed in perhaps the most competitive category – that of original screenplay – at this year’s Academy Awards. 

    But upon further inspection, does Promising Young Woman exist as an excellent film on its own merit rather than simply a perceptive screenplay tapping into an ongoing contemporary debate surrounding sexual abuse towards women? Prominent films with accolades and acclaim have the dangerous tendency to build hype so tall that it builds insurmountable expectations amongst audiences. Will Promising Young Woman stand the test of time? I believe it will continue to ignite debates for decades to come. 

    This dark comedy centres on Cassie (Carey Mulligan) a med school drop-out whose seemingly aimless life sees her working as a barista whilst still living with her parents despite being on the cusp of her thirties. Unbeknownst to family and friends, Cassie is driven by a dark past and her purpose is one of slow and deadly revenge. When Cassie’s past begins to catch up to her, she confronts those who have led her down this path and we the audience begin to understand just why she seeks solace in vengeance.

    Revenge thrillers are nothing new to moviegoers who have witnessed the evolution of the genre fronted by the likes of Lee Marvin and Charles Bronson up to present stars like Liam Neeson and Bruce Willis. Where Promising Young Woman excels is in its manipulation of this cinematic sub-genre which yields countless male-fronted iterations each passing year. Emerald Fennell has pulled a Trojan horse trick by packaging this searing social commentary as a violent Hollywood revenge thriller. Don’t be fooled by the kitsch and camp aesthetics on the surface. Hidden beneath the bubble-gum pop soundtrack, floral wardrobes and rainbow colour palette lies a story of deeply repressed emotional trauma. Albeit initially jarring, the deceptively infantile aesthetics of Promising Young Woman allude to traumas the screenplay masterfully unravels.  

    Meta-textuality is rife in modern media, but here it is so gloriously utilised that one can only be impressed. Fennell’s directorial debut takes you on an emotional rollercoaster which may leave you flummoxed, vindicated, or just plain mystified. This is the sign of a truly effective thriller which is fully realised onscreen by way of ingenious casting. Promising Young Woman is populated with a cavalcade of familiar faces; most of whom we may recognise from sit-coms and stand-up specials. Allowing performers like Bo Burnham, Alison Brie and Max Greenfield to play into and against their comedic personas allows for intricate nuance in how audiences will perceive characters. Promising Young Woman is remarkably refreshing in its characterisation of irksome characters who are not out-and-out evil, but rather recognisable variations on seemingly good natured people betrayed by their self-serving intentions.

    Future audiences will continue to revisit Promising Young Woman to bask in this dynamic for the simply sad fact that ill-intentions are often subtler than most films tend to portray. Your typical Hollywood thriller traditionally pits gallant saintly hero against hand-wringing dastardly villains. Unlike those films, Promising Young Woman never spoon-feeds its audience. The bevy of symbols and motifs that are present only add to this respect for the audience. Motifs are delicate and messages are never wielded like batons to beat us over the head. Whilst many may argue over the debate raging at its heart, many others will find ripe conversation in debating the meaning behind the ambiguities of the film. 

    The bold claims that Promising Young Woman would ignite debate have been met, but whether this discussion will rage on is a question only time will tell. However it is the ugly truth at the heart of the film – that of misogyny, violence towards women, and moral accountability – which are so sharply felt now more than ever in the wake of #MeToo movement. It taps into more than just a hot topic; it speaks to an issue which spans centuries of injustice. Promising Young Woman will stand the test of time because it may always be relevant, even though it shouldn’t be. 

  • Andie The Great: Review

    Andie The Great: Review

    Andie Offerman (Matreya Scarrwener) moves back in with her parents after dropping out of university. Spending time reconnecting with friends and meeting new acquaintances, she contemplates the future and her place in the world. 

    My expectations for this were not astronomically high. Another millennial mumblecore debut feature covering well trodden ground. But it turned out this rather hasty preconception was, in fact, delightfully unwarranted. I was pleasantly surprised by just how competently David Laurence and John Romyn’s film was, well structured and with a tone which deftly balanced the tribulations of navigating young adult life with both humour and subtlety. 

    The film’s events are made up of a collage of scenes showing various aspects of Andie’s life. Episodic slices of life as opposed to a formal narrative structure. Intertitles, giving specific dates as the days roll by, further enhance the sense of this being more like a chronicle of her experiences. 

    Flitting between home life, temporary jobs, socialising with friends, interacting with people in the community, Andie’s life is actually quite compelling. Even her more humdrum moments, in which little happens, are interesting to watch. This is largely down to Scarrwener’s honest portrayal of an anxious young woman, well-meaning but adrift. 

    This is also the case for the rest of the ensemble cast. Performances are naturalistic, unforced and totally believable. The domestic scenes in particular accurately illustrate the antagonistic, frustrating and affectionate qualities of family relationships. There is a good contrast between Andie’s parents, the mother Karen (Dolly Scarr) being tougher and more pushy with her daughter, while the father Dean (Michael Wener) encourages a more free-spirited outlook on life. Another thing which is refreshing to see is less of the usual brattish or narcissistic character stereotypes prevalent in films of the same style. Conflicts, when they arise, are still dynamic but generally not malicious or bitchy, making for more layered characterisations with more depth.  

    It is enough simply to illustrate the film’s simple theme without having to have too much of a definitive point or message. It sets out merely to examine that difficult period in burgeoning adult life where certain decisions can effect the direction of one’s life. Or, in the words of one of Andie’s rather boorish peer’s, ‘Your trajectory’. 

    Andie The Great is a humorous, warmhearted drama with plenty of heart and soul. An enjoyable watch. If you’re satisfied with observational snapshots of a young person’s life in transition, as opposed to a more conventional narrative arc, then I would recommend it.