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  • Kate Garraway Edition: Bits & Pieces

    Kate Garraway Edition: Bits & Pieces

    Kate Garraway Edition: Bits & Pieces – Filmed over the course of three years, this documentary film is an intimate and inspiring portrait of Youngstown, Ohio, a quintessential post-industrial American city, seen through the efforts of a new generation of residents who have chosen not to abandon their hometown, as so many have, but to stay, rebuild and make a life for themselves.

    PAPER SPIDERS, starring Lili Taylor (Say Anything), Stefania LaVie Owen (The Carrie Diaries), Peyton List (Cobra Kai), Ian Nelson (The Boy Next Door), and many more. This award-winning coming-of-age drama is about a high-schooler trying to help her mother’s deteriorating mental health after she starts showing signs of paranoid delusions.

    In 1967, fashion photographer by day and super-agent by night Austin Powers (Mike Myers, Wayne’s World) is on the verge of catching his arch-nemesis, Dr. Evil (also Myers), when the latter has himself cryogenically frozen. Following suit, Powers unthaws thirty years later in the ’90s to find Evil threatening the world once more. Can Powers recover from his culture shock in time to battle his old foe? With the help of sexy sidekick Vanessa Kensington (Elizabeth Hurley), he just might.

    In our increasingly mechanized and automated world that frowns on superstition and mysticism, this story shows how vitally relevant our disappearing ancient wisdom and traditional beliefs still are. In particular, the film focuses on the age-old Himalayan respect for and celebration of feminine energy as the most supreme aspect of being. This energy is personified in tantric Buddhism by dakinis who may appear as mysterious living beings who give or take away our life force and guide or ruin our lives. While only realized adepts like the character of O.T. in this film, who is based on an exceptional living master, are today able to summon this vital energy through esoteric dakini practices, it so crucial to our volatile era that the times demand it be communicated to a wider audience. 

    STUDIOCANAL is thrilled to debut the official trailer for MANDABI, the 4K restoration of Ousmane Sembène’s trailblazing Senegalese classic which is released for the first time in the UK.

    Ex-mob enforcer Ben Archer (Van Damme) is ready to give up his life of crime and settle down to family life. But when his wife, Cynthia, attempts to help a Chinese refugee girl and brings her into their home, a new war is inadvertently triggered.

    From the humans who brought you the Academy Award-winning Spider-Man: Into The Spider-Verse and The LEGO Movie comes The Mitchells vs. The Machines, an animated action-comedy about an ordinary family who find themselves in the middle of their biggest family challenge yet…saving the world from the robot apocalypse. No big deal, right? It all starts when creative outsider Katie Mitchell is accepted into the film school of her dreams and is eager to leave home and find “her people,” when her nature-loving dad insists on having the whole family drive her to school and bond during one last totally-not-awkward-or-forced road trip. But just when the trip can’t get any worse, the family suddenly finds itself in the middle of the robot uprising! Everything from smart phones, to roombas, to evil Furbys are employed to capture every human on the planet. Now it’s up to the Mitchells, including upbeat mom Linda, quirky little brother Aaron, their squishy pug, Monchi, and two friendly, but simple-minded robots to save humanity.

    MUBI, the global distributor and curated film streaming service, has released the official UK trailer for Ben Sharrock’s critically acclaimed British debut feature Limbo, which will be released in cinemas in the UK and Ireland on 30 July 2021.

    The fourth feature from South African director Oliver Hermanus, MOFFIE explores the life of a closeted young boy serving his mandatory military service during Apartheid in 1980s South Africa. An adaptation of André-Carl van der Merwe’s iconic memoir, the film serves as a brilliant period piece exposing the psychological violence of institutionalized homophobia. Achingly raw depictions of the brutality of military training recall scenes from Kubrick’s FULL METAL JACKET while the timid tenderness, beautifully acted by Brummer and Villiers, provide a soft juxtaposition. Following the film’s premiere at Venice Film Festival where it was a nominee for the Queer Lion, MOFFIE has gone on to receive critical acclaim for its brilliant directing, cinematography and acting alike. IFC Films will release MOFFIE on Friday, April 9, 2021 in select theaters and on digital and VOD platforms. 

    Argentinian writer/directorFrancisco Márquez’s superb psychological thriller A COMMON CRIME (Un crimen común) comes to Virtual Cinemas and VOD on 9th April 2021.

    BAFTA nominated Corinna Faith’s directorial debut, the electrifying 70s-set British supernatural thriller THE POWER will be released exclusively on SHUDDER, the premium streaming service for horror, thrillers and the supernatural, from 8 April 2021.

  • Power Broker: Falcon And The Winter Soldier – Disney+ Talk

    Power Broker: Falcon And The Winter Soldier – Disney+ Talk

    Power Broker: Falcon And The Winter Soldier – Disney+ Talk

    Last week saw the 3rd episode of ‘The Falcon And The Winter Soldier’ come to Disney+, also marking the show’s halfway point. And, while the two previous episodes focused on the Blip and the more human side of the lead characters, this episode aims to move the story along. 

    Episode 3, titled ‘Power Broker’, sees Sam and Bucky team up with General Zemo after he is broken out of prison. They then discover how the Super Soldier Serum has resurfaced. 

    This episode focuses on how the Serum resurfaced, as well as Sam and Bucky reuniting with an unlikely ally to help them: General Zemo, previously seen in ‘Captain America: Civil War’. And, because of Zemo and Bucky’s history, Zemo is happy to see how far he can test the character’s patience. This is specifically shown when Bucky decides to see Zemo alone in his prison cell. Zemo sees him and the first words out of his mouth are the codes to unlock Bucky’s mind control, just to see how he’d react. And, while Bucky may appear calm, his eyes show a hint of fear; the past still affects him and Zemo is aware of this. It’s also important to note that the last time these two characters saw each other was when Zemo was trying to mind control Bucky in ‘Civil War’, so tensions are running high.

    However, it’s Bucky that ultimately helps Zemo break out of prison, and his argument makes sense: Zemo is the only one who can help them and, if they don’t accept help from him then they have no leads at all. While I’ve been looking forward to seeing Sam in this show, it’s clear that Bucky is the more logical character. Furthermore, the actual prison break sequence was such a delight to watch and was extremely well-choreographed. And, even when Zemo is broken out of prison, he spends most of the time testing the leads’ patience. This, strangely, makes the trio enjoyable to watch.

    Meanwhile, John Walker suspects (and rightfully so) that Bucky and Sam broke Zemo out of prison. So, I imagine the next episode will focus on this aspect, as they chase after the trio. I imagine the next episode will also focus on Bucky as the White Wolf, as he reunites with General Okoye from Wakanda. The White Wolf name was briefly mentioned by Bucky in the last episode, but hopefully the next episode will give some of its runtime to this particular story arc. 

    I also hope the next episode will give more of its runtime to Karli Morgenthau (Erin Kellyman). She is supposedly the show’s villain, however, she is the weakest Marvel villain ironically since Zemo. This is purely because she has no character, because the show hasn’t given her enough runtime to develop any. It also hasn’t explained her story arc and motivation well. I still don’t understand what her plan is and, while it can be argued that the show will explain it soon, there’s only 3 episodes left. Therefore, if it’s going to explain her motivations, it’s got to start doing so from the next episode! It’s a shame that the writing hasn’t given her any screen time because the idea of another female Marvel villain is fantastic, considering the lack of female lead/villain characters in the MCU. But this feels like another missed opportunity.

    And, despite everything that has happened in this episode, Sam and Bucky still find time to talk about whether Sam’s decision to give up the shield was a good one. It’s clear that the one small act at the beginning of the show has deeply affected Bucky which, again, I agree with. Bucky’s emotional reaction to this decision makes sense. 

    Overall, while I don’t dislike ‘The Falcon And The Winter Soldier’, it does feel like it’s dragging its feet. The psychological side of the characters are the most interesting aspects so far, as well as more focus on how the Blip affected normal civilians. However, it also has the weakest Marvel villain to date, thanks to the writing, and not enough humour to balance out the seriousness of the story. Hopefully the last half of the show will improve on these aspects.

  • Embryo: Review

    Embryo: Review

    Evelyn (Romina Perazzo) and Kevin (Domingo Guzmán) are on a romantic camping trip so they can get away from it all. They zip up their tent at the end of a day of hiking and go to sleep after a wonderful day. However, during the night Evelyn is abducted by aliens and the next morning Kevin finds her in the forest naked and covered in alien goo.

    He takes Evelyn to the doctor as Evelyn is also complaining about stomach cramps, but while the doctor is examining her, Evelyn realises what she’s starting to crave – human flesh. Also, there may be something growing inside her which needs to be fed.

    Embryo (or Embrión) is a Chilean science fiction horror which mixes found footage alongside its higher concept storyline. Reminiscent of Nineties sci-fi horror, Species, Embryo takes nearly the same plot. Except this time Evelyn’s loving boyfriend wants to get her help so she can overcome the alien host.

    There are also times during the movie where the audience is shown found footage of other women that have been abducted and the footage follows them right up until their abductions. The problem with this is that it unfortunately diverts the movie away from the main story, which unsuccessfully mixes together two subgenres of science fiction horror.

    On the one hand there’s a story of a seductive woman taken over by an alien force which will do anything to stay alive. Then on the other hand there are stories of different women being abducted at different times.

    Not only do these styles not gel so well, they seem like completely different movies with the latter sometimes coming across as unintentionally funny when trying to do alien special effects.

    For all its cheesiness and predictability, Embryo is nothing new really and the cast seem to know this. Both Perazzo and Guzmán give suitably over the top performances. Perhaps even when the director wanted them to take it more seriously. However, for those who want to watch a low budget sci fi horror that delivers more blood and guts than Species, Embryo may be just what you need.

  • Judas And The Black Messiah: Another Review

    Judas And The Black Messiah: Another Review

    Judas And The Black Messiah: Another Review. By Nick Boyd.

    “Judas and the Black Messiah” (inspired by a true story) is a riveting movie about a car thief named Bill O’Neal (LaKeith Stanfield), who is given the choice by an FBI agent named Roy Mitchell (Jesse Plemons) to go to prison for what what he’s done or infiltrate the local Chicago Black Panthers Chapter.  He chooses the latter, hence the biblical reference to Judas.

    The film takes us back to Chicago in 1968, when crime and distrust of the police were both high.  The distrust of the police was especially so among African Americans, which the Black Panthers  tapped into when recruiting new members.  

    In the film, the Black Panther Party is led by the charismatic and inspirational Fred Hampton (Daniel Kaluuya), who as one member remarks, is so good with words when he speaks, he is like a poet.  As O’Neal is doing his undercover work for the FBI, he finds himself more and more drawn into the ideals and aspirations of the Black Panther Party, especially when we see him repeating fervently at a meeting, “I am a revolutionary!” 

    As he ascends up the organization, O’Neal is given the role of security captain and personal driver to Hampton.  Later, a particularly tense moment for O’Neal occurs in the film when he learns from an out-of-state Black Panther about another informant who was allegedly tortured and killed when his cover was exposed.  This causes O’Neal to have some serious doubts about the dangers he is facing, which he expresses to Mitchell, but he is in too deep so there is no turning back.

    A tender romance develops between Hampton and a member in the organization named Judy Harmon (Dominique Thorne) who shows us the shy and vulnerable side of the confident and fiery Hampton.  When Harmon finds out that she is pregnant, she is apprehensive that Hampton will not be there much for the child and that the boy will eventually follow in his dad’s precarious footsteps.  While she loves him, some of the more violent messages that Hampton imparts to members trouble her.   

    The film smartly explores the ideologies of the Black Panther Party and what they stood for.  While they understandably worked towards the empowerment of African Americans and gave back to the community through free breakfasts and health clinics, there was also the strong message that members should not be afraid to use violence to accomplish their goals if necessary.   

    The anti-police mindset and at times violent behavior is at the forefront of FBI Director J. Edgar Hoover’s (an unrecognizable and bloated Martin Sheen) mission to stop the Black Panther Party in its tracks.  In Hoover’s words, “The Black Panthers are the single greatest threat to our national security.  More than the Chinese.  Even more than the Russians.  Our counter-intelligence program must prevent the rise of a Black Messiah from among their midst.”  

    The acting is persuasive and passionate (with Kaluuya and Stanfield in particular delivering standout work) and while the picture is not much for subtlety it gets its points across effectively.  It is also timely in its look at police brutality and needed reform.  

    Hampton’s message of civil rights is clearly seen today through the Black Lives Matter movement, showing that what he worked so hard to impart to his followers decades ago still has relevance in our troubled times today.

  • Every Breath You Take: Review

    Every Breath You Take: Review

    Every Breath You Take Synopsis: A psychiatrist (Casey Affleck), whose client commits suicide, finds his family life disrupted after introducing her surviving brother (Sam Claflin) to his wife (Michelle Monaghan) and daughter (India Eisley).

    While in no relation to the iconic Police song, Vaughn Stein’s new domestic thriller Every Breath You Take adopts similarly foreboding connotations (carefully listen to that song again). Personally, I have a soft spot for the soap opera-esque melodrama featured in domestic thrillers of this elk. At its best, the subgenre exhibits its own form of preposterous entertainment that’s sorely lacking on the big-screen today.

    Even with my personal attachment, Stein’s wayward effort captures none of the genre’s vibrant allures. For a film that vies to be a compelling psychological thriller, Every Breath You Take sinks from its distinct lack of psychology and logic. This by-the-numbers effort is likely to be forgotten amongst a wave of similarly disposable thrillers.

    No one involved seems to be all that invested. The star-studded cast solemnly mulls their way through blandly-formed roles, with neither Casey Affleck nor Michelle Monaghan imbuing their usual strengths onscreen (when Affleck doesn’t have substance to work with, his insular delivery looks more like sleepwalking). I do credit Sam Claflin for injecting a semblance of energy as the charismatic yet unhinged antagonist, but his performance still can’t mask the character’s banal design.

    I can’t blame the cast for going through the motions considering the film’s beige delivery. Three films into his upstart career, Stein has struggled to implement much presence into his cookie-cutter efforts (Terminal and Inheritance are similarly flavorless despite the talent involved). His flat imagery only works to muck up the picture, while Stein lacks the attentive hand to escalate tension. It doesn’t help that Stein is stuck with a thanklessly generic screenplay, with David Murray’s effort acting like an unfocused hodgepodge of far superior films (take your pick between far superior domestic thrillers like Basic Instinct or David Fincher’s tense 90’s thrillers).

    Somehow the predictability isn’t even the film’s biggest problem. Every Breath You Take possesses a serious identity crisis. The self-seriousness prevents any sort of guilty pleasure engagement, while the script’s simple-minded approach does little of note with its volatile subject matter. Also, how many times must a mentally ill character serve as a villain without any dimension or humanity? It’s become such a tired trope, one that reduces people’s genuine struggles into an empty veneer of craziness (the film has such little care for its characters, ending amidst the climactic conflict without any resolutions).

    I’m glad I am writing this review fresh off watching it, as Every Breath You Take does little to elicit interest. Even if you’re a fan of domestic thrillers, I suggest checking out Fatale instead (or even Fatal Affair, which has its own goofy appeals despite my initially negative review).

    Every Breath You Take is now available on VOD.