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  • Face/Off, Blade, Oz: Weekly Round Up

    Face/Off, Blade, Oz: Weekly Round Up

    Face/Off, Blade, Oz: Weekly Round Up – If you grew up with your formative years in the 90s and you were a movie fan, like me, then chances are that John Woo’s action/thriller Face/Off was a major movie in your childhood. I myself remember watching it as a youngster and being totally blown away, perhaps in part because I was probably too young to really “get it” and perhaps in part because I’d never really seen anyone quite like Nicholas Cage before and watching the guy from Grease suddenly start acting like a psychopath was a genuine shock to my system. But, whatever your relationship with the film, you’ll likely have some sort of opinion on this week’s news that the 1997 blockbuster is being rebooted for modern audiences.

    Director Adam Wingard has been confirmed as taking on the role of director for the new movie, which initially was expected to be a remake of the original Face/Off, although as has been confirmed now, the film will in fact be a sequel to the John Travolta and Nicholas Cage starring classic. Wingard, of course, is perhaps best known for his work in the horror genre, although he is also the man behind the excellent cult action movie The Guest, starring Dan Stevens, and the upcoming much an anticipated monster movie, Godzilla vs Kong.

    Perhaps unsurprisingly the conversation around the recently announced Face/Off sequel quickly turned to just who would take on the Travolta and Cage roles. What made the original so great was the almost gimmick-like novelty of watching the usually calm, cool, and collected Travolta playing the wild, unpredictable, and out there Nicholas Cage and vice-versa, so whoever winds up taking the two leads will need be able to replicate, in some way at least, that kind of juxtaposition.

    Of course, the original movie’s premise lends itself quite nicely to continuations, and it’s a little bit odd that a franchise didn’t spring up around it anyway, given that there’s plenty of ground to be covered just having different actors come in and play each other. What the film will actually wind up being about in detail remains a mystery at this point, but this something that, as a fan of the first movie, I’ll be watching with interest. I’m not going to make any predictions just yet, but here’s hoping this winds up being just as fun, silly, and batshit as the original.

    While we’re on the subject of potential remakes, a property that seems to be getting a new lease of life in the modern movie world is Frank L Baum’s now iconic series of children’s books all set in the wonderful, magical land of Oz. Baum’s work is no stranger to Hollywood, with there being several adaptations of his work, each of them released to various degrees of success. The Wiz is oft remembered as a slightly misjudged but enjoyable cult classic, while The Evil Dead and Spider-Man director Sam Raimi took a stab at the property as recently as 2013 with Oz the Great and Powerful, starring James Franco, and I’d be remiss, of course, not to mention the woefully underseen and underappreciated nightmare fuel that is Return to Oz, a film that has recently been getting something of a reappraisal, perhaps in no small part thanks to its appearance on Disney’s streaming platform, Disney+.

    But, of course, the most well remembered and influential of all the adaptations of Baum’s work is the 1939 movie, The Wizard of Oz, starring Judy Garland. From its musical numbers to its imagery to its villain, almost everything about the film has become an integral and celebrated part of popular culture. Despite this, few of the other adaptations have ever been able to capitalize on that film’s success, since many of the most memorable aspects of it are creations of the film itself and not the original source material.

    Well, this looks set to change with this week’s news that New Line Cinema are now developing an adaptation of the book The Wonderful Wizard of Oz, the same one that served as the direct inspiration for the 1939 movie. Perhaps more curious, though, is the placement of Nicole Kassell in the director’s chair. Kassell was behind several episodes of HBO’s successful TV adaptation of Alan Moore’s Watchman, and was also behind the well-received Kevin Bacon starring drama The Woodsman. This one could be really interesting.

    Our final story this week details yet another reboot, although this one is perhaps a little less surprising. In 2019 we learned that Marvel Studios planned to reboot Blade, the day-walking vampire hunter made iconic thanks to the Wesley Snipes starring 1998 movie, and that academy award winner Mahershala Ali was attached to take over the role.

    There has been little movement on this new take on the character in the subsequent period of time, but this week the project took a giant leap forward when it was announced that screenwriter Stacy Osei-Kuffour would be taking on writing duties for the film, which, at least according to The Hollywood Reporter, will be titled Blade the Vampire Slayer – which is just confusing because… well, Buffy exists (also, fuck Joss Whedon, I’m angry about that. I’m not going to go into great detail, although if you would like to know what that’s all about then please follow the link. Suffice it to say, I’m just really angry. And disappointed. And angry. Really fucking angry).

    Back in 2019, Marvel head-honcho Kevin Fiege confirmed that Blade would be a key part of Marvel’s upcoming Phase 5, so we’ll likely have to wait a little while longer before we learn more about that, given we’ve only just started Phase 4. Still, if WandaVision is anything to go by, it looks like Marvel might be in the process of trying to shake things up a bit, and that’s a plus in my book, since the whole franchise had grown somewhat stale despite still raking in the big bucks. – Face/Off, Blade, Oz: Weekly Round Up

  • White Colour Black: Review

    White Colour Black: Review

    White Colour Black: Review. By Trent Neely.

    This drama film follows Leke (Dudley O’Shaughnessy) a successful photographer living and working in London. Despite his professional successes however, Leke is shown to be someone who is wanting. He spends his nights partying, taking drugs, and engaging in sexual conquests, but none of these activities seem to bring him a true sense of fulfillment but rather serve as distractions of some kind.

    Things are made even more complex when it is revealed that Leke’s father, who has been ill for some time and from whom Leke is estranged has passed away. As a result, Leke has to return home to Senegal after a long absence in order to bury his father. The remainder of the film follows Leke as his return to his country of birth and his interactions with the people there stirs within him a reflection on who he is, what he wants, and the effect that people and place has on him.

    Writer and director Joseph A. Adesunloye crafts a compelling character journey for Leke without bogging down the film with unnecessary or heavy-handed exposition. Most of the nuances of Leke’s character are revealed by his interactions with the various characters and settings. For instance, all of Leke’s interactions in London are fleeting and pass by at an almost frenzied pace as he focuses on work and temporary personal enjoyment. This lets the audience know that Leke is searching for something even if he does not know it himself.

    When he arrives in Senegal and meets Badewa (Yrsa Daley-Ward) and Assamane (Alassane Sy) the film begins to slow as Leke begins to have an appreciation for Senegal and have thoughtful conversations with Badewa and Assamane about Sengalese culture and their views on it. Only when Leke journeys to his father’s village and spends time with  Monsieur Dabo (Wale Ojo) Badewa’s father his other daughter Esther ( again played by Yrsa Daley-Ward) and his son Ousmane (Damola Adelaja) does he truly begin to look inward appreciate the beauty of Sengalese culture on a personal level.

    Revealing the layers of the character in this fashion grounds the film in realism in that very rarely in life (unlike in some films) do people have realizations about themselves as a result of other people spelling things out for them or dramatic monologues. Rather, it is due to the experiences people have with the world and people around them as well as the choices they make along the way. This is something that Adesunloye captures really well in the film thanks to the interactions mentioned above. We see a different Leke at the start of the film than we do the end  Since the film emphasises taking the audience on a journey with its protagonist rather than spelling out every detail, it would be interesting to see what new themes, details make themselves known on repeat viewings. 

    Of course, character driven films are only as strong as the performances bringing the characters to life. Dudley O’Shaughnessy has a difficult job of portraying a character marked by a sense of emotional distance, especially early on in the film. Still, even if his actions and expressions are subtle, O’Shaughnessy always has a look in his eye that shows that Leke is a person that is always deep in thought, even if those thoughts are not centered on what is currently happening. As the character as a whole is fairly stoic, the moments in the film that do call for more overt emotional displays are very effective. The rest of the cast do a great job of portraying characters that are helping Leke on his journey, but still aso remain a sense of individuality.

    Yrsa Daley-Ward’s portrayal of Badewa in particular is also a standout. While she, like Leke, left the village and pursued her own life, she is shown to have always maintained a strong bond with her family that is still in the village. Meaning, her character serves as a combination of the two sides of Leke with which he finds himself in conflict, a photographer in London doing what he wishes, and a man returning home to bury his father. Wale Ojo is also strong as Monsieur Dabo, a character who recognizes that Leke needs to reconnect with his past and his place of birth, but at the same time is not aggressive or judgemental. Rather, he is patient and compassionate in guiding Leke.

    The cinematography by Rory Skeoch is another high point of the film. Skeoch clearly knows how to use angles, color, and contrast to not only create memorable visual frames but also put the viewer right into Leke’s headspace and journey.This especially true for the scenes set in Senegal, Skeoch makes sure to emphasize more than just the heat of a desert environment. The editing by Christopher C.F. Chow also helps visualize Leke’s growth. At the start of the film when Leke is just moving from one experience to the next without being truly engaged, the editing is fast and feels more like vignettes. Once he journeys to Senegal however, the editing becomes more spaced out as Leke becomes more contemplative. 

    If you want to see a character drama that allows for nuance, trusts the audience to figure things out for themselves, and has great performances and cinematography, check out this film if possible.

    The film is premiering on digital platforms on Feb 19th.

  • My Little Sister (Schwesterlein) – Review

    My Little Sister (Schwesterlein) – Review

    It’s not often we talk about Switzerland pulling an Oscar contender out of the bag. If you were to talk about films set in Switzerland, it’d be truly endless, but the last great Swiss film I can remember is My Life as a Courgette, so it was an exciting read when I read about another great Swiss film, My Little Sister. 

    Swiss duo Stéphanie Chuat and Véronique Reymond had undoubtedly pulled it out of the bag, and though it may feel strange to open a review shouting the word Oscar in the very first sentence, get fifteen minutes into My Little Sister and you’ll see why. It really is a contender for best International Film.

    A tender, domestic drama, My Little Sister is a beautifully honest and brutal portrayal of terminal illness. Uniquely it centres predominantly not on the patient, but on his sister Lisa (Nina Hoss). A gifted playwright from Berlin, she is immediately shown providing a bone marrow transfusion for her brother Sven (Lars Eidinger), who is a hugely talented and successful actor at one of Berlin’s premier theatres. Lisa is in limbo, taking a break from her writing to support her husband’s career at a prodigious school in Switzerland. Now throwing herself into her brother’s recover she is torn between a fractured marriage and his care.

    Her brother, Sven fights an emotional battle, determined to take himself back to the stage, her husband desperate to maintain his life in Switzerland and keep his family together. With no support from a mother with issues of her own, we see Lisa fight battles on every front, but she never ever stops. This is the tale of a modern woman, struggling to define herself and her career, whilst still trying to support the men in her life. Lisa is a warrior.

    The beauty in My Little Sister is found in the intimate portrayal of siblingship. It is raw and fractious, but ultimately unending and without question. Despite their differences they remain in this together as they battle treatments, their mother and those who doubt Sven’s stregnth and as he tries to inspire her to write again.

    Nina Hoss, Lars Eidinger and Jens Albinus give Oscar worthy performances individually, but together the cast’s performances and beyond words. Nina Hoss is able to convey countless emotions through one look as Lisa journeys through terminal illness, fractures families and fractured relationship and trying to keep it all together. Lars shows weakness and determination throughout and during the inevitable breakdown it is believable as Chuat and Raymond keep it realistic and never take it over the top or try to force a significant moment.

    The emotion is accentuated throughout with a classical score that perfectly signal the necessary emotions to the viewer as often few words are spoken, or in truth, needed. Though we don’t know much about their lives before this point, or their childhood, I don’t think this is lost. Subtle touches, glances and moments perfectly articulate how we reached the position we have. The relationship is shown through actions, not scripted for us on page.

    Chuat and Reymond prove the perfect team for this tale. In the hands of many others this could have been a stale boring tale, as really, very little happens and this is just normal life. There are few Hollywood drama moments, and for that I’m thankful. Instead this directorial team have piece together the drama of real life and created a truly magnificent piece of art that is apt for their artistic characters.

  • Bullied: Review

    Bullied: Review

    Bullied is a documentary which deals with the issues surrounding bullying, talking to the parents of the victims of bullying who have taken their own lives, plus taking into account the influences and reasons behind bullying.

    Directed by Thomas Keith, a lecturer in American philosophy and gender studies and who has many documentaries about culture and masculinity. Bullied shows in a frank, honest and sometimes shocking way the extent of which bullying can lead to suicide.

    However, Bullied is not shocking in a sensationalised way, instead it serves to show the viewers exactly what happens when people decide to dominate others physically, psychologically and emotionally.

    The documentary covers many different aspects of bullying and their victims which include those who are bullied because they’re gay or because of the colour of their skin. Exploring the different influences of bullying, the documentary also talks to many experts who highlight things such as media, politicians, sports and even reality TV as a potential cause of bullying. Even going as far as to explore the influence that Donald Trump had over his followers.

    Filmed in a somewhat televisual style, Bullied is full of interviews with many experts, parents and also with children who have been the victims of bullying. Often being recorded by their parents via their phones, the documentary shows the raw and immediate reactions to bullying and how it makes children feel which could be upsetting. However, again the intention is not to shock but to show its audience how it makes victims feel every day.

    However, although there is a primary focus on bullying amongst children and the adult effect of bullying is discussed, the documentary never really goes too far into the effects of bullying among adults. The oldest victim shown in the documentary is around 20 and his experiences were around high school time.

    Perhaps a wider variety of bullying shown in the workplace, among friends and other social situations might have given an even broader look at the subject. Bullied is still very powerful and sometimes moving though, as it shows that although things can look tough, there is a chance of hope.

  • Beginning: The BRWC Review

    Beginning: The BRWC Review

    Beginning: The BRWC Review. By Alif Majeed.

    I remember the first time I watched the movie Irreversible and getting stunned by the violent rape scene at the heart of it. What made it more disturbing is how the rapist was treating Monica Bellucci’s character in that underpass. Kicking and screaming and treating her like dirt and letting her know she is dirt too. 

    The treatment of rape in Beginning bought a deja vu for me after all these years that was just as shocking, partly because the director Déa Kulumbegashvili went the opposite direction and still make the scene just as impactful.

    Beginning as a movie can be a divisive and conflicting viewing experience as a movie. If the visuals that you can’t take your eyes off does not take you in, the actions or lack of it of the characters will draw you in enough to make you let your guard down and then jolts you upright gently with what is happening on screen. 

    The lengthy opening sequence inside a Jehovah’s church is an example of that movie’s strength. The static camera follows the scene for a long time in the meeting, starting with the believers slowly entering the church before the preacher begins the sermon. 

    As he gets to the end of the sermon, an unseen figure throws a Molotov cocktail into the church, setting off the principal characters and the movie on its journey. The apathy that the main protagonist Jana (Ia Sukhitashvili), shows makes it obvious that it does not bother her. Almost not wanting to get involved or have anything to do with the church, even if her husband is its leading pastor.

    Ia Sukhitashvili as Jana provides a much-needed believability to the character, which is essential considering everything she goes through and does in the movie. She is not always an easy character to root for, and initially, her lack of reaction to anything that happens around her gets frustrating. Her apathy goes through different stages throughout the movie, starting with her response to her husband’s church burning down to his casual attempts to brush asides her issues and doubts about continuing with his church. And this man does not see no problems with their relationship whatsoever and brushes her off.

    Her toxic relationship with her husband and his religion spills over to her relationship with everyone around her. The detective investigating the bombing certainly does not help with his bizarre line of questioning to her regarding the bombing.

    The character of the detective played by Kakha Kintsurashvili remains nameless, and that makes him more hideous in the manner in which the guy comes and goes into Jana’s life as he pleases. The actor Kakha playing the detective can also get away with not seeming sleazy as we see nary a closeup of this guy to know what he thinks. But he makes you hate him with the way he treats Ia.

    The use of long shots in the movie also seemed like a distraction in the Beginning. I almost thought the video got stuck a few times before smacking myself, realizing it was by design and necessary to show Ila’s state of mind. When the camera holds tight on her face with her eyes closed while she is resting on her day out at the park, it shows her most peaceful moment that she had in a long time.

    That very park acts as a catalyst for the scene that will be the film’s highlight. There are a lot of starting points for extended discussions in the movie. But none of them would surpass the film’s centerpiece, which is the rape in the same park with yet another disturbingly achingly long take. It is shocking and vile, purely because of the matter-of-fact way in which it begins and ends that catches you unaware. 

    There might be a tendency to discuss the similarities you can find in Beginning with Michael Haneke’s movies. But for me, it felt closer to Lars Von Trier, especially his depression trilogy and, specifically, Antichrist. But unlike that movie, the director makes no overt attempts to spell out the reason for her sadness and what is going on in her head, letting us try to figure things out in ours.

    Beginning gave me the same kind of jitters about secluded yet eerily beautiful parks, I got the creeps when thinking about pedestrian underpasses for a long time after watching Irreversible. It deserves to be seen and discussed for its twisted take on patriarchy and the oft handed way women gets brushed off by it when discussing their inner thoughts.