Onward reaches Number 1 on the Official Film Chart for the first time.
After five months and four stints at its Number 2 peak,the Disney Pixar animated adventure lifts one place to the top of the Official Film Chart. The animated fantasy adventure stars Tom Holland and Chris Pratt as brother elves Ian and Barley Lightfoot, who set off on a quest to reunite with their late father for one day.
Onward pushes four-week chart topper Scoob! to Number 2, as Frozen 2 holds at 3. Star Wars: Revenge Of The Sith enters for the first time at Number 4 thanks to its limited edition Steelbook release.
Papillon starring Rami Malek and Charlie Hunnam drops one place to Number 5, The Greatest Showman holds at Number 6 and record-breaking former chart topper Trolls World Tour drops to Number 7.
Blumhouse horror You Should Have Left, starring Kevin Bacon and Amanda Seyfried, debuts at Number 8 this week. In the film a former banker (Bacon) and his actress wife (Seyfried) book a holiday in the remote Welsh countryside with their daughter (Avery Essex). The perfect retreat turns into a terrible nightmare when banker Theo loses his grasp on reality, and suspects a sinister force is within the house.
Finally, glittering Elton John biopic Rocketman zooms up eight places to Number 9, and Sonic The Hedgehog is knocked to Number 10.
On this week’s Official Film Chart catch a preview of Michael Jordan documentary One Man And His Shoes, the story of the phenomenon of Air Jordan sneakers showing their social, cultural and racial significance and how ground-breaking marketing strategies created a multi-billion-dollar business. Available to Download & Keep from October 26.
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. Make sure to keep an eye out for all of these great titles over the next few months.
The Official Film Chart Top 10 – 21st October 2020
“I find that good genre films so often have the most intense complicated characters that are the most fun to take on”
Ahead of the UK premiere of Jill Gevarguzian’s THE STYLIST, lead actress Najarra Townsend talks about being drawn to dark characters, loving film festivals and swapping LA for the English countryside
In THE STYLIST, you play Claire, a murderous hairstylist who doesn’t just cut hair! It’s a very restrained yet chillingly emotive performance. What research did you do in order to understand the mind of someone who is, essentially, a serial killer?
The majority of my research for Claire was actually building her backstory. I started with our Writer/Director Jill Gervargizian’s backstory notes on the character and then filled in all the blanks. I always approach a role by creating a life history for them. Memories are vital for me to have for every character. Jill also suggested I read “House of Psychotic Women” by Kier-La Janisse, which is about the exploration of female neurosis in horror and exploitation films.
I actually did only a small bit of research on real female serial killers. I looked a few up, read about them and their lives, including the psychology behind why people think they did what they did, but in the end I felt the most valuable research for me was creating a full life for Claire and understanding why she does what she does.
The film is based on director Jill Gevaragizian’s short feature, which played at FrightFest in 2016. How different was your approach to playing Claire then?
Originally I had given Claire a few select memories from her life as well as fleshing out her closest relationships (like with her mom). When it came to making the feature I was able to look back on my notes and take things I thought still applied whilst elaborating on the rest of her life, which really made her a much fuller character. It’s a dream come true as an actor to be able to take this person that I found so fascinating from the short and be able to really sink my teeth into her for the feature.
You became first known to horror fans, and the FrightFest audience, for playing Samantha in the compelling zombie body horror CONTRACTED. The film garnered some notoriety for its sexual slant on the victimology of rape. What was it like playing such a demanding role?
Contracted was an extremely fun experience. It was my first time working with such intense practical effects. I would be in the makeup chair for hours before our shoot day started, having veins painted on my whole body, prosthetics applied and contacts lenses put in. It was demanding emotionally but also physically and really helped me grow as an actor. I trusted myself and my choices a lot more after that role.
Another challenging character you took on was the title role in the dark road movie WOLF MOTHER (2016), which has been described as the ‘bloodied non-horror film ever made’. Would you say you’re drawn to playing complex and dark characters?
Absolutely, I’ve always been attracted to characters that have a lot of emotional baggage and have gone through life events unlike my own. It’s always enjoyable researching things about a character’s life that makes you view things in new ways. The main goal with any character I play is to not judge their actions but try to understand and justify them – which can be tricky when playing a character that has done things that you would never do and think are wrong.
You first came to public attention playing sassy teenager Rebecca in the award-winning ME AND YOU AND EVERYONE YOU KNOW. The LA Weekly named your portrayal of Rebecca as one of the ‘Top 10 Great Small Performances’. Looking back, how do you think that film shaped your career?
I will always be so grateful I got to be a part of that film as I really loved the movie. It opened up the indie world to me. I was really too young to understand the success the film had and what that could have meant for my career – I was just happy to be working! – but it definitely did open some doors for me. I also think it may have put me down more of an indie film road. “Me and You…” gave me my first taste of film festivals because I went to Sundance with the film. The electricity in the air and all the movie lovers in one place discussing films was fantastic to me. I was hooked.
You made your first appearance in a horror movie at 10 years old, co-starring in Amir Mann’s MENACE. Did this spark an interest in the genre?
It definitely did. Seeing special effects brought to life really changed how I viewed horror movies. I was a bit scared of them before that but after seeing behind the curtain and experiencing the intensity that comes with shooting a horror film, I had a new appreciation and fascination for them.
Can we look forward to seeing you in any genre movies in the future?
Definitely! I have three feature films currently in post-production, all of which are in the horror genre. It’s usually the characters I’m drawn to which makes me choose the films I want to do. I find that good genre films so often have the most intense complicated characters that are the most fun to take on. Plus the horror community is so much fun to be a part of. I will always try to find roles in the genre.
You were born and raised in California but now reside in the UK. What drew you away from your roots?
Yes, I’ve lived in Los Angeles most of my life but have always loved traveling. I shot a TV show in Qatar for five months in 2017 and met my now husband on the show! He’s British and after I fell in love with him I visited England and fell in love with the country as well. So it was an easy decision for me when we decided to get married and move to the UK. I now live in the English countryside and it feels like a fairytale all the time. I adore it here.
How have you been dealing with life under COVID?
I have to say for me personally the first few months of lockdown I found very enjoyable and I know that makes me extremely lucky. I adore where I live and getting the chance to just enjoy my home every day and spend extra time with my husband was a dream. It also felt like a very creative time because I used a lot of my time to read and create music and relax. Of course, the longer it’s gone on the more antsy I am about getting back to work but overall I’ve been very thankful for my experience this year.
Finally, what’s next?
Times are still so uncertain. I’m attached to various projects but am not sure when or if they’ll still be happening. Plus due to the current travel restrictions I’ve been focusing more on things I can do from home, mainly dedicating my time to my band, ARCHWAY, and developing a few projects to produce. I’m enjoying this slower paced year but really looking forward to what next year brings.
THE STYLIST is showing online on Sunday 25 October, 11.45am in the Horror Channel screen, as part of the Arrow Video FrightFest October Digital event.
A 1984 Period Piece in Present Day: Review. By John Battiston.
Before watching Sean Glass’s latest short film, A 1984 Period Piece in Present Day, I had never thought it possible to judge a film by, of all things, its title card — or, in this case, cards. But it’s difficult to read the text that opens this 18-minute short and not accurately predict the film’s disaffecting sense of grandiosity.
Scribbled on translucent paper in what Glass, judging by his social media photos, has fashioned as a sort of trademark scrawl, the first bit of text essentially communicates the filmmaker’s conviction that titles themselves are redundant and ought to be done away with, before reluctantly cutting to the title itself (which notes this film comprises merely a first act). The discerning, open-minded viewer will do their best to suppress the urge to immediately dismiss Glass as the irritating sort of self-proclaimed “artist” you’d find aimlessly lounging around a campus radio station, who thinks subversion for subversion’s sake is meritorious regardless of purpose or effect.
Those who manage to press past this distasteful introduction are thankfully rewarded for doing so, at least from a cinematic standpoint. A black screen punctuated with an unseen character’s coughs gives way to a darkened, middle-American landscape in which an eerie roadside motel glows fluorescently, a single car rumbling to a stop in front as late-night travelers buzz past in the background. This shot alone, which runs for a solid minute or so, is a testament to Glass’s behind-the-camera abilities despite an ostensibly constrained budget. He, cinematographer James Siewert, and especially sound designers Jon Eckhaus and Allistair Johnson establish a dynamic setting with subtle, painterly touches that deserve to be experienced with a high-quality screen and set of speakers.
But after the painfully plodding introduction of the two unnamed guests (played by Glass and Isabel Sandoval) and creepy motel clerk (Carlos Dengler), one can’t help but feel Glass is leaning on his craftsmanship to distract from his film’s lack of substance. His and Sandoval’s characters take up a decent chunk of screen time simply walking to their room — which, sure, allows for a neat tracking shot through the low-light exterior haze, but is horribly plodding all the same.
From there, we watch restlessly as the characters glacially explore their new hotel room, receive a non sequitur-laced visit from the clerk, and eventually switch on the television to a showing of Creepshow 2. (Is that 1987 movie’s placement in a 1984-set story a simple oversight? Or, as the title suggests, is time in this world nebulous and simply not worth our meditation? By this point, few will care enough to ponder further.)
Glass’s character, dressed in an oversized Beastie Boys tee, pontificates about his childhood obsession with a particular segment of Creepshow 2 and how it resulted in a lasting sexual fantasy, though as he and Sandoval watch the movie, it’s revealed that the source of his romantic ideations is more problematic than he remembered.
Still, as Glass seems to be telling us during the final few minutes before an abrupt cut-to-black, adult conscience has little power over the inexpungible desires of youth, no matter how long they might have had to deteriorate. It’s an idea worthy of interrogation, to be sure, and perhaps a second act of A 1984 Period Piece in Present Day intends to explore it further.
Still, this short, as it currently stands, doesn’t do nearly enough with its limited runtime to either substantially flesh out its themes or engage viewers enough to bring them back for a follow-up, if or when it arrives. For a filmmaker with such a brief resume, Glass has an impressive grasp of mise en scène and a distinct auteurial voice, but will only achieve substantial impact as a storyteller if he can mesh his aesthetic talents with a compelling narrative and leave his narcissistic pretense at the door.
PLEASE NOTE: THE LAST PARAGRAPH WILL BE DISCUSSING THE ENDING, SO THERE WILL BE SPOILERS THERE!
Pixar’s most recent animated feature ‘Onward’ was released in UK cinemas at a strange time. Me and my family were about to go into shielding due to two of us being in high risk groups for COVID-19, which meant that I never got a chance to see this Pixar film in cinema. However, after hearing that the film went to Disney+ in the USA in March, it was only a matter of time before it came here too.
‘Onward’ imagines a world in which mythical creatures lived on Earth and evolved technologically, much like humans. After young elf Ian receives a wizard staff and a resurrection spell from his late Father, he attempts to use this to bring him back for one day. However, it goes wrong leading to him and his older brother, Barley, to go on a quest to retrieve another phoenix gem to bring their father back to life fully for one day.
While it has flaws, this is easily one of my favourite Pixar films. The concept is an aspect that I immediately like; while I wasn’t a huge fan of the Netflix film ‘Bright’, I loved the concept for that too, and I couldn’t help but think of that film whilst watching this. However, the execution of this idea is done better. The lead characters Ian and Barley, (voiced by Chris Pratt and Tom Holland – Guardians of the Galaxy, Spiderman Homecoming/Far From Home) are likable and interesting. They both have their own reasons for wanting to reunite with their Father: Ian has never known him, while Barley feels guilty for not spending enough time with him. They’re also opposites: Barley’s confident but always gets into trouble, while Ian is a shy and unconfident teenager, who’s scared of his own shadow. Yet, the dynamic between them works extremely well. While Barley may get himself into trouble, he loves his little brother and will always look out for him. As the older sibling, I related the most to Barley, and some of his memories resonated with me personally, which was unexpected. Their dialogue also worked perfectly; it helped that Chris Pratt and Tom Holland have previously collaborated in the past. They’ve had time to get to know each other, so the dialogue comes off as natural. The lesson I took away from this is to never compare yourself to other people, because you will never find out who you really are. Ian wants to be like his Dad but, in doing so, he’s not finding out what he’s really capable of until he goes on the road trip with Barley. It’s a wonderful and important lesson and one that I was taught at a young age.
‘Onward’ isn’t all sentimental and emotional however; it has its comedic moments too, which mainly come from the world that has been adapted to modern times, and the Father, whom is only a pair of jeans and shoes due to the spell not finishing. This particular character is an example of great comedic timing without the use of dialogue. Throughout the film, the Father does not utter a single word, but he brings comic relief to the film via his movements. It’s simple yet fantastic. However, my favourite scene would have to be in The Manticore Tavern, which was once a bar belonging to a fearsome Manticore monster (comprised of a Lion, Dragon and Scorpion), and has now become a Chuck. E. Cheese-style restaurant. The Manticore is also hilarious and brings into question whether some of the creatures are happy with the direction the world has gotten to.
However, I do have a couple of issues with the film, mainly with the ending. If you have not seen ‘Onward’, then I would recommend it. The animation is not Pixar’s best; it’s very reminiscent of ‘The Good Dinosaur’. The animation looks nice, but it’s not ground-breaking. However, the lead characters and concept are what makes this film enjoyable.
These last two paragraphs will be discussing the ending and other aspects that I would deem as spoilers for ‘Onward’.
The first point is more of an annoyance than an actual complaint. The film begins with a narration, presumably told by the Father, however this narration is unnecessary, due to the fact that this speech is repeated 10-15 minutes later by Ian. The speech is revealed to be a letter written by their Father, which contains the Wizard staff and resurrection spell. But this is more of an annoyance than a complaint, like previously mentioned.
The main aspect that I was unsure about was the ending. It is told that, if you retrieve another gem to finish the resurrection spell, a curse is unleashed that can only be destroyed by a specific sword. Barley unleashes the curse, and Ian eventually defeats the curse. However, Barley chooses to stay behind and finish the spell, while Ian chooses to defeat the curse, which is a distance away. This leads to Ian not meeting his Father because he gets stuck under the rubble that the curse was made from. I was unsure of this because Ian should’ve stayed to finish the spell, as he was the one who had never met his Father before, and Barley had had the chance to spend time with him. However, at the same time, Barley felt guilty because he backed out of saying goodbye to him at the hospital due to fear. Like previously mentioned, both brothers had good reasons for wanting to see him again, however, I think Ian should not have told Barley to stay behind; Ian should’ve stayed behind instead to finally his parent for the first time.
Call Me Brother is a coming-of-age comedy about incest, puberty and teenage sexual awakening. Lisa and Tony are a brother and sister who grew up separately because of their divorced parents and when they are reunited for the summer as teenagers, they grow closer than ever before. This is an independent film written by, and staring, comedian/actress Christina Parrish. David Howe makes his full-length feature directorial debut.
Beyond the uncomfortable theme of prepubescent incest, the idea of childhood trauma is also explored. We gradually learn that the siblings’ parents’ had a volatile relationship that resulted in a hateful divorce, and the film suggests that perhaps Lisa and Tony’s confused understanding of love is a consequence of this. This endeavour to investigate such a complex and raw topic is commendable. Unfortunately, it feels as though this film is too wrapped up in giving shock-value and dirty jokes to allow it’s more poignant message to come to the forefront.
Parrish – who in real life is an adult woman – is completely believable as a sheltered 16 year old girl, on the younger side of puberty. SNL’s Andrew Dismukes also convincingly portrays the awkwardness of a teenage boy. Together their brother and sister chemistry makes for the most childlike and unsexy romantic leads on the planet. There are times where their innocent playfulness is endearing to watch, until it is ruined by a sexually explicit act.
Despite the low budget of this indie film, the production value is good. The cinematography and editing is all to a professional standard. Moreover, the colourful design palette mixed with the trashy set is a juxtaposition that suits the overall theme of childlike love and cheap sex.
Lastly, the dialogue is incredibly awkward and lame but perhaps on purpose to reflect the uncomfortable experience of being a teenager. However, this is extremely painful and unenjoyable to listen to for an hour and a half.
https://vimeo.com/228341275
In all, Call Me Brother successfully captures the painful struggle of puberty and teenage sexuality. It’s also brave in its venture to unpick the complexity of incest and the repercussions of dysfunctional parental relationships. But there are few with the stomach to truly enjoy exploring these concepts for the length of a feature film. So, despite some of its admirable intentions, Call Me Brother is thoroughly unenjoyable, at times unbearable, and generally hard to watch. Also, unless you’re into crude humour, this film is not laugh-out-loud comedy. Consider yourself warned.
