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  • Words On Bathroom Walls: Review

    Words On Bathroom Walls: Review

    Words On Bathroom Walls: Review. By Nick Boyd.

    “Words on Bathroom Walls” is a very affecting movie about a teen’s struggle with mental illness. Adam (played by a likeable Charlie Plummer) suffers from schizophrenia, a serious mental disorder that can include hallucinations, delusions, and extremely disordered thinking and behavior.  Early on in the film, after a traumatic incident in school, Adam has to transfer schools midway through his senior year.

    The film depicts the hallucinations that Adam sees (a bodyguard, a wingman guy named Joaquin, and a positive influence hippie sort named Rebecca).  Adam worries about what might happen if his new schoolmates were to find out about his mental illness, especially a girl whom he has a crush on named Maya (played with confidence by Taylor Russell).  

    Adam’s parents enroll him in an experimental drug treatment process to treat his schizophrenia, which he has reservations about due to the side effects.  In addition to the physical annoyances, one that particularly worries him is his sense of taste seems to be weakened, which for an aspiring chef is no small matter.  Adam’s passion for cooking is what truly brings him joy – being able to cook delicious meals that his mom really savors and more importantly, that quiet the voices in his head.  Depicting a young man’s passion with such detail is a rare thing in teen pictures.

    Adam first sees Maya in of all places a bathroom before he has even started his first day at his new school.  He observes Maya and another student furtively exchanging school material and is asked to keep quiet on the matter.  When they meet again in the lunchroom, Adam asks Maya if she would be willing to tutor him, which she agrees to.  As the two of them get to know each other, a romance develops but not in a schmaltzy Hollywood kind of way.  Maya calls out Adam on his shy, awkward demeanor and he in turn asks why she always bluntly speaks her mind.  Their chemistry and attraction to each other is believable and convincing.  In one powerful and moving scene, Maya sticks up for Adam when he gets made fun of running into old schoolmates.

    While Adam makes a concerted effort to not let others know about his schizophrenia, Maya also has a secret that she desperately tries to keep hidden.  When Adam does find out, his reaction is understanding and caring.  This subplot of the movie involving Maya is handled in a sensitive, straight on way, allowing the viewer to see another layer.

    While the film has a lot going for it, there were some shortcomings that I thought brought it down a bit.  Adam’s hallucinations are a distraction and take the viewer out of the plot temporarily.  Also, allowing Adam to speak at his school’s graduation after he has been expelled seemed far-fetched.  

    The movie has a focus not often seen in films; it takes us into the mind of someone dealing with a serious mental illness.  As Adam notes, when someone has cancer, everyone rallies and is empathetic, but where is the same support for someone with a disease of the mind such as schizophrenia?  The performances by both Plummer and Russell are quite good, as each is willing to show the vulnerabilities within themselves.  The film’s insights and honesty resonate and make this a rewarding watch.

  • Piss Off, I Love You: Review

    Piss Off, I Love You: Review

    Sandy (Jessie McCormack) also lovingly known as ‘Murica is a TV host looking for a new job. She gets a call from her friend, Gina (Gaylor Howe) about a job that she would be perfect for and so she soon sets on her way for London. So, Sandy is soon doing Vox pops for a new TV show which lovingly makes fun of the Brits, but not without a few pot shots thrown Sandy’s way for good measure.

    Piss Off, I Love You is a new series written, directed by and starring Jessie McCormack which judging by its opening episode is a funny, insightful and all too knowing swipe at the relationship between the UK and America.

    Starting off with some of the interviews with typical members of the British public, Sandy finds that although there are some issues of our own, there is more than enough material for the British to slap right back in her face.

    However, it’s not just a gentle ribbing back and forth between the countries, as Gina’s relationship with her husband, Hugh (Robert Wilfort) shows that there’s even contention between family members as the dreaded B-word (Brexit) rears its ugly head.

    Although from the first episode it seems that as much of a love/hate relationship between the US and the UK as there is between members of the Great British public. Piss Off, I Love You shows that as bad as our situations may be, we’re all in this together.

    Sandy’s interviews with various members of the public are well acted and may be a bit stereotypical on the side of what the Americans may think of us, but that may well be the point. Safe to say though that if they weren’t so wittily written and that there was a decision to talk to real members of the public, the responses may be a lot worse.

    Piss Off, I Love You captures quite accurately just how we all feel about each other, whether from the US to the UK and even between ourselves. Sit back, laugh and just try not to think about how bad things could really get.

  • The Wolf Of Snow Hollow: The BRWC Review

    The Wolf Of Snow Hollow: The BRWC Review

    The “Wolf of Snow Hollow” is the second feature from writer, director, and actor Jim Cummings. In similar fashion to his debut film “Thunder Road” (2018) Cummings plays essentially the same character; a fast-talking, nightmarish divorced cop trying to solve a mystery. This time around he’s a former alcoholic searching for what or who is killing women in the sleepy town of Snow Hollow, Utah.

    Set against a snow dusted backdrop beautifully captured by DP Natalie Kingston we’re immediately catapulted into John Marshall’s (Cumming’s) bizarre mind.There’s a lot going on in this film, not only is there a killer on the loose, but there’s multiple intersecting storylines. Including John’s rocky relationship with his ailing father (the late Robert Forester) and his toxic parenting style with his 17-year-old daughter Jenna (Chloe East.)

    Although Cummings is the lead, he interestingly shares the screen quite a bit with fellow female officer Julia Robson (Riki Lindhome) who, in true “Fargo” (1996) fashion, was very well-suited at solving the crime. The two played off each other quite well, a unique pairing I wouldn’t expect to work but it did. Cummings’ acting style is interesting; his good looks would lead you to believe he would only be capable of showing surface emotions, but there’s a lot bubbling underneath the handsome exterior and he really breaks the pretty boy stereotype.

    His character was equally tragic and funny and reminded me of an aggressive, alcoholic version of Deputy Dewey (David Arquette) from “Scream” (1996) so much so that I kept wishing It were set in the mid-90’s.Throughout the piece Cummings pokes fun at toxic masculinity. There were some incredibly funny one-liners “have women had to put up with this shit since the Middle Ages?” Psst, yes we have.

    I appreciated the film’s very forward thinking in terms of the way it played with gender stereotypes, with the focus here on something that used to be incredibly taboo; a woman in the police force.There was good build and suspense throughout that really made me wonder if the killer was human or wolf, but also made me wish that it were the film’s main focus.

    Whereas the opening scene started off as a traditional horror film, which hottie is going to die first, the scenes thereafter sort of melded into something I didn’t expect and didn’t really follow any sort of formula. It was almost like there were two different plots. John Marshall as a struggling alcoholic suffering from childhood trauma, and John Marshall as a funny, jerky, and somewhat inept cop trying to solve a serious crime.

    I don’t know if the confusion came just from the editing, or if this was an actual intended mix of styles and sub-plots. Either way it was a bit all over the place. Generally speaking, editing was definitely not the invisible art here.

    It was too aggressive to the point where it became jarring, the film was also sadly over scored to the point where I lost what was going on in multiple scenes. There were just so many cuts and so much music that the plot got a bit lost. 

    This is not to say I didn’t enjoy this film, I did; and everything it said and was trying to say. It was a little Coen Brothers, a little “Scream” (1996,) and a little “Split” (2016) all mixed into one, and I can almost see this being made into a TV series that follows a different murder each episode. Maybe for that version the wolf comes out at each full moon.

  • The Devil All The Time: The BRWC Review

    The Devil All The Time: The BRWC Review

    Novel to film adaptations are a relentless breed in Hollywood, but all literary transitions are not built equally. Some films enhance their material with a newfound voice and visceral presentation, while others sink under the weight of their storied reputation. Netflix’s latest high-profile endeavor The Devil All the Time takes a grand home run swing with its jam-packed narrative. While the film doesn’t always make contact, it’s dour descent into religion’s self-serving attitudes renders an earnest mess of a movie.

    There’s a lot of threads to untangle here, almost too many to make up a simple plot description. Adapted from Donald Ray Pollock’s novel (he also serves as the story’s narrator), the film follows a few interconnected communities in the wake of World War II. Told through different generations, the central narrative follows Arvin (Tom Holland), who after being orphaned by his parents (played by Haley Bennett and Bill Skarsgard), looks to right the wrongs of the town’s sinister preacher Preston Teagardin (Robert Pattinson).

    That doesn’t include a couple of traveling serial killers (played by Jason Clarke and Riley Keough), a corrupt cop (Sebastian Stan), and a mother/daughter duo entrenched by the allures of religion (Mia Wasikowska and Eliza Scanlan). Writer/director Antonio Campos bites off a massive amount of material, ambitiously trying to spin several narrative conceits simultaneously. Not all of these threads work as well as they should, with some cannibalizing the others during the film’s two and a half-hour window. The plotlines following Clarke, Keough, and Stan particularly underwhelm, with their abbreviated dynamics lacking the dimension to enhance the narrative.

    Campos’ effort may be rigid in its imperfect form, but his assured ability shines throughout this engrossing experience. From jump street, the Christine director sets a finite sense of mood that permeates into each arch, delving down into the grimy mucky-muck of this dog-eat-dog world. His craftsmanship keeps things compelling even when the material isn’t up to snuff, seamlessly blending the multi-generational timeline while exhibiting filmmaking prowess with his visual sensibility (DOP Lol Crawley shoots the film with a sweaty intimacy that feels tailor-made for the material).

    The Devil All the Time also registers pertinent ruminations on religion’s powerful grasp upon its subjects. Campos’ conveys the material’s deft observations on religion’s multi-faceted nature, with the platform often serving as a supportive crux for lonely souls or an altruistic veneer for despicable characters to latch onto. The dramatic meat of the material gives its respective stars a lot to work with, as Tom Holland delivers one of his finest performances to date as the steely-eyed Arvin. Bill Skarsgaard, Eliza Scanlan, and Robert Pattinson also offer assured performances, with Pattinson continuing to demonstrate his unhinged dedication to even the hammiest of roles.

    There’s a lot to appreciate about The Devil All the Time, yet the film rarely lets viewers unpack its conceits without some handholding. Pollock’s narration is often overutilized, explaining dynamics with a clumsy obviousness that lessens the impact. I understand the desire to keep the novel’s descriptive voice intact, but this choice often comes at a cost of the film’s moody sensibility.

    While the film’s transition to the screen comes with some blemishes, The Devil All the Time works as a bleak character study packed with searing moments.

  • Official Film Chart Celebrates 100 Shows

    Official Film Chart Celebrates 100 Shows

    This week, as the Official Film Chart celebrates its 100th show, it’s been announced that the chart can now also be found onFindAnyFilm.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.

    In further news, The Official Charts Company has also announced the launch of the world’s first monthly digital rental chart, showcasing the films audiences are renting from video on demand services alongside the Official Film Chart’s view of what audiences are buying to keep.

    Monthly Digital Film Rental Chart

    The Official Charts Company has announced the launch of a brand new digital rental chart and data service for the British video sector. The new service will provide the first Video-On-Demand (VOD) chart service in the world, based on data from digital retailers including AmazonAppleRakutenSky Store and Talk Talk TV, with the service supported by the Entertainment Retailers Association (ERA) in tandem with UK video trade body the British Association for Screen Entertainment (BASE). 

    The launch of the inaugural chart follows a period of accelerated growth in rental activity during the COVID-19 lockdown, with data for the first half of 2020 showing an average of 600,000 rentals per week before lockdown, rising to more than 1m rentals a week after lockdown was implemented. During the two weeks leading up to lockdown, pandemic-themed thriller Contagion (2011) was the most rented title in the UK.

    More than 21 million rental transactions were made in the first six months of 2020. Joker starring Joaquin Phoenix was the most popular title with over 600,000 rental transactions up to June 30, leading its closest competition Jumanji: The Next Level by 150,000 rentals. Rian Johnson’s Knives Out lands at Number 3 in the half-year chart.

    The monthly Official Film Rental Chart will be published in the middle of each month, beginning in October.

    The Official Film Rental Chart – January-June 2020

    TitleLabel
    1JOKERWARNER HOME VIDEO
    2JUMANJI – THE NEXT LEVELSONY PICTURES HE
    3KNIVES OUTLIONSGATE
    41917ENTERTAINMENT ONE
    5FROZEN 2WALT DISNEY
    6CONTAGIONWARNER HOME VIDEO
    7ANGEL HAS FALLENLIONSGATE
    8ONCE UPON A TIME IN HOLLYWOODSONY PICTURES HE
    9LE MANS ’6620TH CENTURY FOX HE
    10GEMINI MANPARAMOUNT

    © Official Charts Company 2020 

    Official Film Chart Rundown

    Following its release on DVD & Blu-ray, Scoob! lands a third week at Number 1 on the Official Film Chart. Outselling the rest of the Top 5 combined, the film finishes the week with 72% of its sales made up of physical copies.

    At Number 2, Trolls World Tour rebounds one place to land just ahead of this week’s highest new entry at Number 3, animated romantic fantasy film Weathering With You. The film is set in Japan during an exceptionally rainy period, and tells the story of a young boy who runs away to Tokyo and meets a girl who appears to be able to control the weather.

    Bad Boys for Life holds on at Number 4 as 1917 flies six places to Number 5. At Number six, The Secret: Dare To Dream enters on digital downloads only. Starring Katie Holmes, the film is based on the bestselling book by Rhonda Byrne. Miranda (Holmes), a young widow and mother of three trying to make ends meet, meets a mysterious man who reignites the family’s spirit – but he holds a secret that will change everything for Miranda’s young family.

    Onward rises six places to Number 7, A Star Is Born rebounds up seven places to land at 8, and Sonic The Hedgehog drops two to Number 9. Finally, Spider-Man: Far From Home drops five places to Number 10.

    On this week’s online show, take a look at Amanda Seyfried & Kevin Bacon in psychological horror You Should Have Left, which is available to buy across disc and digital from October 12 – view all retailers and pre-order on FindAnyFilm.com.

    The Official Film Chart Top 10 – 7th October 2020

    LWPosTitleLabel
    11SCOOBWARNER HOME VIDEO
    32TROLLS WORLD TOURDREAMWORKS ANIMATION
    NEW3WEATHERING WITH YOUANIME
    44BAD BOYS FOR LIFESONY PICTURES HE
    1151917ENTERTAINMENT ONE
    NEW6THE SECRET – DARE TO DREAMLIONSGATE
    137ONWARDWALT DISNEY
    158A STAR IS BORNWARNER HOME VIDEO
    79SONIC THE HEDGEHOGPARAMOUNT
    510SPIDER-MAN – FAR FROM HOMESONY PICTURES HE

    © Official Charts Company 2020

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