Blog

Cuties Edition: Bits & Pieces

The Black Emperor of Broadway is the story of the first African-American leading man on Broadway, Charles Gilpin. Gilpin was cast by playwright, Eugene O’Neill to be the lead in his play “The Emperor Jones” in 1920, a time when “blackface” was the norm on stage. O’Neill and Gilpin clashed numerous times over the cultural representation of Gilpin’s Emperor Jones, and while O’Neill’s name became celebrated, Gilpin’s was tragically lost to history.

Retired war veteran Jim Reed (Berenger) heads out on a hunting trip in the Allagash backcountry of Maine but when an accident finds him face-to-face with the corpse of a dead woman and a duffle bag packed with stolen money he soon finds himself in a web of deceit and murder. Fighting both extreme cold and a gang of bloodthirsty bank robbers, Reed must put all of his military training into action in an ice-cold cat-and-mouse thriller that’s packed with explosive action and shocking twists.

Eureka Entertainment to release MOTHRA, Ishirō Honda’s stunningly inventive monster adventure-fantasy, on home video for the first time in the UK. Available on Blu-ray from 16 November 2020 as part of The Masters of Cinema Series in a Limited Edition set of only 3000 copies, featuring a Hardbound Case, 60-page Perfect Bound Collector’s Book & Reversible Poster.

Set against the timeline of the blockbuster film Jurassic World, Jurassic World Camp Cretaceous follows a group of six teenagers trapped at a new adventure camp on the opposite side of Isla Nublar. When the events of the film unfold and dinosaurs are unleashed across the island, each kid realizes their very survival rests on the shoulders of themselves and their fellow campers. Unable to reach the outside world, our six teens will go from strangers to friends to family as they band together to survive the dinosaurs and uncover hidden secrets so deep they threaten the world itself.

A camp, creepy and gloriously entertaining slasher, Crystal Eyes is set in the cutthroat world of fashion modelling, where people are being picked off one by one by a masked killer, on the eve of a photoshoot to commemorate a dead supermodel.

https://vimeo.com/442981924

https://vimeo.com/454424536/0a7440dee0

Examining the ongoing reverberations of the 2016 U.S. presidential election from a women’s perspective, Resisterhood is a compelling and impactful documentary urging us all to use our voice and our vote to shape the future of our country … and never has it been more urgent than today.

Apple released the official trailer for “Tehran,” a new espionage thriller from “Fauda” writer Moshe Zonder. The eight-episode series will premiere globally with the first three episodes on Friday, September 25 on Apple TV+, followed by new episodes weekly, every Friday.

A young newlywed arrives at her husband’s imposing family estate on a windswept English coast and finds herself battling the shadow of his first wife Rebecca, whose legacy lives on in the house long after her death.

After the success of Erik Nelson’s previous archival feature The Cold Blue the National Archives opened their vaults and allowed access they had previously denied to over 700 reels of this footage, covering the harrowing expanse of the final months of the War in the Pacific. Very little of this material has ever been screened, and none of it has ever been digitally restored, frame by frame, to 4K. In addition, another treasure was uncovered and restored — astonishing new footage captured by legendary director John Ford. In essence, a “lost film” by Ford, it depicts the ruins of the Pacific Fleet, and the terrible aftermath of the surprise attack on Pearl Harbor.

From Ryan Murphy and Ian Brennan, RATCHED is a suspenseful drama series that tells the origin story of asylum nurse Mildred Ratched. In 1947, Mildred arrives in Northern California to seek employment at a leading psychiatric hospital where new and unsettling experiments have begun on the human mind. On a clandestine mission, Mildred presents herself as the perfect image of what a dedicated nurse should be, but the wheels are always turning and as she begins to infiltrate the mental health care system and those within it, Mildred’s stylish exterior belies a growing darkness that has long been smoldering within, revealing that true monsters are made, not born.

Featuring a cast of over fifty eccentric characters with special appearances by J Mascis (Dinosaur Jr), Jonah Ray, (“Mystery Science Theater 3000”), Frank Agnew (The Adolescents), Casey Royer (D.I.), and punk icon Pleasant Gehman, plus featuring music from the likes of Echolust, Band Aparte and The Electric West, I’ll Be Around turns it up to 11 this September.

Woolf Women is a true account of Jenny and her 4 friends who accept a challenge to go to Sumela – an ancient monastery built in AD386. It clings precariously to a vertical rock face with a terrifying sheer drop of 1,280 metres and is located deep in the Pontic mountains of Turkey.

Age of The Living Dead stars Nicola Posener (Mythica), Eve Mauro (The Oath), Bill Oberst Jr (Criminal Minds), Deji LaRay (Bosch), William McNamara (Copycat), Peter Barrett (White Collar Hooligan), Peter Woodward (The Patriot), Simon Phillips (No Easy Days), Ken Bressers (The Nights Before Christmas), Michael Ray (Stealing Chaplin) and Julia Farino (Veep).

Central City Media is pleased to announce that it will release highly anticipated British comedy Say Your Prayers on demand in the UK from 28^th September.

It’s been 10 years since the creation of the Great Truce, an elaborate joint-species surveillance system designed and monitored by cats and dogs to keep the peace when conflicts arise. But when a tech-savvy villain hacks into wireless networks to use frequencies only heard by cats and dogs, he manipulates them into conflict, and the worldwide battle between cats and dogs is BACK ON. Now, a team of inexperienced and untested agents will have to use their old-school animal instincts to restore order and peace between cats and dogs everywhere.

10th September 2020
Stars And Strife: Review

By Jack Hawkins.

Of the five incendiary years since Donald Trump announced his run for president, 2020 may well be the most bilious and divisive of them all. Indeed, it could be the nadir of 21^st century American political discourse. Attempts to see the big picture, to understand the fractures among class, creed and race, will often drag one through what historian Niall Ferguson dubs the ‘political hate machine’, better known as social networks and the mainstream media.

Happily, Stars and Strife transcends the noise of your Twitter feed, examining America’s hate and division, what’s caused it and how the nation can move forward. Written and directed by economist David Smick, it is a film that favours even-handed optimism rather than cynical doomsaying; it manages to showcase America’s issues while suggesting that its best years might just be ahead of it.

The documentary opens with rapid-fire imagery and talking heads, including former secretary of state James Baker, businessman Ken Langone, economist Alice Rivkin, and former secretary of defence Leon Panetta, who observes a concerning shift in congress, “It has never been so divided. Everybody felt part of a process. That’s missing now. No one wants to go into no man’s land and get shot in the back.”

However, Smick notes how the creases of bipartisanship are ironed when congress works on bills that benefit large multinationals. This is symptomatic of corporate capitalism – or corporatism – which is briefly explained in an animation that compares how different ideologies – communism, socialism, fascism, corporatism and ‘main street capitalism’ – approach milking two cows. It’s layman stuff, no doubt, but the takeaway is that corporate capitalism is turgid with esoteric bureaucracy, or perhaps even ‘rigged’.

This contention, which has spurred populist movements such as Occupy Wall Street, segues into discussions of the media and communication, especially the algorithms of social media. On Twitter, for example, using emotive words – fight, destroy, attack, violence, murder – will increase the probability of it being retweeted by 20%, creating rabbit holes of knee-jerk hot takes. Media executive Shelby Coffey notes how, “The village crank can now connect with 30,000 around the country or around the world.”

This is division by design. There is no room for nuance, no room for the centre. And this is what Stars and Strife is about – the centre. It is a plea for compromise and collaboration, to find the common ground and effect change as opposed to a constant state of polarization. Few quotes articulate this ambition clearer than a speech from Senator John F. Kennedy in 1958, “Let us not seek the Republican answer, or the Democratic answer, but the right answer.”

Smick cites the First Step Act of 2018 as a rare example of congress finding that right answer, but his films has a mixed outlook on the future. Some echo Warren Buffet’s belief that America’s best days are ahead, while others note the old fallen empires as an ominous precedent. Either way, Stars and Strife is a compelling 97 minutes with a message that’s as cautionary as it is optimistic.

10th September 2020
Tenet: Another Review

Christopher Nolan continues to achieve an exceedingly rare feat in Hollywood: directing big-budget films while possessing creative carte blanche. His cerebral auteurist vision has generated several critical and financial darlings, with efforts like Inception, The Dark Knight, and Dunkirk reaching a rare level of success. Nolan’s prosperous run hasn’t been without some passionate detractors, with many leveling fair critiques about his lack of emotionality and aggravating style choices (his booming use of ADR often masks essential dialogue). His latest project Tenet showcases the director pushing his trademarks to their limits, crafting a bombastic blockbuster that thrills, yet leaves something to be desired.

Describing Tenet through a simple plot synopsis is not an easy feat, but I shall try my best. The film follows the protagonist (John David Washington), a special forces operative who has been recruited to join a mysterious spy operation. Working alongside Neil (Robert Pattinson), the two look to take down Andrei Sator (Kenneth Branagh), a Russian arms dealer harboring a world-threatening device and holding his wife Kat (Elizabeth Debicki) captive. All isn’t quite as it seems though, with the protagonist delving into a mysterious realm of time inversion to save the world outside of real-time.

Tenet is a fascinating beast, as it complicates itself with an endless loop of mind-bending physics while grounding itself in the familiar trappings of espionage thrillers (the numerous James Bond comparisons are spot-on). The plotting’s mechanical nature will frustrate many, but I found the complexities to be endearing in their over-baked nature. For Nolan, this is his means of enhancing the spy formula, conveying the intrigue and deceit baked into every narrative beat through the ephemeral lens of time inversion. Like a great showman, he keeps the audience on their toes while slowly piecing together the narrative puzzle.

His showmanship is also on full display with the film’s visceral craftsmanship. Nolan always directs with a certain grandiosity, a presentation choice that feels tailor-made for the film’s globe-trotting narrative (Hoyte Van Hoytema’s cinematographer is opulence to the extreme). Every detail is impeccably constructed, with the slick suits, wide-ranging locals, and hard-hitting setpieces all delivered with the director’s typical panache. The time inversion elements add an inventive wrinkle to the action, showcasing a whirlwind of movement that leaves audiences in awe (several scenes had me in disbelief as to how Nolan pulled them off, especially due to the lack of CGI). I’d be remised to forget Ludwig Goransson’s pulsating techno score, which accents these frames with a liveliness that’s rarely seen in tentpole blockbusters. It’s all a true feat in craftsmanship, with Nolan conducting a masterful concoction of technical elements for audiences to embrace.

Tenet is as striking as a big-screen spectacle can get, but the issues arise once audiences dig under the surface exterior. John David Washington and Robert Pattinson certainly enhance their roles with a daft charm and suave confidence, yet none of the character work here feels very inspired. Nolan’s screenplay places the crux of the emotional core on Elizabeth Debicki’s character Kat, who works to regain her strength and independence after enduring an abusive relationship. While noble in its intent, Kat ends up being far too inert and simplistic to render an intimate connection with audiences, continuing Nolan’s struggles to write nuanced female characters. It also feels contradictory to the film’s largely cold and procedural nature. I wish the script went all-in with its steely delivery, which could have served as an apt reflection of spy work’s deceitful nature (Michael Mann’s cold delivery and verbose style in Miami Vice and Heat represent their distinct lines of work perfectly).

I also think Tenet missed the boat on having deeper thematic ruminations. There’s a vague depiction of our Post-911 landscape, as impending threats linger under the surface while governments work vehemently to prevent the unpredictable. Certainly an interesting concept on paper, yet it’s an idea that’s rarely conveyed with depth onscreen, lacking the deft substance of Nolan’s previous endeavors. For a movie that packs several mind-blowing frames and an engaging premise, it’s a shame that Tenet lands with a certain emptiness that restricts it from joining his iconic pantheon.

Tenet is more of a base single for Christopher Nolan, although even his weakest efforts still provide an exhilarating jolt of blockbuster craftmanship.

10th September 2020
Mulan: Live-Action Remake – Disney+ Talk

Mulan: Live-Action Remake – Disney+ Talk

The Disney business plan of remaking their classic animated films continue with ‘Mulan’. Last week, I reviewed the original animated classic and, while it has some issues, I enjoyed it.

Despite not liking a lot of the live-action remakes, ‘Mulan’ was one that I was excited for, especially since Disney were aiming to tell the original story, instead of doing a direct remake of the 1998 classic. And, after seeing ‘Mulan’, I can express my opinions.

‘Mulan’, once again, tells the story of the titular character who takes her father’s place in the Imperial Army, disguising herself as a male soldier and ultimately becoming a heroine.

The live-action remake of ‘Mulan’ was, ultimately, fine. The film could be split into two parts, in terms of quality: the first 30 minutes, and the last 90 minutes. The first 30 minutes of the film explores Mulan’s childhood up until she runs away from home to join the army. This first act was filled with blatant exposition dialogue, wooden acting and uneven pacing. However, once Mulan joins the Imperial Army, the film feels like it was directed by a different person, as the pacing, acting and action is tighter and more evenly paced. The last 90 minutes were definitely more exciting and enjoyable.

The main cast all do a good job as the characters that they play. Yifei Liu, who plays the titular character, fits comfortably into the role and carries the film well. Her interaction with the rest of the main cast also works as she grows into a confident woman. The general look of the film, i.e.: locations and costumes, are gorgeous and are my favourite aspect of the film. It’s mostly a colourful and vibrant film, until the Army goes to war, where bright colours are swapped with the murky greys and browns, symbolising the grisly nature of war.

There are a few references to the original animated film. For example, some lyrics from ‘A Girl Worth Fighting For’ is used as dialogue from one soldier, as he explains his perfect woman (‘I don’t care what she looks like/I just care what she cooks like’), and the score uses the song ‘Reflection’ when Mulan succeeds in training. None of these references felt forced and it was a joy to hear them being used naturally in the film.

However, this film does have its problems too. When Disney first announced this remake, they said that Mushu the Dragon would not appear in the film, a decision that I agreed with. However, it’s been replaced by a Phoenix who supposedly watches over, and protects, Mulan. I say supposedly because it only appears once in the film, making it a pointless character. I understand the symbolism of the character being a protective guardian but, if that’s the case, then its appearances should be more regular. The main enemy has also been replaced. Instead of the war being against The Huns, it’s against the Rorian Army and a Witch. This was a huge disappointment to see as, like previously mentioned, Disney were supposedly aiming to tell the original story of Mulan. However, this is not necessarily the case and that is a shame to see.

Another issue was the cinematography. For the most part, it’s fantastic and cinematic, making each scene stand out. However, the film does have a lot of slow-motion shots, which don’t work and make the pacing uneven. They will also appear at random moments usually without reason. If these were taken out, they would make no difference to the film whatsoever. As well as this, some shots during the opening battle scenes are strange. The camera will, at times, follow the perspective of the one being attacked, meaning the shot will flip round, appear upside down or sideways. It’s an interesting technique, but it isn’t consistent, making those scenes a horrible experience. If you want to see a film that does this camera technique perfectly, I recommend seeing 2018’s ‘Upgrade’.

Overall, ‘Mulan’ is fine. The last 90 minutes is better than the first 30 minutes, however it could’ve done with another edit and script rewrite. If you’ve never seen the original animated film, you’d probably enjoy this more than someone who has seen the original. While it’s not a bad film, Disney should’ve stuck to their word and done a telling of the original story, which this was not.

Mulan: Live-Action Remake – Disney+ Talk

9th September 2020
Learning From Our Elders Through Movies

Learning From Our Elders Through Movies. By Frankie Wallace.

People often state, “We can always learn from our elders,” but many who say this don’t give us sufficient reason why. In fact, we often treat our elders with kid gloves, sometimes for good reason — as recent events are teaching us.

Where we may fail to see the strengths in our seniors and the lessons they have to teach us, there are movies to fill that gap, movies that have tried and succeeded in showing us why we should respect our elders and what we can learn from them. Let’s examine a few of these movies, the lessons we can learn from them, and why it’s important to learn these lessons from our elders, now more than ever.

Hip Hop-eration

Who said that when you get older, your joints start freezing up, you can no longer walk, and you certainly can no longer dance? Just tell that to Hip Hop-eration. At their age, you’d think, “they’re more likely to break a hip than to bust a move.”

Hip Hop-eration is a documentary about the world’s oldest dance troupe. Based out of New Zealand and founded by Billie Jordan, the troupe comprises 22 members from 68-96 years old. Among their crew, several are deaf, one member is blind, and four use specialized equipment due to mobility issues. Additionally, none of them had ever danced before joining the group.

In the documentary, with the help of New Zealand’s KRASH and DZIAH dance troupes and Street Dance New Zealand, Hip Hop-eration goes from beginning dancers to appearing in Las Vegas at the World Hip Hop Dance Championship. Even though the members of Hip-Hop-eration are old in body and they know that a fall could cause severe injury, the troupe is young at heart. What they can’t do physically is made up for by their youthful enthusiasm and willingness to try something new.

Silent Pioneers

Today, when most people think of the LGBTQ+ community, they think of members who are marching in Pride Parades, or perhaps a young person they know who may identify with the community. What most people don’t think about are the elderly gays and lesbians who fought for their rights and helped shape many of the rights and privileges that the LGBTQ+ community enjoys today.

Silent Pioneers is a documentary you can access through the Internet Archive. The film “explores age-related issues of older lesbians and gay men, revealing their experiences, struggles, hardships, and personal triumphs.” You see the lives of eight gay men and women during a period when their sexuality was a forbidden topic. Silent Pioneers looks into the lives of a gay couple who had been together for over 50 years, a German-Jewish refugee who hid his sexuality during the Holocaust, and a grandmother who revealed her sexuality to her grandchildren.

Silent Pioneers dispels many stereotypes and myths regarding homosexuality, including the stereotype that homosexuals cannot have long, involved relationships. The documentary also shows how this community’s emergence from the shadows has affected the people presented in the documentary and the LGBTQ+ community as a whole.

While Silent Pioneers shows how far the LGBTQ+community has come, it also helps bring to light how much farther it needs to go, particularly when it comes to access to healthcare. More than half of gays, lesbians, and bisexuals and a full 70% of transgender persons have been subject to bias when accessing healthcare. What makes it even harder for them are the specific health-care-related concerns of the LGBTQ+ community including HIV-related matters and mental health issues.

Coco

Cocois a Disney movie that shows Hispanic culture in an unprecedented way. It also shows us the importance of connecting with our elders and ancestors while we still can.

In Coco, the main character, Miguel, rebels against his family’s generations-old ban on music. It was banned by his great-grandmother after her husband, Hector, left the family in pursuit of a musical career. Unbeknownst to his great-grandmother, Imelda, Hector was killed as he tried to return home and was cursed to live in the Land of the Dead. The only way he can be saved from his fate is for someone to remember him, and there is only one living person who remembers him, his daughter, Coco. However, she is elderly and has problems remembering much, including the names of her family members.

Towards the end of the movie, Miguel plays a song for Coco, one that her father had sung to her to remember him by. It sparks her memory of her father. Coco then presents Miguel with the second half of a picture that had been torn in two, a picture containing Hector, at which point, Hector’s mother accepts Miguel and music back into the family and Hector is saved.

The YouTube channel, Sideways, examines this aforementioned scene with Coco, and how it aligns with many of newfound benefits of music therapy for dementia patients. It has also been proven that music therapy “may help lessen agitation or aggression in some people with dementia.”

The Takeaway

We don’t live forever. This is a fact of life. A grandparent with dementia like Coco’s may eventually need hospice care and extensive medical coverage, but her legacy will always be with her family. Films like these teach us that while our elders may shuffle off this mortal coil, their knowledge and wisdom can be passed down through multiple generations, even outside the family.

9th September 2020