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  • Grey, Little Monsters, Gray: Weekly Round Up

    Grey, Little Monsters, Gray: Weekly Round Up

    Grey, Little Monsters, Gray: Weekly Round Up – I don’t know about you guys, but one of the main things I’ve missed during this period of lockdown is going to the cinema. Sure, I like to complain about the lack of options multiplexes tend to have these days, and the fact that most of our mainstream studios seem hellbent on funneling all their money into generic, over-the-top tentpole blockbusters and that the cinematic experience has, by and large, lost the fun of going to see those mid-budget movies that so many of us know and love, but the act of sitting in that darkened room with other movie-goers, ready to be whisked away to another world has always been one of my favorite things to do.

    And, while I do complain about the overabundance of big-budget action movies, I also have to be honest as say that nothing makes a cinema experience quite like spectacle, and while it’s certainly a shame that we get so few smaller movies released via the cinema model, at least there’s always Netflix, and their supply of more unusual, less mainstream offerings.

    Which brings me to this week’s first bit of movie news. Does anyone else find the entire concept of a Netflix blockbuster slightly odd? Because to me it seems like the home streaming service is the wrong place for big budget action spectacle of the kind we’d usually see up on the big screen with Bond or The Avengers.

    That doesn’t seem to bother the suits at Netflix though, as this week we learned that the online platform has plans for their very own big-budget action blockbuster with The Gray Man.

    The Irishman, Martin Scorsese’s gangster opus, cost around $100 million to make, and while that was certainly a lot of money for the streaming service to put in, it still had that feel of an old school, mid-budget movie that put more stock on character and theme than it did on action set-pieces. The Gray Man, though, is reported to cost double The Irishman, with a budget north of $200 million. The film is a spy-thriller, supposedly in the vein of James Bond, is apparently supposed to kickstart a Bondian franchise.

    The film will star Ryan Gosling and Chris Evans, and is adapted from the novel of the same name by Joe Russo and will be directed by Antony Russo, both of whom are best known for their Marvel Movies, including Captain America: The Winter Soldier, Avengers: Infinity War, and, of course, the record breaking Avengers: Endgame.

    The Gray Man will focus on the titular assassin, played by Gosling, who “is hunted down across the world by another agent (Chris Evans)”. This the technically the Russo’s second Netflix blockbuster, with the Chris Hemsworth starring Extraction, which was released in April of this year, having been written by Joe Russo. 

    I’m not against the idea of Netflix blockbusters, just to be clear, it’s just that the concept seems odd to me. It’s possible this film might also get a theatrical release, although Netflix have famously been reluctant to follow this model, and even the aforementioned The Irishman only had a very limited run.

    For those of you who read this roundup regularly, you’ll note that this is the second week in a row we’ve had Ryan Gosling related news, with last week’s top story being that The Invisible Man and Upgrade director, Leigh Whannell, will be helming Blumhouse’s upcoming The Wolf Man reboot, starring Mr Gosling.

    Well, we have more Classic Monster news for you this week too, as Universal continue to figure out what they want to do with their rolodex of iconic characters post-Dark Universe. Luckily for us horror fans out there, most of what they want to do seems to be allowing horror production company Blumhouse take on the projects, and this worked wonders with The Invisible Man earlier this year.

    But out and out horror doesn’t seem to be the only avenue the studio is taking, with Elizabeth Banks’ rumored The Invisible Woman being a comedy, as well as Paul Feig’s The Monster Squad style mashup Dark Army.

    Well, we can now add family-friendly content to the list of things Universal Studios are exploring with these characters, as this week we learned that the Toy Story 4 director will be helming a film called Little Monsters, which will reportedly feature various characters from the catalogue. Of course, this isn’t an especially new concept, what with The Monster Squad and Hotel Transylvania already treading that ground, but this will be the first time the studio that started it all will be getting in on the action.

    Our final story this week also relates to old icons being brought out of retirement, although this one is entirely rumor and nothing yet has been confirmed.

    As reported by Variety this week, actress Jennifer Grey is partnering with the studio Lionsgate to produce a “unique dance movie”. Quite what that means, I don’t know, but the rumor mill began to spin, since the film will apparently take place in the 1990s, so it doesn’t seem entirely outside the realms of possibility that this might very well turn out to be a sequel to the 80s smash hit Dirty Dancing.

    We do know that Grey will both star in and produce the film, so it could very well to out to be what people suspect it is. What the film will be about though, even if it does turn out to be a stealth sequel, is anyone’s guess. What is Baby up to 30 years on? Hopefully, we will find out soon in 2 Dance 2 Dirty. Or Dirty Dancing 2: Dancing Dirtier. Or Fate of the Dirty Dancers. Or… – Grey, Little Monsters, Gray: Weekly Round Up

  • How To Become A Film Student

    How To Become A Film Student

    How To Become A Film Student – If you are completely and finally decided on entering the film industry as your main sector of work – that is great. Now more than ever, the industry requires young minds with innovative ideas to influence and contribute to the social public discourse in a meaningful way. Still, there is something that stands in between you in your current state and you, a film making professional, and that something is film school.

    First and foremost, before you can professionally dive into film making, you will have to undergo education in a film school. Seeing as how the acceptance rate in all schools is not 100%, you have to prepare yourself for the admission process in order to secure yourself a future in the film industry.

    Additionally, successfully passing the admission process will fill you with determination and lift your spirits, giving you a big boost that will help you get through the initial phases of studying. But, how would anyone prepare for the film school admissions? We have singled some essential pieces of advice for anyone wanting to go to film school.

    Demonstrate Your Personality and Vision Clearly and Comprehensively

    If your artistic imagination is extremely developed, it is wonderful, but it is not enough to just have outstanding imagination. You must also be able to express your ideas clearly and concisely. Making films has a lot to do with creating narratives and compelling stories. 

    If you cannot properly deliver your thoughts in an understandable way to other people, then how can you build up a complex yet engaging story, even on paper? Study up on public speaking and improve your verbal communication  

    Show That You Are Prepared and Ready to Learn

    Many young and aspiring filmmakers make the mistake of going all-in on this field. They forget about all other subjects and give up studying them, thinking, “Why do I need to write my paper on Chemistry if I am going to be a filmmaker?”. Such a way of thinking could not be more misguided.

    Think of the issue like this – as a filmmaker, you will be showing life and its expressions through the visual medium, and the film theory is only the craft of filmmaking. You cannot really build a film idea solely on filming techniques. Of course, you need to be knowledgeable in a lot of topics and not just film theory.

    A lot of movies can be described as a commentary on parts of life: politics, society, love, death, etc. So, try to become a well-rounded person that knows a lot about life. This will be partially displayed through your school grades, as the admissions team will look at them to determine how much effort you put into studying, how open you are to it, and how easily can you learn new ideas and concepts.

    Let Your Uniqueness Shine Through

    In addition to learning about the outside world, to improve your chance of successfully passing the admission stage, you must cultivate your uniqueness and personality. Film making is very much a creative endeavor, and you will have to work on your creativity if you want to have any success in the field. 

    Luckily, creativity can be easily developed: there are tons of creativity-focused exercises you can do. Why do you need creativity during the admissions? Your personality is really what will set you apart from other candidates, so be sure to highlight your unique experiences and ideas.

    Prove That You Really Are Passionate about Film Making

    Do you know what the best way to show that you are passionate about an activity? The answer is pretty obvious – you start self-learning and doing the activity. If you gather your friends and create a small crew and cast for some short narrative videos, then the admission team will see that you are ready to dive into the film making even before you had any actual training. Also, if your shorts are any good, then you just guarantee yourself an entry into the film school.

    Furthermore, the only feasible way to get better at film making is simply to go out and try to shoot some shorts. There is no way around it – the more you practice, the better storyteller, scene composer, a director you will become.  Just be sure to pour your heart into your creative works because the admissions team can easily discern the honest and fake attempts at film making.

    Do Not Forget to Relax

    In the end, try not to stress too much about getting into film college. You are not expected to be a film making expert before you enter the school, so remember to kick back and do the thing you like the most – watch some films.

  • Peripheral: Review

    Peripheral: Review

    Bobbi Johnson (Hannah Arterton) is a writer, her debut novel lit a fire under the youth of the country and she’s become a beacon of hope, change and revolution in an increasingly disillusioned world.

    Her publisher, Jordan (Belinda Stewart-Wilson) is eager for Bobbi to get her started on her next novel, but Bobbi isn’t sure what to write next. She only knows that she wants her next book to be written with her voice and for it to say something that will be as influential as her first novel.

    Bobbi still writes on an old typewriter, she’s the kind of writer that believes that to find an authentic voice then she has to write in the same way that many have written before her. However, Jordan disagrees and after Bobbi realises that she has to do something to pay the bills, she reluctantly agrees to let Jordan send her the latest hi-tech editing software that will help her compose her next masterpiece.

    The trouble is that not only does Bobbi have to contend with a computer that’s intent on rewriting her work, but her junkie ex-boyfriend, Dylan (Elliot James Langridge) comes back into her life and she’s concerned that she may have a stalker.

    Peripheral is a surreal horror film directed by Paul Hyett and written by Dan Schaffer. Taking presumably a lot of influence from David Cronenberg, Peripheral is a horror that not only boasts bizarre imagery, but also has some not so subtle subtext running throughout and has moments of body horror that are impressively executed. Schaffer’s script not only talks about many of the aspects that consume a writer’s mind, but also deals with Bobbi’s own drug addiction and the things she does to keep her clean.

    As Bobbi starts to use the software to help her write, she finds herself getting lost, not only in the words she writes, but also in quite literal ways as she finds her body changing in ways that she wasn’t expecting. It’s up to the audience to decide whether the changes are all in her mind, a manifestation of her state of mind or perhaps something altogether more sinister and real.

    Peripheral is a multi-faceted story that will satisfy fans of the body horror subgenre, but also many writers may find themselves identifying with the existential crisis that Bobbi finds herself in that may be driving her mad.

  • First Cow: The BRWC Review

    First Cow: The BRWC Review

    While never recognized at the box office, writer/director Kelly Reichardt has developed into a beloved auteur through her unique transcendentalism lens. Assured offerings like Wendy and Lucy and Meek’s Cutoff display a refreshingly restrained approach, rendering thoughtful character dynamics while entrenching audiences in a unique environmental setting. Her latest big-screen feature First Cow steeps audiences into Oregon frontier life with winning results, crafting a masterful portrait that ranks as the year’s first noteworthy achievement.

    First Cow follows Cookie (John Margo), a soft-spoken loner who travels out west to achieve his dream of operating a bed and breakfast hotel. One day, he stumbles upon King-Lu (Orion Lee), an immigrant trying to make his way in America. The two form a bond that transforms them into business partners, stealing milk from a wealthy landowner’s cow to bake delectable goods for the locals.

    Few craftsmen are able to envelop their audience into a setting like Reichardt, wisely opting for a 4:3 aspect ratio to portray her grounded narrative. After an opening tracking shot that portrays the enormity of modern technology, Reichardt cleverly contrasts these frames with her low-key period setting, with intimate camerawork steeping itself in the finite details of the natural world. Every shot is immaculate in its delivery (big props to Christopher Blauvelt’s cinematography), conveying the lingering wonderment and danger present in frontier life while intimately portraying the character’s perspective. Whether it’s through William Tyler’s quaint score or first-rate production design, Reichardt establishes an immersive landscape that breathes with life in a way most period pieces can’t equal.

    At the center of First Cow’s uniquely-fitted setting is two of the year’s most accomplished performances. John Magaro has established himself as a beloved character actor (his work in Overlord, Liberal Arts, and Not Fade Away are some of my favorites), but here he elevates to impressive new heights. As Cookie, Magaro unearths a quiet sensitivity that renders the character’s persona with profound depth, displaying a loner with an earnest yearning for connection in a dog-eat-dog world. His introspective dynamic is well-matched by King-Lu’s charming delivery, with Orion Lee bringing the character’s idealistic spirit to life with cunning intelligence and emotional vulnerability. Cookie and King-Lu’s bond is never painted with overly-broad strokes, allowing the kindred spirits to grow naturally onscreen through restrained conversation. It’s poignant to watch these two gradually develop into the sole supportive staple in each other’s lives, with the actor conveying a dynamic that feels uniquely lived-in.

    First Cow seems deceptively simple at first glance, but its distinctly Americana approach unearths the respective allures and dangers of the “American Dream”. It’s a joyous experience to watch Cookie and King-Lu find success in their barren landscape, with Cookie finally being granted the opportunity to convert his aspirations into reality (those oily cakes looked scrumptious). Reichardt’s well-established optimism quickly fades as the narrative enters its third act, with the duo’s business enterprise becoming a hopeless endeavor once rich elites begin to foil their plan. Reichardt’s deft narrative offers a timeless commentary on America’s capitalist system, which restricts those at the bottom of the food chain from escaping their doomed reality while the rich profit off their failures.

    Kelly Reichardt’s First Cow is a masterful achievement, with the writer/director unearthing an enriching experience from Cookie and King-Lu’s complex journey for prosperity.

  • Elodie: Review

    Elodie: Review

    By Nasu Nguyen.

    Following an embarrassing public performance, actress and playwright Sabrina Stone is led into the world of her own writing by Elodie, one of her fictional characters. With fiction now a reality, Sabrina must navigate the dark and moody landscape she created, save her characters from the problems she gave them, and come to terms with the person she wants to be. 

    This is an interesting idea to explore. The tortured artist enamored with creating their best work but internally fixated by how the audience would perceive it, leading to a psychological spiral of self-doubt. Unfortunately, Elodie fails to develop its themes any deeper than a 12th grader who publicly got rejected by their crush when asking them out to prom during the annual high school talent show. 

    This was written, edited and directed by Daniel Ziegler, who was inspired to make this story based on his personal experience with his first feature film, making Elodie a meta piece of his work. He has a clear vision and is very talented for a young filmmaker, which is why it brings me ambivalence to say that this film disappointed me on several aspects that a bigger budget couldn’t have rectified. 

    First and foremost, Elodie suffers from feeling too much like a student film. There is a caveat when it comes to criticizing student films because I know that they are not up to the standards of a typical Hollywood movie. Usually the production crew is way smaller, the video shots look way cheaper and everyone involved simply doesn’t have enough professional experience. These are crucial elements that deflate the entire film. There are technical choices made in this film that would never be experimented in a more professional film. There is usually a common trope in student films where students would try to make strange and unconventional techniques in a film and claim that they were intentional because it was “experimental” and “avant garde”, when in reality they just wanted to show off the style without serving a purpose. Ziegler would sometimes choose to break the 180-degree rule, record a chunk of the film in ADR, or have jarring quick whips that just takes me out of experience.

    It does not help that most of the actors have the emotional range of a wet cardboard. Nearly all of the characters sound like they’re reading their lines on auto-pilot. It’s clear that some of these actors are more inexperienced as they could not deliver any sense of feeling to their characters, rendering them hollow and listless. As a result, it becomes difficult to find any attachment. Faith Decker has the best performance as Sabrina, who does an acceptable job of capturing her character’s vulnerability, but even then she has room for improvement. 

    Most of the film takes place in this world that Sabrina created, which can be exciting to examine especially from a surrealist perspective. However, Sabrina’s play in this film is so insipid and dull that it doesn’t achieve the adventure it’s going for. The entire point is that the play was not supposed to be good but there could have been more creative ways to incorporate the visual embodiment of the play that connects to the growth of our main playwright. I felt that Ziegler could have achieved much more exploration in his themes of failure and when he does try to tackle those ideas, it gets too on-the-nose. The entire plot of Sabrina’s play revolves around this MacGuffin that feels tonally off with the noir setting, and when reality intertwines with fantasy, characters take implausible risks that elicits cheap shock value. 

    What the film does successfully is create a sense of style. There were a few scenes that utilized neon lighting to create a very atmospheric aesthetic as if it was straight out of a neo-noir. Then as we enter the world that Sabrina created, it turns into a classic noir thriller with a black and white filter. Logan Fetters serves as the director of photography and his ability to craft these gorgeous shots of each character was a huge highlight in the film. Fetters understands how to work the camera and create many artistic visuals. Though the world of the play isn’t as special as I imagined, there were many scenes that striked a certain mood. 

    The main problem with Elodie is the writing. The conversations between characters felt very awkward and I never cared for any of them. Even though a lot of attention is given to the character of Elodie, she was nothing more than a photogenic figure. Ziegler had a lot of potential to build on the relationship between Sabrina and the rest of the characters in the film. Instead, he only touches the surface and settles for cheesy melodrama only accentuated by an overbearing piano score. Once again, I like the idea that Elodie tries to present; internalizing one’s insecurities of failing to appease audiences with their creative work. This film doesn’t successfully handle this idea with much gravitas and by the time we get to the end, it never feels earned because there was too little development. Ziegler has an interesting premise to work with, it just needed a few more drafts to really fledge out the story and characters. Nevertheless, he still has great potential as a filmmaker. 

    Elodie showcases some impressive aesthetical compositions but is ultimately bogged down by an underwritten story whose themes fail to come into fruition, along with weak performances that lack the energy to galvanize the narrative.