film reviews, interviews, features | BRWC

Category: REVIEWS

Here is where you would find our film reviews on BRWC.  We look at on trailers, shorts, indies and mainstream.  We love movies!

  • Destructors: Review

    Destructors: Review

    This short film follows a band of young teens in England, searching for ways to get by and ways to kill time, wandering the countryside. One day, group member Trevor (Billy Ward) is kicked out of a store, presumably after an attempted theft. As Trevor returns to the group empty-handed, an older and sickly man (portrayed by Hamilton Wilson, named Old Misery in credits) stops by and offers some food to the gang.

    After Old Misery leaves, it is discovered that the youngest member of the group, Spence (Archie Deeks) stole his wallet. Feeling guilt over victimizing an older person, Trevor returns the wallet to him at his home and sits with him for a cup of tea. Later that evening, Trevor and company return to the home, their intentions unclear. Once there, they discover things about Old Misery and themselves.

    Director/writer/editor Otis Tree does a solid job of giving us a glimpse into a “day in the life” of these people. There are a lot of scenes consisting of the group talking and kidding around with each other as they get through the day. There is also depth to these characters however. There are various moments in the film when one member is off by themselves, and it is plain to see on their faces that there is an undercurrent of sadness about where life and time has currently placed them.

    The conversation between Old Misery and Trevor over tea is filled with meditations on pain and loss. This layered character depth is accomplished in no small part through great subtle acting from the entire cast, where the emotional subtext is portrayed only through facial expressions and line deliveries. The handheld cinematography by James Gallagher allows these notions to be presented clearly visually. In addition, it gives the audience the sense that they themselves are a part of this group as the camera tracks the group from location to location or studies the characters in their quiet moments as a silent observer would do.

    There are areas in which the film runs into the  confines of the short film format. While Tree does a good job of utilizing voice-over and layered dialogue to introduce themes such as the inevitability of the passing of time, how suffering and pain can be cyclical and affect generations, and that actions have consequences, the 13 minute runtime restricts the extent to which any of these ideas can become fully realized. 

    If one is looking for a film that features naturalistic performances, and an ability to get the audience thinking without providing obvious or easy answers, check out this film if given the chance.    

  • Queer Japan: Review

    Queer Japan: Review

    Documentary “Queer Japan” from filmmaker Graham Kolbiens follows the life of LGBTQ artists, activists, and everyday people living in metro areas of Japan. As an outsider, when I pictured Japan, Tokyo in particular, I have always envisioned a westernized society. Neon lights, anime, and cutting edge fashion; maybe I was ignorant but in my mind I had imagined something far more accepting and open than the reality that Japanese LGBTQ people are actually living in.

    Although this piece was pretty graphic in many ways, and dealt with a bit of an underbelly of Japanese LGBTQ culture; it simultaneously explores important topics and serves as a bit of a history lesson for those of us who are uninformed of how Japanese politics play a part in the everyday lives of people in the LGBTQ community. 

    This edgy aspect of the film may be squeamish for some; but, for me, as a person who has many LGBTQ friends and has seen and experienced the culture, it wasn’t really too scandalous. Though this comment should serve as a forewarning for anyone who may be more sensitive to a piece that at times veers into borderline pornographic. 

    This was the major part that threw me off about this film. There was, simply put, a lot of discomfort to digest. There were intersecting storylines that veered off into many different places; and none of the people we follow overlap, making the entire film pretty non linear.

    On the one hand we have these artists, one scene in particular shows a drag queen with gay couples behind her fondling each other’s private parts in full view, and on the other we have a male to female transgender political and activist, Aya Kamikawa, who fought hard for equality. So much so that she literally stood out on the streets with a blow horn to make her cause known and become an elected official.

    She was able to aid in the passing of a law where transgender Japanese people are legally recognized for their gender, with the shocking aspect of the equality law being they are required to sterilize themselves. This was another thing that floored me about Japan and Japanese law, and I again have to stress that on the very positive side this film taught me a lot. On the negative side, this is also where I feel like the film failed for me, the political activism story line I really enjoyed but there wasn’t enough of it, and I really felt it would have been a wonderful centerpiece.

    It was informative, well thought out, and showed an important political figure in Japan. I feel like if the film were to be about an alternative LGBTQ subculture it should have been that, or if it were to be about political activists it should have been about that. I would have preferred it as a political film, but I could have respected it as either. There was simply a more commercialized and digestible way to present this to an audience, and I think it missed the mark there. Regardless, this film is informative and I have not seen a documentary similar to this.

    It’s a good piece to watch to gather information and learn more about a different culture you would likely never learn about on your own unless you were immersed in it personally. It could have done with being more focused and each storyline more realized, but it served an ultimate purpose and will undoubtedly raise some much needed awareness towards the daily struggles of LGBTQ people living in Japan.

  • Nine Days: Review

    Nine Days: Review

    Nine Days: Review. By Liam Trump.

    Looking into what we are before we’re born, Nine Days shows life before life. Souls have to make their way through tedious interviews in order to be given the gift of life. Most movies show consciousness after death, but Nine Days goes a different route. This keeps it from falling into many of the same clichés that movies covering similar subject matter often do. 

    This very original story follows Will (Winston Duke) as he must deal with the death of the only soul that still remembers him, Amanda. He’s the only character who’s actually been alive and this differentiates him from the rest of the characters; he’s seen struggles of life first hand. Together, both Will and Kyo (Benedict Wong) must conduct several interviews across nine days in order to find a suitable replacement for Amanda. 

    The opening immediately shows the intimate bond that exists between Will and Amanda. It’s framed in a similar fashion to a documentary; with it emulating found-footage. This scene is vital in setting up the unique bond that Will and Amanda have. 

    Interviewees are then brought in to replace Amanda. They’re given multiple what-if questions that reveal traits about their personalities, showing Will and Kyo what type of people they’ll be if they’re given the opportunity of life. All but one of the interviewees show up on time. The last one to show up is Emma. She’s quite different than the rest of them which brings out parts of Will’s past that he has pushed down in this emotionally stunted world in which he resides. 

    The world in which Nine Days is set in is brilliantly written. This is a world where its inhabitants live vicariously through other people. They seemingly do nothing but what and report on what the people in the real world are doing. Subtlety is given to many aspects of this world. Nothing is overly explained except for the interview process. This is a smart move since focusing on the interview process makes it so the character writing can shine through the already impressive worldbuilding. 

    Edson Oda’s screenplay tackles many complex themes in a way that’s accessible to any type of audience. It’s clear to see why it won the Waldo Salt Screenwriting Award at this year’s Sundance Film Festival. This is by far one of the most beautiful films of 2020. 

  • The Intergalactic Adventures Of Max Cloud: Review

    The Intergalactic Adventures Of Max Cloud: Review

    In an age where low-rent actioners are often pushed aside for bombastic blockbusters, Scott Akins’ endurance as a strong-willed action star has been a welcomed development. The Debt Collector star has pushed out a steady output of agreeable offerings, with Adkins’ steady presence often carrying middling material over the finish line. His latest lo-fi effort The Intergalactic Adventures of Max Cloud warmly delves into 80’s gamer culture with mostly winning results.

    Max Cloud follows Sarah (Isabella Allen) a skilled gamer who suddenly gets transported into the world of a new science fiction game. To escape this eternal purgatory, Sarah relies on her good friend Cowboy (Franz Drameh) and game’s heroic protagonist Max Cloud (Scott Akins) to defeat the nefarious Revengor (John Hannah).

    Writer/director Martin Owen has been searching for his footing as a genre filmmaker (Killers Anonymous was a well-intended mixed bag). Thankfully, Max Cloud extenuates his strengths and passions as a director. Owen adeptly dials into the 80’s bright synths and colors, evoking the period’s innate charms without overplaying his hand. The inspired visceral choices aid the film’s cheeky action setpieces, with Owen often finding a comfortable middle ground between well-coordinated stunts and entertaining action camp. Unlike other genre vehicles that tirelessly try (and fail) to evoke a finite cultural subsection, Max Cloud displays genuine knowledge and adoration for its unique time period (the melding of video game-esque frames with Cloud’s live-action setting is engaging and often quite clever).

    The cast is well-calibrated with the film’s tonal frequency. Scott Adkins has a blast as the self-serious Max Cloud, often finding ways to subvert the action star pastiche with his deft lampooning hand. His over-the-top bravado rings with an earnest cheesiness that registers most of the film’s best laughs. Isabella Allen and Franz Drameh infuse an infectious charisma into their archetype roles, morphing seemingly cliched characters into likable lived in personas. Supporting players Tommy Flanagan, John Hannah, and the future James Bond Lashana Lynch also have a blast with their colorful roles.

    The Intergalactic Adventures of Max Cloud boasts a scrappy energy that’s often endearing, yet there are still glaring inconsistencies present throughout. Owen’s screenplay serviceably tells a light-hearted narrative, but his effort does little to build an experience with substantive impact. The characters are relatively one-dimensional while the story beats play out with a casual obviousness. Max Cloud’s humor streak also lacks consistency, overplaying gags till they become tiresome to endure.

    It may play into genre formula, but Max Cloud offers an agreeable diversion through its creative video game lens.

    The Intergalactic Adventures of Max Cloud is now available on VOD platforms, and in the UK on digital, DVD & Blu-ray from 18th January 2021.

  • Minari: The BRWC Review

    Minari: The BRWC Review

    Minari: The BRWC Review. By Liam Trump.

    Ever since its initial release at Sundance, people can’t stop talking about Lee Isaac Chung’s Minari. Since Sundance, Minari won awards at nearly every film festival it was shown at. The H\hype stems from a number of reasons. This film is distributed by A24, it won the Audience Award and the Grand Jury Prize at Sundance, and the ensemble cast got nothing but praise. It’s clear to see that Minari is one of the most prominent films of 2020.

    The story of Minari mainly follows a Korean family as they must adapt to their new living conditions after moving to Arkansas. Each member of the family has distinct character traits, creating poignant, dramatic beats throughout the film. The father, Jacob played by Steven Yeun has a burning desire to live the American dream at all costs. The mother, Monica played by Yeri Han doesn’t have the same ambitions as her husband, wanting to live a simple, normal life. Both of their children now have to get used to the new living conditions, a mobile home in the middle of a field. 

    Later on, Monica’s mother comes to join the family, bring her own Korean culture which strongly clashes with Jacob and Monica’s son, David. David hasn’t been to Korea and is confused with Soonja’s mannerisms. The fact that both David and Soonja were born and experienced two different countries is the main driving force of their relationship. 

    Going back to Jacob, he wants to have a garden where he can gown Korean vegetables and capitalize off of that market. He’s told at the beginning of the film that Reagon’s new policies would help with these aspirations. He even has help from Will Patton’s character, Paul, who gives advice to Jacob and is even the first guest that the Yi family hosts. Everything seems to be working out for Jacob: he’s bonding with his son, has found a source of free water, and a store that will sell his food. 

    The first time the Yi family go to church is when it can be clearly seen how different they are from all the other families. The pastor asks everyone who’s new to stand up and, in one of the best-framed shots in the movie, it’s just the Yi family that stood up. During this sequence, David meets an American boy around his own age, Johnnie. Johnnie, more than anything, is fascinated by David. They form a type of friendship with ending up with David sleeping over at Johnnie’s house. While the sleepover isn’t necessarily integral to the part, it does expose David to the nature of another American family. Johnnie’s Dad pretty much leaves them to their own devices, asking Johnnie not to tell his mother of this. Before he leaves; however, he tells David of the Yi family’s house previous owner and how he killed himself since the land offered him no success. 

    While everything was going well for Jacob, his success runs out. The well where he bounded with his son and was the foundation of his garden ran dry. His solution to this is to simply take from the water supply that they’re actually paying for in order for his produce to grow. Monica notices this immediately and see’s first hand how this idea of the American dream has tampered with Jacob’s priorities, creating an obsession in the process. 

    Filmmaking-wise, Minari excels in nearly every aspect. The acting from the aforementioned Steven Yeun is truly amazing. Basically, the entire cast does a terrific job in delivering dialogue and emotion. The color palette is quite simple on the surface, but it brilliantly captures the scenery of this field in Arkansas. This coupled with Emile Mosseri’s score creates a beautiful atmosphere through the art direction and music alone. Minari also had some great comedy. The dynamic between David and Soonja lead to many creative scenarios. This dynamic is special in the way that it doesn’t show brainless humor, but there’s a real emotional core to it. 

    All in all, Minari is a wonderful film full of endearing characters and a legitimate commentary on America. Lee Isaac Chung deconstructed the American dream, ambition, and family in a grounded, natural way. There could’ve easily been a stronger focus on racism, but that would’ve contradicted the story he’s trying to express. While some of the tonal changes were a bit jarring, Minari still manages to be one of the best movies 2020 has to offer.