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!

  • Blood From Stone: Review

    Blood From Stone: Review

    Jure “Joe” Alilovic (Vanja Kapetanovic) loves the nightlife. He loves nothing more than to go out, pick somebody up at a bar and have his way with them. Jure lives with his girlfriend, Darya (Gabriella Toth), but after one particularly crazy night, Darya has had enough and decides that it’s time to move on.

    The trouble is that they both are vampires and although Jure’s bloodlust is unquenchable, Darya feels that she has a good handle on it. However, she can’t be certain how long it will be before she gives in to her urges.

    Blood from Stone is a dramatic horror movie written, shot and directed by Geoff Ryan. An unusual movie that doesn’t follow the trends of vampire movies that only appeal to teenage girls, nor does it rely on the traditional vampire movie tropes. Instead, Blood from Stone tells the story of a woman who got into a bad relationship and needs to move on despite the affect that her ex has and the hold he has over her.

    In fact, take away the vampires and Blood from Stone is still a decent drama, it’s just that when the movie does remind its audience that its cast are creatures of the night it can feel a little jarring. One minute, Jure is talking about how he feels in a world that has changed while he hasn’t and the next, he’s sinking his teeth into somebody’s neck.

    For those who enjoy a decent drama and want to see something of the more supernatural variety without the scares then Blood from Stone may appeal to you, otherwise those expecting a horror movie with more bite may be disappointed.

    The script is very good, the movie is beautifully shot and the characters cast play it well, it just feels like the drama could have worked just as well without vampires, making the movie feel like it was made for vampires rather than an audience who enjoy watching them.

    There’s certainly something for everyone in Blood from Stone and Geoff Ryan is a great director, but perhaps he could have chosen one theme or the other and stuck with it.

  • The Trial Of The Chicago 7: The BRWC Review

    The Trial Of The Chicago 7: The BRWC Review

    Aaron Sorkin’s verbose writing style has cultivated a passionate audience of supporters, with efforts like West Wing and The Social Network standing tall as significant cultural staples. Few writers are able to make dialogue fly off the page with his adept sharpness and wit, a sensibility that Sorkin is now trying to imbue as a director. In his second directorial effort The Trial of The Chicago 7, Sorkin employs his usual bag of tricks in a misguided manner, straining for a substantive throughline that just isn’t there on the page.

    The Trial of The Chicago 7 follows the aftermath of the 1968 Democratic Convention, which bursted into a chaotic scene once peaceful protests became violent. Democratic and anti-Vietnam leaders are now standing trial for their actions (Tom Hayden played by Eddie Redmayne, Alex Sharp as Rennie Davis, Sacha Baron Cohen as Abbie Hoffman, Jeremy Strong as Jerry Rubin, John Caroll Lynch as David Dellinger, Noah Robbins as Lee Weiner, and Daniel Flaherty as John Froines), facing a trial that twists the truth at every turn (Yahya Abdul-Mateen II plays Bobby Seale, who was on trial due to racial prejudice rather than having a meaningful role in the events).

    Sold as one of the year’s biggest Oscar contenders, Trial certainly possesses the trappings of an awards darling. The all-star cast mostly lives up to their promise (Eddie Redmayne and Sacha Baron Cohen sometimes struggle to convey a consistent accent), with Yahya Abdul-Mateen II and Mark Rylance stealing the show throughout. Mateen II’s performance resonates deeply, portraying the deeply-seated injustices facing Bobby with a balance of controlled pain and unfiltered anger. Between this and HBO’s Watchmen, Mateen II is a rising star with a promising future in the industry. Rylance also continues his trend as one of the industry’s strongest character actors, deftly portraying lawyer William Kunstler with subdued charisma.

    Sorkin’s limitless vernacular always spices up familiar trappings, yet his direction severely underserves his strengths as a writer. His debut effort Molly’s Game employed a level of slickness that matched its high-stakes world, but here, the slick editing style here just feels tacky (protest sequences awkwardly mesh with real-life footage in a way that detracts from their intended impact). Incorporating grand operatic moments throughout the trial sequences, Sorkin’s identity strives to strike the broad, yet profound balance of Steven Speilberg’s best work. Unlike Speilberg, Sorkin captures these essential moments with a mawkish cheesiness that mitigates any potential message.

    For a film that feels impeccably timed for our chaotic times, The Trial of the Chicago 7 ultimately has little to say about its reciprocal issues. Sorkin’s insights dance towards a moderate tone that condemns its injustices with a wishy-washy voice, rarely taking on the critical attitude that’s desperately needed (a scene involving Bobby’s critique of the protestors different motivations felt like a glimmer of what could have been). Sorkin never makes a revelatory statement, rather preaching to his politically-converted choir with empty words of wisdom. It all concludes with an ending that sledgehammers it’s point with a clumsy sense of self-satisfaction, patting itself on the back without realizing that it’s painful injustices still linger on today.

    The Trial of the Chicago 7 has the prestige of an awards film, but that poshness creates a hollow examination of its critical historical period.

  • Girl: The BRWC Review

    Girl: The BRWC Review

    Director and writer Chad Faust co-stars with Bella Thorne in his first feature film “Girl.” The twisted tale follows Thorne’s character who has no name, we only get to know her as “Girl” as she traipses through a grungy, dusty small town in search of her absentee father. Seeking revenge for her mother, “Mama” (Elizabeth Saunders) Girl, yielding an axe, is determined to find her father and get the payback she deserves in more ways than one.

    I have seen Bella Thorne in minor roles in other films and on TV, but this is my first time watching her as the lead. Not only does she deliver as Girl, she knocks it out of the park. Her performance, and the film in general, remind of a grittier “Winter’s Bone” though, in my truthful opinion, Thorne outshines Jennifer Lawrence here. She has the perfect rough edges to carry a piece like this, and holds the screen so well throughout the entire film that even her character, who doesn’t talk to much during the first act, is interesting to watch.

    We first meet Girl traveling by bus to the grungy town her father resides in. Upon her arrival she encounters an array of townspeople who seem to already know more about her and her background than she knows about herself. Even with an ominous feeling in the air Girl is determined; when the dive bar’s phone book reveals her fathers’ address she sets out to meet him face to face and heads for his house on foot.

    While walking she encounters a sleazy, suspicious looking sheriff played by Mickey Rourke who also really shines here and is as good as he was in “The Wrestler.” When she finally makes it to her father’s house she discovers he has been murdered, and is now more determined than ever to solve the mystery of who did it and why.

    What unfolds after is an interesting type of thriller. Girl is not only trying to solve a murder, she’s also trying to figure out who she is, where she came from, and who is keeping secrets from her and why. There’s violence, there’s drama, and touches of horror; a real rollercoaster ride I didn’t mind being on.

    What a debut from Chad Faust, and performance from Bella Thorne. This film is excellent, it’s like “Kill Bill” married “Winter’s Bone.” It’s dark, it’s dramatic, it has great suspense and pacing throughout and, the most interesting aspect of this piece to me is that there’s almost an unexpected simplicity to it. The locations are simple, the town is simple, the sets are simple. Nothing is overdone, in fact, it is almost underdone to the point where the audience can really focus on the story and the actors which is so greatly appreciated in an era of filmmaking that seems to love doing too much.

    This movie is old school in that way, simplicity in filmmaking is truly under appreciated talent and art form; less is most certainly more. This is a stripped down story for the modern era, with our unlikely hero here being a young girl in a role we don’t normally get to see young women or any women in. She’s a badass protagonist who almost isn’t a protagonist, and gives me all kinds of Beatrix Kiddo (Uma Thurman in “Kill Bill”) vibes and I’m here for it. This is definitely one to watch, it will hold your attention and has tons of commercial appeal. Chad Faust will be a name to look out for in the future. 

  • White Riot: Review

    White Riot: Review

    In 1976 the economy was at its lowest point, the media revelled in blaming immigration for the UK’s problems and even some celebrities supported this way of thinking. There were riots regularly in the streets and it felt like racial tensions were at its highest point. Sounding familiar?

    Rock against Racism was a movement founded by Red Saunders and White Riot is the documentary from Rubika Shah that expands on her short documentary from 2017. At the time of writing, Shah’s documentary, the release is as relevant now as the Rock against Racism movement was in the 1970’s, but it’s a documentary that shows hope as well as a reminder that the fight against racism still goes on.

    White Riot tells the story of a pivotal turning point in British politics and indeed music as celebrities such as Eric Clapton were openly showing their support for the right and other bands were inadvertently appealing to the wrong kind of people. However, Rock against Racism wasn’t a self-congratulatory and insincere concert where musicians came together to show the world they weren’t racist.

    Rock against Racism was a movement that had passion behind it and thanks to interviews with Red Saunders, Pauline Black and others, White Riot reflects the anger and frustration in a time where it felt like the world was going backwards.

    Shah’s documentary also manages to recreate the mood with footage of people from all areas. From black children showing hope in their eyes when they realise there are people that care, to interviews with people like Enoch Powell and the head of the Metropolitan Police who denies that racism was a concern.

    White Riot shows us a time that unless you were there, you may not believe it existed because it was so long ago and there’s the underlying thought that it was ‘all right in the 70’s’.

    If we weren’t in the current state politically, financially and with racism and the far right on the rise right in front of us, some of us could even dismiss White Riot because they couldn’t possibly think anything like that could happen right now. However, White Riot shows the power in standing together and fighting against the worst of humanity.

  • Beckman: Review

    Beckman: Review

    Hollywood ultimately operates as a business, with some studios skating by solely on the strength of their financial returns. The Christian-based company Pure Flix is a prime example of this dynamic, releasing a bevy of big-screen (God’s Not Dead and Unplanned) and straight to DVD projects that appeal to their religious-right audience despite the inherently poor craftsmanship. This fact is part of what makes their latest action vehicle Beckman such a welcomed surprise.

    Beckman follows a titular assassin (David A.R. White), who retires from his life of bloodshed to pursue a righteous path. After becoming a preacher and adopting a formerly-enslaved teen Tabitha (Brighton Sharbino), Beckman gets a rude awakening from his old-life when Tabitha is kidnapped. Now, Beckman must go on an all-out rampage to save her from the dastardly cult leader Resse (William Baldwin).

    Labeled as the “Christian John Wick” by many, Beckman’s hokey conception is matched with some surprisingly assured craftsmanship. Director Gabriel Sabloff’s film is as mean-and-lean as it gets, presenting an onslaught of gunplay and fistfights without an ounce of pretentiousness (after a 20-minute set-up, the film relentlessly travels from setpiece to setpiece). Relying upon practical stunt work and tight-quarters framing, Sabloff ably captures these scrappy setpieces with technical aplomb, delivering the kind of gratifying stand-offs that make the action genre a beloved staple. It’s far more impressive to see a director make the most out of limited assets rather than throwing bombastic effects at the screen.

    When the action isn’t onscreen, Beckman stays afloat thanks to David A.R. White’s commanding central performance. White, a frequent collaborator of Pure Flix, steps into the action hero role with impressive ease, inserting enough gravitas to propel the character’s archetype design. He and Brighton Sharbino do enough to make their makeshift father-daughter relationship resonate, supplying a sturdy center for the carnage to ensue around. I also got a kick out of William Baldwin’s mustache-twirling villain, as Baldwin delivers his lines with enough sinister glee to make for a worthy adversary.

    That being said, Beckman gets by more from its general competence rather than any conceptual ingenuity. Almost every plot beat and character dynamic feel patchworked from far superior films, with the script having nothing to show for itself other than copied ideas. I also was surprised to see how little the film showcased its religious flavor. Utilizing a sense of morality to juxtapose the character’s descent towards his former murdering ways has potency on paper. Sabloff’s deliver minimizes the complexity of this dynamic though, with simplistic parables adding minimal dramatic weight.

    For fans of guilty-pleasure action films, Beckman colors its familiar formula with enough sound craftsmanship to register a positive impression.