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!

  • Welcome To Sudden Death: Review

    Welcome To Sudden Death: Review

    Remakes are a dime a dozen, yet most connect the trend to well-regarded classics. In the case of the latest low-rent actioner Welcome to Sudden Death, writer/director Dallas Jackson looks to revive a disposable entry in Jean-Claude Van Damme’s action star catalog. While its modernized approach registers some cheeky fun, this iteration never rises above its formulaic genre approach.

    Welcome to Sudden Death follows Jesse Freeman (Michael Jai White) an army vet and family man working diligently as a local security guard. When he takes his kids to a professional basketball game, the stadium gets hijacked by tech-savvy robbers. After all the other guards are disposed of, it’s up to Jesse to stop the scheme and assure his children’s safety.

    Similar to its forefather, Welcome to Sudden Death operates in a shamelessly self-aware fashion. Dallas Jackson crafts his film in the image of campy action throwbacks, reveling in the inherently cartoonish nature of his set-up and characters. Much of the fun derives from star Michael Jai White’s straight-faced delivery, playing off the theatrical beats with assured confidence and a sly sense of humor. It’s also a blast to see White let loose in some soundly-constructed set pieces, with Jackson exhibiting enough steadiness to scratch that low-rent, popcorn movie itch.

    The film’s openly goofy approach is right up my avenue, yet there are plenty of noticeable blemishes present throughout the narrative. Jackson’s sitcom-esque presentation flatly presents frames without much thought or creativity behind the camera (every action scene is drowned out with an off-putting uptempo score). The autopilot presentation is hindered even more by apparent budgetary limitations, eliciting a cheap aroma rather than the type of scrappy earnestness that marks most B-movie successes. Mixing the child-like simplicity with a wildly unnecessary R-rating (some woeful uses of CGI-blood bring little to the table), Welcome to Sudden Death never presents itself with a consistent voice.

    Aside from White’s personable delivery, no one else seems to be in tune with the genre’s unique frequency. Half-hearted attempts towards a humorous streak sink under the weight of cloying cliches (his janitor buddy and a famous rapper make for tiresome one-note sidekicks). The script also utilizes a bizarre melodramatic set-up, embracing dated contrivances that lack enough ingenuity or charm to be palatable. There’s nothing grating about Welcome to Sudden Death, yet its unremarkable 80-minute length passes by without drawing a real impression.

    While often agreeable, Welcome to Sudden Death rarely distinguishes itself from its bargain bin peers.

  • Mangrove: The BRWC LFF Review

    Mangrove: The BRWC LFF Review

    In a year that has been (and continues to be) seriously concerning for cinema, we have to take the wins when we get them, and audiences being treated to five films from Steve McQueen (one of Britain’s finest filmmakers, and the brilliant creative mind behind Hunger, Shame, 12 Years a Slave and Widows) is one very big win. Small Axe, an anthology series comprising of several feature films depicting real-life racial injustice towards London’s West Indian community between 1969 and 1982, is coming to the BBC in November, and if Mangrove is anything to go by, that’s a special thing indeed. 

    Frank Crichlow (Shaun Parkes), the owner of the Mangrove restaurant in Notting Hill, has become something of an accidental and reluctant leader, his business having become a safe haven for his community, with many civil rights activists frequently spending time there. The restaurant’s significance in the area hasn’t gone unnoticed, and bullish PC Pulley regularly orders raids based on false allegations and zero evidence. His reasoning? To put ‘the blacks’ in their place and drive them out.

    Crichlow, along with many of his patrons, has grown frustrated with the constant harassment and decides to hold a non-violent demonstration in protest, but the involvement of the police soon exacerbates things, and nine of the demonstrators (now referred to as the Mangrove Nine) are charged with incitement to riot. McQueen’s film tells the story not only of the incident itself, but of the long and arduous trial that followed. It’s a film of two halves; first an infuriating tale of police brutality, before becoming an outstanding courtroom drama wrought with rage and passion. 

    It’s surprising how little-known the story of the Mangrove Nine is, given it made national headlines at the time and is widely recognised as the first trial in which the judge acknowledged, however loosely, the clear racially-driven prejudice within the Metropolitan Police. It was a huge step, and it’s one that deserves to be remembered and respected. McQueen is a filmmaker born to tell important stories, and his interpretation of it is just magnificent.

    McQueen continues to be a master behind the camera. He knows when to utilise it fully and when to let it linger, the latter being a signature aspect of his work, and one that he uses effectively in Mangrove on several occasions (a long look at Crichlow’s face in the courtroom is particularly memorable). He’s able to properly communicate emotions with his work better than most filmmakers working today; a subtle artist unafraid to push buttons when necessary.

    Where McQueen most excels is his positive depiction of the culture itself. While the film mostly roars with fury (the content resonating with anyone paying attention to the current political climate), the community atmosphere in and around the restaurant is always portrayed as happy and warm. At one point, McQueen lingers on a colourful street carnival just long enough for us to feel a part of it, the dancing and singing at its utmost joyous and wonderful. It’s brilliant moments such as this that help attach the audience to the characters; it’s why we care about them so damn much. It’s a community worth defending.

    The characters are brought to life by a talented cast at the top of their game, particularly scene-stealer Letitia Wright, whose powerful monologues radiate with both anger and fear. Malachi Kirby is also exceptional, fully coming to life in his courtroom sequences, and Shaun Parkes’ quiet and reserved performance as Crichlow is another highlight. He expertly portrays a man who has had any faith in the system beaten out of him, but is equally afraid of fighting it for fear of having that very system take everything away. He’s a hard-working man who just wants to be respected.

    Mangrove is about serious issues, but it’s far from miserable. If anything, it’s quite the opposite; a film that is fully aware of our past and present failings, but equally optimistic about the progress we can make, so long as brave, intelligent people are willing to speak up. 

    It’s powerful, emotive and expertly-crafted by an artist operating at the peak of his powers. It speaks volumes for the talents of McQueen that Mangrove, undoubtedly one of the year’s best films, is just one episode of an anthology series. For any other filmmaker, this would comfortably be their stand-out work. For McQueen? Hmm. It still might be. 

  • 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.