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!

  • This Is Paris: The BRWC Review

    This Is Paris: The BRWC Review

    Paris Hilton is an icon. Love her or hate her, Paris spawned an entire generation of pseudo celebrities, and is even credited with inventing the selfie. As the original “famous for nothing” heiress Paris created a sub-culture built on the heels of the recognition she gained from the reality series “The Simple Life” where she lived on a rural farm and worked blue collar jobs with her best friend Nicole Richie.

    Most people remember her famous sayings “that’s hot” and “loves it” but none of us ever met the woman behind the curtain and carefully constructed image.Fast forward to present day, we meet Paris as a successful DJ. An entrepreneur in her own right, Paris shrewdly capitalized on her mid 2000’s fame and created a global brand. This girl is sharp. She knows how to make money, but she really isn’t the image she created.We also meet her equally intelligent sister, Nicky Hilton Rothschild who gives her doses of tough love.

    Their sisterly bond is interesting as they had two entirely different experiences growing up, but Nicky’s care and concern for her sister was unique and heartwarming. We then dive into Paris’s upbringing, and it wasn’t all glitz and glamour as one would think.Paris was a rebellious teen, and during those years her parents sent her off to a handful of different schools in hopes they would straighten her out, the worst of the lot being Provo Canyon School where Paris and her classmates recalled being verbally, physically and emotionally abused.

    Each have suffered lasting effects from the abuse, in Paris’s case it led to her getting into a toxic relationship with Rick Solomon who then sold her out with the infamous “1 Night in Paris” sex tape. Paris, not understanding that abuse was wrong due to her treatment at Provo clung on to Rick for the love she so desperately craved and needed. She reluctantly agreed to filming the sex tape due to pressure from Solomon, and her desire to make him happy.

    The PTSD caused a lifetime of damage for her, humiliation and degradations followed her well into her adult life. The documentary, from director Alexandra Dean really makes you understand the inner workings of Paris. Why she is the way that she is, and what her struggles were. We were even able to see how much she has grown when she was about to play at the Tomorrowland festival, arguably the biggest moment of her career as a DJ.

    It was there that her boyfriend at the time, Aleks, instead of being happy for her, seemed hellbent on being jealous and catty and tried to ruin it for her. I admired Paris as she ripped the VIP bracelet off his arm and kicked him out, not allowing him to ruin what she had built. She went on to play a successful set and move on with her life. I obviously don’t know her, but, as an audience member, I felt proud of her.

    She has suffered abuse, has been hated, made fun of, and humiliated yet she still knew her worth, presented herself as someone of high value, and no longer had the tolerance for someone who just wanted to control her. She set a boundary and stuck to it. Women as a whole could follow this example from her. No matter what we have gone through in relationships and life, we all deserve someone who treats us with care and respect, supports our dreams, and wants to be with us.

    At one point in the film, Paris described a photo famed photographer David LaChappelle took of her before she was famous. Inside her grandparents posh Beverly Hills living room Paris flicked off the camera, unknowingly telling the world and her abusers to fuck off. It was interesting as it was almost prophetic of her growth trajectory as a person and a celebrity, she’s had enough and isn’t afraid to show it.

    Please visit www.change.org/shutdownprovo to sign the petition to close the abusive Provo Canyon School.

  • Once Upon A River: Review

    Once Upon A River: Review

    Margo Crane (Kenadi DelaCerna) lives with her father, Bernard (Tatanka Means) and lives a quiet life by the river. However, Margo soon attracts the attention of an older man and after a series of traumatic event, Margo finds herself alone and pregnant. Having only her mother to turn to, Margo decides that the time is right to find her and so she sets off down the river in her boat, The River Rose to get to know the mother who left her behind.

    Once Upon a River is a sweet, poignant and thought provoking coming of age drama written and directed by Haroula Rose and based on Bonnie Jo Campbell’s novel of the same name.

    As Margo makes her way on her journey to find her family, she meets a few characters who give her unforgettable experiences, and as she touches their lives, she starts to realise that family isn’t always in the blood, but who’s closest to you.

    Once Upon a River has some great performances, particularly from DelaCerna herself in her first acting role who manages to hold the focus of the film all by herself which is no mean feat for a first-time actor.

    Margo’s river ride also takes her to meet a cantankerous but lovable man named Smoke, (John Ashton) and an unusual friendship starts to form as Margo feels as close to him as she would her own grandfather. This even leads to her returning after she does find her mother, making Margo realise that being with Smoke is where she feels most comfortable.

    Once Upon a River is beautifully shot and although the story may not show its audience anything new, it’s often not about the destination, but how you get there. Rose knows who the film’s audience will be and so despite its first few scenes, Once Upon a River is a relaxing ride with barely a bump along the way which will relax its audience and give them hope for Margo’s future.

    The film shows that just because life doesn’t always go the way that we want it to go, it doesn’t mean that we don’t end up where we’re meant to be.

  • Neon Days: Review

    Neon Days: Review

    By Jack Hawkins.

    Only some kind of psychopath would enjoy trashing a low-budget debut feature; gleefully punching down would reveal no empathy for a young filmmaker’s stress and self-doubt. Neon Days, however, is a film that cannot escape harsh criticism. 

    The story follows Jake (Justin Duncan), an introverted skate rink worker who enters therapy to fix his social problems, namely an anxiety around girls. He resembles the angsty stock character that’s resonated with many a young men – from Travis Bickle to Peter Parker – but Jake doesn’t make you feel much at all. He’s a rather lumpen presence in fact, his awkwardness contrived and choreographed. But the modesty of performances is not the immediate concern. Rather, it is the aesthetic, which is that of an intermediate student film.

    The grading, or lack thereof, gives everything an amateurish, digital appearance. And then there’s the staging of it all. A bar scene, for example, appears to have been lit by a gaffer holding a 10,000 lumen torch, such is the scorching glare on the actors’ foreheads. Further problems are found in the acoustics. The boom mic sounds as if it’s been submerged in water and the insufferable score resembles the cheap synth of an 8-bit video game. The bursts of indie music are likely to trigger one’s gag reflex, too. 

    The technical and aesthetic shortcomings are swiftly joined by weaknesses of script and characterisation. We’re told that Jake’s therapist, Sean (Eric Hanson), is a ‘seasoned’ professional, yet he behaves like a caddish uncle. Sean suggests that Jake pursue his female housemates – which just isn’t advice a shrink would ever give – and when Jake informs him that his housemates are in a lesbian relationship, Sean remarks, “Even better”.

    Then there’s the moment were Sean laughs at Jake’s claim that he has testicular cancer, cracking up as if Jake had revealed some sort of obscene, Freudian secret. These attempts to characterise Sean as a roguish maverick just do not ring true, stripping his dynamic with Jake of all credibility.  

    https://www.youtube.com/watch?v=aqvvG5a6npw

    The ineptitude continues when we meet Jake’s ice rink colleagues, who are introduced as a rag tag clan of misfits in a sort of Z-grade Edgar Wright montage. Indeed, Neon Days is padded with montages – usually to the aforementioned synth and indie rock – that contain little of interest. Actual conversations between the characters may have brought some much needed character development, but it would most likely just subject the viewer to more contrivance and tumbleweed comedy. 

    Stories of small towns and dead-end jobs are the bedrock of the social realist tradition. Unfortunately, a contrived, lacklustre script and sophomoric production values causes Neon Days to be a misfire.

  • Death Of Me: Review

    Death Of Me: Review

    There’s no better time to bask in the eerie glow of horror movies than October, as genre fans often indulge in a melody of films to prep for the Halloween season. While wide releases may be far and few between right now, indie studios look to keep the tradition alive with some new VOD releases. That’s where Death of Me comes in, the latest from veteran director Darren Lynn Bousman (director of Saw 2, 3, 4, and the upcoming Spiral). Bousman’s latest isn’t without its fair share of intriguing qualities, yet this moody mystery fails to truly take off.

    Death of Me follows Christine (Maggie Q) and Neil (Luke Hemsworth), a couple in the midst of a South Pacific island getaway. After a night they can’t remember, the two wake up to witness a video of Neil murdering Christine, sparking a surrealist descent down the island’s unknown dangers.

    In a genre where innovation is exhibited more in filmmaking prowess than narrative ingenuity, Death of Me boasts a surprisingly engaging premise. Taking the “recollecting your steps” narrative approach from Memento and The Hangover but including a tinge of supernatural horror, the script presents a few clever twists and turns that grasp audience’s interest. Bousman’s direction works best when it embellishes in the story’s surrealist nature, throwing a bevy of grimy chills to unnerve audiences. Some of these convey the lingering dangers of the unknown, playing off the character’s paranoia to develop a sense of atmosphere early on.

    Despite the initial promise, Death of Me can’t quite combine its ingredients into a satisfying whole. The script does little to build around its positive foundation, strapping stars Maggie Q and Luke Hemsworth with two thanklessly bland roles. Q’s overlooked abilities certainly help propel the narrative, but the two characters never feel as lived-in as their relationship would indicate. It’s also a letdown to see the script never engage with its horrors in substantive ways, giving audiences little to attach to aside from a thinly-veiled sense of dread.

    As the narrative puzzle pieces come together, Death of Me reveals its fairly unimpressive hand. Instead of leading to a shocking conclusion, the script goes through the motions as it chalks down its frights to a simplistic case of tribalism. I don’t know about you, but the concept of an international culture operating in violent and backward ways feels extremely dated at this point. It’s a tiresome cliche that undercuts the compelling thrills that are brought to the table.

    Death of Me‘s alluring set-up ultimately goes nowhere, leaving audiences with a routine horror showcase that lacks substance and originality.

    DEATH OF ME will be available In Theatres, On Demand and Digital October 2nd. 

  • 2067: Review

    2067: Review

    Considering the world’s dire straights, contemplative science fiction films hold more relevance than ever, taking to task several critical facets that are often overlooked in society. Writer/director Seth Larney’s debut film 2067 sets its sights on our degenerative environment, though its so-so follow-through can’t convey the weight of its ambitions.

    Set in a dystopian world where air has become a commodity, 2067 follows Ethan Whyte (Kodi Smit-McPhee), a grunt worker who is thrust into a vital role to save the world. As the son of an acclaimed scientist, Ethan is sent forward in time to bring back a cure for their ongoing pandemic, though his task may not be as straight-forward as it seems.

    For his debut feature, Larney makes a relatively strong impression. His visceral direction aptly works to construct a lived-in science fiction landscape, depicting a society teetering towards destruction (seeing “air” as a higher-quality privilege has a painful relevance to our COVID-world). The Blade-Runner inspired visuals present enough inventive details to stand out from 2067’s science fiction peers. It’s also easy to appreciate the thematic bones of Larney’s material, with the film occasionally touching on how governments look for cheap solutions to environmental problems and how the poor are viewed as negligible sacrifices towards the world’s survival.

    While 2067 presents engaging ideas, Larney’s script lacks proper follow-through. Instead of slowly building these conceits throughout the narrative, much of the focus goes towards the narrative’s mechanical design, fixating on plot details over the intriguing ideas simmering under the surface. The film ends up making these pertinent values feel more like window dressing, as they are appealing at first glance but ultimately hollow under full examanation.

    If the film can’t deliver substantive ruminations, does it least satisfy that genre movie itch? Not quite. While the story does get off to a promising start, most of the narrative travels down well-trudged territory. There’s little on paper that surprises audiences, with the script setting up plot twists that could be predicted by most. Larney’s character work also comes off as thin. Kodi Smit-McPhee’s central protagonist is little more than a pleasant everyman, lacking the dimension or humanity to connect with audiences.

    2067 can’t quite reinvent its familiar sci-fi trappings. That being said, Seth Larney’s debut does show promise, with his pertinent ideas and assured craftsmanship displaying his bright future in the industry.