Category: REVIEWS

Charlie’s Angels 2019: The BRWC Review. When a systems engineer blows the whistle on a dangerous technology, Charlie’s Angels from across the globe consisting of Sabina Wilson (Kristen Stewart), Elena Houghlin (Naomi Scott), and Jane Kano (Ella Balinska) are called into action, putting their lives on the line to protect society.

Fans of the original Charlie’s Angels television series that ran from 1976 to 1981, as well as fans of the 2000 McG directed film of the same title should go into this new Elizabeth Banks-directed reboot knowing one thing – this is an extremely silly movie.

But the people that do enjoy those aforementioned titles probably already knew that this was going to be a silly movie – it’s just that general audiences may not be aware of this. Charlie’s Angels is not supposed to be in the same vein as blockbuster franchises such as the James Bond 007 franchise or the Mission: Impossible one. If I had to compare this film to an already existing film, it would easily be 2018’s Oceans 8.

That was a movie that I overall enjoyed, but it most certainly had its fair share of issues and was far from perfect. While Charlie’s Angels can feel a bit uneven at times and suffers from issues, it ends up culmunating in a feel-good, exciting and charming flick that will win over audiences all over, as long as they go into it with the right mindset.

Let’s get the issues with Charlie’s Angels right out of the gate. The first act of this film is extremely slow and rocky. For a while, I was genuinely concerned that the movie would never get better because for the first little bit, not a whole lot of interest happens. It mostly consists of shots of city skylines and fast cars driving around in various locations with the music of artists like Ariana Grande and Normani playing in the background. For some, this will make for some fun moments and will be enjoyable to listen to. But for me, these scenes just seemed out of place, at least for a while. It took me a while to embrace this film’s overall tone.

Don’t get me wrong, there are a few things that happen in the first act, but besides maybe one or two incidents, it is mainly dull. Gratefully, the second and third acts improve greatly and it eventually becomes a highly fun, adventurous and witty experience that I enjoyed.

The writing is also something that I was a bit iffy of for some portions of the picture. Sometimes, these characters say things that just sound too corny, even if the source material itself is goofy. The movie never takes itself too seriously which can be both a positive and a negative, strangely.

But let’s talk about the Angels themselves – Stewart, Scott, and Balinska. They are absolutely terrific here thankfully. These are my personal favorite interpretations of the Angels on screen so far. The chemistry that they all have together feels so genuine and not like they are acting. It actually felt like I was watching a group of three women who have been friends together their whole lives do crazy things together. 

One of the best aspects of the Angels themselves is the fact that they have banter with each other too. They do not always get along with each other one hundred percent of the time, and to see their conversations on certain situations was much needed and highly entertaining. In fact, I actually kind of wish that we saw more scenes of the Angels just talking to one another. Who knows? Maybe if this film performs well enough at the box office, we will actually get a sequel. A sequel that I feel would be warranted and one that I want.

Despite a bumpy first act, and an occasionally dull script, there’s no denying Charlie’s Angels 2019 is a highly entertaining, adventurous, and funny time at the movies.

THE AMAZING JOHNATHAN (Dir. Ben Burman, 2019, 90 mins)

Slicing open his arm, piercing his tongue, and deconstructing magic in his own way, that was Amazing Johnathan, aka Johnathan Szeles, a comedian-magician who hada year-round headlining gig in Las Vegas from 2001 to 2014. Illusionist, disruptor and well-liked by his colleagues, Johnathan is a risk-taker and someone who apparently has nothing to lose in his performances. 

Diagnosed with terminal heart disease and given a year to live, Amazing Johnathanannounced the news during a performance while the audience giggled. Was he being serious or was this yet another prank? Two years later Johnathan decided to come out of his medically-induced hum-drum retirement, after all is it better to stay alive but have nothing to do, or to die doing what you love?

“But what would it be like if he dies on stage while people are laughing?” asked his wife. This is where director Ben Burman takes up the saga. As he tussles with the footage, Ben is asked by an honest friend: “Can you trust anything that a magician does?”.  And there begins the story.

The Amazing Johnathan is as much about the subject as it is about the director and the process, creating an engrossing and at times amusing inquiry into truth and motivation. The ethics of documentary making are not often discussed. How close do you want to get? What happens if your story is not as unique as you had imagined? Faced with other crews working on the same project, Ben goes to incredible lengths to create the most original documentary. The editing by Burman and Scott Evans is brilliant. 

This is an interestingly ambiguous documentary about form, method and honesty, as well as the motives, sometimes subconscious, that propel us into projects. Unclear intentions, selected memories and unrequited endings are what contribute to Burman’s film, which has it all; and Burman does not shy away from sharing his own humiliations.  Eventually it is his Dad who asks the key question: “What is the story here?”. By the end it’s hard to decide who is the star of the film – Amazing Johnathan or the director himself.

Louis Theroux will host a special Q&A screening of the film on Tuesday 19 November, to be simulcast nationwide across the UK. https://www.tajdfilm.co.uk/

Dunya’s Day: Review. Dunya (Sara Balghonaim) is looking forward to the biggest day and the biggest party of her life – her graduation. The venue is ready, the guests have been invited and the household help are, missing.

Realising she is all alone on her big day, Dunya thinks that it’s all over for her and the appearances that she likes to keep up will be shattered once the word gets around that her party was a total disaster.

Luckily, two of Dunya’s friends, Deema (Rahaf) and Dalal (Sarah Altaweel) arrive much earlier than expected and upon hearing the news of Dunya’s failing party, they are more than happy to help. It also helps that Dunya is quite a forceful woman and whether they are her friends or not, they are now the help.

Dunya’s Day is a short film from Saudi Arabia and is the debut of writer and director, Raed Alsemari. Throughout the short running time, the story is told neatly and is edited cleverly to show a passing of time punctuated by sharp cuts, even going from night to day. The frantic comedy between the trio of women manages to get in some big laughs in such a short space of time. Also, whether you feel sorry for Dunya or whether you believe that she is getting everything she deserves, Balghonaim’s performance makes Dunya into a character who is more than just the wealthy debutante that the audience is led to believe.

Dunya is shown to not only be fiercely bossy but also desperate for attention and in one particular scene perhaps a little insecure, and it’s thanks to Balghonaim’s performance and not being afraid of looking foolish that sells Dunya as a character, warts and all.

The humour is fast paced, quick witted and one particular scene with a sheep will make the audience laugh out loud at the bleakness of its humour, also dispelling any preconceptions they had about the characters at the start of the film. As Dunya’s Day goes on, the audience may even feel a little empathy towards Dunya’s situation as it becomes strangely relatable.

Whether you’re a rich socialite or just a child whose party has gone so terribly wrong, surely nobody can blame Dunya for wanting her party to be everything she ever wanted.

In celebration of Joker hitting $1BN, I thought it’s only right to marvel…get it..(DC) at one of Mr. Scorsese’s classics, Taxi Driver. Taxi Driver was one of the main inspirations for Todd Philips’ creation of the critically acclaimed Joker.

Now bearing that in mind, I haven’t watched Joker yet – (what!?)

Yes.

After binging on many reaction videos and tweets regarding the film, I think I’ll need to check myself in for rehab as I’m suffering from a case of ‘Jokerhypeitis’.

For those, like me, who haven’t watched Joker yet I would HIGHLY recommend to avoid scrolling to the comment section of reactions to the film on Youtube. Matter of fact, don’t watch any reactions or reviews, PERIOD.

Otherwise, you’ll end up sporting a fleece, cigarette in hand somberly telling a therapist ‘All I have, are spoiler thoughts’.

Similarly to Joker, 1976’s Taxi Driver is a character study that focuses on a central protagonist for the duration of the film, and it’s arguably one of cinema’s most iconic. Please welcome to the stage, Travis Bickle.

‘You talkin’ to me?’

In one of Robert De Niro’s best roles ever, he plays Travis, an isolated and depressed Vietnam veteran, who lives in New York City as a night shift taxi driver, observing the deterioration that has plagued the city.

I’m sure you can already picture the similarities to Gotham City.

The frosty treatment Travis receives during his encounters leads him further down the rabbit hole, pushing him to address matters into his own hands with potentially devastating consequences.

With that being said, Travis has an underlying desire to do what’s right, even though he fails to realise, his approach towards certain circumstances goes against societal norms.

From what I’ve heard (remember don’t look at the YouTube comments for those that haven’t seen Joker) there is a heavy emphasis more so on Taxi Driver, than The King Of Comedy. Apparently, it almost ‘copies’ Taxi Driver scene for scene, and that you could essentially drop Joker or Arthur Fleck, in that grimy world of 1976 New York.

Well, they do say imitation is the biggest form of flattery, and with Taxi Driver being widely regarded as a classic film along with the high praise Joker’s received, it’s clear to see why Taxi Driver has been an integral influence during its production.

If you’ve seen Taxi Driver, you can pick out the references shown in the trailers. In particular, the scenes of Arthur holding the gun and sitting at the diner with Zazie Beetz. Very subtle, but cool references.

I think the reason why people are so compelled with ‘character study’ films is that we either see a little of ourselves in the lead character or are in ‘admiration’ of what they stand for. Even if it’s not morally right.

Think of all the hip hop references and pen pal letters written to the fictional character Tony Montana AKA Scarface, played by Al Pacino. Tony’s words are seen as gospel and the mantra of ‘Money, Power, and Women’ still rings clear in the ears of many rap artists.

Even with all his flaws, he does not go without his sticking to his moral principles or more to put more bluntly, sticking to his ‘balls’. None so more evident than in this scene.

It’s no surprise that these iconic characters in these solo driven films are played by some of the greatest actors of all time. Al Pacino. Robert De Niro.

And of course, Joaquin Phoenix.

Personally, I do hope we see more films that follow the ‘character study’ aesthetic, as long as they’re done right. The problem with the massive success of a film like Joker is that other major studios may try and replicate their formula, only to end up with a sub-par film.

….trend of ensemble casts like from the likes of Marvel, to more focused films on a single character that we can ride in the passenger with. If ‘DC Dark’ does actually become a thing, this wave of ‘character study’ films should continue, and we should be in for a treat.

…..full of pimps, stick up kids, fiends .

And this is no more apparent than in Taxi Driver.

Doctor Sleep: Another Look. Stephen King adaptations have been very hit or miss over the past few decades. Well, mostly misses, let’s be honest. It feels like for every Shawshank Redemption, Misery and It, there are at least five Cell, Maximum Overdrive and It Chapter 2 equivalents. For me, one that always stood out was The Shining. Made by Stanley Kubrick, the film is an exercise in dread. These days it’s simultaneously too boring for some, and too silly for some others. But it still works as a satisfyingly chilly ghost story, with some fantastic imagery, tight direction and wonderful performances. Although, Stephen King would disagree with me there.

When it was announced that Doctor Sleep, a sequel novel to The Shining novel, I was very skeptical. Director Mike Flanagan had a very unenviable task ahead of him. He had to adapt a book by King and follow on from Kubrick. Not only that but some of the books fans, including King himself, hated Kubrick’s treatment of the source material – particularly how it ignores many of the stories themes of abuse and alcoholism. While at the same time fans of the film (myself included) hated King’s book and thought that Kubrick brought some life to a dull story with decent ideas. All of these people, Flanagan had to please. He has a strong filmography behind him – Oculus, The Haunting of Hill House and Stephen King’s Gerald’s Game to name a few – but could this be the one to finally stump him?

The film follows Danny Torrence, the little kid from the original, all grown up and mentally scarred by what had happened with his father and the Overlook Hotel. He now works at a hospice, where he uses his ‘shining’ to comfort the patients – particularly the ones about to die, earning him the name Doctor Sleep. Abra is a young girl with similar powers, and the two share a psychic bond. Unfortunately, her powers attract the attention of a group of vampiric beings, led by Rose the Hat, who feed off of the lifeforce of people with the ability to ‘shine’. A reluctant Danny must help Abra, keep her safe and protect her from Rose the Hat. And I don’t think that it’s a spoiler to say that it will all bring them back to the dreaded Overlook Hotel.

So, speaking as someone who has seen The Shining and loved it, read the book and hated it, and not read the book for Doctor Sleep…I loved this film!

The performances are pretty spectacular – the best of the year outside of Joker. Ewan McGregor, who I have always enjoyed (Star Wars prequels not withstanding), gives us one of his best performances in years. The first half of this film, he reminded me of his role in Trainspotting. He’s a chameleon, able to hide in whatever performance he delivers. The exact same can be said for the impeccably cast Rebecca Ferguson as Rose the Hat. It has been a while since I saw a villain this compelling and terrifying. And, not to undermine the excellent writing, but I don’t think these two could be played by anyone else. They are that suited to their roles in this story. Not to mention, this film has one of the best child performances I’m inclined to say I have ever seen. I look forward to seeing Kyliegh Curran in more.

Flanagan’s grip is tight on Doctor Sleep. It is slow and it is meandering at times, but only in the same way that Shawshank was. Scenes may feel like they don’t much matter, but they don’t have to – we are seeing our character’s act like people when that is all that was required of them. There is this perception that every scene has to advance the story – that isn’t true, not if it makes us understand and relate to the characters more than if the plot was moving along. I have heard that he sticks to the book this time, but his direction is still Kubrickian in nature.

If you are here for references to The Shining, then you won’t find many until the end. Admittedly we do go a bit overboard with the visual ques and references to the original classic – but at that point the film has more than earned it. We are invested in the story. We love the characters and are hooked on them. We have already sat through two hours of original storytelling. We have earned little ‘remember this’ moments. It isn’t unnecessary either or is just smartly played. Not to spoil, but there is a scene with a hero and a villain talking while going up a certain flight of stairs – and it is shot, and the actors move the same way as the classic ‘give me the bat’ scene.

As for issues, I have only a handful. There’s a subplot with a cat that doesn’t really go anywhere. I don’t know if that’s the same in the book. It was nice, in a morbid way, and maybe it didn’t require closure, but it did feel odd. We also have many look-alikes for the returning characters from the original. I prefer this far more than that CGI de-aging that’s been going on a lot lately. But I would have liked it a bit more if these look-alikes, well, looked like the original actors. It was more than a bit distracting. Particularly one towards the end.

Doctor Sleep is everything I want from a King adaptation. It is dark, at times cruel, but has a lot of heart and is just fun. You can find many themes to latch onto, including abuse and alcoholism, and the film is far deeper than first impressions will tell. It’s never outright scary, but its dread rarely ceases. Nobody jumps out of a cupboard with a scary mask and shouts boo. But you do feel that every step a character takes might well be landing them in a trap – a very different kind of terror. Horrific but never gruesome. Funny but never taking from the tension.

Doctor Sleep might be the best film that Flanagan has ever done. It is certainly one of the best King adaptations ever made.