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!

  • The Lighthouse: The BRWC Review

    The Lighthouse: The BRWC Review

    The Lighthouse: The BRWC Review

    Two lighthouse keepers named Thomas Wake (Willem Dafoe) and Ephraim Winslow (Robert Pattinson) try to maintain their sanity while living on a remote and mysterious New England island in the 1890s.

    Every once in a while, a film comes along that just gives you pure chills when watching it. While watching it, you know you are watching something that is going to go down as a favorite movie of yours for the next couple of years, or maybe even forever. Sometimes, a film can be so strange, mysterious, and downright bizarre, but you know whatever it is you just watched, was something that you enjoyed.

    Robert Eggers’ 2015 feature film debut The Witch was most certainly one of those movies for me. Going into it, I did not have a clue as to what it was about or who was in it. I had just heard it was an excellent horror feature with a unique approach and chilling effect that leaves the viewer haunted long after the credits roll. Not only was The Witch one of the best horror films released that year, but it is one of the greatest of the decade.

    You can probably imagine then how excited I was to watch Egger’s new follow-up The Lighthouse, which had garnered even more praise than his predecessor at various festivals such as Cannes. It was clear the moment the titlecard and the two lead actors appeared that I was in for a treat, and I definitely was, because The Lighthouse not only surpasses The Witch on virtually every level, but it is one of the best films of the entire year so far.

    So many times you hear a certain actor is good in a particular movie, but when you get around to watching it finally, you sometimes feel like the hype behind them was a bit overblown. I have felt this way when watching some movies in the past, too. But when it comes to Robert Pattinson and Willem Dafoe here – believe the hype. These two actors are nothing short of mesmerizing in every single scene that they are in. They sell every scene, and it is not an easy task to act in this movie as so much is asked of them. There are some sequences later on in the picture that a wide variety of actors would not be able to pull off or make it seem convicing, but Pattinson and Dafoe do. They almost make it seem effortless.

    Throughout the film, we learn bits and pieces about their characters Thomas Wake and Ephraim Winslow, and their development throughout is extremely interesting. Every time of the men opens up to one another, it was an incredibly suspenseful, sometimes funny, but always intriguing moment. There are two sequences in particular in this movie in which Pattinson and Dafoe go on long rants and the acting in these scenes are utterly brilliant. If the two of them do not get nominated for Academy Awards come awards season, it would be the biggest travesty since Toni Collette not being nominated for her masterful work in Ari Aster’s Hereditary. The other big travesty would be if Florence Pugh gets snubbed for Midsommar. Here’s hoping the Academy finally starts to notice horror as a legitimate genre that has true talent working in it.

    Something interesting about The Lighthouse is that the entire film is presented in black and white and is in the 1.19 : 1 aspect ratio. We really do not see movies presented in these formats these days, and it is such a welcomed addition here. To be completely honest, I think if the picture was shot in full color and with the standard aspect ratio, it would not have been as effective.

    Speaking of the technical aspects, the cinematography present is some of the best of the entire year. It is shot by Jarin Blaschke, who previously served as director of photography on Egger’s aforementioned The Witch. Every frame of the film is absolutely gorgeous to look at, and everything is framed perfectly. That mixed with Mark Korven’s haunting score, and the smooth, effective editing by Louise Ford make this film dazzling.

    Finally, one of my favorite aspects of the film is that it is most definitely going to stir up numerous theories online about what the entire story meant and I am sure people are going to dig extremely deep into everything, because this film is surely scattered with interesting tidbits that are easy to miss on the initial viewing. The ending is one that will stick with me for a long time, much like some of my favorite horror movies of all time.

  • Marriage Story: BRWC LFF Review

    Marriage Story: BRWC LFF Review

    Marriage Story: BRWC LFF Review.

    Noah Baumbach’s exquisite tale of a marriage falling apart is a ruthless, moving and compassionate study of real people dealing with real problems, and arguably the strongest cinematic depiction of divorce since Kramer vs. Kramer. 

    Adam Driver and Scarlett Johansson star as separated Charlie and Nicole, parents to Henry, trying to finalise their divorce despite living at opposite ends of the country. It’s a realistic depiction of how a divorce can push two people to extremes, however hard they try to avoid precisely that. 

    Charlie and Nicole say, quite truthfully, that they don’t want to get lawyers involved and hope to have the cleanest, healthiest break-up possible, but it doesn’t take too long for things to go the other way and, albeit reluctantly, the gloves come off. The pacing of this deterioration is so expertly judged that it’s nothing short of miraculous, ensuring that no action in the film feels forced; rather, the natural next step. This is far more difficult to get right than many might think, but Baumbach makes it look effortless, and it’s vital in telling the story of these characters without losing sight of them. 

    Charlie and Nicole are full-realized people; arguably, the most truly human characters in a drama such as this for quite some time. Baumbach sells us their history in the film’s opening minutes, while Driver and Johansson then sell the rest with a level of skill never seen before by either. Both are proven talents, but there can be no doubt that these are career-best performances by both of them, sharing a chemistry that is both natural and real. 

    The greatest strength in Baumbach’s story is the clear empathy he has for both his characters. Charlie and Nicole are both genuinely decent people who sadly do questionable things at times, but these actions always feel honest, with Baumbach never showing a preference to either. 

    Neither is the villain here. It’s simply an observational picture of a marriage breaking away, and it’s one that works wonderfully. 

    Perhaps the biggest surprise in a film essentially about a divorce, is the surprisingly optimistic feel it has to it. There’s no question that this is a very sad story, but it’s one that will make you laugh as often as it makes you cry. Baumbach’s message is simply that, while things may be tough at times, life will always go on. 

    Marriage Story has one of the sharpest, most moving screenplays of the year, telling a story that never feels anything but heartfelt and genuine. With excellent pacing, editing and direction, creative and meaningful mise en scène, and compassionate performances from two terrific actors, it’s hard to find problems here.

    There is simply too much to appreciate in Marriage Story to list. It’s faultless, seemingly effortless storytelling and one of the year’s finest films. 

  • A Beautiful Day In The Neighborhood: BRWC LFF Review

    A Beautiful Day In The Neighborhood: BRWC LFF Review

    Last year’s Won’t You Be My Neighbor?, from director Morgan Neville, touched the hearts of millions of Americans with its intimate and moving look at children’s television host Fred Rogers, but the documentary failed to have the same impact here in the UK, with his show Mister Rogers’ Neighborhood having no place in our own history. The hope is that Tom Hanks vehicle A Beautiful Day in the Neighborhood may bring this man to the rest of the world.

    Fresh from the success of last year’s terrific Can You Ever Forgive Me?, Marielle Heller’s new film tells the story of journalist Lloyd Vogel, a dejected man dealing with his own issues, tasked with writing a profile on Fred Rogers for his magazine, who finds his life changed by the great man. 

    A Beautiful Day in the Neighborhood is a genuinely lovely film that soothes the soul and affects its audience, but its portrait of Rogers is lacking. The decision to tell the story from the perspective of Vogel is in interesting one, but it comes at the expense of truly understanding the impact Rogers had.

    While Rogers’ messages can naturally resonate across all ages, and his words likely need to be heard now more than ever, his focus was solely on children. As the host of Mister Rogers’ Neighborhood, he touched and changed the lives of children for many years, thanks largely because of his clear love and affection for them. He’s one of the few children’s television personalities whose legacy hasn’t been tainted by some newly discovered information; Rogers genuinely just cared about children more than anything else in the world, and wanted to do his bit to help them. That’s what he was all about, and yet it’s the most gaping hole in the film.

    Apart from one seemingly forced scene on a subway, the story fails to really get to grips with Rogers’ relationship with children in any significant way, opting instead to tell the story of how he changed this one adult man’s life, and spending no real time at all focusing on what Rogers was actually all about. 

    None of this affects the flow or effect of the film; it’s just worth noting that, for a film that aims to bring Mister Rogers to filmgoers around the globe, it fails to really capture the essence of the man completely, by forgetting that which he’s most famous for. 

    Ultimately, if you’re after an accurate and powerful portrayal of the legacy of Fred Rogers, you’re still better off watching Won’t You Be My Neighbor?, which remains a far superior film to this one. That being said, if you’re simply looking for a story that will give you a warm, fuzzy feeling inside and make you feel better about yourself and others, then Heller’s film will do just that. Tom Hanks is perfectly cast as Rogers, albeit in a more supporting role than expected, capturing the likeability and humanity of the man with apparent ease. 

    It’s far from a perfect work and it’s certainly no classic, but it’s a particularly charming and sweet film with strong performances and significant messages. 

  • The Last Black Man In San Francisco: BRWC LFF Review

    The Last Black Man In San Francisco: BRWC LFF Review

    The Last Black Man In San Francisco: BRWC LFF Review. The stunning opening sequence is a sign of things to come in this absolutely wonderful film from debut filmmaker Joe Talbot, that works both as an ode to a city and a friendship, and a moving tale of the search for one’s identity. 

    The Last Black Man In San Francisco is loosely based on the life of Talbot’s childhood best friend, Jimmy Fails, who plays himself in the film; a man obsessed with reclaiming the home his grandfather built years ago. His idyllic view of the city is fading, as the world changes and moves on without him, and he begins to feel more like a stranger in his own town. 

    When it comes to telling a human story in the most visceral and creative way imaginable, Talbot’s film is cinema in the truest sense. It’s a much-needed reminder of why we all love it so much; an artistic vision that hits hard, takes breaths away, and feels special. 

    Jimmy Fails’ central performance is heartfelt and clearly personal, as his search for belonging becomes a greater struggle as the film progresses, and Jonathan Majors’ performance as his best friend, Mont, is a real highlight here. There are so many layers to his portrayal of this relatively complex character, and the film’s already fascinating study of male friendship is brought to life by the chemistry the two actors share. The history these people share feels truthful, and there’s a real sense of finality about it that builds with every scene. 

    Talbot’s comedic approach is no disservice to the story; rather, it’s precisely this that gives the film the life and energy that it has. This is a human story told with an almost surrealist approach; perfectly balanced and completely original. 

    The Last Black Man In San Francisco is one of the most picturesque films you’ll see this year; a stunningly beautiful use of the art form; at once poignant, political, tragic, funny and always human. It’s a cinematic vision that feels completely unique, absolutely teeming with life, energy and passion; a truly wonderful picture. 

  • Guaxuma: Review

    Guaxuma: Review

    Guaxuma: A Cinematic Children’s Book For All Ages. By Brandon Topp.

    Those of you who’ve had the pleasure of viewing Nara Normande’s animated short Guaxuma likely understand its massively successful festival run over the past two years. There are several things to celebrate when looking back on it as a viewer including: the variations of animation styles, the simple and powerful storytelling, and magnetic narration. 

    I’m going to take some time here to go into some detail on how its various features come together to make Guaxuma a singular film. If you haven’t seen it, there seems to be a Vimeo link that’s public in some regions of the world, but not all. So, maybe keep an eye out at local film festivals, or contact the production company Les Valseurs through their Vimeo. 

    Anyhow, here are a few things we loved about Guaxuma. 

    The Animation of Guaxuma

    The combination of the animation, narration, and childhood tales made me feel as a viewer like a child having a book read to me. Perched up on some mystical auntie’s lap, I watched as the visual story unfolded in the form of stop-motion sand creatures who represented the main characters, black and white animations that appeared etched out of sand, and simple real-life photographs standing in sand. 

    The juxtaposition of these forms created a dreamlike experience that feels appropriate for all childhood tales. Our memories are embellished by romantic relationships, and the fading clarity of the environments in which we grew up in. Because this story is about friends growing up on a beach, the visual thread of sand throughout adds a literal texture that fills out the fantastical elements of the memory. 

    There’s even one specific moment where the narrator questions whether or not one of her memories are real, which makes it feel like these were purposeful connections made between the animations and the hazy experience of recalling youth. This is speculation, but the main point is that the film is visually beautiful, dynamic, and engaging in a totally original way. 

    GUAXUMA | Trailer from Les Valseurs on Vimeo.

    Simple, Powerful Storytelling

    Normally, especially as an American film fan, I notice that stories with narration typically have too much narration. Not in Guaxuma. Letting the visuals do a lot of the work, the narrator’s explanations are often stark, and ominous. They tell us enough to work out what’s going on, but never to the point where we could use less. In fact, it always keeps you hungry, wanting more. 

    There’s a sequence where we discover that the narrator’s best friend is sick, but it’s not said outright. Instead, it’s demonstrated by the narrator recalling a Japanese tradition of folding paper birds for loved ones who fall ill. This explanation is accompanied by imaginative visual origami sequences, setting up a story theme which pays off in a beautiful fashion for the film’s conclusion. 

    The narration isn’t the only simple form of storytelling in this piece. The various animation styles we’ve applauded here all take a toned-down approach to the medium. The sand-creatures have a Wallace & Gromit aesthetic, and the black-and-white sand drawings evoke some Shel Silverstein vibes. The effectiveness goes to show a stick-figure can be equally as moving as an intricate, photo-realistic drawing. 

    One More Round of Applause for the Narration

    I already covered how the simplicity of the narration was appreciated, but I’ll close out this review by also commending the writing and delivery. The confident calm of the voice kept me engaged and attracted throughout watching. The soft delivery, and emotional rollercoaster we go on are both centered by this narrator, who goes on to deliver absolute chills with her unexpected Flaming Lips cover to welcome the credits.