Kit (Brie Larson) is bored with her life. She sits at home all day watching TV in her parents’ living room and thinks about all the failures that have happened in her life. The dreams of what could have been have gone unfulfilled but after an intervention from her parents she is determined to do something – even if it’s just to please them.
After seeing an advert on TV, Kit applies for a job as a temp in an office and is soon approached by the rather creepy vice president, Gary (Hamish Linklater). Gary also (not so subtly) suggests that if Kit does everything he tells her he can see big things in her future (for example, him). Then one day Kit gets an invitation from a place simply known as ‘The Store’ and after some careful thought she decides to go along, after all what’s the worst that could happen?
At ‘The Store’, Kit is greeted by The Salesman (Samuel L. Jackson) a flamboyant, eccentric and carefree man that says that if she can prove herself then she can have anything that she wants, even a unicorn. So, Kit goes about making preparations for her new unicorn’s arrival but whilst getting everything ready she starts to learn more about herself and the life that she really wants.
Unicorn Store is the directorial debut from Brie Larson and unusually for a feature debut by a Hollywood star, Larson’s movie takes the guise of a quirky indie comedy rather than an epic blockbuster that puts her front and centre. As the film goes on, Larson’s characterisation doesn’t pass judgement on Kit where other movies would, telling her to let go of childish things if she wants to make her way in the world. Instead the movie is about embracing the person you are as well as making a life for yourself that you can be truly happy about.
The movie is about being an adult but not forgetting that sense of wonder and imagination that makes a person who they are. The messages will no doubt resonate with women as the film talks about how a woman can struggle to be taken seriously and still maintain her femininity whereas a man can still be a geek and treated equally. Although personally speaking, as a geek in his mid-thirties there’s often a time and a place to be seen wearing a Star Wars t-shirt so in a way I can relate to the message.
//www.youtube.com/watch?v=r_51UsTDBAE
At times, it may seem that Samantha McIntyre’s screenplay may be a little heavy handed when signalling the male stereotypes but Larson’s performance never makes Kit into somebody unrealistically naïve as she manages to maintain a hopeful outlook on life. It could even be that some audience members wish they could get back the view of the world that Kit still keeps so close to her heart whereas reality is so much uglier.
By Naseem Ally. The Green Book also referred to as The Negro Motorist Green Book was a detailed guidebook for African-American roadtrippers during the Jim Crow law era from 1936 to 1966. This helps to understand and set the tone, for what audiences should expect in terms of the racial themes, that are heavily displayed in the film.
It’s a biographical comedy drama that’s been directed by Peter Farrelly. The director’s previous work includes, the cult comedy classics There’s Something About Mary (1998) and Dumb & Dumber (1994) starring Jim Carrey and Jeff Daniels. With the success of the great road trip film Dumb & Dumber, I think Peter has scored himself another one with the Green Book.
With Peter, mostly being known for his work on comedic and rom com films, it’s refreshing to see that he has managed to keep this DNA whilst also being able to have serious and prevalent themes throughout the duration of Green Book. Green Book set in 1962, is inspired by and based on the actual true story of the African American jazz and classical pianist Don Shirley, portrayed by Mahershala Ali and Italian American bouncer Frank ‘‘Tony Lip’’ Vallelonga played by Viggo Mortensen.
Personally, I think Viggo was robbed of the Best Actor Win at the Oscars but that’s a subject for another day…slowly moving on. I’m glad the authenticity in this film wasn’t watered down like most films based on a true story (cough..cough..Bohemian..cough..Rhapsody!) With the film also being written by Peter, and co-written with the help of Nick Vallelonga, the son of Frank AKA ‘‘Tony Lip’’ it really shines through in this film, and audiences will get their money’s worth.
The comedic timing in this film is superb! Straight away from the beginning of Green Book, we are drawn into Tony Lip’s world played by the brilliant Viggo Mortensen. A brawny bouncer working at the Copacabana Club, who is a no-nonsense guy doing whatever necessary to keep things running smoothly. One of the club attendees kicks up a fuss about a missing hat, which forces Viggo’s character into action.
‘Guard this hat with your life’
The theme of guardianship runs throughout the duration of the film as we see the growth of the bond between Tony and Dr.Shirley, even with Tony’s racial biases as it’s essentially his job to guard his black client, over his tour of the Deep South. Along the way, there are many twists and turns due to Tony’s hot headed nature. He very often gets into sticky situations which we see unravel, to the detriment of Dr.Shirley.
//www.youtube.com/watch?v=QkZxoko_HC0
Starting with punching a guy at the Copacabana Club, losing his job and then having to rely on hot dog eating competitions to earn his bucks. The constant eating that Viggo’s character made for some great laughs. One again hats off to him, his dedication to the role was well evident throughout the film. From the thick Italian American New York accent to the hefty weight he put on from eating ALL THAT FOOD!
Linda Cardellini did a great job too, as part of the supporting cast playing Tony’s wife Dolores. She is a key catalyst in the film that aims to change Tony’s perception of Dr. Shirley. A particular scene strikes to mind, where two plumbers come to work on their kitchen and are offered some drinks. It is a very powerful scene!
The pacing of the film is great. From the start of Tony being a bouncer to his transition of now working as a driver for Dr. Shirley. All of this occurs within the first, say 15 to 20 minutes. They have a brilliant encounter when they first meet – it’s hilarious! Tony’s comment about doing ‘public relations’ work is brilliant. It’s clear to see why Dr. Shirley hired Tony for his innate ability to handle trouble.
As well as being a tough guy, Tony is a family man who learns to get in touch with his ‘romantic’ side with the help of Dr. Shirley explaining to Tony how to write love letters to his wife. There’s some great camera work in this film. A scene pops to mind involving Mahershala and Viggo having a powerful exchange in the rain, with green hue lighting. Look out for another great scene as they make a pit stop, near a plain of farmers who look on at the sight of Tony and Dr.Shirley.
At times I felt, the constant racial references to eggplants was played out a bit too much. Perhaps, the writers really wanted the racial aspect to hit home due to the time it was set it in. There’s a lot of this sort of dialogue, that some audience members may be sensitive to, however in general I think this film is as honest as it could possibly be. I do admit though there could have been a lot less ‘ballbusting’ from Dr. Shirley as the constant nannying of Tony’s etiquette started to interfere with moving the story forward. At times I was wondering whether or not I was watching a rerun of Jo Frost’s Supernanny.
‘10 and 2 on the wheels Tony’ ‘Put it back Tony’ ‘Don’t be vulgar Tony’
Ok, we get it.
Green Book
But I have to admit, there was a funny moment with a ‘lucky rock’ that Tony…finds. Throughout all of their escapades and conflicts they face in the Deep South, the growth shown between Mahershala and Viggo’s characters really make you root for them over their tour. From the initial hostility, they eventually develop a genuine bond and care for one another to the point, where near the end of the film Dr.Shirley took on the mantle as a guard for Tony to ensure he got back to his family on time for Christmas.
A heartwarming film, great comedic timing, slightly too much nannying from Mahershala, but with that being said, it’s a very powerful and profound film.
It’s taken me a long to write this review and, to be honest, I feel that this book has so much to digest I still can’t do it justice in such a small amount of words.
I’ve had the pleasure of hearing Christopher Frayling speak on film a few times, so it was with utter delight that I took to the E-pages of this book. So much so, that I am waiting with much anticipation for an actual, physical copy to buy for myself so that I can hold it in my hands.
Alas, I will have to wait until April 18th to hold Once Upon a Time in The West: Shooting a Masterpiece for a copy to sit on my book shelf.
For any filmmaker, any film critic or anyone who loves film, this is the book that you need to buy this year. It is more than just a book on one of the greatest Western films of all time, it is a book about one of the greatest FILMS of all time. This book is packed full of filmmaking punches which go beyond an analysis of the film itself.
It is an analysis on the art of filmmaking, from script to screen with testimonials, interviews and insights from some of the greatest film industry professionals. Quentin Tarantino’s foreword gives an insight into his own filmmaking process, whilst never-seen-before documents delves the reader deep into the filmmaking process of the ‘horse opera’.
//www.youtube.com/watch?v=CTltxRGVJR4
it’s difficult to review such a rich tapestry of information, but all I can say is if you are a film fan… I suppose go and watch Once Upon A Time In The West again, buy this book and say to yourself ‘ooh, films used to made so well, didn’t they?’.
Writer/Director Randy Moore’s Escape from Tomorrow was shot on location at Disney World in Florida without permission – a decision that gives the film an air of tension and makes it so direct and unflinching that it can, at times, be uncomfortable to watch.
This is not the first film that has been made in this such guerilla style – another notable example is Jafar Panahi’s Offside. Protesting laws forbidding women in Iran from entering sports arenas, Panahi and his all-female cast shot that film outside the Azadi Stadium in Tehran while a World Cup qualifier was being played inside.
There, Panahi could have faced repercussions from the Iranian government, but here Moore puts himself in the firing line of a much more unforgiving and brutal authority – the Disney Corporation.
Given the clandestine nature of the production, it would be reasonable to expect nerves to be showing in the film and for a Blair Witch-type aesthetic. Looking at the final product, though, you wouldn’t have thought it was all shot in secret.
It looks as well made as any film shot by or in a studio, with beautiful photography by Lucas Lee Graham. The knowledge of the extra efforts that have gone into the location shoots (Moore supposedly made the cast ride “It’s a Small World” twelve times for the filming of one scene), straight away creates a deeper appreciation and affection for the filmmakers. Thankfully, that
While on holiday at Disney World with his family, middle-age Jim’s (Roy Abramsohn) life seems to be falling apart – he has lost his job, his children give him no respect and his wife (Elena Schuber) is giving him grief about ruining the holiday, and his wondering eye.
Jim’s feelings of hopelessness eventually seem to take a toll on his psyche, as he seemingly constructs a scenario where he learns of the supposed true nature of the park – one involving a secret underground lab, alluring Princesses and fairies and a disease spread by cats. It’s part of a new narrative where he is the hero and has to save his family.
Anyone who’s had a bad holiday will recognise something from Escape from Tomorrow, such as the tensions from being in constant close quarters and the pressure to have a good time. It’s savagely observed, but what it does best is perfectly capture and dismantle the idea that, in these anxious times, Disney theme parks are seen as a sort of nirvana which can make all of life’s problems go away.
“People come here because they want to feel safe. They’re afraid,” says one of the characters Jim meets on his journey, a fired former Disney princess. A line she delivers at a moment when nothing feels particularly safe. It’s true, though, visiting a theme park will not make all your problems disappear – which is particularly true in Jim and his family’s case.
The film ramps up the surrealism as it goes on, before maybe going a bit too far with a final scene that doesn’t feel like a satisfying conclusion (if it had ended a few minutes sooner it would have been better). It does not deviate from its voice, though, and remains uncompromising to the end.
Escape from Tomorrow might be a bit too sardonic and extreme for some, but it is nonetheless a brave, unique and unforgettable experience. This is a real undiscovered gem, ripe for re-discovery.
In terms of the former, writer/director Sebastian Harris does well to show how, when ending a turbulent relationship, closing it out is sometimes not enough – you also want satisfaction for all the pain that’s been caused.
As for the crime, the film’s antagonist,
James (Ben Higgins) is undeniably a combative spouse, uncaring and withholding
of affection. With his screen time at a minimum, though, it’s worth wondering
whether or not he is entirely deserving of his fate.
The film opens on his wife, Amy (Devora Wilde), seemingly in distress. Addressing the camera, she tells how her husband has been neglectful of her all through their marriage, and is being unfaithful – a revelation she plans on exposing while the couple are visiting family for Christmas.
Aside from the thought that the two look a bit young to be five years married, and somewhat stilted dialogue, Heavy Rain’s fourth wall breaks, while normally a contrivance, here work well.
Wilde’s delivery draws you into the story, and her soliloquies take the edge off the film while avoiding an expository feel and make for a more human and relatable story.
Another big plus for Heavy Rain is the work of cinematographer Jacob Dear. This film looks great, every shot is well designed and photographed perfectly. Not working quite so well is George Lisham’s Hans Zimmer-inspired score, which at times suffocates the film.
For a while it’s not clear where the film
is going, but eventually comes full-circle with a clever, well-constructed
ending. Again, it’s questionable whether it’s a deserved ending, but it’s
unexpected and works as part of the narrative.
While not without its faults or breaking any new ground, Heavy Rain is a well-made, well-structured film that keeps hold of your attention throughout.
