Category: REVIEWS

A vegan beef farmer… that’s not something you hear every day.

Alex Lockwood’s BAFTA winning short film tells the story of one such man. Jay Wilde inherited Bradley Nook Farm when his father died in 2011, and it didn’t take long for him to feel as though he was ‘betraying’ the cows by sending them to the slaughter.

Wilde explains how it was ‘very difficult to do your best to look after them and then send them to the slaughterhouse for what must be a terrifying death.’ Ultimately, when Wilde could no longer justify killing his animals, and his wife Katja could see how this internal struggle was upsetting him, the pair decided to do something about it.

The film tells the story of the farm’s transition from beef to vegan produce, and the conflicts felt along the way. The decision would prove not only expensive, but also controversial, with many fellow farmers branding it the ‘funny farm’ after the story made headlines. Lockwood documents this entire process, including what exactly Jay and Katja did with all their cows.

Above all this, the film is really a simple profile of two people who decided to do something incredibly risky and in defiance of all that was expected of them, simply because they felt it was the right thing to do. In many ways, it’s the perfect example of the moral courage it takes to make such a life-changing decision.

The interviews with Jay in particular are fascinating. He’s open and honest about everything he feels. He’s visibly tormented, clearly a man wrestling with a great deal of emotional anguish. On the one hand, he feels a duty to continue his father’s work, and to not let his family or the farming community down. On the other, he believes that what he’s doing is morally wrong. His determination to push on with his decision despite all these concerns is to be admired.

The film is also wonderfully presented. Cinematographer Oliver Walton’s shot composition is surprisingly polished and cinematic, despite the crew’s apparent low budget. There’s an effective use of slo-mo that meshes well with the film’s tone, themes, and with Jay’s calm demeanour.

Despite its short run-time, the film does feel a tad too long, coming across a little padded out in the closing minutes. Also, it comes close to preachiness at times, as opposed to the simple character study that it is clearly trying and, for the most part, succeeding to be.

Lockwood has said that he was drawn to the Jay Wilde because it was ‘a great story of human conflict and compassion’. That’s exactly what his film is and, despite a couple of minor gripes, it’s a wholly affecting piece that lingers in your memory and makes you think, featuring a fascinating, admirable and brave individual at the heart of it.

The entertainment world was recently united in grief following the passing of Marvel Comics legend Stan Lee, who died aged 95 at the start of November.

Stan’s death has undoubtedly thrown a sharp focus on a range of his work, with his influence of course being felt massively on Marvel’s impressive interconnected cinematic universe. The series of films has enjoyed a hugely successful year, with the jaw-dropping spectacle of Avengers: Infinity War and Black Panther in particular achieving significant commercial and critical acclaim. Lee of course appeared in both films, continuing his tradition of cameos in each of the blockbusters based on Marvel properties.

However, there is of course much more to Stan Lee than just his work for Marvel and one of the more recent projects he has been involved in is the TV show which carries his name – Stan Lee’s Lucky Man.

Making luck a superpower

Created by UK-based Carnival Films and Lee’s own company POW! Entertainment, the show follows the adventures of Detective Inspector Harry Clayton, played by Jekyll and Murphy’s Law star James Nesbitt. The police officer wakes up following an encounter with a mysterious woman wearing an ancient bracelet which grants him luck.

The idea for the show emerged when Lee was asked by a fan at an event which superpower he would personally like to have, with his reply being luck. The concept was then developed into a series for Sky One with the help of Neil Biswas, with the whole idea shining a spotlight on an area which has fascinated people for a number of years.

https://www.youtube.com/watch?v=rVLxIm8oMl8

Science has attempted to determine whether the concept of being lucky – or luckier than most – really exists on numerous occasions, with one study in particular determining that a person’s luck can be improved through steps such as being positive and keeping an open mind. But what would happen if you were always lucky? As an article from Betway Casino outlines, experts have found that success breeds success and people who have won anything from a competition to a cash prize in the past become determined to replicate the positive effect that it has on the brain – with their brains helping them to get there.

Positives and negatives

So, with that study in mind, is Stan Lee’s Lucky Man all about a man who is living his best life and simply cannot stop winning at everything? As you may expect, things are a little more complicated than that.

A key issue that Harry Clayton faces with the bracelet is that any positive outcome has to be counterbalanced by something bad, which understandably creates a host of issues for him as he tries to maintain his working life and also care for his estranged family. As you might expect, such issues lead the show to tackle a host of themes related to luck and chance, as well as the classic superhero tropes of power – including the responsibility of holding it and how it can also be corrupting too.

All of this takes place against the stunning backdrop of London, with Harry working to solve a range of crimes while also tackling wider plots and the massive implications that come with owning an ancient bracelet with luck-giving powers. The show currently consists of 28 episodes across three seasons in total, with the latest being shown between July and September 2018.

The show is broadcast on Sky One in the UK and while there is still no confirmation on whether a fourth series will be created, it was confirmed in September that it would be heading to the US with the AMC Networks-owned platform Shudder set to broadcast it. Before he passed away, Lee gave his backing to the move, stating that he was “thrilled” that US audiences would get the chance to watch the show.

A must for Stan Lee fans

It seems like very few concepts in the world have not been turned into superpowers at one point or another, but the idea of luck is one which undoubtedly holds a particular fascination. Boasting a strong concept and an impressive lead actor, Stan Lee’s Lucky Man has performed well in the UK and will now be hoping to do the same on the other side of the Atlantic.

Anyone who counts themselves as a fan of Stan Lee’s work should undoubtedly give its mix of police procedural and supernatural elements a chance. Seeking a new TV box set to get into? You might just be in luck.

The casting couch is a term that has been used for many years. There are sly, knowing jokes about naïve young actresses being seduced by rich and powerful men that can give them careers or determined women driven to do whatever it takes to get to the top. However, the truth behind these jokes is something far more serious and recently Hollywood has finally started to address this problem publicly. Although the safety of women who are called to be cast for a film or a television show is only the tip of the iceberg. The #MeToo movement has shown that attitudes towards women have to change and the people at the top have to change their behaviour if the seedy jokes and cover ups over unacceptable behaviour are going to stop.

Rocking the Couch is a documentary that highlights a group of women who were sexually harassed and abused by talent agent, Wallace Kaye in the early nineties. It is only down to these women’s bravery that led to the court case and his conviction – but there is still an underlying feeling that Kaye’s behaviour is in the minority. Rocking the Couch discusses that time in the early nineties and how it relates to Hollywood today and whether things have, or can get any better.

//www.youtube.com/watch?v=oIjDIKI_TY8

Talking to the victims of Kaye’s abuse, the documentary takes a frank and open approach to what happened in what seems like a lifetime ago but is still so clear in the women’s minds. They each talk candidly about their experiences as if they are in court once again and recall vivid details which may shock and appal viewers. However, their accounts are not presented in a salacious way intended to offend and alarm but are simply shown as examples of what happened and in a lot of cases how easily an assault can take place. 

Littered among these extremely personal accounts are perspectives from law enforcers. A solicitor specifies the details of what the law considers consent and abuse while a police officer (one of the officers who was present during Kaye’s trial) talks about what should be done to report an incident of abuse and how difficult it can be to secure a conviction. Then there are the showbusiness insiders, and for me this is where the real insights came in, as what they say about the issue of abuse in the film industry is often more telling about themselves and the attitudes that surround the movie business even today. The film never sets out to demonise the abuser in an over-the top kind of way. letting the facts speak for themselves. For those willing to listen, the truth of their horrific ordeals may open some people’s eyes to what’s really going on around them and maybe even help make a change. 

Currently there are a few men who have been prosecuted, accused and even serving time for their sexual misconduct. People such as Bill Cosby, Harvey Weinstein and Kevin Spacey have had their careers all but ruined due to revelations about what they’re really like behind the scenes. This documentary serves as a healthy reminder that if there aren’t better ways to deal with reports of abuse and attitudes and behaviour don’t change then the film industry will remain an unsafe environment for women. This is an important reminder that history doesn’t repeat itself, it rhymes.

Barnaby Blackburn’s BAFTA nominated short film follows Wale, a young man trying to move past his mistakes and make something of himself, only to have his every effort thwarted. 

Wale is a perfect example of both the positives and negatives of the young offender programme. On the one hand, he really appears to have learned from the experience. He was convicted at a young age for handling stolen goods but spent him time training as a mechanic, and now seems genuinely determined to make something of himself and earn some honest money. 

On the other hand, Wale hasn’t been remotely prepared for the real world. Despite his mature mind-set, he’s still a naive teenager. With his record, he’s not able to apply for jobs in the traditional sense, so he finds himself unsuccessfully handing out business cards to strangers who don’t even acknowledge him. His past also leaves him vulnerable to a stranger who sees a clear opportunity to take advantage of him.

Raphel Famotibe’s central performance is a notable highlight. At first, he appears somewhat wooden, but as he eases into the role and Wale has to deal with the many shocks that come his way, he really comes out of his shell as a performer with a clear range. 

Jamie Sives has the opposite effect. His performance is extremely disconcerting to begin with, as we the audience are suspicious of his actions but blissfully unaware of quite how deep it goes. As the plot develops, his performance becomes somewhat melodramatic. He appears no more than a cliché villain with a master plan, and any potential depth to his character falls away very quickly. 

The simple truth is that as Sives fades, Famotibe begins to shine, and it’s his performance that really impresses by the time the credits roll.

One of the strongest directorial decisions Blackburn makes in the film is his clever use of wide shots and close-ups as the story’s tension builds. Wale initially feels a clear sense of freedom, but the camera edges closer and closer to his face as he begins to feel increasingly trapped in an unavoidable situation.

The audience is made aware of the environment in which Wale lives from very early on. An opening montage demonstrates the struggle in the local area, while Wale’s past hovers around in the form of his old friends, ready to tempt him back into the fold at any given time. 

Tension builds superbly throughout, anchored by a terrific score from Luis Almau, as we can sense there is clearly something very dodgy going on, yet when the moment arrives we are completely unprepared for it. Blackburn is always ready to surprise his viewers, but no moment feels misplaced or extreme.

‘Wale’ is a tense and unpredictable thriller with some particularly interesting themes at the heart of it. It’s well-directed and the story is told with a great deal of intelligence and wit. It’s not perfect, with a slow start and a strange performance from Sives, but on the whole it’s a mostly suspenseful watch that showcases both Blackburn and Famotibe as talents to watch. 

By Fergus Henderson. I’m Ok, the short animated film directed and animated by Elizabeth Hobbs, is a blistering, eye-shocking tour through the mind of its subject, Austrian Expressionist Oskar Kokoschka. Every single frame is a painting, inspired both in spirit and technique by Kokoschka’s work. 

Taking the subject of Kokoschka’s service and injury during the first World War, as well as an intense romantic affair, Hobbs fashions a kind of never ending zoetrope of psychological connections, flowing through images of war and sex with the kind of associative intuition common in Expressionist art.

Hobbs adds her own touches, doing away with the more oppressive colour palette and figurative art of Kokoschka and finding a bright, sensuous simplicity with which she communicates the narrative. At times you could pause the film and imagine you were looking at a Matisse sketch.

//vimeo.com/270363290

I’m Ok moves through its subject’s memories at an incredible pace. The use of painting allows Hobbs to literally blend one image into the next, so that an erotic memory can quickly transform into a surreal allegory for death, can then become a religious vision of transcendence, which can then once more become an erotic memory. It is dizzying, and succeeds mainly in imagining and visualising a train of thought. As a piece of biography it remains mystifyingly oblique.

Ultimately anyone unfamiliar with Kokoschka will not leave much wiser on the subject, but as a brief leap into an artist’s mind and preoccupations (and a vigorous demonstration of Hobb’s own artistry) the film succeeds on its own, wildly vibrant terms.

Bachelor, 38 is similarly a life retold, the subject of Angela Clarke’s touching documentary an older gay man, Bryan Robert Bale, who relives his experiences of London in the 60s, and the meeting and losing of the love of his life, John Harrison. 

It is a plainly made and unpretentious documentary that knows it does not need to do much in order to be compelling, given the inherent magnetism of Mr Bale, who shines throughout. He is eloquent, philosophical, and soulful in his recollections.

Clarke has condensed the interview with Bryan down, and shorn the film clean of everything but the most pivotal moments in the story. This is not to say that it is a tale of great drama, and Clarke understands that the small moments in a life are often the ones which resonate most deeply.

//www.youtube.com/watch?v=o3QUTgGOIZE

In one extraordinarily beautiful moment, Bryan recalls the first dinner he shared with his soon-to-be partner, in which he gives away his working class background by making a chip sandwich, John commenting that he has never seen one before. The smile in Bryan’s eye as he relives this memory is Proustian in its depth: you can see the boy that he was, the collision of worlds as embodied by a chip sandwich, the bizarre romantic frisson of the whole thing. 

As Bryan concludes his story, he becomes overwhelmed, but embraces it. In his words, “this is the performance, not the dress rehearsal. Life is for living.” The beauty and intimacy of watching Bryan telling his story more than justifies Clarke’s unadorned approach, for if this is the result, life’s profound affirmation, then the film has done more than it needed to. More, even, than many films do at all.