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!

  • BAFTA Short Review: The Blue Door

    BAFTA Short Review: The Blue Door

    When thinking of a short horror film, one might imagine the directors cramming as many in-your-face scares as possible into what little time they have. However, the most haunting stuff of all is the dread that slowly but surely creeps up on you, the tension that mounts until you’re gripping the edge of your seat, and then finally erupts into a spine-chilling finale. Ben Clark and Meghan Pugh’s ‘The Blue Door’ does just that. It is understated, simple, and downright terrifying. This horror short contains no dialogue whatsoever, and reminds us of what a good chiller is all about. It doesn’t rely on anything but its exceptionally unnerving atmosphere and blood curdling simplicity. 

    Game of Thrones star Gemma Whelan stars a home care nurse who has recently been assigned to a new patient. Arriving at the house, she sees that this elderly woman has been neglected and living in squalor. She starts looking around, cleaning up, and begins to get the sense that there is something darker dwelling in the home.

    The film is beautiful and bleak, the dull, cold colours of the house, which is dilapidated and derelict, add to the icy, eerie atmosphere that is tantamount to the underlying terror of this film. Every time the camera moves with Whelan, you expect to see something lurking in the corner of the room, and even when you don’t, that expectant fear is what the most terrifying horrors are all about… that sense of something lurking, hiding, unseen, waiting to pounce. 

    Using a completely recyclable set, the crew have created the perfect backdrop to the story, with white sheets covering the furniture and dripping taps, all the elements of a deliciously unnerving film. If you’re a horror fan, this will not disappoint. It trades blood and guts for atmosphere and toe curling tension that hits you right where it should, building up to an ending that will have you glued to the spot long after the credits roll.

  • The BRWC Review: Green Book

    The BRWC Review: Green Book

    I am usually quite dubious of biopics. Nothing makes me angry more than something ‘based on a true story’ and then when you read the facts, nothing adds up and some of the best bits are inputted for ‘dramatic effect’ (par example in The Other Boleyn Girl where suddenly Anne Boleyn’s sister raises the future Queen Elizabeth…NOPE!). 

    But, not only is Green Book a wonderful film that made me cry it was so good, it was BASED ENTIRELY IN FACT (well, I’d say 80%). It does help the writers has been developing the script for ages and happens to know the two leads very, very well. Nick Vallelonga, son of Tony Vallelonga (played note-perfect by Viggo Mortensen) has such a rich bank of facts that it’s very difficult to criticise much of this film. I have seen some critics do so, out of some sort of weird social justice duty, I think. 

    Anyway, the film follows Tony Lip/Vallelonga, a racist New Yo-ik-er immigrant who finds himself out of work. He is head hunted by legendary pianist Don Shirley, who has heard about Tony’s amazing ability to ‘handle trouble’. Despite Tony’s initial reservations of ‘working for a man of colour’, he decides to go ahead and be Shirley’s driver for his tour of the South. 

    Tony is brash, sneaky and brutish, whilst Shirley is dainty, polite and enigmatic. The two embark on a groovy, dangerous and life-life-changing journey through some of the most racist states of 50’s America. The Green Book, where the film takes it name, often means that Don and Tony are apart at night because of what hotel’s will let Don stay in, causing conflict, pain and self realisation. 

    I was overwhelmed at how this film encapsulated and era so well, showed the ugly face of redemption whilst retaining charm, humour and compassion. Mahershala Ali has proved he is an acting power house with this film – give this man more golden statues, NOW!

  • The Field: BAFTA Short Review

    The Field: BAFTA Short Review

    India is known for its rich, vibrant colours and stunning nature, so it is not surprising that a film shot there would be a feast for the eyes. The challenge, then, is finding a story as beautiful as to not rely on its natural splendour, and Sandhya Suri’s The Field does just that.

    Set in rural India, Mia Maelzer plays Lalla, a poor agricultural labourer who is preparing to harvest the only remaining cornfield in the village. She is married to a man who hardly speaks to her, and she is left looking after their two children without much help at all. She seeks solace from the every day in a double life of sorts, testing the boundaries of what is forbidden.

    Each shot is richer and more beautiful than the next, with Maelzer’s beauty and presence captivating the whole screen wherever she appears. The camera crew had the difficult task of shooting most of their scenes at dusk or dawn, but they meet the challenge impeccably, using the blue light to create an enchanting cinematic experience. The sensuality of the film accompanies this powerful and understated story of forbidden love and repression. 

    The film is subtle, it is not a dramatic spectacle, but there is so much underlying emotion and exquisiteness that it is incredibly affecting. The most stunning scenes are set amongst the cornfield, which is like a character in itself, and the heart of the drama is delightfully accompanied by the hypnotic sound of the leaves hissing in the wind. It would be difficult not to be moved by the beauty of this story, and it’s a sure contender for award season.

  • Seventeen: The BRWC Review

    Seventeen: The BRWC Review

    We’ve had Catherine Hardwicke’s Thirteen, Rob Brown’s Sixteen, Richard Bell’s Eighteen, and now we have Monja Art’s Seventeen. Naming your film after a person’s age is popular, it seems. 

    Any-who, Seventeen [Siebzehn] is an LGBTQ coming-of-age story that follows Paula, an intelligent student who is in love with her classmate Charlotte. What this film does, unlike a lot of teen dramas, is completely normalise same sex relationships, which is rather refreshing. No judgements are made, only the usual teenage-bullying that happens in the classroom. The film deals with experimentation, aspirations and friendship in a natural and realistic way. 

    Elisabeth Wabitsch is wonderful as Paula – her interactions as natural and true. There are a few performances that are a bit dull, but it doesn’t take away from the film’s impact. 

    Art’s use of ‘fantasy’ sequences convey brilliantly what goes through a teenage mind. When Paula walks into a classroom, she imagines everyone is laughing at her, when in reality they are just getting on with the homework they should have done the night before. 

    There are the usual tropes: drugs, sex, fights, depression and partying, however they are not portrayed in an overtly garish way which is sometimes the case in films depicting teenage life. 

    It manages to deliver a nice balance between Thirteen and Blue Is The Warmest Colour, which I think is as good a review as I can give it (those two films being two of my faves). 

    For a low-budget Indie film, this is some strong work from Monja Art (my new favourite director name since Maren Ade) who seems to be picking up momentum Deutsch side. Catch it if you can! 


  • 2 Short Film Reviews: The Interview & Falsified

    2 Short Film Reviews: The Interview & Falsified

    Both The Interview and Falsified are very different films, but both feature Ashley Tabatabai working in multiple capacities, both in front of the camera and behind the scenes.

    Written by Tabatabai and directed by Stefan Fairlamb, The Interview is described as “a dark ‪comedy about a down on his luck man who has a job interview with an opportunistic ‪entrepreneur that takes him out of his comfort zone.

    The entrepreneur, played by Tabatabai, is the cool and confident owner of an online content company, while Scott Michael Wagstaff plays the neurotic man down on his luck he meets in a cafe for a somewhat enigmatic interview.

    Their meeting calls to mind the nervous comedy of Woody Allen and the sinister shallowness of David Cronenberg, but The Interview is not as funny or as purposefully creepy as the works of either filmmaker. That said, the film makes good use of minimal elements – four speaking parts, two mains and a stripped-down script.

    Tabatabai does well to bring all of the film’s elements back together for a well-constructed ending. Yet given everything that came before, it feels like it’s going to go into deeper territory than it actually does. By the end, the film feels a bit gimmicky and somewhat lightweight and unsubstantial as a result.

    Falsified is the more serious of the two films, where Tabatabai shares directing duties with Fairlamb and again writes and stars, this time as Javier, a young man aggressively pursued by the elderly Henry (Mitchell Mullen), who believes him to be his long-lost son.

    Javier, it transpires, is one of Los Ninos Robados, or the Lost Children of Francoism – one of hundreds of thousands of children who, under the orders of Spanish dictator Francisco Franco, were taken from parents who held oppositional views. The most fortunate of which were put into homes or forcibly adopted.

    This feels like a personal story for both the filmmakers, who seem to be using the film as an effort to bring more attention to this unfortunate chapter in recent Spanish history – one that must be especially painful for those who fell victim to it and can’t move on until they have closure, like Henry in the film.

    He presents Javier with all the facts and evidence that says he is his son, but it turns out he is not the first person to claim his parentage. This is the most intriguing part of the film, the fight between feelings and the truth – is he really the son or does Henry just want him to be?

    Had it left it there, Falsified would have been a more interesting and though-provoking film. Portraying victims of a tragedy like this with missing parents and children they will never find is an intriguing, and unfortunately real, angle. However, that’s not what this film about. It does go on to wrap everything up (fairly predictably) with an ending that feels like a let down.

    Still, there is a lot to admire about Falsified. It’s brilliantly photographed by Adam Lyons, which adds to the sobmre and mysterious tone of the film, and is complimented by Tabatabai’s script that, for better or worse, skimps on explanations and lets the visuals and character interactions tells the story. It’s just a shame it’s not brave enough to avoid a conventional structure.