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!

#BRWC10: Ageing Films

I think that we should all give battleroyalewithcheese.com the biggest happy birthday cheers we can. For ten years, BRWC has provided us with coverage on the latest in on-screen entertainment and has helped writers with a passion for film find a voice. Not only that, but it has gained the favour of a great fan-base. Ten years old, and yet it’s still growing and finding ways to reach out to people. For this special occasion, I thought it’d be nice – and fun – to find what I would consider to be ten films that capture the themes of growing up – of birthday celebrations and ageing. This is of course a broad spectrum of films and remember that I will not have seen every film that carries such a theme. If you think a film not mentioned deserved a mention I do apologies, odds are I never saw it.

Without stalling anymore lets start the list, with a very happy tenth birthday to BRWC!

10/ BOYHOOD. DIR: RICHARD LINKLATER.

Boyhood is a very interesting experiment. The films story is very un-unique, a boy grows up and we follow his life from the age of six to the age of eighteen. We see his parents get divorced, him go to school and watch him experience new things that we all experience. The main difference here is that director Richard Linklater (who also directed A Scanner Darkly and School of Rock) started filming this in 2002 and finished in 2013. So, we are actually seeing actors grow up right in front of our eyes.

It’s an interesting experiment that hasn’t really been done before. It’s certainly an interesting way around hiring separate child actor and giving the adults ageing make-up. It was a successful experiment, particularly with critics. The film earned an impressive score of 97% on Rotten Tomatoes and an almost unheard-of score of 100% on Metacritic. It won Academy awards everywhere to boot. The film’s success is undeniable.

Watching Boyhood is something that isn’t really done on a whim. It’s not something that people watch for fun, but to be fair the film doesn’t pretend that it is. It can be classed as nostalgic for the times that it was filmed in – I remember having a PSP at that age too, that kind of thing. What Boyhood is, is artful and a definite slow burn. If I’m going to be brutally honest, it’s not a film I like personally. In fact, I’m inclined to say that I hated it. The film itself is far less creative without the filming in real time, and the story itself is just boring and overly pretentious. But even I can’t deny that Boyhood deserves it’s placing simply because of how bold it was with its idea.

It’s by no means a bad film. The acting – except from some of the other kids and especially the step-father – was great throughout and Linklater knows how to shoot and edit his films in creative ways on relatively low budgets. It’s worth at least one watch for any aspiring filmmaker or for people who just love the art of filmmaking. Don’t go into it expecting the amazing film that the critics at the time were calling it and you might find something to enjoy. It wasn’t for me, but it’s certainly one to appreciate.

9/ THE CURIOUS CASE OF BENJAMIN BUTTON. DIR: DAVID FINCHER.

The Curious Case of Benjamin Button is, well, a curious film. It essentially tells a very similar story to Forest Gump, but with one major difference in terms of narrative. You see the protagonist, the titular Benjamin Button, doesn’t age like we do. He ages backwards. He was born as an old man and dies as an infant. This sounds very silly, and in many ways it is, but it’s handled with unexpected maturity and it takes itself just seriously enough to work.

This is a rare film from director David Fincher. Fincher’s filmography is mostly made up with the likes of Se7en, Fight Club, Gone Girl and Panic Room. So, for him to make something that even a younger audience could enjoy is something very unexpected from the man. That being said, the audience for this shouldn’t be too young, as it does have dark tones, brief images of gore (particularly in the war segment of the film) and has plenty of implied sex scenes. All of this works well in a film that is ultimately a celebration of life.

Something that the film highlights is the surprising similarity between the times of infancy and elderly. The ending is tragic, but it’s how it needed to be to complete its story. It’s what we do between birth and death that matters, that’s the message of the film. It’s a nice message and it demonstrates how we all change in life – again, all by looking at it backwards.

That being said, it’s not perfect. It’s my personal least favourite of Fincher’s work. The pacing is the main culprit here as the film runs a little longer than it should do. There’s a sub-plot about an affair that I thought could have been cut entirely. To top it off, the acting isn’t great. Cate Blanchett and Jared Harris do respectable jobs here – but Brad Pitt, while not necessarily bad, does feel out of his depth with the role. His southern-American accent is a little too silly too. But don’t let that detract from what is otherwise a well-directed and well-constructed film that was far better than it had any right to be.

17th August 2018
#BRWC10: The First Ever Post Was A TDK Review

This is the latest post on BRWC, which is a repost from the first ever post ten years ago…

The voice certainly threatened to derail the film. The best way I could reconcile it was by looking at Bale’s performance as one of a man who is constantly acting, whether it is as Batman, or Bruce Wayne: International Playboy, or Chairman of the Board. The Young Master Bruce persona he had around Alfred seemed to be the closest to the “real” Bruce Wayne, but the wild shifts in tone, and the implausibility of his Batvoice (like a Coors Beer commercial) pointed to a very insincere character, especially when surrounded by astonishingly sincere characters like Rachel, Harvey Dent, Commissioner Gordon and the Joker.

And I say the Joker was sincere because of the astonishing conviction that the tragically late Heath Ledger put into the performance and I took at face value his speech to Harvey in the hospital (Chaos is Fair). The Joker arrives in (is created by ?) a Gotham where the vigilante morality of the Batman is butting heads with the organised criminality of the mob in a nice old fashioned good vs. evil and the Joker’s “plan” as such is call bullshit on all of it. He doesn’t help and then take over the mob for their money or power, he wants to solve all their problems (get back the money and the star witness) then burn it all in a big pile in front of them to show up the pointlessness of their greedy dreams. He doesn’t want to kill the Batman, he just wants to let him in on the joke (see Alan Moore and Brian Bolland’s graphic novel The Killing Joke). It’s no surprise that the pivotal scene between the two takes place in the mirrored interrogation cell (which I understand was the first day of shooting for the two actors).

And when the Joker describes himself as an agent of Chaos you have to take him at (two) face value and acknowledge that the Joker is not an “evil genius” who schemes and plans everything in advance, but as a true agent of chaos is the master of improvisation (not least in his constant reinvention of his origin story). His command of the mob merely facilitates this (planting bombs, making hits, etc at short notice). Foiled in his attempt to kill Dent, (which in itself is only part of his plan to unmask the Batman/take over the mob), he adapts and invents a grander scheme to force The Batman and Gordon to make a Sophie’s Choice(of which there are a few) between saving Dent and Rachel (which is another cover for busting the accountant out of jail), then uses the chaotic result (Dent’s transformation into Two-Face) to lecture Batman on the corruptibility of man. Even then this is part of a two pronged argument with the bombs in the boat. One of my favourite choices the script makes is to avoid a simple Batman knockdown defeat the Joker and let the prisoners (brilliant Tommy ‘Tiny’ Lister cameo) and passengers decisions to toss away the triggers provide the coup de grace to his argument.

So in terms of “at which point” I think the point is its impossible to judge. In fact the multiplicity of schemes (and their constant adaptability and flux) is what gives the film its core. How does one, practically and morally, combat the forces of chaos ? Pretend to your wife that you’re dead ? Use surveillance so sophisticated that everyone’s privacy is at risk ? Toss a coin ? I liked the little bit of forensics with the bullet fingerprint, not least because I didn’t get what the f**k this had to do with catching the Joker, until I accepted it as a sly dig at CSITV shows, their moral vacuity and lack of real drama.

I was taken aback by the opening sequence, completely not what I was expecting but on reflection rich with loaded imagery and a perfect signpost for what’s in store. A seemingly mundane aerial sweep through a very naturalistically shot Detroit, then the sudden shattering of the mirrored window and the dizzying IMAX overhead glide to the bank rooftop. Those clown masks conjure up a gazillion films, not least the Burton Batman(was it the second one with the clowns on motorcycles ?), but the one that leapt out for me was Stanley Kubrick’s 1956 heist classic The Killing. In fact the brutally neat domino of executions seemed like a ruthlessly modern update of the fate of the characters in the earlier film, which must have been a massive influence on Christopher Nolan’s career with its out of chronological order narrative. It also points to what I didn’t expect: this is a proper thriller, an examination of character through extreme events, told stylishly and performed with conviction. And then you get to the bank and who’s that in the bank ? William bloody Fichtner! And I could write another three paragraphs on the influence of Micheal Mann’s Heat, but I won’t bother. And when the bank job is done, just show your face to point up the pointlessness of secrecy and killings of the previous 5 minutes and join a queue of school buses, indistinguishable from the innocent.

A couple of niggles: the Two Face CGI, while faithful to the comics and a vast improvement on the Tommy Lee Jones makeup, was so disgusting it distracted a little from Aaron Eckhart’s performance (which was otherwise brilliant – charismatic, noble, heroic) and didn’t allow the actor to properly sell Harvey’s fall from grace. And why the half burned suit ? A uncharacteristically premeditated pantomime gesture from a character driver by rage and loss, particularly in relation to the added symbolism given to the scarred half of the coin, which I thought was genius.

Second niggle: Rachel’s death. There’s a comics term currently in use, I don’t know if you’re familiar with it: “Girlfriend in the Refrigerator”, which comes from the particularly gruesome fate of a girlfriend of Green Lantern in his comic series a few years ago. The phrase became synonymous with the blatant offing a supporting cast member (invariably female) in order to generate some emotional turmoil for the (invariably male) protagonist. Now, the female in peril shtick is as old as the hills, and I don’t mind the script decision to take that further (not least to play with audience expectation at a pivotal moment), but I did feel all the wonderful work Maggie Gyllenhaal put in (missing Katie Holmes anyone ?) was wasted in the service of yet more male angst. Here’s hoping Detective Montoya and Catwoman put an appearance in the next film (vs. the Riddler filtered through the Saw movies perhaps ?) to redress the balance a bit.

16th August 2018
#BRWC10: Trainwreck – Review

Reposted from the archives, to help celebrate #BRWC10.

“Too much intimacy, love overload!” – Trainwreck

Amy is a Trainwreck.

Amy (Amy Schumer) shrieks as she is being group-hugged by her sister Kim (Brie Larson) and family. When she was nine years old, Amy’s dad Gordon (Colin Quinn) gave his daughters a message in the midst of divorcing their mother: “Avoiding intimacy and monogamy is the way to survive.”

Amy took the message seriously, despite him being an offensive racist, homophobic misogynist, yet funny, despite all that. Trainwreck takes us through Amy’s failed very short term relationships, apparently semi-autobiographical. Full of good dialogue, and laugh-out-loud funny, the film has enough depth to take Amy’s self-realisation, endearingly assisted by Aaron (Bill Hader) seriously. Trainwreck is Schumer’s first film screenplay where she also holds the title role, and is one of the best romantic comedies in years and has good odds at the Golden Globes. Yes, the trainwreck is Amy, something she does face up to.

Eventually.

In his recently released book of conversations with comedians ‘Sick in the Head’, Judd Apatow includes an interview with Schumer: “…I was blown away by how funny and intimate and fresh she was. You could sense that she had stories to tell and was a lot more than just a comedian.” Apatow, also instrumental in bringing Lena Dunham to the public, in his role as executive producer of Girls, champions young comedians, from his first TV series Freaks and Geeks to Knocked Up, Bridesmaids and This is 40. His casts are always entertaining and well-selected, featuring people he has wanted to work with and comedians he has admired.

Criticised for being a touch too long at two hours, Apatow seems to be going for every laugh he can get and I loved it all. A scene with cameos by LeBron James, Chris Evert (Lloyd) and Matthew Broderick although slightly where-did-this-come-from awkward, steers the focus away from the stereotypical nutty female character, to a balance where the male protagonist can’t seem to work out relationships either.

Amy Schumer answering the question on why her humour connects with people, really sums up the film in her response: “Just the feeling of losing all your confidence and feeling like you’re worthless because of how other people are treating you. And then having to realise that the real issue is actually how you’re treating yourself. I think that’s something most people have experienced, feeling like they don’t deserve love.”

Highlights were Tilda Swinton as Dianna, Amy’s editor at the lad-mag S’NUFF; Basketball star LeBron James playing himself, a well-buffed friend looking out for Aaron, the easygoing sports doctor superstar who befriends Amy; and the honest eulogy Amy presents. The mixture of truth and humour brought to you by Schumer and Apatow. A fantastic combination.

16th August 2018
#BRWC10: Review – 10 Items Or Less

With the tone and timbre of an independent movie, and two actors with great charisma, something good normally always comes out of the oven. Something enjoyable, at the very least. 10 Items or Less is an exploration in to the random access points in to which you can enter someone else’s life, and maybe find something in common if you’re lucky.

Scarlet (Paz Vega) is a grumpy grocery store check out worker who meets Morgan Freeman (unnamed in the film), an actor who is preparing for a role. As a wealthy man, his childlike fascination with everyday things such as Target, the way registers work and stopping for fuel slowly thaw Vega’s exterior and they connect on what makes them the same.

The relaxed tone of the film makes this very easy watching, similar to the French New Wave films showing a sometimes banal slice of life – but making it worthy by pointing a camera at it. It’s one of those movies that don’t have a dramatic conflict, but the drama is there to be seen. It doesn’t have a thrilling climax, but it certainly has a strong ending. And here at BRWC, celebrating our tenth birthday, we want to pay homage to films that show us that life is a shared experience, and cinema is a way to share it.

16th August 2018
#BRWC10: 2013 In Film – Her

By Anthony Reyes.

There are years of your life that stand out during the course of your life. The reasons vary from person to person, good or bad, with cause or without. As a person who has grown up with the love of film in my heart, such years exist. For example, 1994 was my birth year. Some of the films that has had the most influence in my life was released in this year as well such as the Shawshank Redemption, Pulp Fiction, the Lion King, and Forrest Gump. These were films that fostered my love of cinema. But 2013 was a year in cinema that showed me a path to discover the power of this medium.

I’ve discovered through the years that the films that stick to me the most are the ones that comment on or portray unique perspectives about what it means to be alive, to be living in this moment in whatever particular place you’re in. Additionally, the theme of love in all of its many forms and motivations is something I always look forward to exploring in film. There have been many films that fit this description, that have etched themselves into my heart and caused me to smile, ache, and cry like nothing else. Many of those films were also released in 2013, a year that reminded why I watch films and the kinds of answers I’m looking for when I do. While 2013 saw the passing of Roger Ebert, one of the most renown film critics of all time, it was filled with films that he would have been proud to see. My favorites include Steve McQueen’s 12 Years a Slave, Alfonso Cuaron’s Gravity, Alexander Payne’s Nebraska, Richard Linklater’s Before Midnight, the Coen brothers’ Inside Llewyn Davis, Denis Villeneuve’s Prisoners, and James Pansoldt’s The Spectacular Now. Each one of these films have given me moments of clarity, horror, beauty, and genuine empathy. They were films I still rewatch to this day to remind myself that films have a purpose. They are not just experiences to pass the time or to turn your brain off and forget about the world for two hours. They can be portraits that help us understand this strange life that has been given to us. They can be a sobering, transformative experience that will make you a different person that you were before you saw the film. All the films listed above give me this experience. But there was one specific film that came out in 2013 that stands out from the rest of them, to my pleasant surprise.

https://www.youtube.com/watch?v=WzV6mXIOVl4

In this piece celebrating 2013 as part of BRWC’s 10th birthday, #BRWC10, my purpose is to list all the reasons why Spike Jonze’s Her is one of my favorite films of all time, and the film that sealed 2013 as a great year for film. As I’ve said already, my most beloved films are the ones that talk about being alive and more importantly love. From being an incredibly sensitive and empathetic to an adult who is constantly in conflict with his growing cynicism and doubt in humanity, my ideas of love are always changing. Now, who would have thought that that quirky, futuristic film about a man who falls in love with his artificially intelligent operating system would have such an effect on me and how I think about love? But after watching Spike Jonze’s science fictiony drama, I realized that I had no idea what love was. Sure I have had my own relationships and all the other manifestations of love in my life, but I never thought about fleshing out my own clear-cut definition of love. Her is a great film to explore this topic because it goes beyond the idea that being in love is only a human trait. To me, it tells me that love is part of being alive, a consistent truth in all living things. Anyone who has ever experienced loneliness or insecurity can relate deeply with this film, but the lesson in Her is that love transcends any possible definition that humans come up with. As Scarlett Johansson’s Samantha, the operating system, falls in love with Joaquin Phoenix’s Theodore, you can tell that she doesn’t really know what she is feeling. It’s possible that she thought she was in love because Theodore opened a door for her that introduced her to a whole new dimension of feeling, and that’s why towards the end she explains that she has outgrown any expectations or feeling that Theodore can give her. It’s a mind-boggling film, one that will keep you thinking about what human beings are made of, and if we can ever fully understand love?

I could go all day about this film and believe me when I say that I have before. Love is a difficult thing to capture within the boundaries of a single photo, not to mention in an entire film. But Her is a special film. It reminds me that love is fluid. Love fills in the empty spaces in our hearts. It is what makes us alive. In the final moments of Her when Theodore is writing a letter to his ex, he takes every ounce of resentment and pain out of his heart. He understands that just the fact that he once had someone to love and that loved him back was one of the best gifts he could have ever received, or that any of us could ever receive. 2013 remains a special year for film and to me personally because it taught me how to examine my own definition of love, and therefore changed me as a person forever.

15th August 2018