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!

  • John Wick: Chapter 2 – The BRWC Review

    John Wick: Chapter 2 – The BRWC Review

    Alright, who’s not dead, sound off! For those who don’t remember ‘John Wick’ I must ask, what is wrong with you? ‘John Wick’ remains to this day one of the most visceral and thoroughly enjoyable films I’ve ever experienced. It was action film making at its absolute best. It has successfully brought back the star power of Keanu Reeves and the action remains to be some of the best I have ever seen. And for once we got a sequel announcement that I could fully get behind. ‘John Wick’ had opened up and interesting world with great possibilities for a sequel. And now I have seen ‘John Wick Chapter 2’ after two years of waiting.

    The story to the first film was very simple, here things get a bit more complex. I don’t wish to spoil any of it really so I’m going to be deliberately vague for a moment. John Wick has started to settle down after avenging the puppy in the first film. But then circumstanced bring him back into the criminal world. He finds himself in the middle of a coup far greater than any other attempted within the organisation and ends up with enemies on all sides. Gun play and knife fights and fisty-cuffs ensue and we have our film. Now to be as unvague as possible, remember that dog he gets at the end of the first film? Well, it’s alive and well so dog lovers fear not.

    John Wick as a character never lost a moment of charm throughout this whole film. He is still everything we remember from before; strong yet vulnerable, charismatic yet blank, he’s got a soft heart yet he’s a blood hungry monster. Keanu Reeves could never be replaced, he isn’t playing Wick, he is Wick. And he does of course blow us away in the action scenes (and also everyone involved in them). There are many other characters who shouldn’t be ignored either. I won’t go into much detail with them; some return from the first some are completely new. Some follow us throughout the film, others are only in two or three scenes. Yet not a single one feels wasted or uninteresting. Yes, it certainly helps that they are played by actors like Ian McShane, Lawrence Fishburne (back from ‘The Matrix’ with Reeves it appears), Ruby Rose, John Leguizamo, Common (oddly enough), Peter Serafinowicz, Peter Stormare and Franco Nero. They all get the same treatment, simple yet effective. Which is a sentence that can sum up this whole film.

    John Wick: Chapter 2
    John Wick: Chapter 2

    As before the action is phenomena. From start to finish it’s all a blast to watch. Unlike the first one there isn’t much build up, you are just thrown into the deep end with this one; but we know the character now and the start is where the first left off so it feels right to happen the way it does. Besides, with the spectacle delivered there is no right for anyone to complain. It only goes from crazy to crazier too. We have a fight in a wreck-yard, then one in Roman ruins, then one in a hall of mirrors and so on. All keeping with the same visceral style as the first one. But I must say that this one had the most “Oooooh” moments in it. If you are like me and cringe when you hear an arm or leg go “snap” as it is wrenched then expect to say “oooh” a lot. It’s all entertaining and never gets tiresome. The fact that it is all exceptionally well directed, shot and choreographed makes every single move made all the more impressive. Yes the blood is CG, but considering how much there is and all the stunts being done to cause so much blood, I think they’re allowed to save a bit of money.

    Something that this film does, and ‘The Raid 2’ did this as well, is it builds on the world that we are introduced to in the first film. It is very welcome; we actually see how the gears in this killing machine work and, while never realistic (of course it’s not), it’s fascinating to watch. I always wonder how certain things were conducted in the first film, and now I know and it makes things all the more interesting looking back. That is exactly what a sequel should do, especially to an action film like ‘John Wick’. The worst thing this could have done was feel like more of the same. To me they were different enough in plot, pacing and style that I could easily see both of these films as their own separate thing.

    Sadly ‘John Wick Chapter 2’ is not the greatest sequel ever made, with its own fair share of issues. I was vague on the plot because I don’t want to spoil it, which is exceedingly hard to do with how convoluted it is. In building the world, which I am glad they did, they threw a bit too much information as us for one easy watch action film. There is also one plot development given about Wick’s past, that sadly takes away from the scare factory “Baba Yegga” has given himself. The pacing got a bit lax in moments and I found myself asking for more action in some quiet moments. So it is a bit messy. And then there’s the unavoidable comparisons. I loved the characters in this, but I preferred the characters in the first film. I loved the action in this, but even the best action scene doesn’t match the nightclub scene or the fight with Miss Perkins in the first. And Wick’s motivation for getting back into the fray is sadly not that compelling. It’s less of a deep emotional attachment to him and his efforts and more of “the plot told us to do it”.

    In the end ‘John Wick Chapter 2’ still has enough power to knock you on your back, even if the first film is more tightly wound. If you loved the first one like I did then this one is a definite must see. Ignore the likes of ‘Fifty Shades Darker’ and watch something really worth a bit of time. Mindless yes, but expertly so. There is some sequel bait to this film, so I hope that the third one is on its way. And when it arrives, well Wick has already given the plot away; “I’ll kill them all” he says. After these two, I believe him.

  • Review: Bitter Harvest

    Bitter Harvest tells the story of a little known part of history, the Holodomor. This was Stalin’s deliberate policy of starving Ukraine to feed mother Russia or the Soviet Union as it was then called. During the Holomodor it is estimated that between 7-10 million Ukrainians were killed. The story is told through the doomed love affair between Yuri and Natalka, showing the desperate struggle of survival in the countryside and then the idealistic young men heading to the city thinking Stalin’s brand of communism was for all.

    Yuri (Max Irons) who’s illustrious family tree contains warriors although he is more lover than fighter. He wants to be an artist and is bewitched from a young age by Natalka (Samantha Barks). The Russian occupation begins and Yuri’s father is killed during a rivolt. This pivotal event encourages Yuri to head off to the capital although Natalka stays in the villae because her mother is ill. Will the lovers be reunited and can the uprising succeed and defeat the Russian troops occupying Ukraine?

    The film should be applauded for shining a light on the holodomor, an event most in the West will not be aware of. This film’s spotlight on the holodomor now provides a basis for understanding Putin’s current aggressive strong arm moves against Ukraine. Artistic licence is an important tool for filmmakers to provide drama and keep the viewer engaged but sometimes it can go too far. In Bitter Harvest the fact that everyone speaks with a posh English accent throughout, although I did a hear a stray Welsh one during the film, is frankly odd for a film of this calibre. Also the script is thin, wafer thin – even the presence of Terence Stamp with his deep, glowering stare cannot save Bitter Harvest. At times it felt as if it was trying to emulate David Lean’s 1966 masterpiece, Dr Zhivago, although it didn’t even come within a whisper of it.

    Bitter Harvest is released in cinemas across the UK on Friday 24 February.

  • Review: The Special Need

    Review: The Special Need

    By Marti Dols Roca.

    Enea is in his early thirties and looking for the love of his life. Enea is also looking for his first physical encounter with a woman. Enea is obsessed with a girl from a magazine picture; he calls her Caterina. Enea’s two friends, Alex and Carlo don’t seem to have trouble getting girls. Enea gives his best but women seem to escape him, merely feel sympathy for him or even ignore him. Enea is mentally disabled.

    Alex and Carlo want to help their friend so they try to hire a prostitute in their city, Udine, so Enea can understand what it feels like to be with a woman. However, the girls they talk to get reluctant when they hear about Enea’s disability. After consulting with a psychologist, the three friends jump in their van and travel to Austria and take Enea to a brothel. For some reason, he decides to stand up and leave once it looks like he is going to get what he was longing for.

    Partially frustrated, Alex takes a night stroll and finally a brilliant idea pops in his mind: someone told him about a center in Germany where psychologists have sexual intercourse with people with mental problems. Alex talks to Carlo and Enea and once they get the latter’s green light they hit the road again. In the center, Enea suffers a big disappointment when the specialists there give him a harsh but truthful insight of reality: he will probably never be with a girl like Caterina.

    Enea’s tears are wiped away when Ute, one of the psychologists in the center, unravels the big mystery sex has always been for him. In his words “they touch each other, caress each other and lick each other. But he doesn’t put his birdie in the butterfly”. Why? Alex asks later on. Enea’s answer is as natural as himself: “because she’s not the woman of my life”.

    The Special Need
    The Special Need

    Following the specialists advice, Enea looks for his woman close to his home. And he finally musters the courage and declares his love to Francesca, one of the girls from the theatre lessons he takes. But alas, Francesca has a boyfriend.

    Back in the van, direction nowhere, Enea cries again while Alex and Carlo’s somber faces speak by themselves. “Do you think I will ever find a beautiful girl?” His friends say yes. “Maybe not soon but yes, we think so”. Enea turns on the radio and sings the song that’s playing while wipes his tears away. “I’ve learned a lot though, right?” And now Alex and Marco smile and respond: “Yes. And we have too”.

    The Special Need appears under the category of documentary in IMDB and under the same category it’s won a bunch of awards. As far as I’m concerned, The Special Need is neither a documentary nor a fiction. As far as I’m concerned, The Special Need is the reason why we tell stories. Enea, Marco and Alex are real people; and so are Ute, Francesca and the prostitutes the faces of which we don’t get to see. And as we start to realize about this, partially tricked by the score, which gives the piece a fiction texture, we let this bunch of human beings takes us in an emotional roller coaster that, as life, is tender, bitter, beautiful and sad.

    No moral judgments are conjugated, there is no will to embrace melodrama whatsoever and the camera just works as the eyes of a fourth friend: us. At whom Enea glances and smiles at every now and them.

    The Special Need is so real that it makes you smile and grieve equally. It’s no Cinéma-Vérité, no Dogme 95 and no Italian Neorealism, but still doesn’t feel right to place it under the documentary category. The Special Need is the story of Enea. And it’s a very beautiful one.

  • Review: Blind Sun

    As Ashraf Idriss (Ziad Bakri) house sits for a wealthy couple in the mountains, Blind Sun brings multiple threats both imaginary and real as he attempts to keep his sanity and his cool.

    A startling metaphor for both global warming and the erupting refugee crisis in Europe, this Greek tale is a mix of arthouse immersion and mystery flick, dominated by a slow-cinema style that’s either loved or hated. For those afraid of slow cinema (like myself), Blind Sun is a well-paced affair, and at only an hour and a half long it doesn’t leave you yearning for death in usual way of a 3 hour slow cinema epic. Thankfully it’s far from your usual piece of slow moving cinema.

    Although very little happens in Blind Sun, it builds its intrigue well, introducing and answering questions well, building the character and the scene as it progresses. Social unrest, police state and unbearable heat create a mental state of confusion in Bakri’s character. Bakri delivers a strong and powerful performance as a man drifting, and gives a performance with the strength to hold the viewers interest during this plodding tale. Joyce A. Nashawati, who directs this tale brings some steady and beautiful shots and with an excellent capture of light creates an ever pervading sense of oppression both politically and physically.

    Blind Sun is not a unique film, but it has subtle differences that for me make it stand out from the crowd. Its length keeps it entertaining and interesting, whilst it’s beauty captures the mind. Most importantly there is a subtlety in Blind Sun that is powerful. This is a film well worth watching and I would recommend it to all.

  • Review: LoveTrue

    Review: LoveTrue

    LoveTrue is a new indie documentary from Director Alma Har’el (Bombay Beach) and is executive-produced by Shia LaBeouf (Transformers).

    Har’el follows three complicated, real-life relationships as they unfold in distinct corners of the country. Alaskans Blake and Joel pursue a promising romance, in spite of physical limitations and her stripping career. In Hawaii, free spirit Coconut Willie discovers another side of true love after realizing his son is not biologically his own. And singer/songwriter Victory comments on faith and faithfulness as she and her siblings perform in the streets of New York City accompanied by their father John, who was abruptly separated from his wife.

    This is a very abstract and artistic approach to documentary film-making as we weave in and out of the three narrative ‘threads’. The result is a very reflective piece; rather than having a clear narrative or commentary it is more like a ‘fly-on-the-wall’ look at several real life relationships. This is certainly an interesting take but will not be to everyones taste.

    A haunting score from Flying Lotus mixes atmospheric sounds and classical strings in a beautiful embodiment of the artful nature and abstract ‘narrative’ of this film.

    What the film-makers call ‘artful camerawork’ i’m afraid doesn’t do much for me; and some of the sound production is a little rough. Having the camera go slowly in and out of focus is something of a indie ‘trope’ and I don’t think it really adds anything to the film.