Earlier this year gritty thriller “Destroyer” (2019) stormed onto the big screen, with all of its rage, vengeance and gusto. Surprisingly it failed to blow up, instead crashing and burning at the box office making only $5.5 million in comparison to its $9 million budget. We can only really guess at what exactly caused the film to flop, but poor distribution and weak marketing certainly played their roles. Despite gunning for those golden gongs, especially with Nicole Kidman’s central phenomenal transformative performance, it received barely any attention on the awards circuit, although it has to be said organisations like The Academy have never been known for their good taste in cinema.
With all of the Scrooges out there bashing “Last Christmas” (2019), it seems that it is important to remind people that feel good movies are something we all need. The flack “Last Christmas” is receiving is from Tarantino/Scorsese/Kubrick Film Bros (my assessment of the situation), who think that every movie needs to be riddled with piousness, plot points that make no sense, and toxic masculinity. So, when “Last Christmas” (2019) hit theaters, it certainly did not please this crowd.
Year: 2017 Runtime: 94 Minutes Director: Nora Twomey Writer: Anita Doron, Deborah Ellis Stars: Saara Chaudry, Soma Chhaya, Noorin Gulamgaus By Dominic Corr Gloriously direct, "The Breadwinner" (2017) turns the patriarchal trope of a sole provider into an unflinching tale of a young Afghan girl’s determination, fear and resilience under Taliban rule in 2001. Based... Continue Reading →
Year: 2019 Runtime: 96 Minutes Director: Laure de Clermont-Tonnerre Writer: Brock Norman Brock, Laure de Clermont-Tonnerre Stars: Matthias Schoenaerts, Jason Mitchell, Bruce Dern By Rosa Parra Laure de Clermont-Tonnerre brings us a film about a convict who’s offered the opportunity to enter a rehabilitation program to train wild horses. Based on true events this film focuses... Continue Reading →
To capture the essence of the LGBTQ+ community is becoming a more popular narrative in contemporary cinema. But to be able to evidence their struggles and hardships, whilst also attaining a light-hearted atmosphere, showing raw emotion, and enabling a true presentation of a situation that can be reflected into many of the audience’s daily lives, is what is lacking in many of these recent movies. Yet Desiree Akhavan presents all of this so effortlessly in her film "The Miseducation of Cameron Post". Being part of the LGBTQ+ community herself enabled significant support for Akhavan when she directed this beautiful narrative which follows friendships, betrayals and the exploration of sexualities.
When "Foxfire" came out in 1996, I was only one-year-old. While watching it only a few months ago, it became clear that Annette Haywood-Carter's drama exists in the dimension of exceptional productions. Those productions have a crucial influence on young women's lives. Meet Legs Sadovsky (Angelina Jolie). Nobody knows where she came from. Tomboy-ish looking, young woman is a mystery, especially to Maddy Wirtz (Hedy Burress). Maddy, a high school teenager, doesn't even know that Legs will change her life forever. After hearing about the teacher's sexual harassment, the mystery girl teaches Maddy, Rita (Jenny Lewis), Goldie (Jenny Shimizu), and Violet (Sarah Rosenberg) to stand up against abuse and fight for their rights as women.
A weekend in the country can be a nightmare, if the right combination of people are thrown together. Writer-director Jack McHenry and co-writer Alice Sidgwick have taken this thought and run with it for their feature debut “Here Comes Hell”: a horror-comedy of the same gore-fest breed as Sam Raimi’s “Evil Dead” films, with the action instead taking place in an English country estate in the 1930s rather than in a cabin in the woods. The estate in question is Westwood Manor, recently acquired by the heir of a vast family fortune who has invited his friends to a dinner party at his new home. Naturally, post-dinner entertainment includes a seance - complete with an eccentric medium - which goes just as well as any cinematic encounter with the hereafter has done previously (with the exception of “Ghost”, of course).
I think we can all agree that Hallmark-adjacent Christmas movies like “Love, Actually,” “The Holiday,” and most recently, “Last Christmas” were made with female audiences in mind, right? The romantic scenarios that would never happen play on the ladies’ heartstrings during the most festive time of year, the holidays. But, branding a piece of media this way comes at a cost, and that cost is reducing its value as a film. “Last Christmas” (dir. Paul Feig, written by the illustrious Emma Thompson) draws inspiration from the George Michael song of the same name. It centres on Kate (Emilia Clarke), a hot mess of a woman surviving, not thriving, in modern London. She works as an elf employee in a Christmas shop, hoping to someday make it as a performer at West End.
The screening I attended showed the making of this film and the journey of the director (Gurinder Chadha) and the man whose life influenced this film (Sarfraz Manzoor). I was moved and utterly sucked in just watching the preview! I enjoyed the making of this film; from the director reading Sarfraz's memoir and instantly wanting to make the film to both of them anxiously waiting to hear back from Springsteen after sending him the screenplay. Based on the memoir of Sarfraz Manzoor, the majority of the topics are universal, making them easier to relate. Chadha manages to capture the difficulties individuals endure on a day to day basis all while successfully allowing the music to aid in the narration. Although the story takes place on a different continent to the one I live, it resonated with me. Political issues, social tensions, identity issues, family dynamics, friendships, and many more topics are situations we’re are currently experiencing.