Watch The Engrossing Similo Sci-fi Short

Film Review - Art of Darkness (2014) - Raindance Film Festival

The Truth Will Be Revealed In Daniel Simpson's Hangar 10 Official Trailer

Film Review - Annabelle (2014)

Genre:
Horror
Distributor:
Warner Bros
Rating: 15
Release Date: 10th October 2014
Director:
John R. Leonetti
Cast:
Annabelle Wallis, Alfre Woodard, Ward Horton, Tony Amendola, Eric Ladin, Brian Howe
I love horror movies, and have over the years probably watched more than is healthy for me. With this in mind I feel I know as well as any what elements to look for in a good one - elements which are often missing from modern excursions into the macabre. Current filmmakers appear to believe for a film to be scary you simply have to throw in plenty of gore and CGI frights. What they forget is that human imagination is as effective as anything Hollywood's technical wizards can create. Before modern SFX, directors of the 1930s like James Whale and those from the 1950s and 60s such as Hammer stalwart Terrence Fisher, created cinematic chills through the art of suggestion which are still disturbing viewers today as much as eighty years later.

Amongst the torture porn and found footage trash that saturates the modern market, the occasional film which captures the atmosphere of those glory days still appears. Films which play on the emotions and natural fears, that are common to everyone and which we can all relate to - such as being alone or of the devil. Director John R. Leonetti's Annabelle (2014) is one such film.

Mia (Annabelle Wallis) and her husband John (Ward Horton) live the idyllic Californian life with their baby daughter on the outskirts of Los Angeles. However after their neighbours are gruesomely murdered by the members of a satanic cult, and they themselves are beset by a series of strange events culminating in a fire which devastates their house, they relocate to an apartment block on the other side of town. But the bizarre occurrences only intensify in their new home, seemingly related in some way to a vintage doll which John recently bought for Mia - a connection which the young couple are about to discover to their cost.

Annabelle may not win plaudits for excellence. However it is undeniably fun, with many aspects spot on in their ability to focus on the classic horror elements: 'possessed' dolls, the devil, concerned priests and the symbolic power of the Catholic church, women and children in peril and the old staple of ineffectual husband who's never there when he's needed. All these come into play in writer Gary Dauberman's clever script, which racks up the tension with some suitably creepy set pieces, until the marvellously taut finale which literally takes the central characters to the edge, and then .......

Only a talented writer or director can reference past landmarks, without their homage being ridiculed as little more than a weak reflection of past glories. Annabelle is the perfect example of Dauberman and Leonetti's skill in this, capturing the essence of classics like Rosemary's Baby (1968), The Exorcist (1973) and The Omen (1976) - as well as the devil dolls from Ealing's Dead of Night (1945) and Child's Play (1988) - yet giving the elements an imaginative twist. Though the age old battle between good and evil has been seen many times before, this duo reimagine it with such style that it all seems terrifyingly fresh and realistic.

In the end of course, those behind the camera are only as good as those in front. With this in mind the cast do not disappoint. Though all who appear turn in believable - and in the case of Tony Amendola as a sympathetic priest Father Perez, unnerving - performances, it is Wallis as Mia, the distraught mother at the story's centre, who steals the show. Her mounting desperation, culminating in sheer terror as she finds herself battling for the soul of her daughter against powers from beyond, is one of the best displays of sustained fear seen recently on the big screen.

The most memorable experiences in life are those which mine our deepest, most primal emotions. Annabelle does just that, to disturbing effect.

★★★★
Cleaver Patterson

DVD Review - Reaper (2014)

Film Review - Like Sunday, Like Rain (2014, Raindance Film Festival)

Genre:
Music, Drama
Rating: 12A
Screening Status:
UK Premiere
UK Release Date:
TBC
Director:
Frank Whaley
Cast:
Leighton Meester, Julian Shatkin, Billy Joel Armstrong, Debra Messing

After breaking up with her boyfriend and losing her job and home, a desperate Eleanor (Leighton Meester) lies convincingly to land a job as a nanny to a gifted 13-year-old boy named Reggie (Julian Shatkin).  

Eleanor is in her mid 20’s and at a loss, she doesn’t know what to do with herself and takes the nanny job as a stopgap before she figures out her next move.  On first impressions Reggie is a total brat, a spoilt rich kid who isn’t in touch with reality.  However as Reggie and Eleanor’s friendship develops, you see how he is able to help her overcome her break up with musician Dennis (Billy Joe Armstrong, yes the guy from Green Day) and support her, whilst she struggles to deal with her wayward family and her dying father.

Relative unknown Julian Shatkin plays the role of Reggie with remarkable maturity and intelligence for someone of his age.  There is undeniably chemistry between himself and Meester, which for a 20-day shooting schedule, shows the strength of them both as actors. 

Leighton Meester is rather tremendous as Eleanor and if we didn’t know it already, the role shows that she is capable of being much more than Blair Waldorf. Though still on the Upper West Side, we see a different side of her and she plays the role with true class and sincerity.

The big question that everyone will be asking is “can Billy Joe Armstrong act?”  And the answer is, “yes, erm kind of”. Admittedly he is playing a broke, greasy musician type, so all he had to do was learn to act poor, but he definitely didn’t embarrass himself in the process.  Apparently he was really nervous about being in the movie and kept forgetting his lines, which is kinda sweet.  Debra Messing (Will and Grace) is also rather formidable as Reggie’s emotionless mother.

Despite Billy Joel’s acting, no Green Day is featured in the movie, but there is lots of music provided by Reggie’s cello and a score composed by British musician Ed Harcourt. Music also plays a large part in the bonding and discussion of Reggie and Eleanor throughout the movie.

Director/writer Frank Whaley is an actor and probably most recognizable as being Brett in Pulp Fiction, the man who gets ceremoniously killed in the infamous Ezekiel 25:17 scene, he was also in 90’s classics Field of Dreams and The Doors.  This is the fourth film Whaley has directed/written in a 15 year period since 1999’s Joe The King and he is still consistently working as an actor, most recently in bit parts on TV shows Gotham and The Blacklist. 

We were lucky that Whaley was at the screening and he gave a short Q&A after the film. Whaley talked about first meeting Meester, and her really connecting to the role and being very open to him about her upbringing (which has famously been reported on). It seemed that the role really spoke to Meester on a personal level and Whaley instantly wanted her for the role, even though a better-known actress was available.

Whaley also talked about how Harold and Maude was an influence in making the film, in an unlikely friendship with an age gap.  And, yes we know that Meester isn’t 80, but there is a timeless quality to the film, that is reminiscent of the 70’s classic.

This is a consistently good film with a charming plot. It’s intriguing to see the friendship of Eleanor and Reggie play out, the influence they have on each other and the journey both of them take throughout the timeframe of the movie.  I’m not sure what plans there are for a cinema release, however I urge you to seek it out and enjoy it.

David Lynch Shares His Thoughts On His Career, Cinema And TV In New 45 Minutes Video

There's something uniquely distinctive about David Lynch you can't deny admiring the filmmaker even if your not his biggest fan of his work. You may not understand what he is trying to deliver but he has a style of filmmaking that no other director has got close to matching  his vision for the big screen,

Blue Velvet , Twin Peaks, Mulholland Drive are all you can't deny worthy of their places in cinema and televisions greatest ever and in a interview with Thompson on Hollywood caught up with legendary director. At they chat about everything from his career, filmography, his early days from an artist at the Pennsylvania Academy of Fine Arts (which is holding an new exhibition). The chat goes further into the thought of how easier it is now for filmmakers to create Television than feature films, they even go into Lynch's meditation techniques too!

It's a fantastic little 45 minute video featurette which any student of film should watch, the sound snyc is unfortunately out however it shouldn't stop you enjoying a master of cinema sharing his wisdom on the masses.

Win Ken Loach's Jimmy's Hall On DVD

DVD Review - Jimmy's Hall (2014)

Interview – Gruff Rhys talks about American Interior

Film Review - Magic In The Moonlight (2014)

Genre: Comedy, Romance
Distributor: 19th September 2014 (UK)
Rating: 15
Running Time:97 Minutes
Director: Woody Allen
Cast: Emma Stone, Colin Firth, Marcia Gay Harden, Jacki Weaver, Hamish Linklater

After the sensational Blue Jasmine, Woody Allen's latest feature sees him returning to the sort of nostalgic, charming and ever-so-slight fare that he seems to adore making. Taking us back to the 1920s, Magic in the Moonlight is a tale packed with a sumptuous visual aesthetic and absorbing performances - but little real substance.

Allen's latest settles in a wealthy estate in the South of France where Stanley (Colin Firth) an English illusionist goes undercover to unmask Sophie (Emma Stone), a suspected American swindler who claims to be clairvoyant. However, personal feelings get in the way of this dynamic and Stanley finds his judgement becoming cloudy as he falls for the young American.

Opening with a sprightly Cole Porter number, Allen starts as he means to go on by crafting the light and breezy, ever-charming tone that we have come to expect from his period features. This welcoming atmosphere is also bolstered by the appearance of Firth's Stanley, a man touring the country posing as Chinese conjurer Wei Ling Soo - when we first see him out of costume, Firth delights, arriving like a steam-train of dry sarcasm and snappy wit.

Upon shifting the narrative to Stanley's travels in France, Allen and cinematographer Darius Khondji pack the tale with a fairytale like aesthetic beauty - from the greenery of the rich country estates to the dazzling pastel colours of the cliffsides and seas. Combined with dazzling period costumes from Sonia Grande, Magic in the Moonlight is a visual feast that fully transports us back to a more appealing, carefree world of 1920s characters and whimsy.

Emma Stone brings a welcome sparkiness to the fold, with Allen's sharp dialogue flowing effortlessly from the wide-eyed, energetic actresses' tongue. There is an initial likeable simplicity to Sophie, yet it is always clear that there is slightly more depth to her occasionally suspect motivations. Paired with a savvy, sharp turn from Firth, Magic in the Moonlight should work effortlessly - and undeniably there is an amusing battle of personalities between the pair, however, this is squandered by a misjudged romantic turn in the narrative.

Whilst there is a watchable chemistry between the pair, this is not a convincing romantic chemistry - with the relationship never feeling particularly authentic (perhaps this is Allen's intention?). This is most likely due to the blatant age-gap between the pair and the fact we never quite believe that Firth's Stanley is head over heels for the near-thirty years junior Sophie. Given that this takes up such a vast part of Allen's narrative, this romantic angle brings a severe dip in quality.

Saving graces are provided by the delightful aesthetic, breezy humour and occasional sparks of dry brilliance in the dialogue. There are welcome supporting turns by the ever brilliant Eileen Atkins and Simon McBurney, and likeable appearances from Jacki Weaver and Marcia Gay Harden. However, unlike the magnificent Blue Jasmine, there is never anything particularly substantial (like Cate Blanchett's performance) for us as viewers to hold onto and be engrossed by.

Magic in the Moonlight is light, carefree and whimsically charming. With sumptuous visuals and period details, but little real substance, this is Allen at his most frustratingly pleasant and mediocre.

★★★
Andrew McArthur

Abig thanks to Andrew for letting us use his Culture Fix review

Blu-ray Review - Two Faces Of January (2014)

Blu-ray Review - Only Lovers Left Alive (2014)

Film Review - The Guest (2014)

Genre:
Psychological Thriller
Distributor:
Icon Distribution
Release Date:
5th September 2014 (UK), 21st August (FF2014)
Rating: 15
Running Time:
99 Minutes
Director:
Adam Winguard
Cast:
Dan Stevens, Maika Munroe, Brenden Meyer, Lance Reddick
Never slow to pick up on the burning issues of the day, the horror genre is always ready to use hot topics to its own benefit. During the days of atomic testing in the 1950s, mutated insects roamed the planet in films like Them (1954). By the late 1970s when space was the new frontier, threats came from beyond the stars in big budget horrors like Alien (1979).

With this in mind it was only a matter of time before contemporary filmmakers looked to a subject which touches all our lives to some extent, for the basis of their work. In the new horror / thriller The Guest (2014) director Adam Wingard does just this, investigating the psychological and emotional effect modern warfare has on soldiers and their families to disturbing effect.

Laura and Spenser Peterson (Sheila Kelley and Leland Orser), along with their teenage children Anna (Maika Monroe) and Luke (Brendan Meyre), are struggling to accept the death of their older son Caleb in the war in Afghanistan. When ex-soldier David (Dan Stevens) appears on their doorstep one morning, claiming to be a friend of their dead son, Laura and Spenser find a sense of connection with Caleb by welcoming the stranger into their home. But is David all he seems? The Peterson family are about to discover to their cost that there is more to their new houseguest than meets the eye, and that his arrival will have terrifying consequences for them all.

In his first major starring role outside of television, Downton Abbey heartthrob Stevens stays just the right side of creepy as the outwardly benign David, who hides a nastily psychotic side beneath a deceptively caring facade. Monroe - last seen in the gritty drama Labor Day (2013) - also creates impact as the suspicious Anna into whose affections David insidiously worms his way. Small town America with all its 'apple pie' charm, as well as the claustrophobic frustration felt by its inhabitants, is wonderfully visualised on screen. The intensity of the setting is merely emphasised by the arrival of the enigmatic David, heightening the film's mounting air of disquiet.

It's always dangerous for a filmmaker to utilise techniques and set-pieces which - whilst not quite ripping off past classics shot for shot - are near enough in their visualisation to warrant accusations of, at best a lack of originality, and worst plagiarism. The final scenes of Wingard's film may fall short of the latter, but are never-the-less close enough in spirit to several outings from the golden age of 1980s slashers, to show a certain absence of inspiration. What was clearly meant as an homage to those teenager-in-peril landmarks, this film's climax is instead a pale imitation of the past. Which is a shame as the previous ninety minutes holds such promise.

The question of course arises as to the taste in the use of sensitive subjects matters - in this case the possible advancements in technological warfare - for what is, after all, mere entertainment. But since the horror genre is not widely known for its diplomacy in the handling of contentious issues, such thorny moral points are unlikely to trouble the consciences of the film's core audience of thrill seekers. Considering this, The Guest effectively delivers what is required of it, in a manner which it just manages to sustain until the final reel.

★★★1/2
Cleaver Patterson