Rating: 15 Release Date: 22nd June 2013 (EIFF) Director: Justin Edgar Stars: Jamie Blackley, Sean Teale, Michael Smiley, Danielle Bux
Justin Edgar's We Are the Freaks sets out to challenge the conventions of the traditional teen-comedy, and it mostly does so with a cheeky sense of humour and fond nostalgia for the nineties.
We Are the Freaks follows working class Jack (Jamie Blackley) who dreams of going to university yet struggles to get funding. Jack's best-friend Chunks (Sean Teale) who dubs himself a "textbook underachiever" suggests a night-out that begins with gate crashing a party.
The setting of the early 1990s provides an exciting twist on the traditional teen comedy, allowing Edgar to pack his film with a soundtrack including the likes of New Order and The Happy Mondays which certainly adds a distinct and likeable character to the film. This era also means that Edgar can pack his screenplay with gags relevant to the nineties (as well as the usual teen comedy gross-out humour) resulting in a bizarre, yet rather amusing subplot involving Jack's friend Parson's unhealthy sexual attraction to Margaret Thatcher.
Edgar's distinct directorial style makes a refreshing change from what you would find in many other teen comedies. Direct dialogue to the camera is one such method, whilst Edgar's eye for impressive visuals can also be seen - especially in the film's earlier scenes showing Jack's mind at work in a drab office.
Despite being mostly amusing in its first two acts, We Are the Freaks soon takes a darker turn in its conclusion that feels somewhat out of place with the film's prior quirky and light-hearted tone. In building up to this moment it also appears that many of the gags have lost their steam - mainly as the characters hit respective low points.
For the most part the characters are all likeable and amusingly crafted. Jamie Blackley is an up-and-coming talent to watch - delivering a mature performance that is equally perfect when tackling either comedy or more emotional-heavy dramatic scenes. Sean Teale also displays a stellar comic ability, especially in hilarious sequences dealing with Adam Gillen's character Splodger (the brother of his crush, whose personality verges on psychotic).
We Are the Freaks is an amusing and charmingly nostalgic look at the nineties, even if it does seem to run out of steam towards the end.
Quartet is a film which requires little effort, either on the part of the cast or the viewer. That’s not intended disparagingly, indeed quite the opposite, as everything about Hollywood icon Dustin Hoffman’s directorial debut, starring Maggie Smith, Billy Connolly, Tom Courtenay and Pauline Collins, is sheer bliss - you just sit back, relax and let it wash over you.
Fading opera stars, Wilf (Connolly), Reginald (Courtenay) and Cissy (Collins), live in the rural splendor of a country retirement home, where they wile away the days reminiscing about their past triumphs. Each year they celebrate the birthday of the composer Verdi with a concert, and in the process raise funds for the upkeep of the home. This year however things don’t quite go to plan after the arrival of new resident. The presence of Jean (Smith), an opera diva with thoughts above her station, not only resurrects painful memories for the trio, but doesn’t exactly prove conducive to harmony amongst the other residents either.
What a relief that Hoffman, unlike so many actors who try their hand at directing, was not tempted into a cameo appearance in Quartet. Instead he remains, like all good directors should, out-of-sight, though not out of mind, as his touch is crystal clear on screen. Everything, from the ensemble cast to the pastoral settings, meld seamlessly under the expert guidance of a man who is so much a part of modern cinema in front of the camera, that looking at the action from the other side will probably have felt like second nature.
The wider cast hit all the right notes as the group of aging operatic and musical stars, unwilling to accept that, for the most, their moment in the limelight is long past. Indeed the only aspect of the film which appears slightly off-key is watching Connolly and Smith vie for prime spot. When they appear these two old troupers banish everyone else to the wings, no mean feat when you consider the calibre of the those they’re working with. However they’re such a delight to watch that you feel more than happy to indulge their quirks and idiosyncrasies.
This is really is the only quibble though in an otherwise perfect blend of dry wit and acid sharp timing which makes for a delightful cocktail of lasting friendships and the acceptance of the passing of time.
Quartet provides a marvelously feel good way with which to see in the new year. Let’s just hope we don’t have to wait too long for Hoffman to flex his directorial muscle again. Oh, and wait until the end as there is a marvelous treat during the final credits which is guaranteed to bring a tear to the eye.
Mike Birbiglia’s journey to the silver screen isn’t your average one. A stand-up comedian by trade, he then branched out into theatre performing a one-man show based on his real-life battle with a sleeping disorder. The success of the show caught the attention of producer Ira Glass who invited Birbiglia onto his podcast ‘The Moth’ where he would become a regular contributor until eventually the two set about turning that autobiographical tale into Sleepwalk With Me – not only his first acting gig but also his debut in the directors chair.
All this may come as something of a surprise when watching this festival winning film (2012 Sundance NEXT Award) as Birbiglia seems so effortlessly natural on screen, easing us into his world with an address to camera, “This is a true story”. The need to justify its truth is an understandable one – you can imagine similar stories being dreamt up in a screenwriting lab in Hollywood furiously work shopped into an Adam Sandler vehicle. The fact that it wasn’t and these were, at one time, real events suffered by Birbiglia is no doubt the reason for it’s complete success in achieving the notes of authenticity apparent on screen.
Birbiglia stars as alter-ego Matt Pandamiglio, an aspiring stand-up who’s minutes behind the mic pale in comparison to the ones he spends serving drinks and mopping toilets at the local comedy club. Coupled with a relationship with girlfriend Abby (Six Feet Under’s Lauren Ambrose) that is coming under the scrutiny one suffers after 8 years and no proposal and the pressure facing Matt starts to take it’s toll, manifesting in bouts of sleepwalking which occur with increasing severity.
These aren’t your average zombie-walking eyes closed affairs you often catch on screen, these nocturnal activities resemble the hallucinations of a drunk, all slurry vocals and imagined scenes which are both hilarious and dangerous. Pestered by his physician dad into examining his behaviour, Matt is diagnosed with REM sleep behaving disorder – a condition that involves the sufferer acting out his dreams, something not suited to the life on the road he stumbles upon after a chance meeting with an agent.
As his set becomes more in tune with his mounting problems his jokes finally start to hit the mark with audiences lapping up his truthful tales of a stuttering relationship and bizarre sleep patterns. The new found attention means more time away from home as Matt struggles to find the right balance of caring boyfriend and successful comic.
Balance is one thing Birbiglia doesn’t find as challenging as his on-screen persona, striking a chord with his delicate marriage of laughs and heart in a film you struggle to believe is a debut. His wry observations are incredibly well-observed and ring true of the commitment issues that plague a generation of young males unable to articulate their thoughts. It’s an incredibly honest look at modern relationships handled with originality and moments of hilarity and, while comparisons with Woody Allen are unfair at this point, Birbiglia makes a case for his to be the next career to succeed with inward-looking analysis and laugh out loud jokes. An exceptionally promising debut.
Sightseers is the third film from Ben Wheatley, one of the top British directors working today. It is a dark, twisted comedy about a couple on a caravan holiday who go on a killing spree. Think Badlands but in the Peak District and with far more laughs.
The film is a fantastic advert for Britain, in more ways than one. It shows how we still have the capacity to make great movies and it also shows just how stunning some areas of our country are. Alice Lowe and Steve Oram star as the murderous couple and are simply brilliant. They also wrote the script which, while being bleak, is stunningly funny. I have been a fan of Alice Lowe since seeing her in and I hope that the success of this film will lead to us seeing her more on the big screen and indeed television. Her performance here is quite remarkable as she treads the fine line of looking lost and innocent but being deadly and dangerous at the same time. Oram, as her boyfriend, plays confused and lost to perfection, but when he turns on the menace he is genuinely frightening. Both the leads remind us just how good British comic talent can be, and I do hope that they will continue to write and star in films.
The actors had at one point tried to make the story as a television show and looking at it you could see it working in that format, but with the masterful direction of Wheatley this feels truly cinematic. It's simply gorgeous. There is almost a feeling of Sergio Leone, with intense close-ups mixed with huge landscape shots. As the couple descend more and more into violence and isolation, the locations become more breathtaking. Wheatley directs the comic moments in a wonderfully deadpan way, lingering on the characters and their sad lives; but he is equally adept at directing the violence. It is brutal and shocking but, cleverly, does not show too much.
The editing in Sightseers is very memorable and inventive. Wheatley's use of cutting and his juxtaposing violence with the mundane or odd moments is incredibly successful. His style of editing reminded me of Nicolas Roeg's work, and it is so nice to see someone trying to do something different and unusual and, more impressively, making it work.
Reluctantly, I have to say the film isn't entirely successful, however. While the first two thirds are hilarious and constantly take new turns and developments, the last third is a little more predictable and not quite as funny. Its true though that the story gets darker, therefore the fall in laughs is understandable. It reminded me somewhat of God Bless America, a film about a man and a girl going on a killing rampage in the US. It was directed by Bobcat Goldthwait (in my mind one of the top comedic directors working today) and was quite similar in basic story and structure but while it takes Sightseers a good hour before becoming slightly obvious, God Bless America manages it after about ten minutes. There have been many films about couples going on murder sprees and so to keep us from guessing where it is going to go it really needs to do something remarkably different and in the case of Sightseers this is where it falters.
This is my only problem with the film. Everything else about it is a true delight and I thoroughly recommend seeing it, and on blu ray if possible. It looks great and it is fantastic to see a low budget British film putting its money in all the right places. The blu ray also contains an amusing and informative Making Of, a blooper reel and audio commentaries.
Sightseers is without a doubt one of my favourite films of 2012. Its funny, frightening, and very, very British.
Comedy legend Frankie Howerd stars as the victim of sinister shenanigans in this wacky parody of seventies British horror films. From the director of Demons of the Mind and starring Hugh Burden and Oscar winner Ray Milland, THE HOUSE IN NIGHTMARE PARK is finally available in a brand-new transfer from original film elements in its as-exhibited cinema aspect ratio. Own this essential piece of cult UK cinema on 8 April 2013.
Foster Twelvetrees is a struggling tragedian who scrapes a living by giving hammy performances from the classics. He can hardly believe his luck when he’s invited to give a dramatic reading at the country home of a well-off family. But joy soon turns to outraged horror when he discovers dead bodies, foul intentions, lots of snakes and a madwoman in the attic. Can he uncover the hidden family secret before he comes to a terrible end..?
Chamone Mutherf***a! The king of Pop is returning but not as you know you think, in Mike Maria's The Return Of Moonwalker Michael Jackson returns as a bad invisible zombie mutherf***a and we have the trailer to prove have crazy this film really is.
Its nearly exactly 2 years ago since we last saw the trailer for this mad crazy film but now the film is getting released in German cinemas at the end of this month hence the new trailer. Wacko Jacko rises as the king of zombies to dominate the world, with satanic priests, gay midget sex, lesbian ghost hunters, horny college students and a pretty vagrant punk circus. One hell of a night of debauchery probably leaving you attempting to decipher what the fuck did I just watch?!!!
The Return of The Moonwalker might be badass crazy, it has the makings of a cult film which also happens to be going onto VOD internationally from March!
Synopsis:Michael Jackson's hand has been stolen from his crypt in LA!!The culprits: two love-struck leather dwarves, acting on the orders of Dr. Cagliostro, a time-traveling sorcerer posing as the manager of a “punk circus” in Berlin. The mysterious mystic's mad plan: use the risen Michael to rouse the masses and ignite a global revolution! Realizing something strange is afoot, two lesbian ghost hunter girls and three horny college dudes team up to infiltrate Cagliostro's circus. Things come to a head when the rapidly decaying Jacko-Zombie Messiah takes over the circus and starts his own "Rainbow Revolution" one that quickly descends into chaos.
We all get old one day, some of will have families so when it comes to the day we collect the pensions and no matter mobile, independent you are the kids will always worry. If you were fortunate to attend last October's London Film Festival Jake Schreier's heart warming debut Robot & Frank might have been one of those unexpected surprise hit films you enjoyed and this March the film is been released and we have the UK trailer.
Starring Frank Langella as aging curmudgeon and retired jewel thief Frank lives a solitary life and his grown up children are worried about due ever decreasing health suffering with dementia.Thanks to his son (James Marsden) he gets Frank a little and company in the form of caretaker robot (voiced by Peter Sarsgaard) despite the early resentment the pair form a bond and Frank realises his mechanical friend can do more than promote a healthier living.
Picking up a Alfred P. Sloan prize (at Sundance 2012), an award given to a feature film that focuses on science or technology as a theme and we may not have Tommorrow's World on the box any more but we know our robotic friends are getting smarter. Robot & Frank may not have robots as deadly as those in Terminator but delivery awfully charming, leaving you smiling from start to finish but most of all light relief amongst the big blockbusters that will be deafening you for your precious ticket money.
Robot&Frank will arrive in UK&Ireland on 8th March and also stars Susan Sarandon, Liv Tyler.
ROBOT & FRANK is a buddy caper. Set in the near future, aging curmudgeon and retired jewel thief Frank (Frank Langella) lives a solitary life until his son (James Marsden) installs a caretaker robot; against he and his daughter's (Liv Tyler) wishes. The robot upends Frank's lonely life - filled only with books and a visit to his favourite librarian (Susan Sarandon) - with a strict regimen of exercise, diet and gardening. Stubborn at first, Frank soon realizes Robot has the ability to pull off the most calculated of heists. An unlikely friendship, and crime duo, is born
A few days ago we previewed the official trailer for Chicago based film maker Sanicole's new Short film Text Tone and now we have the full 12 minute film for your viewing pleasure. Text Tone is a Drama comedy After dodging his girlfriend to avoid meeting her father on their 6 month anniversary, the young lover wakes up to discover he is mute and must resort to winning his girlfriend back with extraordinary gestures.
The film stars Corey Williams and Ashley Snow, enjoy!
Six months into a blossoming relationship, Corey (Corey Williams) receives a text from his girlfriend Snow (Ashley Snow) about meeting her father for the first time. Nervous about the meeting and struggling to communicate his affection for her, he resorts to ignoring her calls and texts. On the night of the dinner with her father, he doesn't show. The next morning, he checks his voicemail, listening on as adistraught and frustrated Snow admonishes him. Before ending the message she tells him he's lost the right to speak to her and wants nothing to do with him. When he attempts to explain himself in a voicemail, he finds that he can't speak. Mute and rejected, Corey exasperates all avenues to finally show her how he feels and try to win her back. Written and Directed By Sanicole (@Sanicole) Starring Corey Williams (@Corey_Demon) and Ashley Snow (@OfficialAshSnow)
KLOWN is the outrageous and hilarious Danish comedy that pushes the boundaries of comedy and acceptable childcare with its bold mixture of dry wit, fearless shock humour and heartfelt sentimentality.
Curb Your Enthusiasm, The Inbetweeners and The Hangover combine as Frank (Danish comedy sensation Frank Hvam) decides to prove himself suitable father material by kidnapping his pregnant girlfriend’s young nephew for a truly outrageous weekend that combines sexual promiscuity, nudity, drug-taking and tiny bottles of Underberg.
Directed by Mikkel Nørgaard, KLOWN was the year’s highest-grossing home-grown film when released in Denmark. It was critically acclaimed on its US release and has been picked up for a Hollywood remake by Warner Bros. The film stars Frank Hvam and Casper Christensen, two of the most popular and experienced stand-up comedians in Denmark.
KLOWN’s UK premiere will take place on Friday 25th January at the LOCO London Comedy Film Festival at the BFI Southbank. The film is released in the UK by Arrow Films in Spring 2013 (exact date tbc).
SYNOPSIS: Frank accidentally learns that his girlfriend Mia is pregnant and that she has omitted to tell him as she does not regard him as ‘father material’. Furthermore, they have to take care of Mia’s nephew while Frank’s attention is taken planning a debauched canoeing trip with his friend Casper (Casper Christensen).
When Frank causes a minor accident with Bo, Mia must acknowledge that Frank is simply not capable of taking care of anyone other than himself, let alone a child. In desperation, Frank kidnaps Bo for the canoe trip, to the dismay of Casper. Frank is intent on showing Mia that he can be a good father. Of course, the trip turns out to be a disaster but in the midst of the chaos, bonds are made between Bo and Frank who both learn that size isn’t everything.
KLOWN’s UK premiere will take place on Friday 25th January at the LOCO London Comedy Film Festival at the BFI Southbank.
Quartet (2012) is a film which requires little effort, either on the part of the cast or the viewer. That’s not intended disparagingly, indeed quite the opposite, as everything about Hollywood icon Dustin Hoffman’s directorial debut, starring Maggie Smith, Billy Connolly, Tom Courtenay and Pauline Collins, is sheer bliss - you just sit back, relax and let it wash over you.
Fading opera stars, Wilf (Connolly), Reginald (Courtenay) and Cissy (Collins), live in the rural splendor of a country retirement home, where they wile away the days reminiscing about their past triumphs. Each year they celebrate the birthday of the composer Verdi with a concert, and in the process raise funds for the upkeep of the home. This year however things don’t quite go to plan after the arrival of new resident. The presence of Jean (Smith), an opera diva with thoughts above her station, not only resurrects painful memories for the trio, but doesn’t exactly prove conducive to harmony amongst the other residents either.
What a relief that Hoffman, unlike so many actors who try their hand at directing, was not tempted into a cameo appearance in Quartet. Instead he remains, like all good directors should, out-of-sight, though not out of mind, as his touch is crystal clear on screen. Everything, from the ensemble cast to the pastoral settings, meld seamlessly under the expert guidance of a man who is so much a part of modern cinema in front of the camera, that looking at the action from the other side will probably have felt like second nature.
The wider cast hit all the right notes as the group of aging operatic and musical stars, unwilling to accept that, for the most, their moment in the limelight is long past. Indeed the only aspect of the film which appears slightly off-key is watching Connolly and Smith vie for prime spot. When they appear these two old troupers banish everyone else to the wings, no mean feat when you consider the calibre of the those they’re working with. However they’re such a delight to watch that you feel more than happy to indulge their quirks and idiosyncrasies.
This is really is the only quibble though in an otherwise perfect blend of dry wit and acid sharp timing which makes for a delightful cocktail of lasting friendships and the acceptance of the passing of time.
Quartet provides a marvelously feel good way with which to see in the new year. Let’s just hope we don’t have to wait too long for Hoffman to flex his directorial muscle again. Oh, and wait until the end as there is a marvelous treat during the final credits which is guaranteed to bring a tear to the eye.
Ever get the impression that you were watching a different film from everyone else? I'm not sure what I was missing with Sightseers (2012), the new film from director Ben Wheatley and written by and starring Steve Oram and Elizabeth Sladen lookalike Alice Lowe, all three of whom were involved with the recent cult hit Kill List (2011), but half way in I was praying for the end to come mostly as a result of boredom and disgust. Marketed as a comedy, the film attempts to leaven this with a liberal dose of horror, failing dismally to achieve either satisfactorily.
In order to escape from her overpowering mother, Tina (Lowe) agrees to go on a caravan trip with her new boyfriend Chris (Oram). However what starts off as a sightseeing trip of North Yorkshire soon becomes the road trip from hell after Chris's true psychotic tendencies come to the fore, following a misunderstanding at a local tourist attraction, with murderous results for all involved.
Like the caravan holiday that forms the basis around which its story is built Sightseers swiftly looses its appeal. Its real problem, as with much of what currently passes itself off as humorous particularly in Britain, is that it tries too hard. As with most 'laddish' fun, the laughs here are more as a result of embarrassment than anything genuinely amusing.
Neither does it work particularly well from a horror point-of-view either. Comedians often see the field of horror as an ideal entry into the world of films. However they frequently make the mistake which many people do, of not taking the genre seriously. By it's very nature horror often lays itself wide open for parody, providing prime material for people to send up. However study them closely and you will discover that those horror films which are successful approach it with a degree of reverence, even when it's being poked fun at.
Those who understand the secret of real horror grasp the concept that less is more. The audience's imagination is always much stronger than anything filmmakers can depict on the screen, with most good horror films cutting away before you see anything at all - The Texas Chain Saw Massacre (1974) had a degree of black humour, but the secret of its longevity was that everyone believed they saw more than they actually did. The current crop of films from mainland Europe such as the upcoming Spanish chiller Sleep Tight (2011) succeed by taking this subtle approach, whilst the American hit Scream (1996), which marketed itself as neither a comedy or a horror film (though it was quite clearly both) worked by doing the whole thing quasi seriously. Much modern British horror on the other hand, like Sightseers and the recent crass monstrosity Inbred (2011), doesn't know when to stop, showing vivid violence and gore in nauseating close-up.
In its defence the film looks beautiful - the English backdrop against which the shenanigans play out is breathtaking. Unfortunately this does little to compensate for an otherwise lurid and inept attempt at offbeat wit. I know my opinion is likely to meet with universal disagreement, in which case please do fill me in on what I was missing.
Caravaning will never be the same when Ben Wheatley's dark comedy horror Sightseers is released in UK&Ireland next Friday 30th November. If you ever had the idea holidays in our fine lands was dull, boring thanks to our anti heros Chris and Tina (Chris Oram & Alice Lowe) you may now think twice in jumping a plane over to Benidorm or Torremolinos. Tonight our friends over at Studiocanal have sent us over a brand new clip entitled 'Dingly Dell' which sees our protagonists roam the countryside for an ideal pitch for the caravan, Alice writes a postcard for her mother telling her about Chris and the availability of her pasta sauce packets in Yorkshire! But as Chris finds an ideal spot to park he might have someone else determined to get that elusive caravan spot! Just below the new we have another new clip called 'National Trust' plus a quick tv spot that slipped under the radar last week.
Here at The People's Movies & Cinehouse The Kill List unfortunately didn't go down too well, more frustration than total resentment for the film.A couple weeks ago we had 2 reviewers (1 for each site, reviews online next week) and though both reviewers had different opinions on the film but the outcome is Sightseers looks the better film. What we do love is Chris' (Oram) 'their not human, their Daily Mail readers' which went down well, I'm really looking forward to seeing Sightseers as the cinema I volunteer at there is a few 'non-humans' there!
Sightseers will be released in UK&Ireland 30th November, 2013 USA.
Chris (Steve Oram) wants to show Tina (Alice Lowe) his world and he wants to do it his way – on a journey through the British Isles in his beloved Abbey Oxford Caravan. Tina’s led a sheltered life and there are things that Chris needs her to see – the Crich Tramway Museum, the Ribblehead Viaduct, the Keswick Pencil Museum and the rolling countryside that accompanies these wonders in his life.But it doesn’t take long for the dream to fade. Litterbugs, noisy teenagers and pre-booked caravan sites, not to mention Tina’s meddling mother, soon conspire to shatter Chris’s dreams and send him, and anyone who rubs him up the wrong way, over a very jagged edge…
Thank the heavens for Ben Wheatley, finally someone who knows Daily Mail readers aren't human! Ah don't hire the firing squad just yet and check out the new 60 second UK trailer for Ben Wheatley's Sightseers which after a great first trailer exploits the film's dark humour, the quirky feel and why Sightseers might be the surprise hit film of the year!
To be honest Ben Wheatley's last film The Kill List divided opinions at The People's Movies and Cinehouse HQ when it came out last year, we all came to an agreement it was confusing as well as overrated. So when Sightseers promotion started we selfishly greeted the new film with a lot of scepticism even with the fantastic reviews from Cannes but like all good things it grows on you.
Chris (Steve Oram) wants to show Tina (Alice Lowe) his world and he wants to do it his way - on a journey through the British Isles in his beloved Abbey Oxford Caravan. Tina's led a sheltered life and there are things that Chris needs her to see - the Crich Tramway Museum, the Ribblehead Viaduct, the Keswick Pencil Museum and the rolling countryside that accompanies these wonders in his life.But it doesn't take long for the dream to fade. Litterbugs, noisy teenagers and pre-booked caravan sites, not to mention Tina's meddling mother, soon conspire to shatter Chris's dreams and send him, and anyone who rubs him up the wrong way, over a very jagged edge...
If your like me a generation who grew up with some childhood summer holidays in caravans or caravan Parks around the UK some of the things will strike a chord, though some of the UK humour might be lost in translation if your not familiar. We're alot more optimistic Sightseers will be far superior film than The Kill List, with 7 nominations for British Independent Film Awards before it's even been released speaks volumes for the film.
We're watching this film next week so stay tuned for our review, Sightseers will be released in UK&Ireland 30th November, there's no confirmed American release but expect sometime 2013.
Any one who says love isn't complicated must be reading too many Mills 'n' Boon novels need to get a grip of reality. Life is complicated but is also beautiful in it's simplest form just like relationships, so introduce Lynn Shelton the director of Humpaday to the mix. Take those simple conventions of life make them complex going on farcical but most of all situations become truly believable resulting in the charming Your Sister's Sister.
Lost in emotional slump for the past year due to his brothers death Jack (Mark Duplass) takes the advice of his best friend Iris (Emily Blunt) to spend a week at her family's remote island retreat for a week of solitude and reflection. Upon arrival at the house Jack discovers some one is already there, Hannah (Rose Marie De Witt) Iris Sister who is also there for reflection with the end result the pair spending an awkward night together. The following morning the pair get an unexpected guest when Iris arrives at their front door setting off boundless revelations, complicated secrets and emotionally twisted tale of siblings and best friends, loyalty and love.
When you have a film that has improvisation or even improvisation in any form it can be a risky move. In Your Sister's Sister what we get is something that's brutally honest most of all very sincere.Everything is kept believable thanks to the characters who are likeable as well as creating a nice chemistry between the three leads which never feels forced. To highlight how natural and flowing things where Shelton captures the moment with scenes were shot in one shot which is a rarity these days.
Your Sister's Sister isn't a laugh out loud a minute film nor a romantic comedy in the same description as the Romcoms we get these days a dime a dozen. I would go as far as calling this more a sitcom as it's all in the dialogue and the rapport of the characters, also we don't get bombarded with long winding info on each character just enough to know she was with him, he is a slacker, she was with her then with him and Bob is your uncle.
Everything seems to work thanks to the performances of the cast. Mark Duplass despite the one been lumbered at times with the films 'awkward moments' handles Jack's part masterfully balancing his character's mischievous buffoonery with endless insecurities. His handling of the character probably thanks to him been one of the founders of Mumblecore sub-genre, so if Duplass is Ying Rose Marie De Witt must be Yang. As Hannah she is cheekily manipulative , homewrecker of sorts but also a fragile troubled soul too.Emily Blunt as Iris delivers a safe performance and been the bigger name of the three cast members credit goes to her as she proves she has the ability to improvise an area many other bigger names have either tried and failed miserably or don't even go near. You may also ask how come Iris and Hannah are sisters whilst one is American the other British? Don't have to Sherlock Holmes to figure it out but I won't spoil the moment as it's a funny scene but it gives the film an extra dimension. With De Witt been a late replacement for Rachel Weisz you wonder if this film would have worked with 2 British female leads?
In words of a former Colleague Your Sisters Sister is also a film that will be enjoyed 'by dudes' just as much as women.There's no fantasy fairytale scenarios just 3 normal fragile souls in need of some 'me time' but now finding themselves in a rather crowded retreat,a crowed house that leads to some farcical results. For all it's charms Your Sisters Sister does at times fell a little stretched , even flat at times but thanks to the simplicity of the plot and great performances from the cast it keeps the film interesting but most of all entertaining. The end scene may frustrate some of you but as improvisation is the name of the game here Lynn Shelton leaves this point of the film for you to improvise.
Rarely do we get a chance to see shameless grind-house features hell bent on fast paced schlock and rip-roaring fun, and it’s on those
grounds that Australian independent flick Monstro!
delivers. Written and directed by Stuart Simpson and put together Guerrilla-style
by a small crew of obviously dedicated individuals this is probably the
underdog Indy cult event of the year.
Three
deranged killers, Beretta, Blondie, and Snowball, hole up in a small beachside
community after their murderous actions attract the wrong kind of attention.
But not all is as it seems in this small town. A few of the locals try
desperately to warn them of the dangers of going into the water but the crazy vixens
listen to no one. However, their seaside frolic awakens a horrifying beast from
the depths of the ocean and it isn’t long before the girls are hip-deep in
trouble, facing the fight of their lives against the terrifying Kraken.
The
story is put together with a loving knowledge of all things exploitation, think Faster Pussycat! Kill! Kill! with Evil Dead gore and a monster reminiscent
of Ray Harryhausen. It ventures back in time to explore what’s so wonderful
about the female exploitation genre; proving we don’t need good girls, Hell we
don’t even need bad girls, as long as they’re able to fight a sea monster they
can make gripping viewing. The three vixens that parade the screen-time are endearing
to watch, beautiful yet no-nonsense, OTT and bound together by a hatred of conventional
life, rebels and patriots to their own dastardly cause. Simpson has done a
great job of replicating a 60s and 70s-esque trio of terrible sirens, and the
girls have done a great job at embodying them.
For a
film of its ilk, Monstro! is
surprisingly well put together, the camera work and editing jump miles ahead of
many other films with a significantly bigger budget, but that’s the brilliant
thing about cult films, you can get away with some really outlandish finishing touches.
Some scenes prove over-stylised, detracting from the flow of the narrative, but
a sometimes brilliant (often cheesy) self-referential angle indulges the cult
quality to the point of decadence. And there’s nothing more enjoyable than pure
decadence, even if it sometimes strays the mark. The soundtrack too is perfect
and strides hand-in-hand with the style of the film, a sexy sassy Tarantino
sound that brings the film a classy aspect it does its utmost to dodge through
visuals.
Sure,
the film’s not perfect. This grindhouse feature loses itself at points through
taking its foot off the peddle to expand a narrative that doesn’t really need
too much depth. And sure there’s some hefty bits of overacting but that can be
ignored when considered as part of a film whose sole purpose is to show off the
reckless and outrageous charm of B-movies. Movies like this have to be gauged in terms of their niche
A film
for cult fans made by cult fans; dripping with love, elbow-grease, sex-appeal,
and gore. Exploitation at its filthy best and an impressive second feature-length
film, Monstro! is a must in this year’s
top B-movies for sheer balls and total immersion, extra credit is most definitely
awarded for fantastic monster-effects. Besides it’s probably the best “Outlaw Babes
vs. Sea Monster” flick you’ll see this year. Probably.
Smudged with the finger prints of the Coen brothers comes Canadian slacker-kidnapping caper Mon Ami, a darkly comic feature from writer/director Rob Grant. His first film Yesterday garnered widely favourable reviews, something he can expect to continue with this follow-up. Cal and Teddy are best friends unenthusiastically working at a Hardware superstore, undermined by customers and going nowhere fast. When these two long serving employees are overlooked for a promotion they concoct a plan and, like all good plans it involves kidnapping their boss’ daughter.
Apparently unaware that ‘the best laid plans of mice and men oft do go astray’ this soon becomes plainly evident for our protagonists as, despite a meticulously prepared set-up theirs becomes a lesson in how not to conduct a kidnapping. From the offset the path is far from smooth as the practicalities of capturing the bait prove trickier than expected, quickly establishing our leads as truly inept hostage-takers. That (unlucky in more ways than one) hostage; Crystal, soon proves to be equally less reliable in her role as obliging victim than they had envisaged and when an attempted breakout goes unnoticed the stakes are invariably raised. Out of their depth and forced to alter their plan the two aren’t aided by the constant interruptions of Teddy’s wife Liz whose interspersed phone calls serve as effective tension breakers as well as to annoy the increasingly irritated Cal. The tension within the three is a running theme of the film and asks questions about male friendship and where they go if one’s life-plan differs to the other. Here, the perception is that they turn to crime to re-connect their bromance and there’s a felling that Cal is largely doing this simply to spend some time with his best friend away from his ‘nagging wife’ – that is very much the image of Liz in a role that won’t endear itself to many a female.
The graphically bloodstained moments of the film are reminiscent of Tarintino or American Psycho and well balanced with the comic elements of the film with the overall effect coming across as something far more akin to Fargo. It’s to Grant’s credit that the comparisons don’t feel far overstretched, taking care to establish these believable characters in unbelievable situations as well as crafting neat stylistic touches.
Yesterday was unfairly but inevitably compared to Shaun of the Dead but alongside his sophomore effort he can rightly claim to be carving out a niche very much of his own. By establishing his own set of rules, language and narrative his is a tone destined for cult following.
Ken Loach’s affable crime movie brings together a group of low-rent, ex-offenders through a community service course in Glasgow. Chief among them is Robbie (Paul Brannigan), a young father who, after barely avoiding a long custodial sentence, finds himself presented with a final chance to turn his faltering life around. Under the guidance of supervisor, Harry (John Henshaw), and with the help of new friends Mo (Jasmin Riggins), Albert (Gary Maitland) and Rhino (William Ruane), Robbie develops a passion for whisky, and with it a chance to escape his troubled past.
Loach has, for the most part, done a decent job of melding the contrasting elements of the down-at-heel kitchen sink drama, with the daft whimsy of a Highlands whisky heist. Brannigan, in particular, is successful in his ability to instil genuine empathy for a character who’s no angel himself. He’s also more than adequately aided by an amusing and largely comprehensible supporting cast, with Maitland standing out as the profoundly dim-witted Albert.
Loach’s ability to temper the comedy with the uglier elements of Robbie’s life, or vice versa, is evident for only two thirds of the story though. As the drink begins settle in the hearts and minds of the audience, Robbie’s past misconducts are conveniently washed-away in a tide of priceless Scotch. It reflects well on Loach and his cast then, that this shift from reality to fancy doesn’t entirely ruin the experience.
There’s more than enough spirit to be found at the bottom of the bottle, to redress the balance of a slightly lopsided story.
Extras on the DVD include a short making-of documentary, featuring interviews with Loach and the cast, who remark on his collaborative approach to filmmaking, as well as Brannigan’s real-life troubles, and his connection to his character.
Hysteria is a Carry On film with ambitions of feminism. As you might imagine, this is problematic, and it’s a problem the film never really solves. This lack of resolution, plus a few other niggles here and there, keeps me from declaring the film a success. But it’s not bad either. Clumsy and didactic the film may be, but its heart is definitely in the right place. What’s more, the spectacle of Victorian high society men confronting the female orgasm, is about as funny as you might expect.
Honestly, I wish I liked it more. The whole issue of hysteria (in essence ‘female emotional behaviour that men don’t understand’ repackaged as a medical condition, that could be cured by orgasm) is one of those pieces of historical silliness that I adore. It seems to me that narrative fiction always has this sombre, respectful, serious approach to history, as if it’s some grand old man whose every pronouncement must be treated with reverence. Whereas, if you actually study history at all, what you quickly find is that the old man is senile. History is composed of the actions of humans, and there is no constant like the silliness of humans. It’s nice to see this aspect of history getting some attention.
But there’s no escaping the fact that the story has problems.
On a basic level, matters work fairly well. Mortimer Granville (Hugh Dancy) is a young doctor of a forward-thinking persuasion, which makes him a pariah in the eyes of the medical establishment. Luckily for him, one Dr. Robert Dalrymple (Jonathan Pryce) requires an assistant. His clinic for the treatment of hysteria is very busy, and he (not to mention his patients) is in need of a helping hand. There Granville meets the Dalrymple daughters: Emily (Felicity Jones) who is the perfect example of Victorian womanhood, and Charlotte (Maggie Gyllenhaal), who is outspoken, passionate and, worst of all, associates with the poor. Granville, being a proper Victorian man, immediately falls for the former and disdains the latter.
So, Hysteria has the standard romance plot. But for all its lack of inspiration, it’s executed rather well. Dancy and Gyllenhaal have some nice adversarial chemistry, the plot is well paced and the characters mostly solidly constructed. A couple of comic reliefs, the (somewhat)ex-prostitute Molly (Sheridan Smith) and the noble sexual deviant Edmund St.John-Smythe (Rupert Everett) aren’t so much characters as walking jokes, as indeed are most of the hysteria patients. But that’s only to be expected. This is after all a funny film. The occasional thin character is a usual symptom of comedy.
But where this becomes problematic is with the film’s message. See, this is very much a historical film told through modern eyes, and as such, the heroes of the story are also those with a more ‘modern’ sensibility. This would be fine, if they didn’t keep aggressively flaunting it. Granville and Charlotte all but run around screaming ‘I support woman’s rights, free education, socialism, germ theory, the telephone, electricity- OH GOD I’M SO PROGRESSIVE”, like holding these beliefs is a big thing. But to modern ears, it sounds like a bunch of people crowing about how amazing it is that they think the sky is blue.
Of course, during the 1880s, believing such things was a Big Deal. But that’s because these beliefs were reactions against deeply entrenched social norms. Take woman’s rights for example. The concept that women were inferior to men was, in the 1880s, not some quaint, mockable custom. It was a societal norm that had existed for thousands of years. Challenging it is one of the most remarkable shifts human society has ever undergone. Considering the strength of the opposition, even the vague success of that challenge is incredible.
That is what any treatment of the growth of woman’s rights, or any of the other progressive movements of the 19th century, has to bring across: the image of a slingless David facing down a Goliath with a submachine gun. But Hysteria doesn’t. The film does give some sense of the opposition, don’t get me wrong. It has its fair share of establishment-minded characters. But in playing so many of these establishment viewpoints for laughs, mocking the Victorian men for getting so flustered about sex, laughing at their ‘scientific’ approach to the female orgasm, Hysteria undermines the seriousness of the establishment view. This would be fine, were the film a full comedy, but it also wants to make a serious point. It wants to state the importance of being progressive. Unfortunately it never manages to capture why being progressive so brave and necessary.
That’s not the only difficulty the film has. There’s a few hamfisted moments, where the characters make the classic ‘wild yet accurate’ speculations about what the future will be like, a joke that was already ancient in the 1880s. What’s more, Hysteria contains the worst jump cut I have ever seen. But on the whole, the film’s problem lies in its politics. The humour is grand: filthy, childish, charming stuff. The romance is engaging. But the film’s attempts to be serious are unsuccessful. All of which adds up to: entertaining, but not exactly good.
Dutch zombie horror Kill Zombie (original title Zombibi)tackles the horror genre with a ballsy understanding of its fan base and a quick sense of humour. Unfortunately its up against stiff opposition; Shaun of the Dead (2004) and Juan of the Dead (2011) are two stellar zombie features that handle the apocalypse in a similar bro-mantic black comedy style, still the film does well at holding its own.
Cutting straight to the action, Kill Zombie proves it’s for genre fans, no real exploration of the apocalypse and not too much focus on the concept of Armageddon as a social issue, Kill Zombie rolls up its sleeves and dives headfirst into the gory glory with a good sense of where its going and who its playing to. The film follows two brothers who after spending a night in jail, awake to find their city ravaged by zombie invasion. Joining forces with a police officer and two crazy criminals the group set off on a reluctant rescue mission through the deadly gore-splashed streets of Amsterdam.
Kill Zombie has some fantastic set pieces showing off a creative flair that lacks in many run-of-the-mill zombie features: a mini-gun sequence that’s grotesquely satisfying and a play park defence to name a couple. The more striking action sequences seem connected by typical zombie stock, but it’s incredibly tricky for a zombie film to maintain originality when so much has gone before. Even Romero seems to have lost some innovation. A key strength of the film is its comic timing and the skill with which its cast carry off the genuinely funny scenes. Kill
Zombie is a prime example of what a good cast can do for a smaller production.
Though it looks good and has plenty of fun, Kill Zombie still lacks the heart of Juan or Shuan, heart that helped push those movies up past your bog-standard zombie massacre. And even though there’s a welcome and sometime innovative aspect to the design of the film, some things just don’t gel. The use of Tekken style fighting sequences is a marmite decision that threatens the integrity of the film, seeming just a little too unrealised and amateur.
Kill Zombie is for genre fans specifically, its lack of plot around the main characters stops it hitting the emotional impact of other mainstream cult black comedies but it does a good job of entertaining and showing off some really cool zombie action sequences. Its also one of few horror comedies that actually gets its comedy fairly spot-on.
STUDIOCANAL are ‘eaven and ‘ell chuffed to announce that ‘orror comedy ‘Cockneys vs Zombies’ will be available on DVD & Blu-Ray from 29th October.
Cockneys vs Zombies follows a group of plucky cousins as they try to rob a bank to save their grandparents care home from developers. Little do they know, whilst they’re cleaning out the vault, zombies as cleaning up the east end and shuffling towards Bow Bells’ care home with an appetite for OAPs.
Starring a host of Britain’s finest acting talent including; Honor Blackman (Goldfinger, ‘The Avengers’, Bridget Jones’s Diary), Rasmus Hardiker (Starter for 10, I Want Candy, ‘Saxondale’), Harry Treadaway (Fish Tank, Control), Michelle Ryan (4.3.2.1, ‘Bionic Woman’), Ashley ‘Bashy’ Thomas (4.3.2.1, Shank), Jack Doolan (Cemetery Junction, ‘The Green Green Grass’) and Alan Ford (Snatch, Lock, Stock and Two Smoking Barrels). Cockneys vs. Zombies is written by James Moran ('Torchwood', Severance) and directed by Partizan's Matthias Hoene.
Cockneys vs. Zombies is a new breed of zombie adventure filled with equal edge-of-your-seat-tension and rocking-in-your-seat-with-laughter moments. If you ever wanted to see how a zimmer frame could turn into a lethal weapon, pick up Cockneys vs. Zombies on DVD or Blu-Ray on 29th October 2012, released by STUDIOCANAL.
When you’re robbing a bank, a zombie invasion makes things a lot harder. As contractors at an East London building site unlock a 350 year old vault of seriously hungry zombies, our hapless team of wanna-be bank robbers are in the wrong place at the right time. Katy (Michelle Ryan), Andy (Harry Treadaway), Terry (Rasmus Hardiker) and bank robbing “experts” Mental Mickey (Ashley 'Bashy' Thomas) and Davey Tuppence (Jack Doolan) find themselves the unlikely heroes of a zombie attack. Equipped with all the guns and ammo they can carry, it’s up to the gang to save not only their grandparents but the East End from Zombie-Armageddon. When it’s the living vs. the undead... it’s Cockneys vs. Zombies.
Cockneys Vs. Zombies stars Harry Treadaway, Michelle Ryan, Rasmus Hardiker, Ashley Thomas, Georgia King, Jack Doolan, Honor Blackman,Alan Ford, Richard Briers
and Dudley Sutton
Available Extras – DVD &Blu-Ray
Behind the Scenes:
- The Maguire Brothers – 4’ 35’’
- The Bank Robbery – 3’ 25’’
- The Care Home – 3’
- At The Docks – 2’ 50’’
- Special Effects – 3’ 40’
- The Filmmakers – 5’
- Andy TV – 1’ 30’’
Zombie School - 4’ 09’’
Trailer - 2’ 20’’
Cockneys Vs Zombies Will be released by Studiocanal in UK&Ireland, October 29th, read our review here
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