EIFF 2012: Life Just Is Review

★☆☆☆☆

Life Just Is is the first full length film written and directed by British director Alex Barrett. The plot focuses on a group of friends who have not long graduated and are having difficulties moving on with their lives, stuck in dead end jobs and unable to figure out what they want now etc.

With a cast that is mainly made up of actors who made their names in Holby City and Eastenders, Life Just Is seems like an appropriate title for a film which does not seem to have anything to say. Clearly there are interesting themes which could have been explored here, but with such a badly written script, awful acting and poor direction, the film leaves the audience exactly where it starts, still wondering when the drama is going to happen.

For example, the friends in question are all meant to be very close with one another, yet cannot have a natural, fluent conversation. The dialogue goes along the lines of ‘Are you okay?’, ‘Yes’, and ‘What’s happening?’, ‘Nothing’; for an hour and forty minutes.

The film ideas sound good on paper, but Life Just Is leaves the viewer completely unsatisfied. For those with a good sense of humour, this could be hilarious, for others: avoid at all cost.

Sophie Stephenson

Screened 2012 Edinburgh Film Festival
Directed By: Alex Barrett
Cast:Will de Meo, Jack Gordon, Fiona Ryan, Jayne Wisener

 

EIFF 2012: 7 Days In Havana Review

★★★1/2☆

Spanish language anthology, 7 Days In Havana, as the title suggests, follows a week in Havana with a different short film representing each day. Featuring directorial turns from names such as Benicio Del Toro, Gaspar Noé and Julio Médem proves to be a extremely varied two hours. The anthology gets off to an excellent start, opening with three solid and entertaining shorts, however as is customary with this type of film, the quality varies rapidly with each of the later segments.

The opening segment, Benicio Del Toro's El Yuma stars Josh Hutcherson as a young American actor arriving in Havana, then proceeding to explore the city's bars. The short excels through Del Toro's vivid representation of Havana's bustling nightlife, capturing a sense of the music, heat and ambience of the city. This is supported by an incredibly charismatic appearance from Josh Henderson and enjoyable supporting turns from the Cuban cast.

Pablo Trapero's Jam Session follows, telling us of a heavy-drinking Serbian film director, Emir Kusturica collecting an award in Havana. The filmmaker cannot bare the monotony of the post-award dinner so his driver takes him to a musical jam session. Like Del Toro's segment, Trapero portrays Havana in a rich and diverse light, capturing a fusion of the vibrancy of the city. Jam Session places a large influence on the music of the city, with it being the basis on which Kusturica and his driver bond.

Julio Médem's La tentadión de Cecilia is heartfelt romantic short, placing more emphasis on the characters than the actual city of Havana. Melvis Santa Estevez stars as night club singer torn between her professional baseball player boyfriend or whether to leave her homeland and move to Spain with a handsome hotel owner (Daniel Brühl). Despite the short lacking much originality, Médem's vibrant direction and stellar performances ensure that La tentadión de Cecilia is engaging throughout.

Unfortunately it is Elia Suleiman's Diary of a Beginner where the previously high quality of 7 Days In Havana rapidly dips. Thursday's segment sees a foreign diplomat prepare for a meeting with Fidel Castro.  There is little to Diary of a Beginner apart from the lead character (played by Suleiman) simply observing prostitutes and tourists in a Havana bar. The humour is tedious, never particularly working and relying the same gag of the diplomat walking the wrong way to his hotel room several times.

Gaspar Noe's Ritual follows taking up the Friday segment. We see two lesbians dancing on a brooding Havana night, the pair end up sleeping together. One of the girls' parents soon walks in to see their daughter lying with another women, she is then put her through a 'cleansing ritual'. This is perhaps the most visually stirring segment of the film, but is not enough to maintain interest for an extended period of time.

Juan Carlos Tabío's short entitled Dulce amargo (Bittersweet) is a vast improvement to the prior two, capturing a hectic day in the life of a Cuban mother (Mirta Ibara), balancing both a life as a psychologist and part time baker. A sensational performance from Mirta Ibara and an amusing, heart-warming story, that tells us to make time for ourselves helps Dulce amargo to stand out as one of the film's strongest shorts.

The final segment, Laurent Cantet's La fuente (The Fountain) follows the residents of a shabby apartment block building a fountain for the Virgin Mary. Cantent's portrait of a typical community feels truly authentic, capturing a convincing sense of camaraderie between the residents. This is a charming and pleasant look at Havana.

7 Days In Havana's segments succeed on representing various sides to an incredibly diverse city - from the music filled, rum soaked nightlife to the lives of its' everyday residents. Although the segments vary in quality - El Yuma, Jam Session, La tentadión de Cecilia, Dulce amargo and Le fuente are all thoroughly worth your time.

Andrew McArthur

Release: 22nd June, 2012 (EIFF) 6th July 2012(UK)
Directors: Benicio Del Toro, Pablo Trapero, Julio Medem, Elia Suleiman, Gaspar Noé, Juan Carlos Tabío ,Laurent Cantet
Stars: Josh Hutcherson,Emir Kusturica, Daniel Brühl , Mirta Ibarra

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7 DAYS IN HAVANA - Official UK Trailer - In Cinemas 6th July Published via LongTail.tv

EIFF 2012: Sun Don't Shine Review

★★★1/2☆

Amy Seimetz's debut feature film, Sun Don't Shine recently received its international premiere at this year's Edinburgh International Film Festival. This indie picture feels like a fusion of a road movie, psychological drama and thriller - proving to be an impressive feature debut and stirring watch.

Two young lovers, Crystal (Kate Lyn Sheil) and Leo (Kentucker Audley) go on the run in rural Florida, the pair both haunted by a dark secret that bounds them together. With a gun in the glove compartment and ever growing paranoia - their relationship begins to hit new extremes.    

Seimetz creates a tense and brooding atmosphere, using the humid Florida landscape as a canvas for this paranoia-infused drama. Sun Don't Shine is a film shrouded in mystery, the opening thrusts us into one of the couples' heated disputes, immediately spurring the question what have they done? Seimetz screenplay is a slowly unravelling puzzle which eventually reveals to us that Crystal stabbed her abusive husband, whose body lies in the car trunk.

Once this crucial detail is revealed Seimetz amps up the tension with the inclusion of encounters with suspicious passers-by or simply by reflecting an ever-recurring police presence. The fusion of this brooding atmosphere, combined with Seimetz's grainy, dreamlike direction produces a completely stirring, haunting film.

The dreamlike direction of Sun Don't Shine bares resemblance to the issues of one of the central characters, Crystal. Crystal seems completely unaware of her actions or the effect that her behaviour has on others - baring an almost childlike presence throughout the film. The character is somewhat of an enigma, who she herself does not even understand. Kate Lyn Sheil's performance mostly reflects  this, but some flaky line-delivery means that she does not always convince.

Kentucker Audley's performance as Leo is perhaps one of Sun Don't Shine's strongest assets. The actor always gives us an insight to the gears turning in Leo's head, as he attempts to fix Crystal's problems. No sooner has one issue been dealt with, then another arises - as he is slowly becoming bound to her by their dark secret. Audley's performance gradually unveils the effects that these mounting problems have on Leo as looks for release from an old flame.

Sun Don't Shine is a thoroughly impressive feature debut from Amy Seimetz. The director's haunting fusion of genres results in a tense, atmospheric drama with strong performances, most notably from leading man, Kentucker Audley.

Andrew McArthur

Stars: Kate Lyn Sheil, Kentucker Audley, AJ Bowen
Director: Amy Seimetz
Release: 23rd June (EIFF)

SUN DON'T SHINE Teaser from David Lowery on Vimeo.

EIFF 2012:Kotoko Review

★★1/2☆☆

Japanese director and actor, Shin'ya Tsukamoto, latest project Kotoko sees him team up with folk rock artist, Cocco for disturbing horror drama, Kotoko. 
Tsukamoto's film follows a woman, Kotoko, balancing life as a single mother, alongside her threatening mental problems. Gradually, the boundaries between what is real and what is simply a product of her dark imagination, begin to blur.

Shin'ya Tsukamoto is on top form visually, dragging us into Kotoko's harrowing nightmare world filled with twisted double vision and hallucinations of the dangers that could affect her child. Kotoko's disturbing apparitions are particularly difficult to watch - seeing the mentally unstable mother standing on a rooftop, slowly loosening her grip of her baby, is completely unsettling. This combined with Kotoko's high pitched, shrill screams, builds up an a chilling atmosphere throughout.

Kotoko does become rather tedious, simply overstaying its welcome (even at a relatively short 91 minutes). Pacing slows down after the introduction of Kotoko's stalker, turned boyfriend - Seitaro Tanaka (played by Tsukamoto) - and they say true love is dead. The relationship between the pair feels particularly unconvincing - Kotoko takes out her violent rage on her boyfriend, at one point completely destroying his face, yet he is still infatuated by her. 

Praise must go to Cocco's raw and brutal performance, the singer completely dedicates herself to this part - mentally and physically. Several scenes of Kotoko self-harming appear so realistic, one may finding oneself questioning their perception of what is real and what is fiction. Unfortunately, Tsukamoto makes no effort to help the viewer show any empathy towards Kotoko - with no attempt made to understand her mental illness. We are simply shown her outrageous behaviour and left to regard her as a lunatic. Tsukamoto's supporting turn, which is supposed to add comic relief does not gel with the darkly intense subject matter - resulting in the role simply feeling off-key and incomprehensible. 


The strength in Tsukamoto's film comes from his rich visual design. One notable sequence prior to Kotoko's conclusion shows the title-characters' son's toys come to life, in a fusion of bright colours and outstanding visuals.

Kotoko is a harrowing piece of cinema, that unfortunately overstays its welcome. Despite a fascinating and dedicated performance from Cocco and some extraordinary visual design, Kotoko becomes tedious and relentlessly nasty, making no attempt to discuss mental illness in a sympathetic light. 

Andrew McArthur

Stars: Cocco, Shin'ya Tsukamoto
Director: Shin'ya Tsukamoto
Release: 24th September 2012 (UK DVD)
Pre-Order/Buy:Kotoko On Blu-ray / On DVD

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Kotoko (Shinya Tsukamoto, Japan - 2011) UK trailer Published via LongTail.tv

EIFF 2012: V/H/S Review

★★★★1/2

Found footage horror, V/H/S has completely revitalised a played-out, repetitive style of filmmaking with six chilling anthology tales. Ti West (House of The Devil), Glenn McQuaid ((I Sell The Dead) and Adam Wingard (A Horrible Way To Die) are just three of the directors to contribute to this chilling anthology.

V/H/S opens with a group of criminals assaulting young women and vandalising property. They are hired by an anonymous client to break into an abandoned house and obtain a mysterious video tape. The group begin to work their way through a series of terrifying tapes, each revealing a different short film.

V/H/S manages to fuse so many horror sub-genres together in an innovative and chilling manner, capturing all that fans love in the genre. However, this is not clear from the shaky onset, where teenagers victimise young women, whilst filmed on a handheld camera - it was a struggle to engage with this. As these young men break into the abandoned house and the horror starts, director, Adam Wingard completely pulls it together. This over-arching story is just as tense and disturbing as any of the segments that it flawlessly seems together.

The first segment from David Bruckner (The Signal) entitled Amateur Night follows three college freshmen with video recording spy glasses, hoping to pick up some easy girls and make a sex tape. However, one of the girls who has been brought back's behaviour is a little troubling. This chilling short film is thoroughly well developed, with some completely unexpected and unsettling gory twists.

This is followed by Ti West's Second Honeymoon, a tale of a loving couple staying at an isolated Texas motel whilst on vacation. However, when a creepy young woman starts banging on the door things take a shocking turn. West's short tackles the idea of home invasion, with the intruder filming the sleeping victims on their own handheld camera, showcasing a disturbing twist on handheld camera norms.

The third short, Glenn McQuaid's Tuesday The 17th follows four teens venturing into the woods, where gruesome murders previously took place. This may read like the traditional Friday The 13th teens in the wood style slasher, but McQuaid's killer is created with a completely innovative twist.

Joe Swanberg's The Strange Thing That Happened to Emily When She Was Younger proves to well-crafted, suspenseful ride. Swanberg's tale follows the Skype conversations of a couple, terrorised by ghosts. As a viewer we are thrust into dark, grainy rooms left to scan for the source of terror.

My personal favourite segment, 10/31/98 by collaborative group called Radio Silence proves to be a spectacularly crafted and completely unsettling piece of filmmaking. It follows four men looking for a Halloween party - they end up at a creaky old house with some macabre practices going on in the attic. Radio Silence allow the house to completely come alive, with walls moving and doors disappearing - it is a true visual feast of terror, fusing elements of The Amityville Horror with Rosemary's Baby.

V/H/S is a sure fire treat for horror fans, bringing a much needed spark of energy to the handheld camera style of filmmaking. Each segment is flawlessly crafted and diverse enough to maintain your interest for the near two hour run time. I would go as far to say that it is the strongest horror film of 2012.

Andrew McArthur

Stars: Calvin Reeder, Joe Swanberg ,Jas Sams
Directors: Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg , Radio Silence
Release: 28th June (EIFF)

EIFF 2012: Berberian Sound Studio Review

★★★1/2☆

Director, Peter Strickland (Katalin Varga) presents us with the truly unsettling look at the power of sound in his latest feature, the Toby Jones lead, Berberian Sound Studio - which makes its world premiere at this years' Edinburgh International Film Festival.

Set in the 1970s, Berberian Sound Studio follows British sound technician, Gilderoy, as he works in Italy on a gruesome horror film. Soon Gilderoy's work on this dark feature slowly begins to bleed into his everyday life.

Berberian Sound Studio is certainly not a horror film, instead more of a psychological thriller reminiscent of Hammer Films "Mini-Hitchcocks". This completely absorbing and brooding drama manages to be unsettling, rather than scary. Strickland's direction immediately emphasises a sense of foreboding, with the distinctive use of the sounds created in the studio capturing Gilderoy's troubling mental state.

The vibrant and unsettling power of the sound is so strong, that we never see any of the imagery linked to this gruesome horror film (apart from its blood red opening titles) it is simply talked about, yet seeing these sounds created still has a sinister impact. Who knew hacking a watermelon or smashing some courgettes on ground could have such a chilling impact.

Berberian Sound Studio is at its best when capturing the changing mental state of Gilderoy - most notably one frantic, dream-like sequence where the technician's life blurs with the Italian horror film as he believes there is an intruder in his apartment. Jones performance is terrifically understated, managing to capture both his initial coyness to his more extreme infuriation whilst working on the project. For an actor, that is traditionally cast in supporting roles, Jones proves to be equally impressive in a leading role.

Unfortunately, a utterly confusing and unnecessary twist ending spoils the foreboding and impact so carefully established throughout Berberian Sound Studio. This extreme twist is not given the build-up that it deserves only working as a method of shocking the viewer, but lacking any clear explanation or clarity. It marks a disappointing end to an otherwise well-crafted piece of cinema.

For the most part, Berberian Sound Studio is a unsettling, brooding psychological horror, boasting a magnificent turn from Toby Jones. The well-crafted narrative and powerful sound use are unfortunately spoilt by an over-ambitious twist ending.

Andrew McArthur

Stars: Toby Jones, Tonia Sotiropoulou , Cosimo Fusco
Director: Peter Strickland
Release: 28th June (EIFF) August 31st, 2012 (UK)

EIFF 2012: Tim And Eric's Billion Dollar Movie Review

★★☆☆☆

It seems that if a television comedy duo is successful enough that a movie is inevitable. Unfortunately, it is very rare that these movies are actually worth watching - just think Ant & Dec's Alien Autopsy or David Mitchell and Robert Webb's Magicians. Hoping to buck that trend are Tim Heidecker and Eric Wareheim, the creators and stars of Adult Swim television series, Tim and Eric Awesome Show, Great Job!  The duo have presented us with Tim and Eric's Billion Dollar Movie, which will no doubt appeal to fans of the television series. 

Tim and Eric are two filmmakers who are given a $1 billion dollar budget to make a film for the Schlaaang Corporation. However, with the budget squandered and results in only three minutes of usable footage  - the duo have no choice but to go on the run from vicious studio boss Tommy Schlaaang (Robert Loggia). In a harebrained scheme to raise the money, Tim and Eric find themselves trying to restore a derelict shopping mall.

Anyone familiar with the Saturday Night Live film productions like MacGruber will instantly recognise the formula of Tim and Eric's Billion Dollar Movie. It is this predictable narrative arc that immediately works against the production - we know there is an inevitable fall out and eventual reconciliation and that Tim and Eric will successful rebuild the mall. Since the script structure offers nothing particularly original it is up to the comedy duo to add some interest through their gags and performances, and to an extent they do this successfully.

The humour ranges from enjoyably madcap to unpleasantly crude, never finding the right balance. A perfect example of this is where a drugged Eric goes to a 'Shrim' healing centre - we do not know what Shrim is, but are soon given a fun video representation hosted by Ray Wise. The comic talents of Ray Wise would have been enough for the gag, but Heidecker and Wareheim insist on taking the humour too far. How far? Well Eric drowning in a bath of children's faeces. It is just a crude, unpleasant and juvenile punchline.

The bantering exchanges between Tim and Eric spur on a few laughs, but most of the humour comes from the star power involved in Billion Dollar Movie. The film opens with Jeff Goldblum, posing as Schlaaang spokesman Chef Goldblum, offering the viewer tips on how to enhance their movie going experience - which is particularly fun. Will Ferrell's cameo as the mall's Top Gun obsessed former owner proves amusing as well, as does Zach Galifianakis' role of a self-help guru the duo hire. Unfortunately, most of these star turns suffer from incredibly poor writing and character development - notably John C. Reilly's supporting performance, which is just cringe inducing and not worth the actor's talents. 

Robert Loggia's appearance as villain, Tommy Schlaaang is the main scene stealer of the film, with the veteran star bringing his charismatic screen presence to the role. Unfortunately, the material he is given to work with is just as bad as Reilly's.    

Tim and Eric's Billion Dollar Movie is a formulaic and unnecessary venture. Most of the humour's downfall is in its crudeness and lack of consistency. What should have been excellent supporting turns from well-known stars suffer from poor writing and a lack of development.

Andrew McArthur

Stars: Tim Heidecker, Eric Wareheim ,Will Ferrell, Jeff Goldblum
Directors: Tim Heidecker ,Eric Wareheim
Release: 28th June (EIFF)

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Tim and Eric's Billion Dollar Movie - Official Redband Trailer [HD] Published via LongTail.tv

EIFF 2012: Fourth Dimension Review

★★☆☆☆

Three filmmakers, each with the same brief, construct three separate short films on the subject of the fourth dimension (4D). This being that there is a fourth spacial dimension in our world waiting to be accessed. Not that you are likely to pick any of this up from the disjointed and completely tedious, The Fourth Dimension. However, praise should go to The Fourth Dimensions' producers for attempting to create something unique.

The first segment entitled 'The Lotus Community Workshop' directed by Harmony Korine is by far the film's strongest asset. Val Kilmer stars as himself, with the actor now working as an inspirational self-help guru promising his followers the prospect of discovering "awesome secrets". The strength of the segment relies on Kilmers' wonderful screen-presence and outrageous improvisation - his performance lying somewhere between comedy genius and demented lunacy. Set in a red lit skating rink, complete with disco ball, Korine's segment captures the way people look to celebrity in almost a God-like fashion, searching for a way of higher being. This is captured through the audiences obsessive screams at any of Kilmer's statements, regardless of how implausible and ridiculous they are.

As we move on to the second segment, Alexey Fedorchenko’s Chronoeye things take a rather extreme turn for the worst. Despite being the closest thematically to an idea of a fourth dimension, an interesting concept is squandered by a repetitive narrative and dull characterisation. Chronoeye sees Russian scientist, Grigory Mikhailovich (Igor Sergeev) attempt to create a machine that can view the most important moments throughout history through eyewitness accounts. Whilst this concept does sound interesting, Fedorchenko’s segement is carried out in such a drab, repetitive fashion that it just becomes completely unengaging.

The final segment Jan Kwiecinski's Fawns sees four youths roam around an evacuated Polish town, as extreme floods approach. Kwiecinski's segment takes a more human approach to the fourth dimension as these boisterous characters soon find their humanity after saving a bedbound young girl from the floods. This statement about humanity does not really hold out too well though, as prior to saving the girl they shoot her father who was attempting to protect her. These characters are particularly unlikeable throughout and as a viewer it was a challenge to regard them with any compassion.

The Fourth Dimension is simply too disjointed to work thematically as one film. How teenagers roaming around an abandoned town relates to Val Kilmer shouting about candy floss and awesome secrets, is anyone's guess. It may make more sense when you see that The Fourth Dimension is from Grolsch Film Works as surely kegs of the stuff must have been downed in order to think this was ever a clever, feasible idea.

Andrew McArthur

Stars:Val Kilmer
Directors: Harmony Korine, Aleksei Fedorchenko, Jan Kwiecinski

Release: 27th June (EIFF)

EIFF 2012: God Bless America Review

★★★1/2☆

Bobcat Goldthwait established himself as one of the most exciting comedy directors in recent years after his excellent 2009 film, World's Greatest Dad. His latest film, a biting satire on contemporary culture entitled God Bless America, proves equally as enjoyable.

Frank (Joel Murray) has just lost his job, he is divorced and has just been diagnosed with a brain tumour. Growing continually disillusioned by the ever growing idiocy of our society, Frank decides to rid the world of some of its most obnoxious citizens. After taking out a repellent reality television star, Frank discovers he has an admirer - sixteen year old Roxy (Tara Lynne Barr). The pair venture out on an obscure road trip full of strangely feel good serial killing.

It is hard not to sympathise slightly with Goldthwait's view of contemporary culture, regardless of how extreme it is. This is perfectly captured in the opening where Frank flicks through television channels, capturing society's obsession with fame, celebrities and social networking. Frank falls asleep watching a contestant being exploited on reality singing contest 'American Superstars' and wakes up to see the said contestant, the talking point of Breakfast Television. Other delights that Frank witnesses include "Tuff Girls" where one girl throws a bloodied tampon at another. This may be a rather extreme and blatant depiction of contemporary culture, but there is an alarming truth in Goldthwait's message.

Goldthwait's film is consistently amusing and boasts an enjoyably twisted feel good quality. We all harbour a small hatred for the people that talk in cinemas, extreme religious fundamentalists and obnoxious children, so it is hard not to be on Frank's side throughout. Of course, you could compare God Bless America to a drunken Grandparent's rant - complaining about all the things that annoy them, as Goldthwait does have a tendency to preach to the viewer, regardless to how thought provoking some of his points may be. This is completely evident in God Bless America's limp finale where it appears Goldthwait's message has stretched as far as is possible - it is the equivalent of the drunken Grandparent now falling asleep.

One of the strongest elements of God Bless America is they dynamic between the characters of Frank and Roxy. To Frank, Roxy provides a welcome alternative to his vile daughter - sharing his distaste of American culture. Roxy finds an escape from the tedium of her everyday life in the company of Frank. What results is a completely charming, relationship between the two - bonding over their various hates in society.

Joel Murray's understated performance is particularly fascinating, with the actor managing to capture Frank's struggles as a man who has been told he does not have long to live, alongside his growing hatred towards society and his somewhat sociopathic tendencies - yet still be completely likeable. After a shaky start, it is hard to find yourself not warming to Tara Lynne Barr's performance - with the eager young sociopath becoming quite endearing.

God Bless America is a thoroughly entertaining watch, which may also help challenge the way we look at contemporary culture. Goldthwait's message ultimately runs out of steam in the end, despite magnetic lead performances from Joel Murray and Tara Lynne Barr throughout.

Andrew McArthur

Stars:Joel Murray, Tara Lynne Barr Director: Bobcat Goldthwait
Release: 29th June (EIFF),4th July (UK, Limited), 9th July (UK DVD)
Rating: 15 (UK)
Pre-Order/Buy God Bless America On DVD

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EIFF 2012: Shadow Dancer Review

★★1/2☆☆

BBC Films latest production, Shadow Dancer has already met positive receptions at both this year's Sundance and Berlin Film Festivals. Now it is the turn of The Edinburgh International Film Festival to take on this slow-burning British thriller.

James Marsh (Man On Wire, Project Nim) directs Shadow Dancer, an adaptation of ITV Political Editor, Tom Bradby's novel of the same name. After a failed railway bombing, IRA member Colette McVeigh (Andrea Riseborough), is detained by MI5. In order to avoid a length prison sentence, McVeigh is left with no other choice but to act as an informant for the British authorities.

Shadow Dancer requires a lot of patience, this is a particularly slow and brooding, cat and mouse thriller. Marsh's films opens with a completely startling and heartbreaking, 1970s set opening sequence that completely encapsulates the Irish troubles of the time. We are quick to learn that this may be the story of one individual family, but Bradby's haunting story also represents a whole country going through turmoil.

When Shadow Dancer transfers to the 1990s, we see that these troubles are still highly prevalent. This is captured in a tense sequence where McVeigh attempts to detonate a bomb in a British railway station. The pace of the film completely slows after this, building up a brooding sense of unease and tension - a fitting representation of British and Irish relations of the time. Due to this lessened pace, it is quite a struggle to stay engaged with Marsh's film for its' first hour. However, the third act sees the story begin to unravel, as tensions reach boiling point - completely shaking the lives of McVeigh and her family.

At its heart, there is a profound story of family loyalty and dedication running through Shadow Dancer. The quiet resilience of the McVeigh family as they try and make the best out a dark situation is endearing. This is perfectly captured in Andrea Riseborough's stunning lead performance. The actress who thoroughly impressed in W.E. and Brighton Rock, proves to one of Britain's finest young talents with her powerful turn as Colette McVeigh.

Unfortunately, one of the most interesting aspects of Shadow Dancer - the relationship between McVeigh and MI5 agent, Mac (Clive Owen) is completely underutilised. The occasional meetings between the two characters are sporadic, yet prove to be some of the most tense aspects of the film. This is a role that Clive Owen could play in his sleep, giving a solid performance, despite it being a slightly predictable role. Strong supporting turns from Gillian Anderson and Aidan Gillen, add some moments of interest but prove equally underused.

While James Marsh's Shadow Dancer is excellent at building brooding atmosphere and capturing the tension of the time, it proves to be too slow paced to be classed as enjoyable. Andrea Riseborough's performance is the strongest element of the film and ultimately its saving grace.

Andrew McArthur

Rating:15
Release: 29th June (EIFF) & 24th August (UK)
Stars: Andrea Riseborough, Clive Owen, Aidan Gillen,  Gillian Anderson
Director: James Marsh

Killer Joe - William Friedkin Video Interview

To millions of cinephiles he’s the man who scared the living daylights out of them in the 1970′s with The Exorcist he also help make crime thrillers stylish and cool with French Connection. But since then its been quietly in the background waiting for his moment and this Friday it will arrive in the shape of Killer Joe, step forward William Friedkin and enjoy the video interview with the director himself.
Andrew caught Killer Joe last week at the Edinburgh Film Festivalfor The Peoples Movies, Cinehouse and heard nothing but praise for it, though I was munching away at Fried Chicken (though not long after it!).Its seems Friedkin has captured the films blend of dark twisted humour,sex, violence with such perfection that would give the old KFC Colonel a heart attack. We may have a scene or scenes that could be potentially be rated up next to the Blue Velvet and Killer Joe is certain to keep people talking long after they’ve seen the film.
Killer Joe stars Matthew McConaughy as ‘Killer’ Joe Cooper a Dallas detective who earns some extra cash on the side as a hitman who is offered a job by Chris (Emile Hirsch) a low life drug dealer. Chris wants his mother (Gina Gershon) knocked off so they can get his hands on her $50,000 life insurance however the problem starts as Joe requires a down payment. Joe has eyes on Chris sister Dottie (Juno Temple) and they use her as the retainer but from here the problems arise and everything is downhill.
Unfortunately due to things beyond our control we were unable to catch up with the director at Edinburgh Film Festival however our friends at HeyUguys (Thanks David!) have come to the rescue and shared their video interview with us. In the interview the iconic director chats about the film, about the sequels to his classic 1973 film The Exorcist but what we love about this interview is when he’s asked about the proposed tv series of the Exorcist his reply is a classic, enjoy!

Killer Joe will be released nationwide this Friday 29th June, Read Andrew's Review here.

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Director William Friedkin Interview for Killer Joe Published via LongTail.tv

EIFF 2012: California Solo Review

★★★1/2☆

After a successful brief stint in the world of television, Robert Carlyle makes his return to feature films with California Solo. Marshall Lewy's film excels as an engaging character study with the help of an exceptional performance from its' lead star, but brings nothing particularly new to the genre.

California Solo follows expat Lachlan MacAldonich, a former Britpop rocker who now works on a Los Angeles farm. After a DIU and the discovery of a former drug charge, Lachlan is threatened by deportation charges. The faded-star must fight to remain in the country, but after several old demons reawaken, this does not look likely.

Whilst Lewy's screenplay may not make any bold statements or deviate from traditional melodramatic formula, it proves to be engaging enough by simply telling one man's story. This tendency to simply observe does make California Solo feel very much like a safe "afternoon TV movie", which is not to say that it is not enjoyable. The character of Lachlan truly carries the film. This is a particularly well written role and equally well performed by Carlyle. Seeing the transformation from a relatively upbeat farm worker fall back to the self destructive ways from his rock star past, makes for fascinating viewing. California Solo looks at how poor life choices and past memories can lead to a path of self destruction, but also ensures there is always a new beginning in sight. This self destructive character may feel slightly like it has been done before, but Carlyle injects so much life and soul into the role that it ultimately feels fresh.

The Scottish star essentially carries the film from the onset, showcasing one of the strongest performances of his career. This utterly convincing, raw and natural turn makes for a thoroughly engaging watch. Even clichéd narrative elements - like Lachlan reconnecting with his daughter, Arianwen, after ten years, are brought to life by these stirring performances. Praise must also go to Savannah Lathem for a wonderfully delicate performance as the said estranged daughter.

To fans of the Britpop scene, it is interesting to see the epitome of the British music scene in the early 1990s, transformed to the setting of present day USA. The American character's reaction to Lachlan's music history is particularly intriguing - some completely unaware of his band The Cranks, whilst others view him as an almost legendary cult figure.

Other moments, including Lachlan's visit to his ruthless old manager, capture the unsympathetic nature of the music business and provide an interesting deviation from traditional melodramatic narrative elements. However, these are promptly reaffirmed by the construction of a faux romantic subplot with a young woman, Beau, from Lachlan's farmers market.

California Solo excels as an engaging character study, laced with traces of the Britpop music scene. Carlyle's performance as Lachlan is sensational, so much so that you would be willing to forgive the narrative's occasional lack of originality.

Andrew McArthur

Stars: Robert Carlyle, Savannah Lathem , Danny Masterson
Director:Marshall Lewy
Release: 28th June 2012 (EIFF)

California Solo (2012) Official film trailer from Edward Einhorn on Vimeo.

EIFF 2012: Grabbers Review

★★★1/2☆
Jon Wright's Irish set horror, Grabbers, feels like a welcome return to the days of the 1980s creature features laced with comedy. So far, it is also the most entertaining horror film of this years' Edinburgh International Film Festival.

After several dead whales wash up on the shores of Erin Island, Garda Officers Ciarán O'Shea (Richard Coyle) and Lisa Nolan (Ruth Bradley) are set on the case. They soon discover the presence of blood-sucking, tentacled aliens  on the island, promptly named "grabbers". However, it soon becomes clear that these creatures have an aversion to alcohol - so let the drinking ensue!

Part of the joy of Grabbers, is that it never takes itself too seriously, balancing both comedic and horror elements single handedly. It replicates the effortless whimsical charm of timeless monster features like Gremlins, Tremors and Critters - ensuring this is a fun watch from start to finish. Even the basic premise of Grabbers gives you an insight into the cheeky nature of the film - who doesn't want to see a town of drunks battle against aliens?

Grabbers may be fun, but it does not skimp on the darker horror elements. There are plenty of unexpected jumps and scares spread throughout - something that many other of Festival's horror films have been lacking. Wright's uses the eerily isolated Irish coastline for numerous creepy set pieces, from an attack on the beach to a country house invasion. There are also a variety of sweeping aerial shots capturing the picturesque qualities of the Irish setting.

Many a horror film has been let down by the eventual unveiling of its antagonist. Sometimes not seeing the source of the terror is far scarier than what is actually presented. However, the creature effects team behind the monsters in Grabbers, ensure that this is not the case. These are convincing, nasty looking monsters that are just as sinister on screen as they are when out of shot.

Grabbers also boasts a strong cast of excellent British character actors in well-written and engaging roles. Richard Coyle, who excelled in this year's Pusher remake, brings a truly endearing performance to Grabbers, whilst also proving to be equally talented whilst handling more comedic elements. The relationship between his slack, heavy drinking Garda officer and Ruth Bradley's straight-laced, young recruit, provides some welcome laughs. Bradley shows a wonderful sense of comic talent in Lisa Nolan's transformation from loveable prude to an even more loveable drunk - she is completely terrific throughout. Russell Tovey pops up for a smaller supporting role which provides a few laughs, but as good an actor as he is, the role is more annoying than entertaining.

A hilarious supporting cast continue Grabbers' charm offensive from Pascal Scott's turn as the town's cheeky GP to David Pearse and the excellent Bronagh Gallagher as the quaint local pub landlords.
Grabbers is a thoroughly enjoyable return to classic creature feature horror/comedy. Atmospheric direction, a perfectly comic screenplay and charming performances help Grabbers stand out from the rest of the festival's horror pictures. It is great fun.

Andrew McArthur

Stars: Richard Coyle, Ruth Bradley, Russell Tovey
Director: Jon Wright
Release: 25th June 2012(EIFF)

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Grabbers trailer clip-2012-HD.mp4 Published via LongTail.tv

EIFF 2012: Brake Review

★★★1/2☆

Stephen Dorff stars in Gabe Torres' claustrophobic thriller, Brake, which proves to be far more than another Buried. Receiving its UK premiere at this years' Edinburgh International Film Festival, Brake provides some highly entertaining B-Movie thrills alongside another stellar performance from Dorff.

Secret Service agent, Jeremy Reins (Dorff) wakes up trapped in the boot (or trunk, for the non-Brits) of a car, with no recollection as to how he got there. Reins is forced to endure a series of physical and mental tortures as terrorists attempt to extract the location of Roulette, the President's secret bunker.

Tim Mannion's screenplay may not be the most original piece of writing in recent years, with obvious parallels to Rodrigo Cortes' Buried being raised. However, Mannion does attempt to deviate from his predecessor with the inclusion of some well contained action. We're talking shootouts, flooding and bees (calm down Wicker Man '06 fans), all just some of the high-octane antics that you can expect from Brake. These thrills combined with Torres' tense, claustrophobic direction, make Brake, a enthralling, well contained action film. You have got to hand it to a team that can make eighty-five minutes of film set in one claustrophobic location, this engaging.

As the only actor on screen throughout the majority of Brake, Stephen Dorff truly excels in his performance, both physically and emotionally. The viewers' gaze rests firmly on the Somewhere star, feeling totally connected to the character of Jeremy - we are with him during this whole ordeal. Even when handling some atrocious dialogue or Jack Bauer style screams, Dorff's performance retains a sincerity and likeability whilst also managing to stay convincing as an action hero, surely no easy task when you are confined to a Perspex box.

As well as the clichés to be found in Brake's dialogue, they can also be seen through several narrative features like Jeremy's remorseful phone call to his distant wife or through Tom Berenger's shady CIA big shot character. However, Brake does make up for this with some unexpected paranoia-infused twists lurking in its conclusion.

Brake is an enjoyably tense thriller, boasting a stellar performance from the inimitable Stephen Dorff. Several high-octane thrills and an unexpected conclusion ensures that Torres' claustrophobic film is a completely worthwhile watch.

Andrew McArthur

Release: 29th June 2012 (EIFF)
Director: Gabe Torres Stars: Stephen Dorff, Chyler Leigh ,Tom Berenger,

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Brake (2012) - Official Trailer [HD] Published via LongTail.tv

EIFF 2012: Red Band And International Trailer For V/H/S

This coming week here at Cinehouse (& The Peoples Movies) one of the films we're really looking forward too is the screening of Horror Anthology V/H/S. The film looks like it might potentially give the found footage a kick back into popular cinema bringing together 6 of the best /some upcoming horror directors Ti West (House Of The Devil, The Innkeepers), Adam Wingard and Simon Barret (A Horrible Way To Die), David Bruckner (The Signal), Joe Swanberg (Silver Bullets), Glenn McQuaid (I Sell The Dead).

The premise of the story is about a gang of  criminals who are hired to break into a house to steal a VHS tape. To find the tape the gang must trawl through the large collection tapes on offer  watching them one by one watching everything from masked killers, vivisection, sexy female vampire, lots of blood, screaming and did I say screaming? Wishing they probably never watched them! The past few days a red band trailer has found its way online really showcasing the chaos, the shock and screams that lie ahead for the viewer with each director providing a little vignette probably catch some viewers unexpectedly too.

The film has been picking up some great buzz on the festival circuit and this week the film will arrive in UK and Edinburgh Film Festival(stayed tuned for our review) which at the moment is the films only UK date.Once we get word on when this scaremonger of a beast of a film will arrive in blightly we will share the good news with you, our inklings are that the films next UK viewing will be London Film4 Frighfest! It would be a good bet late Ocotber onwards we will see this one be released in UK however August 31st for VOD and October 5th theatrical release dates for USA !

Whilst creating this post the good people at Traileraddict have posted the International trailer for the film which is posted below

 source Yahoo

EIFF 2012: Don't Expect Too Much

EIFF 2012: PUSHER (2012) Review

★★★★☆

Luis Prieto's British made update of Nicolas Winding Refn's 1996 film, Pusher, receives its world premiere at this year's Edinburgh International Film Festival. The Spanish director has presented us with a gripping, adrenaline fuelled ride, which is by far one of the most exciting British crime thrillers in recent years. Frank (Richard Coyle) may just be London's most unlucky drug dealer. After a deal goes horrendously wrong, he finds himself owing a ruthless Serbian crime boss over £55,000. In a desperate search for money, Frank soon finds his life spiralling out of control and relationships with those around him beginning to crumble.

It is hard to deviate from certain traditional elements in this genre, for example, risky deals and unrelenting Mr. Big figures are always going to feature. However, these elements feel utterly fresh and skilfully handled in Pusher, thanks to Prieto's energy as a storyteller. The Spanish director's film feels like a fusion of the classic British crime thriller (Coyle's performance drawing some parallels to that of Stacey Keach in 1977 feature, The Squeeze), with an added vibrant, modern twist.

The tension rarely drops in Pusher, creating a truly gripping ride. This is furthered by Simon Dennis' striking cinematography - creating a visually impressive piece taking on pulsing neon infused clubs to dank warehouses, with equal impact. Pusher also captures the ruthless and gritty criminal underworld of London through Frank's encounters with Serbian crime Boss, Milo (Zlatko Buric, star of Refn's original Pusher Trilogy) - most notably in one suspenseful scene involving bolt cutters and a finger. The high octane thrills are paired with a energetic electronic dance score from Orbital, fitting the tone of Pusher perfectly.

Even Pusher's day by day narrative structure acts as reflection of Frank's impending deadline, ebbing closer. This means it is hard not to feel part of the dealers' journey as he uses every resource he has to get money - whether it be calling in on old loans from vulnerable customers or simply by taking it from the sleaziest clients. Even Pushers' emotive conclusion is cut off in the height of anguish and tension, leaving the viewer to question the outcome.

Richard Coyle's solid lead performance thrusts us into the desperation and angst that faces the character, however, we as the audience are always on his side. Agyness Dean's supporting turn as Frank's girlfriend, Flo, proves equally flawless. Flo simply wants a better life for herself and Frank - she works as a dancer and escort, careers that are beneath her, and as viewer you want to see her and Frank happy. Zlatko Buric's intense performance as Milo also proves to be a chief scene stealer throughout Pusher.

Luis Prieto's Pusher proves to be an exhilarating, thrill ride that holds the viewer in a vice-like grip from start to finish. The vibrant cinematography combined with an outstanding lead performance from Richard Coyle and a razor sharp score from Orbital, help make Pusher one of the strongest British crime thrillers in recent years.

Andrew McArthur

Rating: 18
UK Release Date: 12th October 2012 (World Premiere Edinburgh 21st June 2012)
Director: Luis Prieto
Stars: Richard Coyle, Agyness Deyn , Zlatko Buric, Paul Kaye

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Pusher - Official Theatrical Trailer Published via LongTail.tv

EIFF 2012: Fred Review

★★★★☆

Richard Ledes' heartfelt drama, Fred, receives its world premiere at this year's Edinburgh International Film Festival, and this poignant feature is likely to strike an emotional chord with many of us.   

Elliott Gould stars as Fred, an elderly man living in his house of over fifty years, with his Alzheimer's suffering wife, Susan (Judith Roberts).  Fred's grown-up children (Fred Melamed and Stephanie Roth Haberle) try to convince him to move to a care home with Susan, but he is not ready to leave yet.  

Fred is a delicately handled film, with Ledes directing in an almost fly on the wall style. As a viewer, we feel part of the family's most intimate moments, which results in a completely absorbing watch. It is impossible not to get drawn in as the family sing Susan's favourite songs to her or reminisce with Fred.

Alongside some striking cinematography from Valentina Caniglia, Ledes has the ability to make almost any shot seem poignant and heartfelt. This is at its most prevalent through shots of the slow withering of the exterior of Fred's home or the near spiritual representation of the nature that surrounds it.

Ledes' screenplay is a wonderful fusion of deadpan comedy (mostly courtesy of the perfectly timed comic skills of Gould and Melamed) and touching drama. Fred also has its share of challenging moments - it is difficult to watch Fred's struggle with his wife's condition as he also attempts to battle his own ailing health. This is shown in one such sequence where Fred attempts to make Susan grip the telephone, but loses his temper at her inability to do so.

Fred reflects issues that are likely to strike a chord with many of us, excelling in its delicate portrayal of the aging process. These well crafted characters ensure the viewer feels the dilemma of Fred's children, as well as empathising with Fred's desire to grasp to his independence at home. These issues are perfectly represented from a wonderful cast.

Judith Roberts truly excels in her turn as Susan, a strong willed woman that the audience completely warm to. Seeing Susan coping with the struggles of everyday life and finding joy with her loved ones, amidst the effects of Alzheimers is heart warming.  Elliott Gould is perfectly cast in the title role, shining through welcome moments of humour, as well as more emotionally heavy scenes. Fred Melamed, impresses greatly with his deadpan wit, whilst Stephanie Roth Haberle gives a touching performance as Fred's exasperated daughter.

Fred is a delicately crafted and heartfelt portrayal of the aging process. The combination of touching drama and deadpan humour alongside stellar performances from the main players, proves a winning combination.

Andrew McArthur

Stars: Elliott Gould, Judith Roberts, Fred Melamed , Stephanie Roth Haberle
Director: Richard Ledes
Release: 22nd June 2012 (EIFF)

EIFF 2012: Lovely Molly

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