DVD Review - Memory Lane (2012)

DVD Review - Short Term 12

Genre:
Drama
Distributor:
Verve Pictures
Rating:15
DVD/BD Release Date:
10th March 2014 (UK)
Director:
Destin Cretton
Cast:
Brie Larson, Frantz Turner, John Gallagher Jr.
Buy:Short Term 12 [DVD] / Short Term 12 [Blu-ray]
Win Short Term 12 on Blu-ray: enter here
Short Term 12, for the most part, is an emotionally devastating drama that sensitively observes the lives of the residents and staff at a foster-care facility for at-risk kids. With an unsentimental eye, the director, Destin Cretton, creates scene after scene of believable situations that leave an indelible mark. Take, for example, the scene in which Jayden, the newest kid at the facility, throws the most harrowing of tantrums after her father doesn’t show up to take her home for the weekend, or the sequence in which she reads a fable she wrote about an octopus and a shark to her care worker Grace, revealing her abusive upbringing through an heartbreaking allegory.

The trouble is that as memorable as scenes like the ones I’ve described are, Cretton’s film is too often formulaic and predictable to be fully convincing. The rightfully lauded scenes of unsentimental observation are therefore occasionally undermined by the conventionality of the narrative, allowing for some sentimentality to creep in and overwhelm parts of the story. This is most apparent in the paralleling of Jayden’s traumatic story with the childhood of Grace, the films main protagonist. By creating similarities between the two characters’ upbringings, Jayden’s story becomes marginalised and is seen more as a contrivance to further Grace’s story arc.

The film is bookended by scenes in which Grace and her co-workers are sitting outside their titular workplace sharing informative anecdotes that neatly wrap up the story. This, coupled with the recurring motif of Grace arriving at work each morning driving her bicycle into the same static shot of the foster-care facility, leaves us with the notion that the cycle of care they provide is continuous and that for institutes like Short Term 12 there will always be at-risk kids in need of guidance. This is a rather poignant and fitting note for the film to end on. Though the film often frustrates, it is hard not to be moved by its story.

★★★☆☆

Shane James

Glasgow Frightfest 2014 Review: The Scribbler (2014)

Revenge Is Not Sweet In UK Trailer For Blue Ruin

When Trip Of A Lifetime Becomes Hell In The New Afflicted Trailer

DVD Review - Bloody Homecoming

Genre:
Horror, Slasher
Distributor:
Imagine Entertainment
Rating: 15
DVD Release Date:
10th March 2014 (UK)
Director:
Brian C Weed
Cast:
Jim Tavaré, Rae Latt, Lexi Giovagnoli
Buy: Bloody Homecoming [DVD]
Bloody Homecoming, from first time feature director Brian C. Weed, is a strange kind of homage to classic slasher films, from its Halloween-inspired soundtrack to its creepy high school janitor, it wears its inspirations proudly but does little else. The film follows the lives of a group of students, each guilty for their involvement in a student’s death 3 years prior. As homecoming night looms, the anniversary of Billy Corbin’s murder, the students try their best to carry on whilst a masked killer butchers the group.

Though its heart is in the right place, a lot of stuff is crazy wrong with Bloody Homecoming. There’s a seemingly conscious engagement with slasher trope but it doesn’t lead anywhere. Spoof without comedy is pastiche, but pastiche without any comment or thrill is simply bad. As the film acts out a paint by numbers stalk-and-slash you’re left wondering when something cool will happen. Characters are killed in numerous anti-climactic death scenes whilst a lack of main character leaves the film directionless. Rather than pulling something postmodern out the bag and utilising that knowledge of slasher, the film executes an ending which, due to inconsequential characters and the inability to build tension, just kind of happens.  Saying that, Rae Latt does do her best to carry the finale though the shortcomings in editing and script unfortunately halt her most enjoyable scenes.

Bloody Homecoming dances the line between home movie and straight to DVD entertainment, but that’s not necessarily a bad thing. Its flat performances and hilariously stupid dialogue almost give it a charming edge over other plainly bad films, but the total lack of tension and drama keep it well and truly bogged down. It’s not enough for the film to be awful and unintentionally hilarious. This is a great shame since there’s obviously a passion for horror at work somewhere in there, it just needs to be addressed in a more deserving way.

Hilarious dialogue, wooden acting, and zero tension leaves this ode to classic slasher films looking like a second-rate re-enactment of better films. Avoid this if you can.

★☆☆☆☆

Scott Clark

GFF2014 - Jesse Eisenberg Goes Doppelgängland Style in Full UK Trailer For The Double

Movies Scored by Famous Musicians (Her Feature)

Often, a movie’s score goes unnoticed by an audience, but it can have major effects on the mood and setting of a film by subtly changing a viewer’s perception. If the score is not chosen wisely, it can hinder a film, or even worse, clash with the fundamental themes underlying it. In order to achieve the correct mood, it has become a recent trend for Hollywood film makers to collaborate with famous musicians. For Her, director Spike Jonze worked closely with Arcade Fire to create a sublime score that sweeps and swoons in alignment with Theodore’s (Joaquin Phoenix) emotions. In honour of Her’s February release, we’re taking a look at some of the best collaborations between famous musicians and film makers in recent memory.

Grizzly Bear/ Blue Valentine (2010)

Usually scores are inspired by the films they are created for, but in the case of Blue Valentine, the opposite is true. Director Derek Cianfrance worked for over 7 years to perfect his Blue Valentine script, but it wasn’t until he found the Grizzly Bear band that he hit his writing stride. As he wrote, he often listened to their music, fusing their melodic rhythm into the pacing of his writing. In 2007, he reached out to the band and asked if they would score his film. They obliged, and together with Cianfrance, were able to create two separate moods—one of romanticism for flashbacks and another highlighting tension for present day scenes—that defined the pacing of the film.

Alex Turner/ Submarine (2010)

The lead singer for the Arctic Monkeys took a brief hiatus in 2010 to work alone for the soundtrack of Submarine. In order to highlight this coming of age story, Turner put down his usual habitual rock style, and created six different acoustic songs. His soundtrack was critically acclaimed, and Turner used the experience to expand the sound of the Arctic Monkeys.

Trent Reznor/ The Social Network (2010)

While it’s hard to imagine The Social Network without its award winning soundtrack, Trent Reznor’s score almost didn’t happen. When David Fincher Initially offered Reznor the gig, he turned it down to take a break from music. Thankfully for the film however, Reznor changed his mind at the last minute, and joined forces with Atticus Ross to create a score that Roger Ebert called an “urgent composition that drove the film's headlong momentum.” After the credits finished, Reznor’s score kept on driving, taking the film to the academy awards where it was nominated for eight Oscars and won three including best original score.

Daft Punk/ Tron: Legacy (2010)

Before winning the Grammy for best album of the Year, the French duo took on the Disney remake of Tron in 2010. Their electric-pop vibe was a natural selection for the digital world, and the soundtrack for the film was a huge success, moving all the way to No. 4 on the Billboard top 200 list.

Karen O/ Where the Wild Things Are (2009)

To bring this beloved work of Maurice Sendak to life, Spike Jonze enlisted the help of Karen O, lead singer of the Yeah Yeah Yeahs, and at the time, his current girlfriend. She lent her voice for several songs, including the Grammy nominated song All is Love, and helped to write the score, which was nominated for best original score at the Golden Globe awards.

John Greenwood/ There Will Be Blood (2007)

For There Will Be Blood, Radiohead’s guitarist John Greenwood accented Daniel Day Lewis’ performance with orchestral sounds to give the film a sinister, unsettling tone. Although his score was ultimately snubbed by the academy awards because of its use of previously recorded material, it was nominated for a Grammy in the category of “Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media".

Arcade Fire/ Karen O/ Her (2014)

For Her, Spike Jones collaborated with Arcade Fire to produce the score, and once again Karen O to sing an original song. Arcade Fire’s score has been nominated for best score by the academy awards, and Karen O’s “The Moon Song” has been nominated for Best Original Song. The film is also in the running for three more Oscars, including Best Picture.

HER IS RELEASED IN UK CINEMAS ON 14 FEBRUARY 2014

Watch The UK Trailer For The Two Faces Of January But Who Should You Trust?

'Come To Me' Scarlett Johansson Goes On The Prowl In Full UK Trailer For Under The Skin

Muirhouse DVD Review

Genre:
Horror,Thriller
DVD Release Date:
10th February 2014(UK)
Distributor:
Monster Pictures
Rating:
15
Director:
Tanzeal Rahim
Cast:
Iain P.F. McDonald, Kate Henderson, Steve Lynch
Buy Muirhouse: [DVD]

Handheld horror inducts yet another tired entry into its seemingly endless reign of crap in Muirhouse, a wholly disappointing and irredeemable project from Tanzeal Rahim.

Lazily opting for the typical handheld narrative; Muirhouse follows the story of Philip Muirhouse, an author out to promote his latest ghost book by staying in the haunted Monte Cristo household, only by the end of the night three people will be dead and Muirhouse himself will be found by the police wandering miles away.

When the film opens on a squad car coming across Muirhouse, he looks less “nightmare victim” and more “festival goer post-hammering tent pegs” and from that moment it all gets worse. Long stretches of nothing are perhaps the signature of this piece, cutting into the 80 minute run-time and questioning whether the obviously bare script deserves a feature length flesh-out. These boring wasted minutes are not nuanced moments of apprehension and fulfillment, they do not contribute to the film whatsoever, they simply make it dull and let the viewer’s attention wander from the start.

In terms of the fear-factor, Muirhouse could have easily achieved the minimum scares by perhaps being a bit more ballsy. Instead of going for consistent jump-scares, which would have at least evoked some kind of response, Muirhouse gets bogged down fairly early on with confused visuals and audio ensuring that there’s little to scare. In its favour, however, these incoherencies recreate the ridiculous nature of paranormal investigation to a tee.

The aspect of Muirhouse most worthy of note would be its majestic setting which unfortunately does most of the film’s work for it. Filmed at the actual haunted Monte Cristo house in Australia, the house oozes creepy, every room and hallway inspires some kind of dread, but the film still suffers from shoddy scripting and bad filming which make it seem like a location scout’s presentation piece as opposed to an actual horror film. Seriously, a documentary on the house might be a better use of the space because it is the perfect haunted house.

The “climax” works only in the fact it’s just as tedious and flat as the rest of the film. A quick-cut bullshit ending does little to explain the set-up at the start, instead stopping in an awkward and frankly laughable state of affairs. Blair Witch-style sudden impact finales only work with the right build up and imagery, here, Muirhouse squandered a final chance at coherency.

The ultimate bogus horror based on minimal understanding of the mechanics of fear and cinema. Blank scripting, dull performances, a patronizing  guide to ghost hunting ,and non-existent scares keep Muirhouse hopelessly marooned in tedium.  This is horror cinema at its least entertaining and most despicable.

★☆☆☆☆

Scott Clark

Penthouse North Blu-ray Review

Genre:
Thriller
Distributor:
Image Entertainment
DVD/BD Release Date:
3rd February 2013 (UK)
Rating:
15
Director:
Joseph Ruben
Cast:
Michelle Monaghan, Michael Keaton, Barry Sloane
Buy Penthouse North: [DVD] or [Blu-ray]
On New Year ’s Eve, blind photo journalist Sara (Michelle Monaghan) finds her New York penthouse apartment turned into a private hell when she is stalked by a sadistic criminal intent on finding a hidden fortune.  Directed by Joseph Ruben (The Forgotten) and written by David Loughery (Lakeview Terrace) Penthouse North understands the basic mechanics of the thriller and passes as a throw-away kind of feature, but overall there isn’t enough going on to send you away wowed. 

                Monaghan gives a good performance but the script doesn’t exactly allow her much room to really grapple with her character in an intriguing way. Strange attempts at backstory see Michelle Monaghan blinded in Afghanistan, whilst random and seemingly pointless moments of “character development” fail to interest.  The same can be said for Barry Sloane’s intimidating but ultimately third-wheel turn as Chad the sadistic burglar. For 45 minutes or so the two do their best to keep the film afloat until a frustrated phone call has Keaton’s smooth king-criminal on-route to save the film. The timing is symbolic: as the film starts to prove it doesn’t have the stamina to pull off a truly exhilarating cat and mouse ordeal,  Exec producer Keaton steps in to liven the mood and lend his extensive experience.  Make no mistake, Penthouse North wouldn’t be nearly as entertaining without Keaton’s input; the veteran oddball exudes charm, leapfrogging the script to steal the show and give a surprising amount of clarity and direction to an otherwise loose cannon of a thriller.

                As a thrill ride the film actually sweeps you up,  the pace and action all ensure that the ninety minute run-time doesn’t exactly drag, but Penthouse’s own inability to create consistently involving scenarios leaves Sara and Chad bumbling around the apartment with little idea of why either are really there.

                Even though Keaton, Monaghan, and Sloane charge the finale with desperate energy ensuring the film ends on a good note, the end reveal seems a footnote rather than a climax, the action often fizzles out with little emotional involvement, and the near-gimmicky turn of narrative event reduces the feature to an elongated episode of something daft. Again and again the film appears to be a selection of parts as opposed to one consistent feature film.

Coherent and enjoyable enough for one viewing Penthouse North is a bland kind of thriller, consistently replicating other features rather than embracing a truly original story. Keaton ensures the second half of the film glides along smoothly, stealing the show with perfect comic timing and a conversational kind of villainy only the great are gifted with. 

★★☆☆☆

Scott Clark

Watch The Hypnotic First Trailer For Jeff Barnaby's Rhymes For Young Ghouls

Every so often a film comes along which is blessed with visual qualities, powerful and challenges the establishment as well as a voice in film to be reckon with. Canadian film maker Jeff Barnaby is one of those voices and Rhymes For Young Ghouls is his directorial feature debut a film that squares up one of Canada's darkest hours.

Rhymes For Young Ghouls is dark vexing film that tackles Canada's  stance residential schools and the 'civilization' of Aboriginal children to be 'educated' in the white man's way of life. These kids where forcibly removed from their families subjecting them years of abuse and enforced to loose their own cultural identities. This issue may sound very familiar to some as it's the same plight that the Australian Aboriginals where subjected  too and it now seems legally as well as morally many cases can be found in court.

Here's the film's synopsis from The Toronto Film Festival

Set against the backdrop of the residential schools tragedy -- when thousands of Aboriginal children were separated from their families, culture, and language -- his much-anticipated debut feature Rhymes for Young Ghouls resembles an S.E. Hinton novel re-imagined as a surreal, righteously furious thriller. At the tender age of 15, Aila (Kawennahere Devery Jacobs) has taken over the drug business of her father Joseph (Glen Gould) while he serves a stint in prison. Joseph's return signals an abrupt end to Aila's reign as the reservation's drug queen; it also piques the interest of Popper (Mark Antony Krupa), the reserve's corrupt and sadistic Indian agent. The bloody tragedy that unfolds becomes an angry and poetic howl for lost lives, lost opportunities and lost loved ones -- a fever dream whose terrifying fictions are grounded in even more terrible fact.

Rhymes For Young Ghouls has been named by Toronto Film Festival as on of Canada's top 10 films of 2013 which deliver's in a dark, gritty but humorous manner. It delivers a story that must be told but never forgotten, check out the trailer below and if your Canadian you can catch the film on it's limited cinema release from 31st January.

source:Twitch

DVD Review - Upstream Colour

Genre:
Sci-fi, Drama, Arthouse
Distributor:
Metrodome Distribution
Rating:
15
BD/DVD Release Date:
30th December 2013 (UK)
Director:
Shane Carruth
Cast:
Amy Seimetz, Frank Mosley, Shane Carruth
Buy Upstream Colour:
[DVD] or [Blu-ray] [Amazon]

Upstream Color is without a doubt the strangest film of 2013 and there have been some strange films this year. It’s the 2nd film by Shane Carruth who made a splash in the indie world 9 years ago with the incredibly overrated Primer which was made for $7,000 but it was unnecessarily complex for it’s own good. Carruth worked on a highly ambitious science fiction epic for the years in-between films but it eventually gave up due to lack of funding.

The film starts with a woman being tasered and kidnapped by a man called “The Thief” in the credits. She is under his mind control and forfeits her money to him and she is only allowed to small portions of water. The Thief performs surgery on her which involves putting a live roundworm in her which has blue tinged orchid leaves dust in it which infects her system.

She awakes and the roundworm is attracted by infrasound waves and she goes to a pig farmer/field recorder’s farm in trance. The farmer performs a transfer of the worm into one of his pig’s. She awakes and has no memory of what happened in her SUV. The woman finally realizes that all her money has been stolen and her employer fires her.

The film picks up a year later and she meets a man on a train (played by the director) and they bond and fall in love. They may have more in common than they initially thought. It then becomes increasingly stranger and stranger.

Carruth literally served as director, writer, producer, actor, cinematographer, editor, composer, casting director, production designer and sound designer… take that Orson Welles! His cinematography is reminiscent of the recent Terrence Malick films at times. The sound design is outstanding which he won a special jury award at Sundance for his sound design. Carruth is being a very talented director and he has the makings of a real auteur but give it a couple more films before calling him one.

It’s a very admirable film even though it’s extremely pretentious at times and utterly baffling. Despite some of the film’s problems it’s a breath of fresh air in a time of endless sequels and comic book films than somebody makes a film this out there. I don’t full understand what the film is about and it’s quite possibly Carruth himself doesn’t. It’s a pretty unforgettable film with plenty of ideas and an endlessly fascinating story that surprisingly wraps itself up in the end. There are still many unanswered questions and people will debate them for years to come.

★★★★☆

Ian Schultz

Drew Cullingham’s full-frontal apocalypse nightmare THE DEVIL’S BARGAIN gets download release

Unseen. Uncertified. Unmissable. Drew Cullingham (Umbrage: The First Vampire, Black Smoke Rising) has written and directed a savage, psychological portrait of love, lust and the end of the world, which will be available to watch from Mon Jan 17, 2014, via www.distrify.com and https://www.facebook.com/TheDevilsBargain for just £3.99.

It’s 1974 and Earth is about to be obliterated by a massive asteroid. Adi (Jonnie Hurn) and his young wife Ange (Chloe Farnworth), haunted by memories of the death of their son, journey to the idyllic rural setting where he was conceived, determined to shed clothes, inhibitions and psychological traumas before the planet is destroyed forever. But the arrival of Luca (Dan Burman), a charismatic and mysterious young photographer, turns what’s left of their world upside-down and the horror to come is of biblical proportions.

Cullingham told us: “It was made on a shoestring budget in twenty-four hours over
four days, using an experimental ‘pinhole’ technique to give it a unique look. Containing copious amounts of full frontal nudity, the mantra for this film has been: No money. No clothes. No fear”.

A Disparado and Monk3ys Ink Films production, written and directed by Drew Cullingham, produced by Drew Cullingham & Ian Manson, co-produced by James Fisher & Andrew Mackay. Starring Jonnie Hurn, Chloe Farnworth & Dan Burman.

Vampires Get Sexy Again In UK trailer For Xan Cassavetes Kiss Of The Damned

Regulars will know John Cassavetes is loved and adored at Cinehouse HQ and  Eureka! Entertainment are to release of Kiss Of The Damned, l an impressively stylish, slyly funny and decadent mix of 70's sexy vampirism, and debut feature narrative film from John Cassavetes daughter Xan .

The undead have a thirst for life and an appetite for destruction. Having sworn off humans, young vampire Djuna finds peace with her new partner, only for her less hung-up sister to invade their tranquillity and threaten the whole vampire community.

House Of Devil, Amer proof that going back to go forward will bring relative success especially in indie horror. Been a daughter of film auteur who made his name for stylish films 1970's it was obvious the influence would rub off, it also looks like the film takes old take on Vampire genre too. Could films like Jim Jarmusch's Only Lovers Left and now Xan Cassavetes  Kiss Of The Damned be the saviours of the vampire genre and give it back it's sexiness?

Eureka! Entertainment have released  new UK trailer for Kiss Of The Damned, they have sent us that trailer check out.....

Film's official UK poster

Synopsis

Milo Ventimiglia (TV Series Heroes, TV Series Wolverine, Rocky Balboa) plays Paolo, a screenwriter who has ensconced himself in a house far away from Hollywood in order to finish what seems like his last stab at writing a commercial screenplay. He’s easily distracted though and, after meeting the beautiful Djuna (Josephine de La Baume – Rush, One Day) during a night out, he’s inextricably infatuated. Djuna digs Paolo too, but she’s got a rare “blood disorder” that doesn’t allow her to venture our into sunlight. Scarily persistent, Milo keeps courting her until she finally relents and agrees to hook up with him under one condition – she needs to be tied up so she can’t bite him. Needless to say their lovemaking is somewhat acrobatic (despite the bondage) and she’s presented with a fair shot at his neck, which she takes.
Djuna begins to school Paolo in the ways of the vampire. They try to drink only synthetic or harvested blood and kill only animals (killing humans is strictly forbidden). But that doesn’t mean they live in a prudish culture. Paolo instantly takes a shine to the Euro-glitterati lifestyle that accompanies eternal life. Soon enough, trouble comes in the form of Djuna’s more carnal and violent sister, Mimi (Roxane Mesquida). Mimi doesn’t believe in the whole “not killing people” thing. She’s also not big on being tied down, preferring her three-ways and one night stands anytime and anywhere she can get them

Kiss Of The Damned will be released on DVD by Eureka! Entertainment on 27 January 2014 and stars Joséphine de La Baume, Milo Ventimiglia, Roxane Mesquida, Riley Keough and Michael Rapport.

Gia Coppola's Directorial Debut Palo Alto To Get Summer 2014 Tribeca U.S Release

Tribeca Film today announced it has acquired North American rights to Gia Coppola’s acclaimed directorial debut Palo Alto, starring Emma Roberts (“American Horror Story,” We’re the Millers), Jack Kilmer (in his acting debut), James Franco (Spring Breakers), Nat Wolff (“The Naked Brothers Band”), Zoe Levin (The Way, Way Back), and Val Kilmer. Written and directed by Coppola, and based on Franco's short story collection of the same name, the film features an original soundtrack by Devonté Hynes (Blood Orange) and Robert Schwartzman. Following a prestigious festival run at the Venice Film Festival, Telluride Film Festival, and Toronto International Film Festival, a Spring 2014 theatrical release is planned.

Palo Alto weaves together three stories of teenage lust, boredom, and self-destruction: shy, sensitive April (Emma Roberts), torn between an illicit flirtation with her soccer coach (James Franco) and an unrequited crush on sweet stoner Teddy (Jack Kilmer); Emily (Zoe Levin), who offers sexual favors to any boy to cross her path; and the increasingly dangerous exploits of Teddy and his best friend Fred (Nat Wolff), whose behavior may or may not be sociopathic. One of the strongest American directorial debuts of the past decade, Coppola's film has a palpable sense of time and place, but her characters — seeking cheap thrills and meaningful connections — could be teenagers from any generation.

“Gia Coppola’s auspicious filmmaking debut Palo Alto is an elegant depiction of generational angst and despair which resonates with realism and restraint. Fueled by a vibrant cast of young talent, Coppola’s artistic collaboration with James Franco results in a thoughtful and subtly intertwined coming of age story,” said Tribeca Film Chief Creative Officer Geoff Gilmore.

“I'm very excited that Tribeca film will distribute my debut feature film, Palo Alto. It's a company that has been a pleasure to partner with and share creative ideas in this ever evolving film industry. I can't think of a better home for my film,” said Gia Coppola.

The deal was negotiated for Tribeca Film by Nick Savva, and Barry Hirsch and George Hayum of Hirsch Wallerstein Hayum Matlof + Fishman on behalf of the filmmakers.

Palo Alto is a James Franco and Rabbit Bandini Productions presentation, produced by Sebastian Pardo, Adriana Rotaru, Miles Levy, and Vince Jolivette.

No word yet on who will release Palo Alto in UK if and when that date will be too.

Source: Tribeca Press Release

Checkmate, Andrew Bujalski's Computer Chess To Get Its Masters Of Cinema Home Release January

Genre:
Comedy
Distributor:
Eureka! Entertainment
DVD Release Date:
20th January 2014 (UK)
Director:
Andrew Bujalski
Cast:
Kriss Schludermann, Tom Fletcher, Wiley Wiggins
Pre-Order/Buy [Amazon]:
Computer Chess (Masters of Cinema) (DVD & BLU-RAY DUAL FORMAT)
Eureka! Entertainment have announced the home video release of Computer Chess, the smash indie-hit selected by the 2013 London Film Festival, 2013 Sundance Festival, 2013 South by Southwest, and 2013 Berlin Film Festival. Directed by the "godfather" of the American "mumblecore" movement, Andrew Bujalski, director of Funny Ha Ha, Mutual Appreciation, and Beeswax – and selected by The New York Times this summer as one of 20 Directors to Watch, Computer Chess is poignant, absurd and downright hilarious. Andrew Bujalski's Computer Chess follows the trials and tribulations of a group of oddball geniuses over the weekend of a computer chess tournament circa 1980. As they pit their chess programmes against each other’s they're met with right-on new-agers, voracious swingers and a computer that appears to be self aware...

Computer Chess transports viewers to that fleeting moment when the contest between man and machine seemed a little more up for grabs. We get to know the eccentric geniuses possessed of the vision to teach a metal box to defeat man, literally, at his own game, laying the groundwork for artificial intelligence as we know it.

Computer Chess received its UK premiere at the LONDON FILM FESTIVAL, before wowing audiences at the CORK FILM FESTIVAL, CINE-CITY (Brighton Film Festival) & LEEDS INTERNATIONAL FILM FESTIVAL ahead of its UK VOD and theatrical release on 22 November 2013 where it is currently playing selected cinemas nationwide across the UK in London, Birmingham, Manchester, Leeds, Glasgow, Newcastle, Liverpool, Nottingham, Sheffield, Bristol, Brighton, Edinburgh, Southampton, Dublin & Cork and more.


Released as a Dual Format (Blu-ray & DVD) edition as part of Eureka! Entertainment's award-winning The Masters of Cinema Series, Computer Chess will be available on home video from 20 January 2014.

The fourth feature film from the brilliant and maverick American filmmaker Andrew Bujalski, whose previous works include Funny Ha Ha (the early ‘00s film that arguably kicked-off the so-called “mumblecore” movement of American independent cinema), Mutual Appreciation (an acclaimed comic portrait of love and longing in the Brooklyn indie music scene), and Beeswax (which among its principals starred Alex Karpovsky, the filmmaker and actor who has gone on to renown for his own comedy features and his role in Lena Dunham’s Girls).
A boldly intelligent ensemble comedy with a feel and atmosphere that surpass easy comparison, Computer Chess takes place in the early-1980s over the course of a weekend conference where a group of obsessive software programmers have convened to pit their latest refinements in machine-chess and the still-developing field of artificial intelligence (AI) against an assembly of human chess masters. Computer Chess is a portrait not only of the crazy and surreal relationships that come to pass between the abundance of characters who participate in the weekend event (and among whose ranks include Wiley Wiggins, the revered indie-game developer and star of Richard Linklater’s classic Dazed and Confused), but of the very era of early computing itself – and of the first, rudimentary video games – and (if that weren’t enough) of the hopes and insecurities that persisted through the film’s “retro” digital age into the present-day — that semi-virtual, hyper-social, maybe-kind-of-dehumanised landscape that, let’s face it, is our very own era. If that still weren’t enough: it’s also one of the wittiest, most shift-and-cringe-in-your-seat, and entirely LOL-hilarious movies of recent times.
With its radical retro video aesthetic and wry rumination on digitality and where-we-are-today, Computer Chess is a far-reaching and ambitious benchmark for the modern American cinema. The Masters of Cinema Series is proud to present Andrew Bujalski's Computer Chess in its UK home-viewing debut in a Dual Format (Blu-ray + DVD) release.

SPECIAL FEATURES

• 1080p presentation of the feature film on the Blu-ray
• Optional English subtitles for the deaf and hard-of-hearing
• Two trailers for the film
• Andrew Bujalski's short 2013 film Analog Goose
• New and exclusive video interviews with Bujalski, actor Wiley Wiggins, and producer Alex Lipschultz
• 56-PAGE FULL-COLOUR BOOKLET featuring a new essay by Craig Keller; a discussion on retro gaming with Wiley Wiggins; a profile on cover artist (and original Atari 2600 packaging artist) Cliff Spohn; a plethora of full-colour photography from the set; and more!
• Additional extras to be announced closer to release

We recently reviewed Computer Chess you can re-read the review by Pierre Badiola here and Computer Chess will be released by Eureka! Entertainment via The Masters Of Cinema on a Dual Format release (Blu-Ray & DVD) on 20th January 2014 , Pre-order/Buy Computer Chess (Masters of Cinema) (DVD & BLU-RAY DUAL FORMAT)

Review - Andrew Bujalski's Computer Chess

Cert (UK): 15
Runtime: 92 mins
Director: Andrew Bujalski
Cast: Wiley Wiggins, Myles Paige, Patrick Riester, Robin Schwartz


A work as sublime as it is surreal, Computer Chess is the latest microbudget oddity from independent filmmaker Andrew Bujalski. Set at the advent of personal computing (sometime during the early 1980s), it follows a group of programming hobbyists over one weekend as they compete in a friendly machine-vs-machine chess tournament. The aim: to engineer a piece of software that can not only out-think another computer, but ultimately out-think a human.

Its form is as idiosyncratically retro as its content: Bujalski chose to film on some of the earliest commercial video cameras, both for the vintage authenticity and to add "a transcendental character to the image," that would, according to cinematographer Matthias Grunsky, "help express the sometimes unexplainable things that happen between man and computer." True enough to the imperfect and unpredictable technology of the time, bright lights burn trails in the lens and people blur through fuzzy grey matter; like the characters, we chase glimpses of ghosts in the machine.

The search for higher artificial intelligence gives rise to some unexpected philosophical inquiries, but the socially-aloof nerd herd are often too short-sighted to grasp what anything could, or will, mean—a big part of the comedy comes from knowing that these hapless dorks will one day inherit the Earth (for an age of technological enlightenment, things are almost comically unexciting.) But what really is driving these computer-obsessives, tinkerers and scientists? What is happening between man and computer—or more worryingly, who is driving who? As we watch characters struggle and fail to break out of their own unconscious grids and behavioural loops, it becomes clear that the quest for a machine with a soul is far less pertinent than the quest for the soul in man.

Comedic elements ebb in and out of the rambling narrative: a New Age self-help group are also occupying the hotel, and the inevitable clashes between the emotionally-cold geeks and the self-loving hippy-types offer genuinely cringe-worthy laughs.

But the most arresting moments happen when Bujalski breaks the rules of his own carefully procured aesthetic: the black-and-white documentary beats that open the film eventually give way to stranger, more anarchic forms, as the video begins super-imposing on itself, reversing, slowing down, splitting in two, and for a brief moment even switches to colour. The film ends up being strangely psychedelic, but also alive to the possibility of one small thing: Change. Much of Computer Chess seems to be an attempt to grapple with that one pet theme.

Bujalski also slyly reflects the rise of independent filmmakers (his debut feature, Funny Ha Ha, helped launch the early-aughts 'mumblecore' movement) and the birth of his own child in the narrative, gifting the film with a surprisingly autobiographic tone, and the criss-crossing lines between hobby, obsession, love and family stealthily work their way into the fold without any explicit foregrounding.

Four features in, Mr. Bujalski continues to be one of American cinema's most distinct voices, and much like the unassuming pioneers at the heart of Computer Chess—who also focus on the wide implications of imperceptibly small actions—his influence may be greater felt in the years to come. Forget the singularity; as a filmic experience Computer Chess is itself, singular.

★★★★½

Pierre B

Review - Parkland

Stars: Zac Efron, Billy Bob Thornton, Paul Giamatti, Tom Welling, Marcia Gay Harden
Director: Peter Landesman
Release: 22nd of November 2013
Rating:  15 (UK)

Fifty years to the day that US President John F. Kennedy was shot, cinematic recreation of these events, Parkland, hits UK cinemas. There are little words to describe Peter Landesman's film other than a vapid, tasteless attraction that is neither compelling or insightful.

This ensemble piece follows the lives of several people who were dragged into the chaotic events spurred on by the assassination of John F. Kennedy in Dallas, Texas. Among those that Parkland follows are a young doctor (Zac Efron), a local man who catches the assassination on film - Abraham Zapruder (Paul Giamatti), and Robert Oswald (James Badge Dale), the brother of assassin Lee Harvey Oswald.

Shot in a manner that is so bitty and frantic, viewers are unlikely to be compelled or emotionally connect with any of the stories in Parkland. Characters and rushed on-and-off the screen like show ponies with far too much going on to grasp any cohesive human element of the story. The talented cast is squandered on undefined roles, characters presented with little to depth that exceeds the surface-level value of their costumes.  Despite the fast-paced chaos unfolding on screen, Landesman's film is remarkably dull and unfocused with a runtime that feels double its stated ninety minutes.

Parkand also feels like a rather tasteless affair, packed with unintentional laughs and toe-curling moments of crass details. Among these are Zac Efron's young doc pounding on Kennedy's bloody chest and yelling "No! Leave them on," when a nurse attempts to remove his boxers (a misguided attempt to give the President some dignity, which Landesman and co. had long since destroyed). There is also a blood-drenched Jackie Kennedy clutching a piece of 35th President's brain-matter, and Jackie Weaver's camped-up comic-relief Mrs. Oswald barking in her Southern drawl that her kill-ah son is an und-a-cova spy.   There are plenty of occasions when you may question if John Waters and Divine could even have produced a picture of such bad taste.

Why was a film like Parkland was needed? The events of Kennedy's assassination are heavily-documented in documentary and feature-film form. Not to mention the thousands of magazine articles and online features that have appeared and fed into the assassination and its myths. This is not going to prove insightful to the casual viewer, the history buff, or the conspiracy theorist.

Parkland squanders its impressive cast in this unfocused, tasteless, and boring recreation. With little depth and insight, Parkland can only be described as a mess.

★½☆☆☆

Andrew McArthur