Film4 Frighfest Announces Its Biggest Ever Line Up For 2013 Festival

Film4 FrightFest 2013 announces full line up; record 51 films, new FrightFest Xtra strand and films from five continents marks biggest genre global invasion ever.

Are you ready for a spine-chilling global avalanche of Indian zombies, Israeli oldboys, vengeance-crazed Vikings, Swedish mesmerists, Irish telekinesis, Argentine undead, Aussie bone-crushers, murderous Mormons and Chilean assassins?

Film4 FrightFest 2013, returning for its 4teenth year, is delighted to unveil its biggest line-up in history. From Thurs 22 August to Monday 26 August, the UK’s leading event for genre fans will be at the Empire Cinema in London’s Leicester Square to present 51 films on three screens. Empire 1 will house the main event while the Discovery strands will play in Empires 2 & 4. The new FrightFest Xtra strand, also in Screen 2, will allow fans to catch up with sold-out performances of the most popular attractions.

This year there are eleven countries representing five continents with a record-breaking thirty-three UK or European premieres and ten world premieres.

The world premieres include our opening night attraction THE DEAD 2: INDIA from the Ford Brothers, BANSHEE CHAPTER, produced by Star Trek’s Zachary Quinto, Kit Ryan’s startling DEMENTAMANIA , the epidemic shocker ANTISOCIAL the Argentinean post World War Z drama THE DESERT and the retro Spanish chiller FOR ELISA. European premieres include Don Mancini’s CURSE OF CHUCKY, Anthony Di Blasi’s MISSIONARYand Steven R. Monroe’s I SPIT ON YOUR GRAVE 2.

The UK premieres feature our closing night film, the most want-to-see 2013 title BIG BAD WOLVES, Jim Mickle’s appetising WE ARE WHAT WE ARE, Vincenzo Natali’s HAUNTER, Ryuhei Kitamura’s NO ONE LIVES, Lasse Hallstrom’s THE HYPNOTIST, the Pastor Brothers’ THE LAST DAYS, the VHS documentary REWIND THIS!, Bobcat Goldthwait’s horror-comedy WILLOW CREEK, producer Adam Green’s HATCHET III, acclaimed anthology V/H/S/2, the fantasy thriller ODD THOMAS, rural horror romp 100 BLOODY ACRES, compulsive chiller THE CONSPIRACY, Renny Harlin’s mystery thriller THE DYATLOV PASS INCIDENT & Marina De Van’s high-voltage shocker DARK TOUCH.

The Brits are once again proving that the genre is in fine form. Aside from the aforementioned THE DEAD 2: INDIA and DEMENTAMANIA, there is Christian James’ toilet-humoured STALLED, Jeremy Lovering’s white-knuckle ride IN FEAR, Farren Blackburn’s axe-murderous HAMMER OF THE GODS, Kate Shenton’s human suspension doc ON TENDER HOOKS, THE PARANORMAL DIARIES: CLOPHILL, from the Zombie Diaries duo, Michael Bartlett & Kevin Gates, Kieran Parker’s latest in the zombie action franchise OUTPOST: RISE OF THE SPETSNAZ and THE BORDERLANDS., a paranormal chiller from Elliot Goldner.

Keynote previews include THE GRIEF TOURIST starring Michael Cudlitz and Melanie Griffith, and Carlos Medina’s award-winning PAINLESS.

Crowd-pleasers have always been at the heart of the FrightFest experience, so audiences can sit back and thrill to the roof-raising YOU’RE NEXT, the incredible CHEAP THRILLS, the mutant-tastic FRANKENSTEIN’S ARMY and a Special Preview of the Hollywood blockbuster R.I.P.D. starring Ryan Reynolds and Jeff Bridges. And we have included two of our February FrightFest Glasgow draws – the fabulously trashy grindhouser BRING ME THE HEAD OF THE MACHINE GUN WOMAN.and Michael Stephenson’s hugely entertaining doc THE AMERICAN SCREAM.

Expanding the Discovery Strand means there are double the treats to sample this year, including the nerve-shredding SNAP, the smart horror-fantasy HANSEL &GRETEL &THE 4:20 WITCH, Sonny Laguna’s ferocious WITHER, Israeli war fantasy CANNON FODDER, Scream-styled homage SADIK 2, James Sizemore ‘s demonic THE DEMON’S ROCK, David McCracken’s story of small-town child abuse DAYLIGHT & sex-disease horror CONTRACTED. There is also a first-time screening of three episodes of Adam Green and Joe Lynch’s TV series HOLLISTON.

Plus, there’s a chance to discover an eclectic mix of Premiere screening restorations : Ozploitation classic - WAKE IN FRIGHT, a tribute to Hammer Horror icon Peter Cushing – CORRUPTION, the first Roger Corman Edgar Allan Poe masterpiece – THE FALL OF THE HOUSE OF USHER, and the genre landmark that is F. W. Murnau’s NOSFERATU.

With Andy Nyman’s ever-popular ‘Quiz From Hell’ now in its 4th year, the announcement of the ‘666 Short Cuts To Hell’ competition winners, in association with Horror Channel and Movie Mogul, the ‘Turn Off Your Bloody Phone!’ entries and the usual bloody red carpet gathering of stars, directors and surprise guests, Film4 FrightFest 14 looks set to raise the roof. Let the screaming begin!

Alan Jones, Festival co-director, said today: Fourteen years down the line from our seminal start in 2000, the ambitions of the Film4 FrightFest remain exactly the same: to promote horror and fantasy in all its rich and varied ways, to foster the latest in world genre cinema, to highlight our vibrant home-grown independent sector and to invite an international array of directors, actors and filmmakers to discuss their work. For that reason we have remained at the vanguard of the genre”.

Julia Wrigley, Head of Film4 Channel4, added: '“We are thrilled to return for the 7th year in a row as the headline sponsors of Film4 FrightFest. Once again, the line-up includes a great range of British films, including the relentlessly terrifying Film4 Production In Fear. Our FrightFest fortnight on Film4 is packed with channel premieres, festival favourites and some classics from the crypt”.

The guest line-up and 2013 Short Film Selections will announced shortly.

Festival &day passes go on sale from 29 June. Tickets for Individual films are on sale from 27 July.

Bookings: 08 714 714 714 or www.empirecinemas.co.uk

Winners of 67th Edinburgh International Film Festival Announced

The winners of this year’s prestigious Edinburgh International Film Festival awards were announced at the Festival’s awards ceremony, held at Filmhouse today and hosted by Grant Lauchlan, producer and presenter of stv’s Moviejuice. The ceremony took place ahead of Sunday’s Closing Night Gala, NOT ANOTHER HAPPY ENDING, which concludes the 12-day Festival.

The Award for Best Film in the International Competition was presented to Mahdi Fleifel’s A WORLD NOT OURS (Lebanon/UAE/Denmark/UK), which received its UK premiere here at EIFF. The award is given to filmmakers from outside of the UK in recognition of their imagination and innovation. Acclaimed South Korean director Bong Joon-ho chaired the International Feature Film Competition Jury, which also included actress Natalie Dormer and film critic Siobhan Synnot.

The jury citation read: “The International Jury loved this film’s warm regard for the people at the heart of the film. A difficult subject was handled with confidence and humour. We hope that many more people get the opportunity to see A WORLD NOT OURS.”

Mahdi Fleifel said: “I am immensely grateful to the programmers at the EIFF for inviting my film. I have lived, studied and worked in the UK for 13 years, but I've never managed to screen any of my work at a single British film event - not even my short films which were pretty successful internationally. Winning the prize in Britain's No. 1 Film Festival is too good to be true. I hope this will help bring our film to a wider audience in the UK and I would like to thank the jury for this wonderful honour.”

The jury also gave a special mention to Elias Giannakakis’ JOY (Greece). The citation read: “The Jury would like to make special mention of Elias Giannakakis’ unique character study in JOY and an outstanding performance by Amalia Moutousi.”

The Michael Powell Award for Best British Feature Film went to Lucien Castaing-Taylor and Véréna Paravel’s LEVIATHAN (UK/USA/France), which received its UK Premiere at the Festival. A visually stunning documentary, LEVIATHAN wins one of the longest-running film awards in the UK, honouring imagination and creativity in British filmmaking.

The winner was chosen by the Michael Powell Jury, chaired by Iranian director Samira Makhmalbaf and including actor and director Kevin McKidd and film critic Derek Malcolm. The jury described the film “as an original and imaginative documentary which observes the brutal routine of deep sea fishing in a way which completely immerses the watcher in its story.”

Lucien Castaing-Taylor and Véréna Paravel said: “We are totally bowled over by the news of this award. All our films have been rejected by every British film festival to date, so it is all the more moving for us! We also admire in so many ways the work of this jury, which makes this award especially meaningful to us both. It also gives us the courage and conviction to continue to keep pushing at the envelope - of cinema, of documentary, of art.”

The jury awarded a special commendation to Paul Wright’s FOR THOSE IN PERIL “for its passionate portrait of a young Scots survivor of a tragedy at sea.”

The Award for Best Performance in a British Feature Film was shared by Jamie Blackley and Toby Regbo for their performances as the dysfunctional schoolboys in uwantme2killhim? The performance awards were voted for by the Michael Powell Award Competition Jury.

Jamie Blackley said: “I felt lucky enough to hear that two films I was in had been selected for the EIFF, so to then win this award is a wonderful shock that I wasn’t expecting and I am proud to share it with Toby. I’d like to thank Andrew Douglas and the cast and crew for making the experience so special for me and to EIFF for making me feel so welcome.”

Co-star Toby Regbo added: "I'm absolutely over the moon. Making this film was so positive: a really interesting story, a great director and a superb actor to work opposite, what more could you want really? I'd like to say thank you to the EIFF for supporting British independent film and young actors."

Reinstated in 2013 after a two-year absence, The Audience Award, supported by Sainsbury’s Bank, went to FIRE IN THE NIGHT (UK) directed by Anthony Wonke for his deeply moving documentary detailing the 1988 Piper Alpha disaster in the North Sea. The film, which received its World Premiere at the Festival, skilfully combines archival footage, audio recordings and interviews with some of the 61 survivors of the disaster, some of whom are interviewed for the very first time.
Voted for by cinema-goers attending public screenings, films were eligible from across the Festival programme at the discretion of the Artistic Director.

Anthony Wonke said: “It’s 25 years ago this July that Piper Alpha exploded and sunk into the North Sea and we hope that with this film the memory of that fateful night that affected so many lives will act as a suitable remembrance. I'd like to thank everyone who voted for FIRE IN THE NIGHT, it really does mean an awful lot to everyone involved especially all the men who took part in the film. I know that they will be incredibly touched and thankful that the public engaged with this film and their story in such a positive way.”

EIFF Artistic Director Chris Fujiwara said: “The Audience Award, which we reinstated this year after a two-year hiatus, is not only one of the most significant of EIFF’s initiatives designed to engage audiences with cinema, it’s also one of the most fun. We’re delighted by the enthusiasm shown by our audience members who took part in choosing this award, and we’re grateful for the support and commitment of Sainsbury’s Bank.”

GHL by Lotte Schreiber won The Award for Best Short Film in the shorts category. The prize was one of three awards bestowed by the Short Film Competition Jury, which included International Film Festival Rotterdam programmer Inge de Leeuw (chair), film critic Christoph Huber and independent film programmer Ricardo Matos Cabo.

The jury citation read: “The jury unanimously gives this prize for Best Short Film to a visually and rhythmically precise architectural study that doubles as a portrait of current social changes with the ghost of capitalism haunting the space of a popular landmark of communal recreation erected as a socialist utopia in Vienna.

Lotte Schreiber said: "I am very proud to receive this amazing award from this fantastic film festival, which is the most exciting one I’ve ever received! I’m proud of my little team and I want to thank them all for their precious contribution to this little movie: especially Johannes Hammel, who did the breathtaking camerawork and Michael Krassnitzer for his perfect low-key acting. This award makes me sure to keep on filmmaking, even under extremely tough economic circumstances, which will probably become even tougher for all of us independent filmmakers in the next years. But it’s worth carrying on! I want to express my sincere gratitude to the Festival Programme Committee who has selected the Film to be part of the International Competition at EIFF and likewise to the Short Film jury members, who have put their whole confidence into this little Viennese movie.”

The Award for Creative Innovation in a Short Film, given for the first time this year, was awarded to DOLL PARTS by Muzi Quawson, as voted for by the Shorts Jury. The jury citation read: “The prize for creative innovation goes to a short that takes an unusual approach to documenting subculture and its protagonists, utilising paradoxical means. The film achieves a sense of drift by focusing on moments of stasis and capturing the energy of touring musicians through surprising ellipses and attention to incidental details.”

Another newly introduced award within the shorts category, The Award for Outstanding Individual Contribution to a Short Film, which celebrates imaginative and innovative work in short cinema, was awarded to Josh Gibson as Director of Photography of LIGHT PLATE, which he also directed.

The jury citation read: “The prize for outstanding contribution to a short film goes to the camerawork of a magical landscape study, capturing a day in the Tuscan countryside with a series of subtle, imaginative and mesmerizingly textured images forged with careful attention to the possibilities and beauty of 35mm films.”

Josh Gibson said: "I am honoured and humbled to receive this award and to be recognized along with this small, personal film at such a prestigious international film festival, brimming with work by talented people that I have admired for a long time. Unlike feature films, short films are delicate creatures that owe much to the programming. In shorts programmes the individual films reverberate against one another, sometimes changing fundamentally depending upon the other pieces in the programme. I especially want to thank the EIFF programmers for finding a place for LIGHT PLATE where its particular point of view and visual preoccupations could be acknowledged and admired."

The jury also gave a special mention to three filmmakers whose work holds great promise for the future: Charlotte Rabate for LUCILLE IN THE SKY; Ivan Castineiras for THE BORDER; and Anna Frances Ewert for ENDLESS DAY.

As voted for by the audience, The McLaren Award for Best New British Animation, supported by the British Council, went to MARILYN MYLLER by director Mikey Please and co-animator Dan Ojari. Named after Scottish-born filmmaker Norman McLaren, the McLaren Award is the longest running award celebrating creativity amongst UK animation talent. The award was presented at the awards ceremony by Richard Williams, widely regarded as one of the world's greatest animators.

Mikey Please said: “The team and I are absolutely thrilled to receive the prestigious McLaren Award. We hope that our gonzo, the-rules-are-there-to-break-them approach to filmmaking was very much in a spirit that would have made Norman proud. This was Marilyn's World premiere, so naturally we were very nervous about how she'd be received. To have the warm welcome of an audience vote is wonderful, the best result we could have possibly hoped for.”

The Student Critics Jury Award, supported by Morag and James Anderson, was awarded to CELESTIAL WIVES OF THE MEADOW MARI by Alexey Fedorchenko. The award was determined by a jury of seven aspiring film critics, Lewis Camley, Ruth Swift-Wood, Kathryn Craigmyle, Phil Kennedy, Catarina Mourao, Rebecca Lily Bowen and Vivek Santayana, who took part in a workshop on film criticism at EIFF under the guidance of Kate Taylor (Independent Cinema Office), Gabe Klinger (independent film critic and programmer) and Nick James (editor, Sight & Sound).

The jury citation read: “Bearing in mind what the Artistic Director said, film is reality and also something more. A witty, perceptive and beautiful celebration of folk mythologies”.

Want A Beatdown? Well Just watch The New UK Trailer For Only God Forgives

With his dukes at the ready Ryan Gosling is ready to fight anyone who takes a dig at his new film Only God Forgives. Don't go for the beatdown just watch the UK trailer for the film instead!

Some are calling this the unofficial sequel to Drive, the new trailer showcases Only God Forgives will be a neon lit fest of brutality and visual slickness. Its a much anticipated unholy alliance between Nicholas Winding Refn and man in demand Gosling, to many its a natural chemistry made in heaven. But the word from Cannes and the early American reviews is a mixed bag of nuts ironically it seems  the British reviews seems to be more favourable, so whatever your point of view this film has the makings to be another cult film in the making.

We do also have a rather awesome neon clad UK Quad poster that accompanies the trailer (see below), a big thanks to Lionsgate Films UK for sending us those visual delights. The question will be can Only God Forgives match the momentous levels of Drive? Find out on 2nd August(USA 19th July) when the film arrives in UK cinemas.

Only God Forgives stars Kristen Scott Thomas,  Yayaying Rhatha Phongam, Vithaya Pansringarm, Tom Burke and Byron Gibson.

Synopsis

Bangkok. Julian (Ryan Gosling) runs a Thai boxing club as a front for a drugs operation. He has everything he wants for and is respected in the criminal underworld though, deep inside, he feels empty.

When Julian's brother murders a prostitute the police call on retired cop Chang - the Angel of Vengeance (Vithaya Pansringarm). Chang allows the father to kill his daughter's murderer, then 'restores order' by chopping off the man's right hand. Julian's mother Jenna (Kristin Scott Thomas) - the head of a powerful criminal organization - arrives in Bangkok to collect her son's body. She dispatches Julian to find his killers and 'raise hell'.

Increasingly obsessed with the Angel of Vengeance, Julian challenges him to a boxing match, hoping that by defeating him he might find spiritual release… but Chang triumphs. A furious Jenna plots revenge and the stage is set for a bloody journey through betrayal and vengeance towards a final confrontation and the possibility of redemption.

source: Thepeoplesmovies

EIFF 2013 - Il Futuro (The Future) Review

Rating: 15
Release Date: 28th June 2013 (EIFF)
Stars: Manuela Martelli, Luigi Ciardo, Rutger Hauer
Director: Alicia Scherson


Alicia Scherson's third feature-length film, Il Futuro, is a staggeringly impressive watch. Adapted from Chilean novel Una Novelita Lumpen by Roberto Bolano, Il Futuro is a thrilling tale of suspense, eroticism, and intrigue set against a backdrop of vintage Hollywood Gothic noir.

Il Futuro follows two teenage orphans, Bianca and Tomas, who become intertwined with two untrustworthy opportunists from the local gym. These acquaintances persuade Bianca (the eldest of the orphans, played by Manuela Martelli) to infiltrate and rob the home of one of their ex-clients, Marciste (Rutger Hauer) - a blind, former Mister Universe and movie star who has become something of a recluse. However, Bianca's developing feelings for Marciste seem set to compromise her original intentions.
From the onset Scherson's distinct visual aesthetic is apparent - the titles appear in thick gold lettering giving viewers a sense of this tale of Hollywood noir that is about to unfold. The director builds up and impressive sense of intrigue and suspense in the film's slow-burning opening - one of scenes sees Bianca and her brother view the now-mangled car that killed their parents. Scherson films the scene whilst slowly zooming in on the macabre wreckage set against a soundtrack of rumbling unease. This immediately crafts a sense of dark alienation that initially haunts Il Futuro and showcases Scherson's powerful and refreshing directorial style.

The narrative unfolds like a Hitchcockian suspense story with no predictable trajectory and countless enigmas that hit the viewer, from the unease provided by Tomas's untrustworthy gym acquaintances to the truth behind the relationship between Bianca and Marciste. These answers are unravelled throughout Scherson's well-crafted screenplay - although they ensure the viewers brain is continually at work throughout this intriguing feature.

There is a marvellous sense of the Gothic in both the aesthetic of Il Futuro and throughout the film' narrative. Marciste's mansion has echoes of Blanche and Jane Hudson's decaying home from What Ever Happened to Baby Jane? where we see decaying architecture and covered furniture, with remnants of Marciste's film career scattered amongst. Marciste could initially attract comparisons with the Beast from Beauty and the Beast - he is a reclusive, impaired creature whose humanity, warmth and vulnerability begins to show through his time with Bianca. Rutger Hauer is utterly sublime - a true master of his craft, and Il Futuro provides us with his finest performance in recent years.

Il Futuro further shows echoes of Hollywood noir with Bianca and Marciste's romance gradually paralleling those from Marciste's old films - however, viewers will gain a further sense of unease through their knowledge of the darker motivations that have lead Bianca to seek the blind actor out. Martelli's performance is also exceptional - seeing Bianca begin to fall for Marciste makes for a heart-warming romance, however the actress ensures that we still question whether Bianca will steal from Marciste.

Scherson has crafted a fascinating slice of gothic noir that proves to be both sublimely acted and directed. Il Futuro is packed with suspense, heart and nostalgia - resulting in an outstandingly original combination.

★★★★★

Andrew McArthur

You Need To Fight If You Want To Escape (Flukt) This July

The director and star of the critically acclaimed Cold Prey team up once again for a thrilling, action-packed adventure that marries the best of The Hunger Games and Mad Max as a young girl fights for survival against brutal warriors in a disease-ridden medieval world.This July Escape (Flukt) will arrive on DVD in UK in July

Ten years after the Black Plague ravaged their country, a poor family sets out on a journey for a new home. On a remote mountain pass, they are attacked by a band of merciless killers led by the vicious Dagmar (Ingrid Bolsø Berdal) and the only one spared is young Signe (Isabel Christine Andreasen), who is taken hostage. At the gang’s camp she meets fellow kidnap victim Frigg (Milla Olin) and learns that a terrible fate awaits her. There is nothing for it but to escape, but Dagmar will not let Signe go that easily…

Escape is like The Hunger Games stripped bare – a strong heroine, fast-paced action, awesome archery, but not a love triangle in sight! It’s a beautifully filmed, uncompromising tale of survival-against-the-odds with top performances and stunning scenery that’ll leave you wanting a trip to Norway!

Escape(Flukt)is directed Roar Uthaug (Cold Prey) and stars Ingrid Bolsø Berdal (Cold Prey, Cold Prey 2), Kristian Espedel aka Gaahl (frontman of Gorgoroth, Trelldom and Gaahlskagg) and the film arrives on DVD in UK on 29th July.

Special Features:

• Visual Effects
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• Deleted Scenes
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• Bloopers

EIFF 2013 - We Are The Freaks Review

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.

★★★☆☆

Andrew McArthur

EIFF 2013 - The Bling Ring Review

Rating: 15
Release: 22nd June 2013 (EIFF) 5th July 2013 (UK Cinema)
Stars: Emma Watson, Katie Chang ,Leslie Mann, Israel Broussard, Katie Chang
Director: Sofia Coppola

The Bling Ring marks Sofia Coppola's first feature since 2010's outstanding Somewhere and faces the challenge of living up to the quality of this and her previous body of work. Whilst The Bling Ring is an enjoyable watch, it ultimately feels as superficial and shallow as its central characters.

Based on real events, The Bling Ring documents a group of teens who break into the homes of some of America's biggest celebrities.

Coppola's narrative presents us with teens burglarising the homes of Paris Hilton, Lindsay Lohan, and Orlando Bloom simply because they can.  This is handled with a lack of insight or depth which can result in The Bling Ring becoming quite a frustrating watch - it is not clear whether Coppola is making a statement about obsession with celebrity or the lack of direction faced by young people. You could make a case for both (and more) arguments, yet Coppola does not commit to either - she simply portrays these teens committing the crimes through a skewed sense of self-entitlement. Whilst this is always continually watchable thanks to Coppola's distinct aesthetic style, it seems like somewhat of a wasted opportunity that she does not dig below surface depth.

Despite this frustration, there is much to enjoy about The Bling Ring. Coppola's dialogue provides an often amusing look at our celebrity obsessed culture - best presented when Katie Chang's Rebecca's main concern about her crimes was Lindsay Lohan's reaction, or when Emma Watson's Nicki discusses her ambition to lead a country. Leslie Mann's appearance as Nicki's mother also furthers the idea of the cult of celebrity through references to a lifestyle ideal known as The Secret.

There may be little to the characters of The Bling Ring other than their vacuous Californian lifestyle and superficial style and beliefs, yet there are still some solid performances within the feature. Katie Change excels as Rebecca, the careless teen who initiates the first break-ins, whilst Israel Broussard is solid as the more cautious best-friend.  However, it is Emma Watson who makes The Bling Ring - the actress is magnificent as the spoilt LA teen who happens to be the most superficially charismatic of the group.

Coppola's aesthetic is perhaps one of the most redeeming elements of The Bling Ring from the sun-stroked Californian streets to the pulsating nightlife, set to an eclectic soundtrack of contemporary pop and R&B music.

There is a lot to like about The Bling Ring from its clever dialogue, excellent performances and Coppola's distinct glossy aesthetic, but it ultimately feels like an unfulfilling watch with a narrative lacking the depth that it needs.

★★★☆☆

Andrew McArthur

EIFF 2013 - The Complex (Kuroyuri danchi) Review

Rating:
18
Review Date:
22nd June 2013 (EIFF 2013)
Director:
Hideo Nakata
Stars:
Atsuko Maeda
Hiroki Narimiya
Masanobu Katsumura


We should know better than to get excited when a once great horror director makes a back to basics comeback. It's happened with John Carpenter (The Ward), George A. Romero (Survival of the Dead), Wes Craven (My Soul to Take), and Dario Argento (Dracula 3D), and now it is the turn of Japan's own Hideo Nakata - the man behind Dark Water and Ringu. In a miraculous feat Nakata has managed to make a film worse than all those aforementioned combined.

The Complex follows a young nursing student (Atsuko Maeda) who moves with her family into a derelict apartment block, which her friends claim is haunted. After being disturbed by eerie noises coming from her neighbour's apartment it seems these claims may have some truth.

Nakata has made some of the most terrifying Japanese horror features in recent years, which makes The Complex and even more disappointing watch. Opening as an old-fashioned ghost story, The Complex sticks pretty close to the conventions of the genre - from strange noises in the middle of the night to shadowy figures appearing every so often. However, these scenes lack any of the tension or originality they deserve - failing to quicken the pace or enhance the horror of The Complex. As the narrative progresses the clichés continue to come thick and fast from dying old men to sinister children - many completely laughable in the bland way they are executed.

When The Complex does deviate from the conventions of the ghost film there are some great concepts to be found in Ryûta Miyake and Junya Kato's screenplay. Traces of de ja vu begin to seep into Asuka's daily life, resulting in a unsettling tone being established. This eventually leads to a look at the effects that grieving can have on the mental state, however, these come secondary to Nakata's preference for traditional genre scares (ie. possessed children).

The main issue that The Complex simply is not scary. It lacks any tense edge of your seat moments or any originality in its set pieces. It's not a terrible film - it is just a case of having seen almost everything before and on a superior level. This can result in The Complex becoming quite a tiresome and immediately forgettable watch.

Despite some intriguing concepts at its heart, The Complex is dull, generic and laughable at points. Sadly this is not the return to form that many thought Nakata would deliver.

★★☆☆☆

Andrew McArthur

Entity DVD Review

Rating: 15
DVD Release Date: 24th June 2013
Director: Steve Stone
Cast: Dervla Kirwan, Charlotte Riley, Branko Tomovic
Buy: Entity [DVD]


There was a time when the term 'horror film' meant just that. Admittedly however, it seldom required much more than keeping the landing light on at night to dispel any fears that something might be lurking in the dark once the film ended. Now your home could be plunged into complete darkness as the result of a total power cut after you've just finished watching the latest horror release, and you'd have no more nightmares than if you'd sat through an episode of Scooby Doo! The scariest thing about Entity (2012), the new film from this category by debut director / writer Steve Stone, and starring Dervla Kirwin, Charlotte Riley and Branko Tomovic, is how it managed to win two awards at the recent London Independent Film Festival, both as Best Sci-fi / Horror Feature and Best Low Budget Film. If this was the best it wasn't saying a lot for the other entries.

Three British television documentary makers, Kate Hansen (Riley), Matt Hurst (Rupert Hill) and David Hamilton (Oliver Jackson), along with psychic Ruth Peacock (Kirwin) and their Russian guide Yuri Levkov (Tomovic), venture into the forests in a remote area of Russia in order to investigate the truth behind the deaths of thirty two bodies found in the area twelve years previously. As they head deeper into the area they come upon a disused hospital facility, which houses a dark secret that could threaten all their lives.

Someone should tell filmmakers that lost footage as a basis for horror films has had its day. Any originality the method might have shown when first seen in films like The Blair Witch Project (1999) has long since died. This means that the only point of interest in this new variation is how they fooled someone of the calibre of Kirwin (who once showed some promise as an actress) into getting involved in this dire escapade in the first place. Here she is reduced to wandering round a damp field and then a series of dimly lit corridors pleading with what remains of the rest of the cast to "get me out of here"! By the end of eighty seven minutes (if you make it that far) you'll wish they had taken heed of her entreaties, for your sake as well as hers.

I wish I could say something at least remotely positive about Entity. However, before it finished I was as lost and confused by the film as its characters themselves seemed to be, so I guess we had better leave it there.

★☆☆☆☆

Cleaver Patterson

EIFF 2013 - Frances Ha Review

Rating:
15
Release:
21-22 June (EIFF) 26th July 2013 (UK Cinema)
Director:
Noah Baumbach
Stars:
Greta Gerwig,
Mickey Sumner,
Adam Driver

Chances are the most charming film you will see at this year's Edinburgh International Film Festival is Noah Baumbach's Frances Ha. The feature sees him team up with Greta Gerwig in what serves as a love letter to New York and an amusing glimpse at the crossroads in life that many twentysomethings will undoubtedly find themselves at.

Frances is an amusingly awkward young woman (who her friend dubs 'undateable') drifting between her student-like lifestyle and ever approaching adult responsibilities.

Baumbatch's feature has a real sense of authenticity and addresses issues that many young people will undoubtedly feel after moving on from years of studying. We see Frances' best friend move into a serious relationship, her struggle to make her career as a dancer work out, and her failure to connect with adults. These are showcased through Gerwig and Baumbatch's smart screenplay and Gerwig's immediately likeable and rich performance. Whilst it does have a tendency to drift Frances Ha ultimately works because Frances is a character that simply finds herself drifting through life.

There's a great self-awareness to Frances Ha - it is clear that she is incredibly awkward (hilariously showcased on one scene where she attempts to play fights with someone who does not get her) - yet this is what makes her such a fascinating and undeniably watchable protagonist. There is something admirable about such a lost and aimless character in today's nine-to-five society, but she is also one driven by fun and expression. Gerwig packs her performance with a slight sensitivity and manages to craft a sense of sympathy in a role that may have lacked it in an another actor's hands.

The setting of New York and black and white style immediately echoes the charm of Woody Allen's earlier features, whilst Baumbach appears inspired from the likes of the French New Wave to Lena Dunham's Girls. Baumbach's soft, intimate direction crafts a delicate sense of breezy light-heartedness which makes Frances Ha a very absorbing watch.

Frances Ha's charming aesthetic and amusing yet sympathetic narrative and characters results in a stellar concoction, perfectly channelled through Gerwig's pitch perfect leading performance. Frances Ha is a film viewers will be unlikely to forget.

★★★★☆

Andrew McArthur