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Guns Akimbo (2019)

Jason Lei Howden’s 2019 action film Guns Akimbo had a massive amount of hype in the lead up to its release thanks to various amounts of images shared of the film’s lead Daniel Radcliffe walking around New York in a frenzy in his dressing gown while sporting guns. People thought Radcliffe was having a breakdown but rest assured he was just filming. The film explores a criminal organisation known as Skizm which has gained massive popularity online thanks to their competitions which sees criminals go head to head to the death which is live streamed. When app designer Miles (Daniel Radcliffe) becomes comfortable telling viewers in the forum how pathetic they are, he is tracked down by Skizm and forced to face off with their leading figure, Nix (Samara Weaving). What follows is a film filled with lots of chaos, blood violence which makes it unsuitable for the faint of heart but it is always undoubtedly one of the most original films you’ll come across.

Primarily an action film, Guns Akimbo dabbles in an array of different genres including comedy and horror. Written and directed by Howden, the film starts off by setting up Miles’ character and the lead up the situation that results in his involvement with Skizm. Once this happens, the film appears to take a complete 180 and becomes relentless in its pace and keeps you gripped for the duration of the film as the dynamic between Miles and Nix shifts as they try to kill the other without dying themselves. Howden’s direction is extremely loud and chaotic which helps to highlight the tight script that has lots of character development, especially that of the film’s leading characters. Howden has certainly made an impression with this stunning film.

Daniel Radcliffe continues to show off his acting range and does a terrific job as Miles. Miles is not the typical everyman figure. After all, he ends up involved in Skizm and has guns attached to his hands for the majority of the film. Since his decade long tenure as the titular character in the Harry Potter film series, Radcliffe has opted to act in films that challenge him as an actor. His performance as Miles shows how charismatic he can be as well as highlighting that he is more than capable of leading a film outside of the Harry Potter franchise. The character growth that Miles goes through from an everyman who doesn’t know anything about the criminal world to a trigger happy hero who aims to take down the organisation. Radcliffe’s performance is fun, energetic and highly entertaining, keeping us engrossed for the whole film.

The supporting performance comes from modern scream queen, Samara Weaving who pulls of a fantastic performance as Nix, the magnetic killer who wants to be freed from her criminal lifestyle and start a clean slate. Weaving can always been trusted to provide stellar turns no matter what she is in and her performance as Nix is no exception. Unpredictable and completely wild, Nix is a fantastic character who brings most of the violence and the chemistry that Weaving and Radcliffe have is part of what really works in this film. What makes Nix such an interesting character is how we learn bits and pieces about her as the film progresses as though she is a jigsaw puzzle to put together. If you’ve seen Ready or Not or The Babysitter and are wanting to view another Weaving flick then this is a great gem to watch.

Overall, Guns Akimbo is a film that brings the style and substance which makes it such an effective look as to how social media can feed into violence and vice versa. Howden’s film isn’t afraid to ask questions about culpability and ask whether watching such violence actually perpetrates it or if the viewer is blameless. Using the character of Miles as a physical representation of this, Guns Akimbo is a great film that should definitely be viewed at least once.

What did you think of Guns Akimbo? Let me know in the comments below!

Guns Akimbo is available to watch on Amazon Prime in the UK now!

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In the Earth (2021)

When it comes to summer releases, it usually consists of huge blockbusters boasting the latest special effects and massive budgets. However, with so many films seeing a delayed release following the cinema’s closures across the global, we’re starting to see a lot of exciting, experimental films from directors who like to push boundaries. One such film is In the Earth which is Ben Wheatley’s latest offering. Taking inspiration from the isolation of lockdown, the film follows Martin (Joel Fry), a researcher who has to venture through mysterious woods to find his colleague who he hasn’t heard from in months. Guided by park ranger, Alma (Ellora Torchia), unexpected events unfold and turns everything upside down.

Directed by Wheatley and based on a script cowritten by Wheatley and Amy Jump, In the Earth has everything you would expect from his films. There are elements from previous films such as Kill List that find their way into this film but it still maintains a uniqueness and clear identity in its exploration of nature’s relationship with art and science. Astonishingly, In the Earth was written and directed over 15 days making the final result an even more spectacular achievement. All four characters are given plenty of time for natural characterisation that feels authentic thanks to the brilliant script which allows them to breathe and gives the actors lots of freedom.

In the leading performances, we have Joel Fry and Ellora Torchia as Martin and Alma, respectively and they make a great pairing. Fry manages to lead this film with ease and shows another side of his acting range which is a stark contrast to his supporting performance in this year’s Cruella. Martin is a reserved character but Fry adds a complexity to the character and his physical performance, especially when Martin injures his foot, is fantastic. We feel the pain and the frustrations that he goes through. The same can equally be said for Torchia, who is no stranger to horror having previously performed in Midsommar. One of the main highlights of the film, to say that Torchia’s performance as Alma is spectacular is an understatement. As a park ranger, she doesn’t fully understand the research and isn’t afraid to question motivations for further understanding. One particularly terrifying scene is when she attempts to venture through some toxic mist created by mushroom spores which penetrates her hazmat suit and causes severe hallucinations.

Reece Shearsmith and Hayley Squires round out the cast as Zach and Dr. Olivia Wendle who both live in the forest to connect with it with different motivations. Zach believes that the forest wants offerings in the form of art which he does by taking ritualistic photographs whereas Olivia is using her scientific equipment to communicate with the forest using light and sound. Representing two different sides of a spectrum with a common goal, Zach and Olivia will stop at nothing from getting what they want. What makes the film such an effective horror is the shifting dynamics between all four characters. As Martin and Alma struggle to find their way, allegiances begin to change and their hallucinations begin to break them away from reality which makes the forest seem like it is in an entirely different world. Although there are some very gory moments, it doesn’t feel like a horror in the traditional sense but the best thing about Wheatley’s films is to expect the unexpected.

Another frequent collaborator who Wheatley recruited for this film is composer Clint Mansell who knocks it out the park with his simply yet deeply effective score. Like the film, the score jumps in tone and music style to reflect the unpredictability while also clearly being influenced by nature and incorporating the sounds of the forest into the music. The music in the film almost becomes the voice of the forest with the chaotic sounds of disruption juxtaposing with gentler pieces. The forest can equally be viewed as a character in the film and this is enhanced through the brilliant score.

Overall, In the Earth is an incredibly sensory film that feels tight and fantastically paced. By focusing on a small number of characters, Wheatley allows us to become invested and gives plenty of characterisation without making it seem unnatural. What Wheatley does so well is making us feel comfortable in thinking the film is going to go in a certain direction before completely blindsiding us into an entirely different scenario. His ability to merge genres and explore an array of fascinating subjects helps to create films that are completely unique and interpretative which makes the viewing experience individual to the audience.

What did you think of In the Earth? Let me know in the comments below!

In the Earth is available to watch to cinemas!

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Army of the Dead (2021)

One of the biggest releases this weekend was Zack Snyder’s zombie blockbuster, Army of the Dead which made it’s way to Netflix on Friday. After his success with his Dawn of the Dead remake in 2004 (the original of which is arguably the best zombie film of all time), it was great to hear that Snyder was returning to the apocalypse on an even bigger scale. Boasting an all star cast and a unique concept, Army of the Dead sees Las Vegas overrun by zombies who are swiftly contained within the area. The survivors who managed to escape the containment are approached by a casino owner who gives them the task of getting back into Vegas to his casino and getting $200 million that has been stored in its underground vault before Vegas is nuked by the government. The survivors, led by Scott (Dave Bautista) have to face zombies that have super speed and strength while also facing an intense countdown.

Army of the Dead was greenlit in 2007 but faced a series of problems in pre-production before Netflix bought the rights in 2019. Unfortunately, a lot films that experience development hell for long periods of time like Army of the Dead suffer due to constant rewrites and differing directorial visions. This seems to be the case with the film. While the concept and basic idea has a lot of promise, the actual execution seems to clash in a lot of ways which causes the pacing of the script and characterisation to suffer. We see the initial outbreak take place over a ten minute montage at the beginning followed by forty minutes of set up before we even revisit the site. While setting up a plot isn’t a bad thing by any means, it feels as though the introductions for each character are too brief and not characterised enough, especially Scott.

In the leading role of Scott, Dave Bautista does a great job bringing that action star quality to the film. He does the best with the material written and his chemistry with the other survivors, especially his friend, Maria Cruz (Ana de la Reguera). Where the film fails Bautista’s character is the way they try to push his relationship with his estranged daughter, Kate (Ella Purnell). Sadly, it feels like the dialogue between them is artificially forced whereas there is a much more natural chemistry between Scott and Maria so having more scenes between them would have enhanced their characterisation and made the film that much stronger

With a huge cast, it’s inevitable that not everyone is going to get the same amount of attention or screentime which can affect the characterisation. The most controversial being Tig Notaro’s character, Marianne, who has her main bulk of screentime in the final act of the film as the character had to be recast during filming which meant that they only had limited time with Notaro. Considering Marianne is the pilot who is tasked with getting the group in and out of Vegas, she definitely would have been in it more was Notaro cast in the role from the very beginning. What we do see from Notaro is great and she brings her signature deadpan delivery which makes the final scenes of the film really enjoyable to watch. Another great supporting turn is from Matthias Schweighöfer who plays locksmith expert, Dieter, whose job is to break into the safe. As one of the smaller characters in the ensemble, it wasn’t expected that he would be given a lot of characterisation beyond the basics or screentime but what we do see is great. Schweighöfer’s performance is charismatic and funny, bringing a lighter touch to the film.

When watching a zombie film, the most important aspect is the design and special effects involved. This is definitely a plus for the film as the zombies are a similar design from Snyder’s remake Dawn of the Dead making it believable that it could be within the same universe. At the same time, there are more unique inclusions such as a zombie tiger as well as some comical touches such as a zombie Elvis who is featured in the montage at the beginning. It feels as though there is a lighthearted approach to some of the ideas while still maintaining the gore level expected from such a film.

Overall, Army of the Dead is a film that is full of interesting ideas and if you are a fan of zombie flicks, it’s definitely worth a watch. However, it seems that there is tightness missing from the story as the pacing suffers badly while the two and a half hour running time could have easily been cut down to create a better viewing experience. It would be great to see if this film receives a sequel that furthers the story and hopefully brings a sharper focus to the characters and the writing. In the meantime, there is a prequel and an anime series in the works that will look into the characters before and during the events of Army of the Dead so hopefully, we’ll get to know the characters a lot better.

What did you think of Army of the Dead? Let me know in the comments below!

Army of the Dead is available to watch on Netflix now!

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The Father (2020)

Florian Zeller’s directorial feature debut The Father was undoubtedly subject to a lot of critical and commercial praise and emerged as a favourite among many critic’s Best Film lists going into the Oscars. Starring Anthony Hopkins as Anthony, a father who is suffering with dementia, the film follows his deterioration into memory loss and despair as other characters begin to change actors and the setting begins to change. It is a deeply harrowing film that weaves feelings of thriller into the dramatic elements of the film. With great performances all round, especially from Hopkins and Olivia Colman who plays his daughter, Anne, The Father was a regular mainstay on the awards circuit this year, receiving six Academy Award nominations and winning two with Zeller and Christopher Hampton winning Best Adapted Screenplay and Hopkins receiving the Best Actor gong in a shock win.

Zeller has been a prominent playwright winning many prestigious awards in France. The Father marks his directorial debut and its script is based on his play. What makes the film so effective is how well Zeller’s direction allows the flat to become a character in itself. As we become familiarised with every room and corridor in the flat, we begin to see the changes that Anthony notices to the point where the film plays as a thriller. Although The Father is not a horror in the traditional sense of the genre, there is something deeply horrific and disturbing about watching Anthony’s world and sense of self crumble as everything becomes more distorted and confused. The way that the script is paced and structured allows for this confusion and deterioration to be carried off successfully as scenes appear to overlap and the same dialogue occurs in different flats with different actors playing the same role. The only consistent aspect of the whole film is Hopkins playing Anthony. Everything else from the plot to the characters and the setting is subject to changes to highlight the spiral into confusion.

Hopkins’ win at the Academy Awards this year was one of the most shocking results as it had seemed that the late Chadwick Boseman was the favourite to win for his performance in Ma Rainey’s Black Bottom. However, the competition in the Best Actor race was incredibly strong and both Hopkins and Boseman gave fantastic performances. Although seeing Boseman win would have been a lovely tribute on what was a life cut tragically short, Hopkins’ achievement in The Father shouldn’t be dismissed or overlooked. There is a reason why Hopkins is often referred to as the best actor working today and it is his ability to truly become the character and his fearless approach. The character of Anthony is extremely confident in himself at the beginning but we see his many layers begin to peel away as his struggles come to light and his concept of time and self begin to dissipate. Hopkins’ ability to shift the mood with the slight change of voice or a minor physical action carries the film and lifts it from being a play performed onscreen to a cinematic experience. It’s testament to Hopkins’ career that his role in The Father is being deemed one of his best considering the calibre of his actor.

In support, we have the extremely lovable Olivia Colman playing Anthony’s daughter, Anne. Colman is always a welcome presence in any film and The Father is no exception. If you’re going to have an actor playing with someone like Anthony Hopkins, you need to make sure they can match his calibre and Colman is one of the best actresses working today and is perfect casting. Coming off her Oscar winning turn in The Favourite, Colman is phenomenal as Anne, the tortured second daughter who lives in the shadow of her deceased sister, Lucy (Imogen Poots) and having to listen to her father talk to people about how Lucy is his favourite daughter. Where Anthony is seemingly happy and content at the start of the film, Anne is the opposite. Having sacrificed the happiness of her life to look after her father, Anne’s partner, Paul receives a job offer in Paris and wants her to join him. This is the perfect opportunity for Anne to begin to live her life and step out of the shadow of her family. Colman received a slew of award nominations including an Academy Award for Best Supporting Actress nomination which was great to see because she really holds her own and proves to be a stellar screen partner against Hopkins.

Composer Ludovico Einaudi has had a brilliant year as he helped bring life to Chloe Zhao’s beautiful Best Picture winner, Nomadland as well as The Father. It’s incredible how different the scores are and yet are full of Einaudi signatures that help to bring his mark to the film. The score for The Father is gentle and intense at the same time and feels like a perfect mesh between drama and thriller without being over the top or overwhelming the scenes. It’s the subtly that makes the music a perfect undercurrent that propels the scenes forward and brings those confusions to light. The music in the final scene, particularly, is stunning and it is a real shame that Einaudi didn’t receive any nomination for his efforts for either film at the Academy Awards as that would have been well deserved.

What The Father does so well in this cinematic adaptation is its ability to elevate itself from a stage production onscreen thanks to the use of the direction and performances. With a stellar script that bends all of the rules, The Father is not an easy watch by any means but it is by far one of the best films to come out of this awards season. Boasting fantastic performances by Hopkins and Colman, it may not have all of the bells and whistles that come with a lot of big blockbuster films but like Nomadland, The Father thrives in its simplicity and allows the script and characters to help bring the drama to life.

What did you think of The Father? Let me know in the comments below!

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Minari (2020)

One film that has received unanimous praise is Lee Isaac Chung’s beautiful drama, Minari. Starring Steven Yeun as Jacob, the patriarch of the Yi family who have immigrated to America from Korea. Having previously lived in California with wife, Monica (Han Ye-ri), daughter, Anne (Noel Kate Cho) and son, David (Alan Kim), the family moves to rural Arkansas where Jacob hopes to build a farm full of Korean fruit and vegetables for vendors in Dallas. Having to balance his dream to be a successful farmer with the dramas of family life, especially the arrival of his mother-in-law, Soon-ja (Youn Yuh-jung) and the family’s identity as Koreans living in America. Nominated for six Academy Awards and winning one for Best Supporting Actress for Youn Yuh-jung’s stunning performance, Minari landed on many critic’s best film list and it’s easy to see why. 

What Minari does so well is capture that struggle of the American Dream. The Yi family literally and figuratively want to own their small slice of paradise and Steven’s relentless pursuit and determination allows us to see the ups and downs of the struggle. Coinciding with the additional subject of the family being Korean immigrants, there are undertones of racism in the exchanges that they have with their local, predominantly white, church, especially where the children who don’t fully understand are concerned. We see the film through both adult and children’s eyes and are able to get a fully rounded view of the experience. Chung’s screenplay feels deeply personal and it is clear in his direction that this is a subject that he is extremely passionate about. The merging of American and Korean culture is mixed together to create this wonderful film that shows appreciation for the little things in life rather than aiming for the stars. 

Since leaving TV’s The Walking Dead, it’s been great to see Yeun starring in lots of interesting films, including Sorry to Both You. However, his performance in Minari has cemented him as a truly Hollywood leading man. Jacob is a deeply flawed character, often putting his American dream before his wife and children’s needs but he does have his family’s interests at heart. Yeun is perfectly cast as Jacob in what is his most dramatic and challenging role to date. Feeling the weight of the family on his shoulders, Jacob works tirelessly to provide for his family as well as securing their future prospects as well. What Yeun does so well is show the resilience of the character as well as that quick change as he shares precious moments with his children, especially David. Well deserving of his Oscar nomination, Yeun has already shown us his ability to act in a variety of genres and mediums showcasing a huge emotional range and it feels as though his performance in Minari is a fine combination of him performing at his very best.

In support, Youn Yuh-jung brings an Oscar winning performance as Soon-ja, the family grandma in what can only be described as a wonderful turn. Youn has been an established name in Korea where she has pulled off decades of phenomenal performances after the other. It’s great to see that success thrust into the global spotlight and even better that the film industry has bestowed her with a slew of major awards. Soon-ja is a character who soon glues the family together, causing friction initially, especially with David as he doesn’t want to embrace his Korean heritage. However, the two soon share an inseparable bond and it is an absolute delight to watch. Soon-ja comes into the film a little while in so we are able to see how her arrival completely shifts the family dynamic. 

One aspect of the film that has been getting a lot of attention is the score, composed by Emile Mosseri which was well deserving of the praise and award nominations it received. Bringing a calmness to the film, the score is delicate and classical in sound whilst also managing not to deter from the action happening on screen. Mosseri’s piano based music feels melancholy at times, especially during scenes in which it seems that Jacob’s dream is out of his hands but there are also moments when it feels like the catalyst for bonding such as the moment when Soon-ja shows David where to grow the minari. 

Overall, Minari is one of the most fulfilling films to come out of this awards season. Whether you’re admiring Chung’s impeccable screenplay and direction or blown away by the stellar performances from the cast, Minari is guaranteed to exceed your expectations. It may not have the bells and whistles that other films have but its humility and minimalism allows the characterisation to take centre stage and is sure to leave you stunned and captivated long after the credits roll. A truly stunning achievement and hopefully marks even more incredible films in the pipeline for Chung. 

What did you think of Minari? Let me know in the comments below!

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Nomadland (2020)

Nomadland has become the ultimate frontrunner this awards season and it’s easy to see why. Writer and director Chloe Zhao’s adaptation of the 2007 nonfiction book, Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder has swept all the major awards this awards season and is more than likely to repeat its success again at the Oscars this Sunday. The film follows Fern (Frances McDormand), a woman who decides to lead a nomad life following the closure of her town and the death of her husband.

Chloe Zhao’s work on this film is absolutely stunning and impeccable. Working as the film’s co-producer director, writer and editor is a clear indicator of her passion for the project and it shows. From the flawless script to the smooth editing, watching Nomadland feels like an immersive experience as though you are going on these journeys with Fern. Zhao has received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Editing with the majority of these categories locked which will make her the second female winner of the Best Director award at the Oscars.

Just when you think Frances McDormand has shown all of her range, she swoops in with another tour de force performance. Coming off the back of her Oscar winning turn in Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri, McDormand shines again as Fern, a nomad who is trying to find purpose in her life following the death of her husband. Adamant that she is “houseless” rather than homeless, Fern travels the States meeting a lot of new and familiar faces along the way. What McDormand always does so well is bringing an authenticity and depth to her characters in a way where she makes it look effortless yet impactful. Whether Fern is warming herself up in her van, bidding a friend farewell or reciting a Shakespeare sonnet, McDormand takes us through a whole range of emotions whilst giving an incredibly controlled and grounded performance.

It is impossible to discuss Nomadland without talking about the incredible cinematography by Joshua James Richards. Taking advantage of the nature surrounding Fern’s journeys, Richards’ work is so emotive and strikes a chord with the simple panning of a sunset behind the mountains. It may seem simple on the surface but the way it is done and the mastery and control in how the emotions in the film are conveyed make this a beautifully impressionist piece.

Another highlight for me that hasn’t been as widely discussed is the score. Composed by Ludovico Einaudi, the score feels beautifully classical while also helping to bring forward the emotions we see onscreen. Just as the cinematography allows the landscape to become personified, so does the music. The scene in which Fern goes to a large gathering during the Spring months and meets fellow nomads there is a beautiful long shot that is lifted by a gorgeously soft piece of music that perfectly captures the wonder of the lifestyle. The music never tries to dominate the events happening onscreen but simply helps to heighten and intensify those emotions.

What makes Nomadland work so well is its simplicity. Zhao shows that you don’t have to bring in all the bells and whistles to make the best picture. Nomadland has all the makings of a great modern classic in its relevance and beauty. The film’s ability to bring up a whirlwind of emotions through scenic camerawork is a mark of Zhao’s talent as a visionary. This is very much a labour of love and one that begs for revisiting time and time again thanks to its rewarding visuals and emotive performances where the landscape plays a key part. Whether you view this film as a take on capitalism, environmentalism or a character study, there is much to be gained from the Nomadland viewing experience.

What did you think of Nomadland? Let me know in the comments below!

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The Secret of Kells (2009)

Cartoon Saloon’s first feature delves deep into Irish history and folklore as it revolves around the mysterious illuminous text the Books of Kells and its inception in the 9th century. The Secret of Kells follows 12 year old Brendan (Evan McGuire), a young monk who has lived in the small town of Kells for as long as he can remember. Unable to pass the town’s walls thanks to the strict orders of his uncle, Abbot Cellach (Brendan Gleeson). With the help of his mentor and master illuminator, Brother Aiden (Mick Lally) and Aisling (Cristen Mooney), a mysterious fairy who lives in the forest around Kells, Brendan is able to work on his skills and add to the Book of Iona that Brother Aiden has been working to finish.

Directed by Cartoon Saloon co-founders Tomm Moore and Nora Twomey, The Secret of Kells takes you into a world that is detached from all others. The small town of Kells sits in the middle of a forest with only a wall to protect them. As Abbot Callech becomes obsessed with building the wall, he forgets about the pure faith that is found within the pages of the book. The animation is beautifully done as the grey toned town clashes with the bright greens of the forest surrounding it. When we delve into Aisling’s world, it is spectacular with the trees taking their inspiration from Gustav Klimt’s Tree of Life incorporating Klimt’s signature swirls to encompass this all magical world. Compared to the dreary and structured town, there is a clear disconnect between the two worlds that live side by side.

Brendan, the film’s protagonist, is brought to life by Evan McGuire. McGuire brings that childlike wonder to the role as we are introduced to this mysterious world where Brendan lives, wanting to see what lies beyond the walls. His circular and free flowing features contrast with the linear designs of his uncle. Donning brighter clothes, Brendan physically and figuratively stands out as he wants to push himself out of his comfort zone. When it comes to venturing out into the forest, however, Aisling appears and brings us on an adventure full of magic and colour. Cristen Mooney’s performance is full of innocence as Aisling is dead set on protecting the forest and almost oblivious to the dangers and destruction that is en route. The clash between the two creates some natural conflict initially but they share a common bond thanks to their love of the natural land and the magic within it.

The two figures of authority represent Brendan’s conflicted sides. His uncle, Abbot Cellach is brilliantly voiced by Brendan Gleeson and is a harsh enforcer of rules and regulation. Brendan doesn’t feel fulfilled but also wants to impress his uncle regardless. On the other side, Brother Aiden has a more nurturing approach as he teaches Brendan how to become an illuminator and create his own pages. Mick Lally’s performance is calm and wholesome as he sees Brendan as a flicker of hope. Neither man is right or wrong and have their flaws, but they are super important to Brendan’s overall development and characterisation as they work as catalysts to the protagonist’s own internal conflict.

The music, composed by Bruno Coulais and Kíla is absolutely stellar, making the most of traditional Irish music. With varying tracks that help to enhance the atmosphere from the whimsical upbeat tracks that highlight Brendan’s excitement as he ventures through the forest or Aisling’s haunting spell rendition as she frees Brendan from the main tower in Kells, the music is as much a character as the actual characters. From the first moment, the music brings the entire film to life feeling both traditional and modern at the same time. There is something about the mix of tones and types of music that makes The Secret of Kells soundtrack feel new and refreshing.

Overall, The Secret of Kells is a wonderful debut and a brilliant start to Cartoon Saloon’s feature filmography. From the stunning animation, lovable characters and captivating soundtrack, The Secret of Kells is a film that deserves to be watched again and again so you can appreciate all of the beautiful details hidden within this gem of a film. Whether or not you know about the history of the Book of Kells or the Viking invasion, this film is an ideal starting point for young children and adults alike to learn and delve into Irish history and folklore.

What did you think of The Secret of Kells? Let me know in the comments below!

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BFI Flare Festival 2021: Boy Meets Boy

One film that I have seen receive a lot of praise at this year’s BFI Flare Festival is Daniel Sanchez Lopez’s directorial feature debut Boy Meets Boy. With the script written by Sanchez Lopez and Hannah Renton, the film follows British junior doctor, Harry (Matthew James Morrison) who is on a weekend trip in Berlin and has a chance encounter in a nightclub with local guy, Johannes (Alexis Koutsoulis) where the two kiss and then spend the following day exploring the city before Harry goes home. The film takes place over the course of this day and we learn about the protagonists through their many conversations. It’s a film rich in characterisation while also touching on the LGBT+ experience in the modern.

Despite the limited locations, Sanchez Lopez manages to make the protagonists’ journey feel longer and wider thanks to the beautiful direction. Making the most of the Berlin city setting, we follow the characters through the city as Johannes shows Harry around without going to any touristy places. The glorious summery weather adds that extra excitement and adventure as Harry laments his future when he goes back home to the UK. As the film is character led, it’s important that the script is tight and engaging to ensure that audience attention doesn’t slip. What Sanchez Lopez and Renton do really well is keep an ongoing dialogue between the two that shifts and changes in topic and tone. Whether they are engaged in conversations on religion, their experiences as gay men or what they want for their future, we really see how their own outlook and perspective mesh and clash as dynamics can quickly shift. This constant shifting of dynamics make the conversations flow naturally while also reminding the audience that they are complete strangers with differing backgrounds.

Matthew James Morrison does a great job at showcasing junior doctor Harry’s inner conflict as he struggles figuring out what he wants to do with his life. Wanting to dedicate his life to helping others, Harry is an individual who at first seems assertive and confident in who he is but his journey through the film is all about self exploration into his career and lifestyle. The scene in which the characters are conversing with Mormons, Harry seems genuinely interested to learn about why they would choose to openly follow a religion in an age where young people are not engaging with religions as much. Whether he has his own inner religious conflict is unknown, but he is a character who is unsure about his future and his place in the world. His intelligence stems from his scientific background and he approaches all conversations with a logical frame of mind.

In contrast to Harry’s scientific and more traditional background, Johannes is an aspiring dancer who is inspired by all kinds of movements. Alexis Koutsoulis brings a thoughtful performance as Johannes, who has a developed sense of the world and his place in it. However, his conflict comes in his approach to relationships. Having found himself in a relationship in which his partner wants to see other people, Johannes finds it difficult to connect with people on an emotional level because he is unable to live up to what he thinks is expected on him. On the surface, Johannes is carefree and expressive but that pain and inability to connect makes him quite lonely. Koutsoulis’ performance is beautifully layered and his part in the film acting as a guide allows the audience to see into this world as it is Berlin through his eyes.

Overall, Boy Meets Boy is a poignant film that follows the day in the life of a chance encounter. The developing relationship between the characters is one that a lot of people will relate to as they discuss an array of issues. A fantastic debut from Daniel Sanchez Lopez who has done well in creating two established characters in a very short running time. Although the encounter between the characters is brief, it feels like a lifetime of conversations thanks to the script which allows us to really gain the protagonists’ perspective on life both positive and negative.

Boy Meets Boy is streaming at this year’s BFI Flare Festival

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BFI Flare Festival 2021: Enfant Terrible

Another biopic that I wanted to catch at BFI Flare was Enfant Terrible. Following filmmaker Rainer Werner Fassbinder’s rise as an auteur and his struggle with addiction was never going to be the most comfortable watch. Directed by Oskar Roehler from a script written by Klaus Richter, Enfant Terrible stars Oliver Masucci as Fassbinder in a biopic that follows the usual linear structure as expected from the genre whilst also adding in techniques inspired by the film’s subjects. Fassbinder has garnered a reputation for his abrupt approach to filmmaking, often breaking the rules and ignoring the advice of those who prefer traditional filmmaking. Trained in theatre directing before films, we see how this theatrical backstory feeds into his creative process and the end result is a film that wouldn’t look out of place in Fassbinder’s own filmography.

Roehler’s directorial approach seems to be inspired by Fassbinder’s theatre background. Since it is a biopic, it is character driven and therefore the stage like direction works really well. Just as Fassbinder was known for his highly intense filmmaking techniques, Roehler applies this. Although Fassbinder is a highly celebrated filmmaker in terms of his output, it was no secret that he had a fair share of problems and was known for his turbulent relationships and unpredictable behaviour. This unpredictability is what drives the film, even though it is a biopic and you can research what happens in his life previously. Roehler allows us to see the many sides to Fassbinder from his moments of inspiration to the darker moments of abuse and addiction. We are not expected to like Fassbinder at the end of it but to see how his creative process worked and the positive and negative impacts it had on the people around him.

Klaus Richter’s script follows the usual biopic formula and spans Fassbinder as an aspiring filmmaker all the way through to his death from a drug overdose at the age of 36. Although there are segments of the film that explore Fassbinder on set as he is making his films, the main focus is around the man himself and how he acts away from the character. Showing his volatile side, we are introduced to his stubborn and abusive nature from the outset as his unorthodox methods make everyone around him uncomfortable. Whereas a lot of biopics like to showcase the positive achievements of their subject, Enfant Terrible shines a more critical view of Fassbinder, especially as the success begins to feed his ego. It does seem a bit unbalanced at times as you question why his friends and entourage stay with him when there are very few moments of vulnerability or kindness.

Masucci’s performance as Fassbinder is insanely good. When playing a person like Fassbinder, you have to push the boundaries and Masucci does this with ease. He is no stranger to playing controversial characters as he is best known for playing Adolf Hitler in the 2015 satire Look Who’s Back so becoming such a large character like Fassbinder is the perfect challenge for him. His performance is heavily layered as we don’t fully understand why Fassbinder makes the choices he makes initially but as the film unfolds and the director begins to find fame and success, we begin to see his emotions rise to the surface. It is almost as if Fassbinder becomes aware of his own mortality and his limitations. Initially set on becoming a successful film director, his personal life soon overrides his career and it’s difficult for the world to differentiate the artist from the art.

The production design by director Oskar Roehler is clearly inspired by stage plays in construction. Considering the subject and the dark topics explored, it makes for a brilliant contrast and makes the film beautiful to look at. The expressionist colouring sets the atmosphere and can make the scenes even more intense. Roehler makes the most of the space involved in his scenes and the production design feeds into this as the scenes can run for longer periods of time.

Overall, Enfant Terrible is a film that focuses on the artist rather than the art. Fassbinder’s controversial behaviour probably isn’t surprising to most film fans who are aware of the background but Masucci’s strong performance is hard to ignore. Chronicling Fassbinder’s rise to fame and ultimate death, we get a glimpse into how success can afflict someone positively and negatively. As the filmmaker becomes more successful, his films are widely acclaimed but his demons get the best of him. Avid Fassbinder fans may not learn anything new from this biopic but it is a great film to watch for its interesting direction and strong leading performance.

Enfant Terrible is showing at BFI Flare Festival.

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BFI Flare Festival 2021: Tove

Another film that I was especially keen to watch at this year’s BFI Flare Festival was Tove, a biopic about Tove Jansson who is known as the creator, author and illustrator of the Moomin book series. Directed by Zaida Bergroth from a screenplay, written by Eeva Putro, the film follows Tove (Alma Pöysti) and her life before and during her success as an artist. Her turbulent career as a traditional artist and her reluctance to follow in her father’s footsteps brings in a lot of initial problems. A chance encounter with aristocratic theatre director Vivica Bandler (Krista Kosonen) at a gallery opening sparked a love affair between the two women and a friendship that would last through their lifetime. Tove was entered by Finland for the Best International Film Award at the upcoming Academy Awards but sadly did not make the shortlist. This is such a shame as it is a very strong film that deserves to have a wide audience.

Zaida Bergroth’s direction is brilliantly as we become immersed into Jansson’s world at the end of the Second World War. With sole focus on Jansson, there are no scenes in which she doesn’t grace the screen ensuring that the audience really is seeing the world through her eyes. The screenplay by Putro is beautifully paced and gives an in depth glance into one of Finland’s famous figures. Tove is a film that doesn’t force the events to happen to its protagonist but simply let them happen naturally as the film unfolds. Feeling natural and authentic, the minimalistic approach has sprinkles of absurd moments such as the first moment of the film where we see Tove dancing to jazz music by herself. This film paints the perfect picture of an author who has inspired and captivated many throughout the world.

Alma Pöysti’s performance as Jansson is fantastic and reminded me a lot of Marion Cotillard’s performance as Edith Piaf in La Vie en Rose in that she drives the film and elevates the whole experience. Pöysti is captivating from the very first second you see her onscreen to the last thanks to her layered characterisation that showcases her inner conflicts with both her art and personal life. There is no doubt that Jansson was most comfortable when able to express herself how she wants and so she surrounds herself with the people and art that are going to allow her to do this. Blasting jazz music and working tirelessly on her Moomin universe, Jansson seemed to be an otherworldly creature and Pöysti pulls this off. Pöysti doesn’t overplay the character nor does she force the emotions to come to the surface. What makes her performance so special and unique to watch

Krista Kosonen is great in support as Vivica Bandler, the woman who stole Jansson’s heart. Initially paying for Tove’s services to design a party invitation, the relationship between the two women quickly evolves to a romance that becomes turbulent over the years. Kosonen is a great onscreen partner for Pöysti and the scenes between them are filled with tension and chemistry. Whereas Tove is more introverted and working endlessly on being accepted by the City as a certified artist, Vivica is extroverted and confident in herself. Initiating the relationship with Jansson, Bandler’s portrayal is one of manipulation and mixed signals as Jansson doesn’t know what to expect when she next sees her. Kosonen portrays Bandler as hard to read and unpredictable and the status of their relationship propels the film’s events forward as they work together on adapting the Moomins for the stage.

One thing that stood out to me in this film was the score and soundtrack. The original score composed by Matti Bye is beautiful and unpredictable and reminded me a lot of Jonny Greenwood’s score for Phantom Thread. Bye’s score works so well as it reflects the turbulence and conflict Tove is feeling and rises it to the surface. The classical sound contrasts with the soundtrack choices which contains a lot of jazz music. This chaotic mix of classical and jazz only serves to highlight Jansson’s own position as a child of prominent, traditional artists whilst also remaining progressive in her style and refusing to conform who live to the expectations set out for her.

Overall, Tove is an exceptional film that does a great job of showing Tove’s struggle to be seen in an industry that is dominated by men that also rely on the traditional aesthetics. Tove is often known for her work on the Moomins and while this aspect is shown in the film, the central focus relies on Tove as a person first. Pöysti’s performance is fantastic and should be discussed widely as it is a true tour de force. She becomes Jansson and pulls it off with ease that we forget we are even watching a biopic.

Tove is showing at this year’s BFI Flare Festival.