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London Film Festival 2021: Boiling Point

A popular trend that seems to be more commonplace in film today is how filmmakers are adapting their filming techniques to reflect what is happening onscreen through long shots. This can be used to highlight the never-ending magic of nature such as Nomadland or highly stressful scenarios such as Birdman. Boiling Point not only takes its inspiration from the latter but the entire film was shot in one take making it a truly immersive experience for the viewer. Following head chef, Andy (Stephen) during a busy Friday night at his newly opened restaurant, Boiling Point follows the inner workings of the restaurant from the back of the kitchen to front of house and everything in between in a film that will have you on the edge of your seat.

Directed by Philip Barantini who cowrote the script with James Cummings, Boiling Point feels a lot longer than its 90 minute runtime. This is because we are thrust into Andy’s life as he rushes to work. Before we even see any visual, we hear him on the phone to his family to highlight the ongoing nature of the film. In a sense, although Boiling Point highlights the 90 minutes through his shift, the filming technique cleverly interweaves audio at the very start and end of the film to emphasie that we are only getting a glimpse into a snippet of their lives. The direction is sharp and detailed, allowing the camera to naturally weave its way through the restaurant and this fearless approach means that we see everything going on, even if it seems unimportant.

In the lead is Stephen Graham as head chef Andy and as expected, the performance is absolutely exceptional. Adopting his native Scouse accent, Andy is a character crippled by stress and anxiety which is displayed from the very beginning. His inability to juggle his personal and private life leads to situations beyond his control and much like the film’s name, finds himself at a boiling point. Graham has established himself as one of Britain’s finest actors and it is because of his realistic and gritty approach that makes his performances to intense and interesting. Andy is a fully realised character and we can feel the emotional and physical strain he is under in such a short period of time.

Playing fellow chef, Carly, is Vinette Robinson who does a fantastic job opposite Graham. Carly is an employee who thrives at her job and excels and yet is not rewarded for her hard work. Patient and wanting to get the job done, Carly is careful when it comes to picking her fights and stands for no nonsense in the kitchen, even when Andy is distracted. One of the film’s most hard-hitting scenes comes when Carly snaps at the hands of the manager when a complaint comes in that the lamb hasn’t been cooked. What follows is a monologue that is raw while still maintaining a level of control and composure. We can feel Carly’s desire to raise her voice and be more physical with her actions and Robinson’s excellent performance here really allows us to feel that tension in her delivery.

Playing celebrity chef and one of Andy’s friends is Jason Flemyng as Alastair Skye who is visiting the restaurant for the first time. Andy’s credibility as a chef is immediately brought into question when Alastair claims several items on the menu where his ideas rather than Andy’s. This friction between the two characters has its fair share of tension as there seems to be two layers in their friendship. One layer sees them genuinely support each other and want the other to succeed whereas there is another side to their relationship as they are competing against each other to be the better chef. The idea that they seem to be working with and against each other at the same time makes for a complicated relationship that is fantastic to watch onscreen as Graham and Flemyng’s interactions are gripping.

Overall, Boiling Point brings us a fantastic performance from Stephen Graham and manages to keep the audience gripped thanks to its technical intensity. Immersing the audience into its world before we even see an image.

Boiling Point is showing at this year’s London Film Festival!

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London Film Festival 2021: Wheel of Fortune and Fantasy

It’s an accomplishment for any filmmaker to be able to showcase their work at London Film Festival; however, for Japanese director Ryusuke Hamaguchi, he has two films showing at this year’s festival. With his adaptation of Drive My Car sweeping awards at Cannes Film Festival (you can read my review here), his second film Wheel of Fortune and Fantasy took the Silver Bear Award at this year’s Berlin Film Festival meaning that we are gifted with two exceptional films from the visionary filmmaker. The latter is an anthology film split into three segments centred on women and their lives in modern day Japan. The results are a fantastic glimpse into Hamaguchi’s solid character work and his ability to bring out the magic out of everyday life.

As expected, Hamaguchi’s direction and writing is seamless and organic, proving that he is a filmmaker who isn’t going anywhere. His use of long takes filled with dialogue between two characters can be intense and slow paced but works perfectly for the kind of films he wants to make. His ability to get into the characters’ heads and bring forth their motives in a way that is completely natural while making it seem effortless is exactly why he has been sweeping the awards panels off their feet. Showing the magic in everyday life may seem boring but what Hamaguchi does is create characters who are completely relatable whilst also allowing the audience to build their own interpretations and emotions on top of it. Wheel of Fortune and Fantasy proves his talent for writing well-rounded female characters who have agency and are unaware of their sexuality without objectifying them at any point. He isn’t afraid to be daring in the topics he explores and seems to allow the characters to develop in an unpredictable way.

The film’s first segment is titled Magic (or Something Less Assuring) which follows friends Meiko (Kotone Furukawa) and Tsugumi (Hyunri) as they leave work for the day. The latter is discussing how she has found someone she really likes called Kazuaki (Ayumu Nakajima) who just so happens to be the former’s ex-boyfriend although she doesn’t know this. What follows is an intricate love triangle as Meiko realises she is still in love with Kazuaki and tries to win him back before he gets serious with Tsugami. Furukawa’s performance as Meiko, in particular, is unsettling as we see her discomfort as she realises the situation that has found herself in. Meiko’s encounter with Kazuaki shortly after leaving Tsugumi is gripping and unpredictable with both Furukawa and Nakajima visibly going through a whole spectrum of emotions after their relationship ended negatively two years earlier.

The second segment is titled Door Wide Open and is by far the most explicit and darkest inclusion of the three films. The film centres on Nao (Katsuki Mori) who agrees to seduce a reputable professor, Segawa (Kiyohiko Shibukawa) after the latter humiliates her partner, Sasaki (Shouma Kai), a student who has failed his class. Like the first segment, it appears that there are three pieces of the puzzle moving and this one dives even deeper in terms of its complexity. Segawa is a renowned author and Nao’s method of seducing him is reciting an extract from his book in which there is an extremely detailed sexual encounter between characters. Never taking her eyes off Segawa whilst reading, we see the discomfort in both characters as the tensions rises in conjunction with the sexual tension from the excerpt. Mori’s performance is unapologetically fearless and completely gripping as we see the shift in control change constantly between Nao and Segawa. There are also discussions to be had of the gender constructs in this segment as well. Having a female character read the relentless sexual description of the writing from the male professor gives the former power of the situation, taking it from the professor in a bid to humilate him by using his own words against him.

The final segment is entitled Once Again and follows Moka (Fusako Urabe) who meets Nana (Aoba Kawai) at a train station believing that she was once her first love. Nana is flustered by Moka’s approach and is equally happy to see her. However, it later emerges that Nana isn’t who Moka thought she was and both women had mistakenly thought that the other was someone else entirely. The situation gives a chance for both characters to divulge into past traumas and find an outlet for its release to the other, despite being perfect strangers. Urabe and Kawai work fantastically together and we really feel their genuine connection as the events of the film develop. Even when it turns out that the characters don’t know each other, it doesn’t seem to matter and allows us to delve deeper into their backstories.

The only connecting thread that weaves these stories together is the music which is a light classical number by German composer Robert Schumann. The score is simple and romantic in style, fitting the themes of love perfectly as each woman shows their love in a different way. Even in the scenarios where there are dark undertones or an unhappy ending, the music serves to bring the audience back into the narrative of the film as an anthology and helps to move them along to the next segment. It’s a simple yet effective way of ensuring that these segments have some form of connection and helps to avoid alienating them as three completely separate films. After all, they do serve as a consistent triptych of the female perspective in modern day Tokyo which gives a basic common ground between them.

Overall, Wheel of Fortune and Fantasy may be a jarring view for some due to its anthological narrative but it is a testament to Hamaguchi’s skill as a writer and director that he is able to work with so many different kinds of characters and somehow find the humanity in them, showing that not everything is in black and white or good and evil. With each segment lasting 40 minutes each, we are really able to delve deep into the characters’ psyches and are able to explore their perspective of the world in a short amount of time.

Wheel of Fortune and Fantasy is showing at this year’s London Film Festival!

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London Film Festival 2021: Language Lessons

With the COVID-19 pandemic taking place all over the world, recent years have seen new innovative ways of filmmaking to accommodate the restrictions that came with. The result has seen an abundance of films released that utilise the use of screen recording where we see characters interact over social media and chat programs such as Skype and Zoom. Language Lessons is one such example and follows Adam (Mark Duplass), a man whose husband Will (Desean Terry) buys him 100 Spanish lessons with Cariño (Natalie Morales). The premise is simple but the result is anything but as the Spanish lessons serve as as introduction into deeper issues and a blossoming friendship between the two main characters.

Directed by Morales who cowrote the screenplay with Duplass, Language Lessons is clearly a film that the two were deeply passionate about and this comes across in how well they share the screen together. Morales’ direction is simple and yet manages to make the world of the film feel as though it is wider than viewing the characters’ computer screens. Morales does this by incorporating different locations for the characters to call from so the environment doesn’t become too familiar and there is always something different to talk about. The screenplay is written by both Morales and Duplass and it is clear that they have both delved deep into their characters to ensure that there is more to them that meets the eye. This is especially important given the limitations in how the film is shot and serves well to make sure that the characters have a well-developed backstory.

Mark Duplass delivers a great performance as Adam, showcasing his emotional range despite the short running time. What makes Duplass such a great fit for the role is his charisma and likeability which lends itself nicely to Adam’s character. We see Adam’s journey quickly take a turn for the worse following the sudden death of his husband but through his friendship with Cariño, he finds an outlet to express his emotions, good and bad, through the turbulent time. Adam’s character feels real because, despite his kindness, we are able to see his flaws, especially during heated discussions with Cariño.

In their role as Cariño, Natalie Morales is a great onscreen partner for Adam. Where Adam is an emotional character who wears his heart on his sleeve, Cariño is more reserved and guarded, even when the two begin to form a friendship. However, Morales is still able to showcase emotional range including the brilliant scene when Cariño is extremely drunk and calls Adam on his birthday where she begins to divulge personal and incriminating information about herself. It is up to Adam to put these pieces together and he still doesn’t know a lot about her. However, Morales’ performance is on that is unpredictable which makes the film so watchable and eager to know what will happen next.

What makes Language Lessons such an impactful film is its simplicity and allowing the characters’ relationship to naturally form in a way that feels genuine. Mixing comedy and drama, this film will have you laughing one minute and crying the next, taking the audience through a journey that feels authentic. Both charming and sincere, this is a film that shows the genuine nature of online connection and how it can build into a real life friendships.

Language Lessons is playing at this year’s London Film Festival!

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London Film Festival 2021: Drive My Car

One of the many films to captivate audiences at this year’s Cannes Film Festival was Drive My Car where it won three awards including Best Screenplay. Adapted from Haruki Murakami’s short story of the same name from his 2014 short story collection Men Without Women, Drive My Car follows stage actor Yūsuke Kafuku (Hidetoshi Nishijima) who is hired to direct an upcoming production of Uncle Vanya following the sudden death of his wife. The film is a whopping three hours long and because of this, the original narrative of the short story has been extended thoroughly to create a story so detailed, that watching it is like being on a long and relaxing car journey.

Directed by renowned visionary Ryusuke Hamaguchi who cowrote the script with Takamasa Oe, Drive My Car is an exceptional character piece that really allows the audience to delve into Kafuku’s life in riveting detail. The simplicity of the direction and Hamaguchi’s knack for long conversational scenes allows the film to develop at an organic pace serves Drive My Car well and feels like a breath of fresh air in a current climate where filmmakers feel the need to rush their characterisation. This film is proof that less is more and shows Hamaguchi’s place as a fantastic visionary which hopefully lead to more astounding character pieces being made in the future.

Playing Kafuku is Hidetoshi Nishijima who has been perfectly cast in the lead role. Kafuku is a veteran actor who lives with his wife. We see people come and go in Kafuku’s life which is expected in his occupation as an actor and following the death of his wife, he finds himself at a stand still emotionally as he cannot fathom why she cheated on him before her untimely death. Despite this, Kafuku is recruited to direct an upcoming production of Uncle Vanya and is assigned a driver, Misaki, to transport him to and from the rehearsal venue where they strike up a friendship over time. We see Kafuku remain emotionally disconnected from those around him but something about Misaki strikes his curiosity and he desires to learn more about her. Due to the character centric plot, a lot of the film’s brilliance comes from Nishijima’s performance which feels so natural and organic in the role. He makes this mammoth performance seem easy and effortless despite being in almost every scene of this three hour epic. That is by no means an easy feat and the exceptional clarity and nuance he brings makes the film even more rewarding to watch.

The supporting cast is filled with strong performances, especially those who play the actors in Uncle Vanya as playing an actor requires extra layers. However, the star of the supporting cast is Tōko Miura who plays Kafuku’s driver, Misaki Watari. Miura’s performance is quiet and subtle but she her impact on the film and on Kufuku’s character is clear. At first it seems as though Kufuku and Misaki have nothing in common but eventually the former begins to open up emotionally and the two form a bond with Misaki providing much wisdom which helps Kufuku to move on with his life. In terms of their background, Misaki does not have an arts background and there is misconstrued as beneath Kufuku and his lifestyle. Soon enough, Kufuku realises that Misaki has much more to offer him than any play could. Miura’s performance is quietly powerful and it’s a shame she isn’t in the film more but the scenes we are treated to between the characters are beautifully written and paced, displaying a masterclass in filmmaking and character studies.

Overall, Drive My Car may seem intimidating due to its three hour running time, but just as the title suggests, the audience is taken through a journey slowly in a way that we get to fully take in everything the film has to offer. Adapting Murakami is no easy feat and Hamaguchi does a beautiful job of bringing this short story to life and extending the storyline in a way that is even more rewarding and breathes life into the characters by lifting them off the page.

Drive My Car is playing at this year’s London Film Festival!

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London Film Festival 2021: The Harder They Fall

When it comes to showing a film at a festival, there are few honours more impressive than being the opening night selection for the entire festival. The honour at this year’s London Film Festival goes to Jeymes Samuel’s feature film debut, The Harder They Fall which chronicles a fictional story about real black cowboys in the Old West. In a genre that has been majorly dominated by white men, Samuel flips the script entirely with an all-black cast and delivers a film that is stylish and captivating. Boasting an incredible cast that includes Jonathan Majors, Idris Elba, and Regina King among many more, The Harder They Fall shows that there is no slowing down the modern Western trend while also marking Samuel’s exceptional debut and talent as a visionary. The film follows cowboy Nat Love (Majors) and his gang as they embark on a mission of revenge against the cruel Rufus Buck (Elba) who killed the former’s parents when he was younger, leaving Love with a scar of a cross on his forehead. What entails is a game of power between the two gangs in a bid to maintain control.

The film is directed by Samuel who cowrote the script with Boaz Yakin and the result is a film that follows a classic Western plot but this is in no means an insult. The plot’s simplicity allows more time for the characters to shine and gives them ample material to play with and become well-developed. Both gangs are filled with memorable characters which can seem overwhelming at times as you don’t know where to look during fight scenes but the chaos that ensues between the gangs and the individual tensions that arise between the members are an absolute thrill to watch. Samuel can only be described as a visionary when it comes to his method of storytelling. The way he combines the tight writing with music and beautiful direction results is on par with some filmmakers who have been working for decade. He clearly is someone who loves film and has a passion for the subject and the characters.

Leading the Nat Love Gang is Majors who plays Love and his partner, Mary (Zazie Beetz). The great thing about this film is that the line between good and bad becomes blurred so even though they lead a life of crime by stealing from outlaws, they have good intentions to serve the community and don’t mistreat anyone who is innocent. Majors’ performance is absolutely magnetic and he leads the film with ease. Love’s quest for revenge is perfectly set up as we see the tragic story play out from his childhood to help us understand his plight better. Love is an incredibly charismatic character who knows how to command a situation and Majors is perfect casting. Playing his love interest, Mary, is Zazie Beetz and the two share a brilliant chemistry together as the dynamic between the shifts and changes. What is great about the female characters in this film is that they don’t rely on a man as they have agency and strength and Beetz has become well-known for her feminist roles which makes her ideal for a character like Mary.

On the other side of the coin is the Rufus Buck Gang led by Buck (Elba) and Trudy (King). Their dynamic is similar to Nat and Mary’s as they are loyal to each other while also enabling each other’s independence. Elba’s role is one of the best in his career as he brings a darkness to the role of Buck that is very unexpected. Buck’s character is one that could be played over the top but Elba’s calm demeanour results in a performance that commands the audience’s attention every time he is on screen. Quiet and calculating, Buck is careful with his words and clearly intelligent and always thinking ahead. It’s also clear that Elba is having a lot of fun with the character and it wouldn’t be surprising if he were to receive some awards attention in the supporting categories come awards season. Playing Buck’s partner in crime, Trudy, is Oscar winner Regina King whose performance is terrifying and probably the most violent out of everyone in the film. Unapologetically tough, King’s ability to tell a story through expression works incredibly well as Trudy. The scene in which we are first introduced to Trudy as she and the rest of the Rufus Buck Gang break Buck out of his cell on a train is among the best in the film. Simply watching Trudy force the train to the stop by fearlessly stopping her horse over the track is both terrifying and leaves you on the end of your seat.

There are so many fantastic support performances that it feels unfair to only discuss a couple but the highlights from the supporting cast have to be Lakeith Stanfield as Cherokee Bill and Delroy Lindo as Bass Reeves. Oscar nominee Stanfield is on form as the unpredictable Bill, a man who gained a reputation for his fast shooting speed. In true Stanfield fashion, his performance is subtle which works well as it provides a sinister undertone and fearlessness to the character that makes every move he makes unsettling to the viewer. On the other hand, Delroy Lindo can always be relied upon to give a fantastic performance and his turn as Deputy Marshall Bass Reeves is no exception. Reeves acts as the voice of reason and has the strongest moral compass of all the characters, despite his clear affiliation with a wanted man; however, Lindo portrays Reeves as a man with dignity who knows that he is doing the right thing. In a film that is littered with stars, it’s just a shame that we don’t see more of Reeves throughout.

It would be impossible to review this film and not discuss the music and score. Samuel’s background is in music and he puts this to use by contributing remixes and the score himself. The result of which is absolutely stunning as he merges classic Western sounds with RnB to create a sound that is completely unique but fits in with the film perfectly. In many ways, the music is just as integral to the plot as the visual is. Mixing a variety of genres such as RnB, rap, and Church music to name a few, the score helps with the pacing of the film and works brilliantly, especially in scenes such as the train scene in which Buck’s gang breaks him out.

Overall, The Harder They Fall is a strong opener for the London Film Festival with one of the strongest casts in a film this year and marking a fantastic debut for Samuel. As we have seen a huge increase in Westerns being made in recent years, Samuel shows that there is plenty of room for his vision and executes it brilliantly. It’s hard to believe that this is his first feature film and hopefully promises to be the start of a great career as a filmmaker and writer.

The Harder They Fall is available to watch on Netflix from November 3rd 2021!

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London Film Festival 2021: Memory Box

This year’s London Film Festival has officially begun and the first film on my watchlist was French-Arabic drama, Memory Box. Directed by acclaimed directors Joana Hadjithomas and Khalil Joreige, Memory Box tells the story of French-Canadian teenager Alex (Paloma Vauthier) who feels disconnected from her mother, Maia (Rim Turki) who seems to keep her daughter at an emotional distance. When a large mysterious box arrives containing all sorts of notebooks, tapes and photographs chronicling Maia’s teenage years in Beirut during wartime, Alex begins to see her mother in a new light and in doing so becomes connected to her own Arabic roots.

Memory Box opens with video messages within a group message as the individuals within the group record their audio and visual thoughts as a severe blizzard makes it way to Montreal. Within the first few scenes, we get an idea of how the younger generation has become so accustomed to oversharing every thought that the contrast between the way Alex communicates with friends is so different to how her mother acts. As she tries to converse with Maia, she is constantly shut off and struggles to connect on an emotional level due to Maia’s lack of sharing. What is interesting about Memory Box is that Maia’s memories are kept in physical items utilizing all sorts of mediums which are then combined by Alex to create a fuller picture. There is so much to unpick in how both mother and daughter record their thoughts and how they react emotionally to difficult situations. As Alex delves further into Maia’s memories, she begins to realise that the latter went through similar issues that she is experiencing such as friendship issues, boy troubles, and more. The difference in landscape allows Alex to fully visualise the place where her family comes from without having actually visited. We see Alex begin to tap into her Arabic heritage and appreciate it more as she learns about the struggle that her mother and grandmother went through.

In the lead role as Alex, Paloma Vauthier delivers a beautifully nuanced performance that is filled with curiosity and an eagerness to learn more about her mother and where she came from. Initially, the memories and belongings seem scattered and random but Alex soon manages to piece them together and create a reimagining of her mother’s history that allows her to feel closer and more sympathetic towards her. Vauthier brings a highly emotional performance that draws the audience in and encourages the viewer to join her on her journey. Not only is this film exploring Maia’s past but also how the past has influenced Alex’s life, even though she never lived in Beirut.

Playing Adult Maia is Rim Turki who provides a flawless performance that feels guarded and disconnected, working perfectly against Vauthier’s openly emotional performance. Maia’s guarded nature isn’t entirely understood at the start of the film, but as we begin to learn more about her life as a teenager in war torn Beirut, we begin to understand how these events have led her to be as she is. Refusing to even look in the box, Maia forbids Alex from rummaging through her things in a bid to keep her past in the past. However, it seems that the past, as painful as it is, had to be revisited so Maia could tap into her heritage as well and remember what her life was like in a bid to find peace with what happened and reconnect with old friends and family. Turki pulls this off beautifully and works really well onscreen with Vauthier as their relationship seems completely relatable and authentic.

As Alex delves into her mother’s memory box, she begins to paint a picture of what her mother was like as a teenager. Rather than just rely on Alex’s reactions and descriptions, we see these memories played out with Manal Issa delivering a great turn as Young Maia who is desperate to find love. Issa’s performance is more akin to Vauthier’s in that she is on a discovery to find out who she is as a person and wondering what the future has in store. As Maia develops romantic feeling for local boy, Raja, her relationship between her parents, especially her mother, begins to wane as they restrict her from seeing him. It is through this turbulent relationship with her own mother that Alex begins to find a common ground between the two of them. Although they never share the screen, Issa and Vauthier’s performances feel connected throughout the film thanks to the way that the writing and structure of the film merges the narratives of both characters.

Overall, Memory Box marked a wonderful start to my London Film Festival experience thanks to its nuanced portrayal of memory and heritage and how memories can form connections between generations. Hadjithomas and Joreige’s direction paired with the beautifully subtle performances from the cast make this film an accurate portrayal of how place and identity is like a puzzle with pieces and we see this draw Alex and Maia together as they begin to share a common ground.

Memory Box is showing at this year’s London Film Festival!

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The Green Knight (2021)

Another film to suffer a delayed release date due to the pandemic, The Green Knight brings a new retelling of the Arthurian legend, David Lowery’s epic sees Oscar nominee Dev Patel lead the cast as Gawain, a man who aspires to be knighted and among the company of King Arthur (Sean Harris) and his knights. Whilst celebrating Christmas with the King, the mysterious Green Knight appears and poses a challenge which Gawain accepts. Garwain than must travel a year later to find the Green Knight and allow the latter to strike a blow against him. Based on the legend by Anonymous, Lowery immerses the viewer into the world through striking imagery and innovative sound mixing to create a film that was well worth the wait and more.

David Lowery directs and writes this stunning epic and has proven yet again that he is a force to be reckoned with. Not only is The Green Knight one of his most anticipated projects to date, it sees him collaborate with A24 yet again after the success of his previous film A Ghost Story. The result of which is a phenomenal film that shows Lowery’s mastery as a storyteller whilst also highlighting his growth as a filmmaker.

Dev Patel gives an exceptional performance as Gawain and shows just how far he has come as an actor. Following an extremely varied career which includes an Oscar nomination for 2016’s Lion, Gawain seems like the kind of role Patel was born to play. Due to the nature of the film following Gawain’s journey, a huge portion of the quality of the film relies heavily on Patel’s shoulders and it is his performance that elevates it to a level where you really feel as though you are with the character throughout. Patel’s Gawain is ambitious to a fault and most importantly inexperienced which becomes more apparent the closer he gets to his final destination. The scenes in which Patel encounters the Green Knight are captivating and leave you on the edge of your seat.

Taking on two roles in the film, Alicia Vikander delivers one of the best performances of her career as Gawain’s lover, Essel, a common woman who lives in a brothel and the Lady who Gawain meets on his journey to his encounter with Green Knight. These performances are so different that you could be forgiven for mistaking the roles for two different actresses, however, Vikander has already proven herself as one of the finest actors working. Her performances in 2014’s Ex Machina and 2015’s The Danish Girl are masterclasses in stunning performances with the latter winning Vikander the Academy Award for Best Supporting Actress. Her performance as Essel is sweet and innocent as she is happy where she is and her place in the world but longs for Gawain to publicly declare her as his lady. This flows in beautifully to her performance as the Lady who is more sinister and corrupt in her encounters with Gawain. Where Essel desires Gawain’s live and affection, the Lady seems to be driven by lust and sex. Despite their mutual fixation on Gawain, both characters have agency and individual motives that allow them to be strong and rounded in their development.

This film smashes every element but for me, the music composed by Daniel Hart is definitely a highlight. Mixing Medieval sounds with fantasy elements makes this score memorable and hauntingly atmospheric. From the use of Medieval instruments to the lingering choral chants, Hart creates music that utilises the time period and the environment that the world inhabits. Tracks such as “The Giant’s Call” are beautifully fitting as they seem to merge natural sounds within the environment with a perfectly crafted score. It’s as though the score goes hand-in-hand with the scenes, managing to accompany the image and stand out without actually overwhelming the film at any point. Perfectly nuanced yet wide in its range of tone, Hart’s score is one of the best of the year by far.

Overall, The Green Knight is spectacular film that deserves to be seen on the big screen. Definitely worth the wait, Lowery manages to tell an Arthurian legend in a way that hasn’t been done before and mixes this with high fantasy imagery. It’s a film that packs both a visual and emotional impact as we feel Gawain’s struggle to complete his journey physically and mentally.

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

The Green Knight is available to watch on Amazon Prime now!

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No Time To Die (2021)

No Time To Die has finally been released and is no doubt one of the most anticipated films of the year. Marking Daniel Craig’s final outing as MI6 agent James Bond, there has been a lot of excitement for this film to come out and following numerous delays, it was definitely worth the wait. Not only does this film serve as Craig’s swansong to the franchise, but we also get to see a completely different side to the character that we haven’t been shown in the film’s history. Following on from the events of 2015’s Spectre, No Time To Die sees Bond enjoying a life of retirement with Madeleine Swann (Léa Seydoux) before tragedy strikes and he is brought back into the fold as Swann’s life is at stake. The film stars a slew of familiar faces including Jeffrey Wright as Felix Leiter and Ralph Fiennes as M as well as emerging stars such as Lashana Lynch as new 007 agent, Nomi and Ana de Armas as CIA agent, Paloma. The result of which is a film that merges the past and the future of franchise in a way that makes it exciting for what direction subsequent films will take under a new Bond.

The film is directed by Cary Joji Fukunaga who does a fantastic job showing Bond’s inner turmoil as he has to deal with the conflict between wanting to retire and live his life and his moral compass which leads him to follow through with the mission. The script is written by Neal Purvis and Robert Wade who have scripted each Bond film since 1999 as well as rewrites penned by Fukunaga and Phoebe Waller-Bridge. It’s easy to see where Waller-Bridge has added her flawless touch of wit and characterisation as we see the primary and supporting characters in a different light that makes them more relatable and relevant. In particular, we see an emotional side to Bond as he begins to be seen in a familial light and not just a heart-throb who sleeps with every woman he meets. Where Bond has previously completed his missions because it is his job and the right thing to do, he actually has a personal reason to complete this one now.

Daniel Craig’s performance as Bond could arguably be his best because we see this emotional side to the character which gives Craig more to play with than he previously has done before in the franchise. What makes Craig such a memorable Bond is his impeccable delivery and believability in the character which undoubtedly has helped reinvigorate the franchise and push it into the 21st century with ease. As this is his last Bond outing, there is more emphasis on Bond as a character and specifically his interpretation of Bond which means we get to see a grittier and more violent turn of events that rounds up his tenure perfectly.

Léa Seydoux returns as Madeleine Swann and acts as the emotional anchor for Bond. Swann’s character isn’t simply to stand and look pretty, as has been the case of many Bond girls of the past, as she is given complete agency in this film. Realistically, she doesn’t have the same training or fighting skills as Bond which is understandable but we are able to see her fight back in different ways. Seydoux has become renowned for her ability to provide subtly emotional performances and No Time To Die gives her more room to play with than Spectre which is great to see.

It wouldn’t be a Bond film if there wasn’t a Bond villain and in this case, we have Rami Malek as Lyutsifer Safin, a terrorist hellbent on developing and mass-producing a bioweapon that spreads by touch. On appearance, Safin may look like the classic Bond villain but there is an intelligence that this character has that makes him unlike any villain that Bond has come across before, especially Craig’s Bond. What makes Safin such a terrifying character is that he is completely fearless which means that he is unpredictable in his actions whilst also being ruthless and seemingly heartless as well. Where Bond has managed to tap into his emotional side, Safin is incapable of doing so because he is so focused on his tragic past.

One of the main things that characterise a Bond film is its theme tune. With past performers including the likes of Shirley Bassey, Duran Duran and Adele, it was important to recruit a great performer who could capture the magic of the film and there are few artists who are more recognisable today than Billie Eilish. Eilish’s titular song mixes her signature soft vocals with a dramatic backing track that is expected of Bond films. It may seem like an odd pairing at first but the song works perfectly within the tone of the film as there is a melancholic feeling with added cinematic tones underneath. The score is composed by Hans Zimmer who was hired last minute after Dan Romer dropped out due to creative differences and he manages to merge classic Zimmer sounds with a sleek Bond feel. Pieces such as the film’s climactic scene are signature Zimmer with slow strings to draw out the emotion of the scene and allow the viewer to take in the emotions of the character perfectly while the fast action scenes feel inherently Bond and work well within the franchise. Zimmer can always be expected to do a fantastic job no matter what film he is tasked to score but it would have been wonderful to hear what Romer had in mind for the film as he has proven to be a fantastic composer who is destined for greatness.

Overall, No Time To Die is not only worth the wait, but it marks a new direction for Bond as we see 007 in a completely new light that feels exciting and refreshing. Showing that there is space for Bond in today’s world, the film thrusts Bond into modern times by incorporating representation, emotion and a complex character who is more than his well-fitted tux and charm. This is sure to be looked back fondly as a strong point in the franchise and gives Craig the ending that he deserves after a fantastic turn as one of film’s most beloved characters.

What did you think of No Time to Die? Let me know in the comments below!

No Time To Die is available to watch in cinemas now!

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Wrong Turn (2021)

There have been countless horror reboots, prequels and sequels released this year that have been taking the industry by storm with some proving to be successful (Candyman) and others not as much (Spiral). Regardless, revisiting classic horror franchises seems to be a way to bring that nostalgia for horror fans. However, whereas some of these films have wanted to go down a different path while still remaining similar to audiences, this year’s Wrong Turn reboot goes in the completely opposite direction. The 2003 original film sees a group of friends hunted down in the West Virginian wilderness by a small group of savage cannibals, this 2021 reboot tells a different story entirely. Boasting a similar initial synopsis, we see a group of young explorers hiking along the Appalachian Trail but this is where the similarities end as Wrong Turn changes up the culprits to incorporate social commentary and bring a new twist to the classic tale. This makes the film completely unpredictable, even to those who have watched the original, as it doesn’t follow the same plot points at all.

The film is directed by Mike P. Nelson and written by original Wrong Turn writer Alan B. McElroy. McElroy completely deconstructs his original story and changes it to something new and timely while Nelson’s direction is raw and unflinching. The result of which is a film that follows the trend of incorporating political discussion while also subverting many clichés often synonymous with this kind of film.

Charlotte Vega is cast as the film’s protagonist Jen, a woman who is unsure what she wants to get out of life. As she makes her way visiting various parts of the Appalachian Trail with her friends, Jen clearly has a desire for adventure but doesn’t know how to translate this into her professional life. Despite being surrounded by her accomplished friends, the film follows Jen as in finding a way out of the horrors, she is able to reclaim her own identity and her sense of self. Vega does a fantastic job of balancing Jen’s sense of dread with her instinctual resilience which is the driving force of the film. An important part of any horror film is making sure you have characters that can push the film along and although Jen’s character isn’t completely fleshed out as well as it could be, it’s enough to show the contrasts between the life that Jen has versus the life that she eventually leads.

Wrong Turn has an incredible support cast that really create an immersive experience and draw you into the community that has formed within the woods. In particular, Bill Sage as The Foundation’s leader Veneble is one of the film’s major highlights. Hellbent on preserving power over the community, Veneble is a great character and Sage clearly has fun with the role. His unpredictability and fearlessness means that he is a character that should be feared.

Another great supporting turn was Matthew Modine as Jen’s father, Scott and as expected, he is great. We are introduced into the film’s narrative through Scott’s perspective so it lies on Modine to draw the audience in. As we see Scott visit the small town and the tensions that arise among the locals, Modine does a great job of portraying a flawed father who is willing to anything for his missing daughter.

Overall, Wrong Turn follows the trends of using horror as a means to explore larger discussions on racial, gender and sexual identity. It is because of this that the film results in an unpredictable and unflinching look into how the setting of the film serves as a microcosm of America as we see the cultural melting pot and the subsequent clashes which often have extra gory results. For those who are unfamiliar with the Wrong Turn franchise, you don’t need to have seen any of the previous instalments as this film does a brilliant job of introducing the viewer into this world. It will be great to see if there are any sequels that follow this particular film’s narrative in the future.

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

Wrong Turn is available to watch on Netflix now!

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The ParaPod – A Very British Ghost Hunt (2020)

As the film industry finds itself being dominated by franchises, prequels and sequels, it’s great to see initiative when it comes to adapting a different form of source material altogether. The Parapod Movie is the first feature length film based on a podcast. The Parapod is a podcast that sees paranormal believer Barry Dodds and his skeptic friend, Ian Boldsworth discuss whether paranormal existence is real. Among the years, they have discussed the paranormal, mysteries and conspiracy theories that cover a wide range of subjects, garnering a huge fan base along the way. As the podcast has grown, making a film seems like a logical step and works really well thanks to the subject.

Directed by its star Ian Boldsworth, The Parapod Movie is centred on a podcasting session between Boldsworth and Dodds who reminisce about the latter’s attempt to convince the former that the paranormal does exist. Travelling to various locations across the UK, the team venture into some creepy locations including the Edinburgh Vaults where Dodds is convinced he sees something. Boldsworth directs in his debut and does a great job of incorporating elements of documentary including interviews with psychologists and journalists whilst also giving the audience a closer look into his friendship with Dodds. Completely honest in his approach, The Parapod Movie mixes documentary and mockumentary.

The film’s stars, Ian Boldsworth and Barry Dodds, are the driving force behind the film and it is their back and forth banter that acts as the engine and propels the film onwards. Even when faced with Ian’s pranks and jokes, Barry is certain of paranormal existence. Due to the documentary nature of the film, we see their friendship tested and even an argument after a prank goes horribly wrong. However, the scariest scene in the film comes when Barry believes he sees something and the look on his face is genuine terror. It doesn’t matter whether there was something there or not but the reaction Barry has was real and makes the audience question what it was. Seeing Ian’s concern for Barry immediately flips the tone of the film and drives it into horror territory.

The first thing that strikes you about the film is the music by Thomas van der Ree. Mixing in elements of horror, the soundtrack works well for the film as it constantly provides a darker undertone, even during the funnier moments. The opening track does a fantastic job of setting the mood and tone as we hear and see jilted footage of Barry’s panic attack. The music also does a great job in threading the film together as it provides a consistency and momentum that works well against the various locations visited.

The editing by Simon Gibbs is really what makes this film a truly great cinematic experience. Gibbs’ use of mixing various camera shots and different kinds of footage makes the film unpredictability and, at times, uneasy to watch. Mixing in scenes of lingering tension with single takes as well as scenes that has uses different disorientating angles to bring across the uncertainty and fear in the scene bring an element of horror to the film in a way that makes any paranormal presence unimportant regardless.

Overall, The Parapod Movie does a great job of incorporating its podcast roots into a cinematic format. Relying heavily on Boldsworth and Dodds’ fantastic partnership, the film is enjoyable to watch and a great treat for fans of The Parapod and equally as thrilling for those who haven’t listened to the original podcast before.

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

The Parapod Movie is available to buy digitally from 27th September 2021!