Check out From Real to Reel’s Christmas Limerick Advent Calendar

I’ve been featured on From Real to Reel, a blog about film run by my good friend Daniel Robinson.

It’s a cracking blog from a young cinephile who writes passionately about films. He’s also a great actor and a promising director.

As it’s December, he’s running a Christmas film limerick advent calendar with one limerick every day up to Christmas Day. I chose the film ‘A Christmas Story’, a film family favourite and one I’ve loved for years.

You can find the poem here.

Check it out!!

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The Walking Dead Week returns to Cinema, Etc.

The Walking Dead returns to our screens on Monday 23rd October(or a day earlier if you’re in the US!). It will fill a void that Fear The Walking Dead has been attempting to plug since the Season 7 finale back in April.

Over the next week there will be a handful of articles covering different aspects of the show to hopefully whet your appetite ahead of what promises to be the most entertaining series we’ve seen yet.

First up is a summary of everything we’ve seen from the trailers and other preview material. I really hope you like The Walking Dead…

Film review – 夜明け告げるルーのうた / Lu Over The Wall (Masaaki Yuasa, 2017)

Japanese anime? Quirky soundtrack? Human forms an unlikely bond with a fish person? Yes, it may look on the surface to be just like Hayao Miyazaki’s 2010 film ‘Ponyo’, but Masaaki Yuasa’s ‘Lu Over The Wall’, which received its UK premiere at the BFI London Film Festival this weekend, is far from a simple rip-off.

The second release from the Science Saru Animation studio, after Yuasa’s earlier ‘The Night Is Short, Walk on Girl’, centres around Kai (voiced by Suma Saitō), a gloomy and distant music-creating teenager living in a small fishing town in Japan with his father and grandfather. Kai is pestered into joining a band by two of his schoolmates. Their first rehearsal, on the abandoned Mermaid Island, awakens the interest of Lu (voiced by Kanon Tani), a mermaid who is vulnerable to sunlight but loves to listen to music and dance. Following a confrontation with bullies the band catch illegally poaching fish, Lu comes to the rescue and forms an unlikely bond with Kai and his bandmates as she joins the group and they are handed the opportunity to perform at a local festival.

This is a bizarre film that provides some genuine laughs throughout. The music is quirky, leading to some pretty imaginative reactions from the villagers when they first hear Lu singing. One suspects that this scene was exactly what the director Yuasa had in mind when he started, building the rest of the general idea towards making sure he got the best laughs out of these scenes. It’s daftly entertaining and really hits the spot.

There are more laughs when Lu breaks into a centre for stray dogs and releases them to create a wave of mer-puppies. It’s easy to imagine how much fun the animators and story writers were having when they conceptualised that.

‘Lu Over The Wall’ won the top prize at this year’s Annecy Animation Film Festival, and there is good reason. Park the inevitable comparison to ‘Ponyo’ and seek out this fun and fancy free animation.

Then spend the rest of the day trying to get that music out of your head.

Film review – The Beguiled (Sofia Coppola, 2017)

Sofia Coppola’s choice to take on ‘The Beguiled’, adapted from Thomas Cullinan’s 1966 novel ‘A Painted Devil’, could be considered a bold move. The novel served as the source material for Don Siegel’s 1971 film, also titled ‘The Beguiled’, with Clint Eastwood taking the lead role. Its popularity is evidenced by its 93% Rotten Tomatoes rating. A classic story about a soldier starring an all-time great film actor.

A simple remake would be drab, especially by Sofia Coppola. To reposition the whole story from the perspective of the women involved is a brilliant move and a gamble that pays dividends. The result is a swirling story of suspicion, falsities and lust that puts the central trio of Nicole Kidman, Kirsten Dunst and Elle Fanning at the forefront of the repositioned and wholly captivating story, reducing the central soldier figure to something akin to a supporting role.

The faded dresses the girls wear suggest a ghostly edge to their lives

The film is set in 1964 Virginia, USA, a prominent part of the Confederates States in the American Civil War. A young girl named Amy (Oona Lawrence) from a local Christian all-girls school is out picking mushrooms and stumbles across an injured solider. The man, Corporal John McBurney (Colin Farrell), is a soldier fighting for the Union Army of the north who finds himself critically injured and behind enemy lines. She decides to help him by taking him back to the school grounds. The head of the school, Miss Martha Farnsworth (Kidman), treats his wounds and nurses him back to recovery, whilst teacher Edwina Morrow (Dunst) and older student Alicia (Fanning) become immediately interested in this mysterious man who has unexpectedly entered their lives. This is the perfect invitation for McBurney, with little to lose, to begin a charm offensive and attempt to stay at the school and avoid returning to the war.

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A captivating scene between Farrell and Dunst

 

McBurney may have been reduced to a supporting role, but Colin Farrell makes the most of his screen time to make sure the frenzy of interest is well justified. As in the novel, the character is a man of Irish heritage and Farrell plays on the stereotypes of a cheeky and charming Irishman to great effect. His character needs to stay in the school for as long as possible and he does his best to ensure everyone there doesn’t want him to leave. For Amy he offers a best friend and father figure, for Alicia he offers lust, for Edwina he offers the chance to escape and for Martha he offers intelligent conversation and companionship. This plotting is ultimately his downfall, and when it is abruptly halted Farrell is equally adept at exploding with anger – the juxtaposition against his charm making his performance all the more shocking.

 

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Dunst and Farrell

Coppola has crafted a film that lives in a completely different time to that of her last film, 2013’s The Bling Ring. It was a move she actively sought to make, that film inhabiting an entirely more ugly modern world of theft, celebrity and social media that marked a departure from the norm for the director. It was a very good film, but was less well received than the likes of Lost In Translation and The Virgin Suicides; films that have helped define her as one of the most distinctive and identifiable directors in modern cinema. If The Bling Ring failed to speak the language we were used to, Coppola makes sure her voice is deafening in The Beguiled.

It is Dunst that eventually becomes the standout performer in a strong ensemble cast. She has been through a lot on film with Sofia Coppola, from a 15-year-old lustfully oppressed girl in The Virgin Suicides, to a precocious queen in the form of the titular Marie Antionette. In The Beguiled, Edwina is a character that could feasibly be lost alongside strong showings from Fanning and Kidman in roles of women who more clearly know what they want. Edwina is far more nuanced, at a juncture in her life where she feels lost. She is a woman who feels she is losing time and wasting her best years in a place far removed from a life. When Farell asks her what her one truest wish is, she simply responds that she wants to go as far away as she can from her current life. In the end, it was this character that I felt most sorry for, far more so that McBurney or any of the other girls.

For anyone wondering whether or not Coppola had lost her knack after an extremely strong start, a steady middle and a potential blunder in the form of A Very Murray Christmas, you will be pleased to know that The Beguiled is 100% a return to form. It may not go down in history as a great – as is the case with Lost in Translation – but it’s a fine film indeed.

Note: For further reading on Sofia Coppola’s response to controversies surrounding the omission of a slave girl from the original novel, read this article. I don’t see it as relevant to the discussion on the film so haven’t mentioned it in the main body.

Film review – Alien: Covenant (Ridley Scott, 2017)

I have to lay out some home truths before we start. After five years, it appears the dust has settled and most of us have decided Prometheus was a pile of rubbish.

The Alien prequel was a return to the helm for Ridley Scott after a 33-year hiatus. Despite the anticipation, the disappointment amongst the hard-core fans stemmed from some convenient plot points that seemed to allow progression of the story despite not really making sense (“Why did she run in a straight line?”, “Why did the navigator guy get lost?”, “She’s just had a caesarean… how is she running?”).

I saw the film as a midnight screening and I remember coming out of the cinema buzzing with excitement. The film was, in my opinion, a return to form for the franchise after the overwhelmingly disappointing Alien v Predator films (which worked better as a toy line than as a film). It wasn’t a patch on the first two – Alien and its sequel Aliens – but probably stood alongside or better than any of the other instalments.

Yes, that’s right. I am a fan of Prometheus.

I went into an early screening of Covenant with the same kind of excitement and anticipation as I had five years ago. The advertising campaign has been nothing if not relentless, so finally getting to see the film on the big screen felt as much a trip to the cinema as it was a way to quench my carefully manipulated thirst for a next instalment.

The film is set in 2104, ten years after the main events of Prometheus and around twenty years before the events of Alien. The opening sequence, which features a reprisal cameo from Guy Pearce as Peter Weyland, explores the themes of humanity’s desire to meet its creator. It could easily have been a part of the first instalment, but bridges the gap and reminds viewers of the unhinged nature of David, one of two robots played by Michael Fassbender.

The main body of the film focuses on a colonisation mission from Earth to to a remote planet Origae-6, aboard the titular spaceship Covenant. The main crew includes Captain Branson (James Franco) and third in command Daniels (Katherine Waterston), a terraforming expert and wife to Branson. Christopher Oram (Billy Crudup) is a man of faith who is unexpectedly promoted to captain shortly into the mission. Michael Fassbender’s second character in the film is a synthetic android named Walter, a more advanced version of David. The crew also includes Chief Pilot Tennessee (Danny McBride), Sergeant Lope (Demián Bichir) and Karine Oram (Carmen Ejogo). Aboard their ship is around 2,000 human embryos, with the purpose of populating their destination planet upon arrival.

After a neutrino shockwave hits the ship, the main crew are woken up to deal with the repairs on the ship. They are seven years away from their destination planet but a matter of weeks away from an alternative planet that appears to offer the same prospects as Origae-6. New captain Oram makes the decision to land on the newly-found planet, which turns out to be the one Dr Elizabeth Shaw (Noomi Rapace) and David set sail for at the end of Prometheus. Needless to say, the story goes downhill from here for our crew, with disastrous consequences.

Given the popular misgivings about Prometheus, I couldn’t help but pick fault with a couple of major issues with the decision making of the crew of the Covenant. Most glaringly, none of them seem keen to wear masks when they leave the spaceship, even though there’s no obvious investigations into how viable to atmosphere is to breathe. It just seemed odd that they were so confident only minutes after being so worried. Surely that’s rule number one for space travel?

All the people on the ship have a partner on there, meaning everyone is at risk of losing a loved one at every turn. This falls down, however, when you throw a couple of red coats onto the first expedition. Where were the devastated husbands and wives grieving their loved ones? Do they not get to show emotion because their rank is too low? I’m looking at Ledward here. Surely he has a wife or girlfriend on board?

Aside from picking nits, the film is genuinely a great effort, probably a lot better than Prometheus. There are a number of great nods to previous films – the face-hugger makes its comeback – and it feels like Scott has set out to make a crowdpleaser. That’s definitely not a bad thing.

The partner element is an intelligent way to add depth to all of the characters. Shortly into the main plot, James Franco’s Captain Branson dies, immediately answering the question of why he wasn’t featured more prominently in the advertising campaign (a missed trick in my opinion). This plunges Katherine Waterston’s Daniels into immediate emotional turmoil, though she quickly rises out of it and continues with her mission objectives.

Waterston has some big Sigourney Weaver sized shoes to fill in terms of taking the female lead role. I’m sure she has felt the pressures of her predecessor, though it doesn’t show on screen. She does a fantastic job and at times carries the film, acting as the sensible decision maker, the natural leader and the only one with the will to fight back when everything goes pear shaped. Sure, the strong and intelligent female protagonist is becoming a bit of a broken record in modern cinema, but it shouldn’t be forgotten that Signourney Weaver in Alien is probably the best early example of it being done so well, certainly in terms of Blockbuster films in genres usually associated with male audiences.

The final act is wholly worth of the Alien canon, rescuing a film that at times had threatened to go off the rails. It’s here that Scott ramps up the tension and action, paying off the setup over the previous 90-ish minutes.

If the final 30 minutes is great, then the final ten seconds is utter genius.

If you have any misgivings about the Alien franchise, Covenant is the film that will bring you back on track.