Review Category: Movie

Let Go begins with a scene of perfect tranquillity. Young mother Anna plays with her two children Mathis and Claire, the three of them blissfully happy in nothing but each other’s company. But the idyll is soon shattered when we realise something happened to Claire, that the girl’s young life has been cruelly cut short. Mathis, however, acts as though everything is fine since as far as he is concerned Claire is still with them and nothing tragic has occurred.

From Let Go’s blissful starting point, the tone of each successive scene becomes gradually bleaker as it approaches a nadir of utter despair. Anna’s struggle to cope with Claire’s death is made all the more difficult by Mathis’ steadfast refusal to believe she is gone, his every statement about what she is saying to him driving Anna closer to the edge of her sanity. The film forces you to ponder the multiple possibilities of the situation, while the ambiguous presentation keeps you unsure which perception is to be taken as the truth, ultimately providing no simple answer and instead letting you decide for yourself what occurred.

To any parent nothing is more terrifying than the loss of a child. The very idea of trying to carry on one day to the next is an emotional black hole slowly devouring any sense of joy from life, while the real world becomes a place you can no longer properly perceive, as though your grief casts it in an impenetrable haze that distances you from its presence. For such a tragedy to be a film’s driving force requires a degree of tact and sensitivity that it can prove difficult to balance.

The fact that Let Go conveys such a depth of emotion in a limited space of time (the short is less than 15 minutes long) is a testament to Dréan’s skill as a filmmaker and marks her as a skilled chronicler of human emotion. The efficiency with which she reveals the extent of Anna’s heartache is harrowing to watch but at the same time impossible to turn away from.

LET GO / CERT: TBC / DIRECTOR & SCREENPLAY: ISABEL DREAN / STARRING: CLAUDIA FERRI, JAZ COTE DREAN, MILAN COTE DREAN / RELEASE DATE: TBC
 

The latest action exploitation B-picture to be released, Momentum sees Alex (Olga Kurylenko), who is a mysterious thief that is involved in a bank heist at the beginning of the film. She quickly finds it was never just about the diamonds, but more to do with an elusive hard drive that is connected to a corrupt senator (Morgan Freeman). This turn of events sparks a frenetic cat and mouse chase between Alex and a team of master assassins led by Mr. Washington (James Purefoy). Now she must uncover the lies behind the heist and the hard drive, whilst discovering the secrets behind the men who have made her a target.

This is the directorial debut for Stephen S. Campanelli, and as it stands Momentum is on the one hand a female-driven action flick in the mould of something like Nikita, whilst on the other is your typical VOD-bound action movie. The movie does borrow familiar tropes that have been heavily utilised in other action flicks and done more solidly well, like the Bourne franchise and more recently John Wick, and the plot is so typically ludicrous with the ripest of dialogue that it has holes you could probably drive a tank through. Also, its conclusion pretty much sets up a sequel, which as a result makes the film feel sort of incomplete.

So in that sense, Momentum is silly nonsense, however in a year where there have been many B-movie exploitation actioners that have been nothing but turgid garbage like Taken 3, Survivor and The Age of Kill, Momentum was at least a breath of fresh air in comparison, being surprisingly enjoyable and entertaining. Plus, if you compare this with Everly, which too was a female-led action B-picture yet was sleazy and ghastly beyond belief, there is no contest frankly as to which is superior. Also, the film does have a certain degree of finesse about it when it comes to its stylish cinematography, location setting (shot in Cape Town, South Africa), and some its action set-pieces which are handled solidly enough bar the choppy car chases.

As far as performances go, former Bond Girl Olga Kurylenko does an impressive job as the film’s main lead and is probably the main reason to watch this film. Kurylenko brings real screen charisma and wit to proceedings, and whilst the character on paper doesn’t sound all that intriguing, thank heaven for Olga Kurylenko for making us invested in the character of Alex. Also, James Purefoy looks as though he’s having a good old time as the main villain, chewing the scenery and spitting it out for all he’s worth, and the sparring dynamic between him and Kurylenko is a delight to watch. It’s a wonder both of them managed to keep a straight face when doing those scenes as a result of the ripe dialogue. However, A-lister Morgan Freeman barely gets a look in, amounting to nothing more than a glorified cameo.

Momentum is in the end silly, trashy B-movie nonsense, yet it’s top quality trash of the highest order as it does what it sets out to do by being enjoyably entertaining and having a stylistic gloss to its visuals. It’s one of those films in that it’s so bad it’s brilliant, and very few movies have that charm. But it’s really thanks to Olga Kurylenko that Momentum is as enjoyable as it is by being superbly witty and brilliantly kick-ass. Pay attention Everly, this is how it’s done!

MOMENTUM / CERT: 15 / DIRECTOR: STEPHEN S. CAMPANELLI / SCREENPLAY: ADAM MARCUS, DEBRA SULLIVAN / STARRING: OLGA KURYLENKO, JAMES PUREFOY, MORGAN FREEMAN, JENNA SARAS / RELEASE DATE: NOVEMBER 20TH

Expected Rating: 5 out of 10

Actual Rating:
 

It’s not unusual for young, attractive women to want to move away from their small town to find become a model in the big city. And with that, they leave their loved ones and perhaps go on to a better life. However, sometimes things go wrong, and they end up dead.

That’s what happened to Jessie (De Angelis) in Anthony Stabley’s compelling mystery thriller. Told through the eyes (and camera lens) of Jessie’s boyfriend Matt (David), this is a touching and evocatively striking tale of love, ambition, and obsession. The latter is not the usual passionate fixation on a person (although young Matt is clearly madly in love with the strong-willed Jessie), rather a drive to make sense of what happened to her, and to track down and confront her killer after the police fail to make any headway with the investigation and he receives an envelope containing a video tape of Jessie’s final moments.

As part of his filmmaking course, he sets off on an exploratory journey – literally and figuratively – through his relationship with Jessie, and her descent into darker places. Even before she makes the decision to leave, she is asking him to choke and hit her while having sex; something he is reluctant to do, but agrees out of love. When she does leave, he asks her not to let anyone else hit her, as though it was the same as saying don’t make love to anyone else.

Once she leaves and becomes embroiled in the not-so-glamourous modelling world, the company she keeps pulls her further and further away from the man who loves her, and closer to her tragic end. Matt’s solemn journey goes beyond a mere college assignment to a voyage of self-discovery and an attempt to find some sort of closure to the situation.

Drawing the viewer in with haunting, beautifully-shot visuals and a fittingly unnerving score, Stabley’s film is a rare breed; tragically engaging yet knife-edge terrifying and emotionally draining. It’s impeccably acted, particularly by the two leads, and even with the extreme circumstances, the audience can’t help but identify with them. Through the interactions that we see in flashbacks (the pair filmed their outings and closeness, and although we see a lot of this, it’s certainly not a found footage film), and it’s through the non-linear narrative that we experience Jessie’s exchanges with the people she meets in the City of Angels. Naturally, the dream scenario soon turns into a nightmare as the glitz of the profession gives way to the horribly squalid reality. Cult star Pat Healy is suitably sleazy as a photographer and Elisabeth Röhm is superb as Jessie’s damaged mother, but fortunately, having these recognisable faces doesn’t take away from the intimacy the younger cast bring to the telling.

During the scenes in which Stabley uses montages to bring us closer to the story, it has a mesmerising documentary feel, which makes the situation so much more heart-breaking and relatable. Everlasting works perfectly as a love story, thriller and even a cautionary tale, Everlasting is a remarkable film that’s perhaps a little too understated and low budget to be on the mainstream’s radar, but for those able to check it out will be greatly rewarded.

EVERLASTING / CERT: TBC / DIRECTOR & SCREENPLAY: ANTHONY STABLEY / STARRING: ADAM DAVID, VALENTINA DE ANGELIS, PAT HEALY, ELISABETH RÖHM / RELEASE DATE: TBC (WORLD PREMIERE CRYSTAL PALACE INTERNATIONAL FILM FESTIVAL NOV 11TH)

Expected Rating: 6 out of 10
Actual Rating:

The Hunger Games: Mockingjay Part 2 may be the final part of a bestselling young adult trilogy, but this is a film inspired by an author who isn’t going to let spectacular action drown out a serious political message. While Mockingjay Part 1 cast a suspicious eye over propaganda as a tool to entice people in to war, Mockingjay Part 2 takes a sharpened scalpel to the tactics and ethics of fighting an actual war.

Katniss (Jennifer Lawrence) is virtually voiceless as the film opens, still bruised from the brainwashed Peeta’s (Josh Hutcherson) chokehold at the end of the previous film. District 13’s President Coin (Julianne Moore) remains busy pulling the strings behind the scenes while Katniss is wheeled out to the districts to continue her role as a symbol of the revolution. Though Coin is increasingly keen to keep the Mockingjay on the sidelines, it isn’t long before two-time arena survivor turned freedom fighter Katniss decides to take the battle right to President Snow’s door, by leading a small group through the Capitol on a suicidal assassination mission.

It sounds exciting, and anyone disappointed that Mockingjay Part 1 was too slow, or too stuffed with filler, will probably be pleased with the amount of action in Part 2. Even so, it takes a while to get going, with Gwendoline Christie (Game of Thrones’ Brienne) only appearing in a single scene, but this scene being a notably thoughtful and interesting discussion of the rights and wrongs of killing innocent people during war. It is one scene of many in Mockingjay that sends out some mixed messages, but author Suzanne Collins’ original caution of authority and anti-war stance eventually emerges unscathed.

Key here is one of the most emotive moments in the entire trilogy that comes close to the end of this final film. Though director Francis Lawrence has handled most of the second and third books brilliantly, he slightly fumbles one of the biggest and most tragic deaths of the series, robbing it of much of its power. His star Jennifer Lawrence makes up for this in one of the very last scenes when her anger finally boils to the surface, but it is a shame the moment itself failed to pack a bigger punch.

In between its sterile, bland opening in District 13 and the destroyed remnants of other districts, and the ending that just gets darker and darker by the minute, Mockingjay 2 does find some time for some typical blockbuster action. President Snow has set traps all over the Capitol, making it basically another arena for those complaining that this is another Hunger Games film with no actual Hunger Games in it! The procession of deaths that fill this second half are far too bloodless, and some of the traps seem ludicrously set-up to allow easy escape, but there is at least one standout scene when Katniss finally gets to kick serious ass as Snow’s monstrous mutts are unleashed on the group.

Collins’ final book felt extremely rushed so the decision to split Mockingjay into Parts 1 and 2 allows the story to progress slightly more naturally. It’s still far too easy for Katniss to get through the Capitol but Francis Lawrence makes the most of the time spent in the dark tunnels below the city. Peeta’s flip-flopping from enemy to ally and back again grows vaguely tiresome, though Josh Hutcherson does his best with the script that constantly gets him to explain how he is feeling, rather than fully showing it.

Most of the problems with Mockingjay Part 2 are there in the book it is adapted from. Collins seemed to care a little less about the logic of the story and more about the message behind it by this point. Too many characters are introduced and dispatched as it moves towards the climax. Admirably, it feels far too bleak to be a major blockbuster. The cost of war is never forgotten, even in a tacked on ‘happy’ ending final scene that could easily have been left on the cutting room floor.

Mockingjay Part 2 is a fittingly dark end to the Hunger Games franchise, not as exciting perhaps as Catching Fire, but more politically charged. It’s not the kind of film that families will be queuing up to see again and again, but it is a rare blockbuster that might just inspire young people to participate in politics and maybe even fight for a better  and fairer future for themselves.

THE HUNGER GAMES: MOCKINGJAY – PART 2 / CERT: 12 / DIRECTOR: FRANCIS LAWRENCE / SCREENPLAY: DANNY STRONG, PETER CRAIG / STARRING: NATALIE DORMER, JENNIFER LAWRENCE, ELIZABETH BANKS, JULIANNE MOORE / RELEASE DATE: NOVEMBER 19TH

Expected Rating: 8 out of 10

Actual Rating:
 

A hard sell, this one: a faux-documentary about a semi-celebrity inbred hillbilly and his equally deformed family who live together on a zombie infested farm selling moonshine infused pickles. With its ultra-low-budget and complete lack of interest in remaining palatable to audiences (maybe bypass the popcorn this time around), Hans Crippleton: Talk to the Hans is about as ‘indie’ as indie cinema gets. Embrace that cheap grotesquerie, however, and what you’ll find is one of the most dementedly original backwoods subgenre movies you’ll ever see.

It’s essentially Honey Boo Boo meets Borat by way of a Texas Chainsaw Massacre sequel (probably the one with Matthew McConaughey), as horror TV presenter Barnaby Hunt meets the Crippleton family at their remote rural farm. There’s rising star Hans, brainless Bo Selecta lookalike Cousin Bumpkin, the one legged, well, One Legged Sis, obese MaMa Crippleton and the creepy surgeon who acts as the family’s doctor and resident inventor. A bunch of drooling idiot stereotypes and walking, talking near-the-knuckle jokes, it’s a vein of humour that will offend as many who find it to be hilarious.

Its divisive writing (effective, whether you’re appalled or amused by it) is backed up by strong performances across the board and some truly repulsive special effects work. Reminiscent of The Evil Dead or early Peter Jackson, it’s like an Adult Swim cartoon made reality – there’s no interest in being scary, but it certainly brings the requisite gore and schlock.

Inevitably, not all of the jokes do land, and its runtime feels a little long for what it is, but Hans Crippleton is a work of independent cinema to be celebrated: original, funny and surprisingly heartfelt. By the end of it all, you’ll want to be a Crippleton too. Good talk, Hans.

HANS CRIPPLETON: TALK TO THE HANS / CERT: TBC / DIRECTOR: JIMMY LEE COMBS / SCREENPLAY: KEVON WARD / STARRING: KEVON WARD, ANDY HANKINS, HEATH C. HEINE, KATIE BEVARD / RELEASE DATE: VOD OUT NOW
 

Hades is a short experimental film from Berlin created by newcomer Kevin Kopacka, loosely based on a short story, Statusbezogen, by H.K. Dewitt. A woman is caught up in an endless dream and must pass the five rivers of Hades (metaphorically speaking). Kopacka’s only other directorial work is the short film entitled For Those Who Still Exist, a mystery documentary rather different to the work he has done for Hades.

Kopacka gives this story a nice modern aesthetic with an odd yet interesting style. There is no dialogue in this short; it’s purely aesthetic with imagery and music. The colour palette is very lovely with all its pinks, greens and blues, and it forms a very urban and contemporary style, though having said that, the tone also has a very giallo approach. The costume and shooting style also remind us of Italian slasher films. Kopacka actually filmed in Super 8 for the flashback scenes, which is a wonderful way to break up the scenes and add a sense of dismay much like giallo films as well as Stanley Kubrick’s The Shining. The long corridors, the locked doors and ominous figures in the background all scream classic slasher. We can assume that Kopacka does have an appreciation for The Shining as the movie poster can be seen in the back ground.

The music and sound design again is odd, though the main choice of song fits in perfectly. Be My Baby, originally written by P. Spector, J. Barry and E. Greenwich, has been reworked and performed by Kopocka himself to play into the film. It’s a much more eerie version of the song that flows throughout the film in flashback and dream sequences, working really well and creating a chilling atmosphere. There are, however, certain sound designs that feel a little off in timing; it’s not building enough tension so it doesn’t quite create that unnerving feeling it’s supposed to.

Kopacka ends the film with ambiguity; he manages to show you everything without showing anything. It’s simple and that’s what makes this film so beautiful to watch. He shows that a story can be told without Hollywood magic but with pure filming and storytelling talent. Hades has been doing great in the festival circuit, and it will be interesting to see Kopacka come back with a feature, hopefully in a similar style and genre.

HADES / DIRECTOR & SCREENPLAY: KEVIN KOPACKA / STARRING: ANNA HEIDEGGER, CHRIS KOTZE / RELEASE DATE: OUT NOW
 

Remember when Galaxy Quest dealt with conventions in a hilariously satirical way? And how the recent Con Man acted like a meta-commentary on fame (and Firefly) while occasionally being charming and funny? Yeah well, Conventional isn’t that at all. Conventional is a disturbingly bleak, yet moving insight at the post-fame life of one-time scream queen Rachel Milligan, created by writer/director Karen Gillan. Whilst attending a convention, Milligan starts to reveal, at a dwindling Q&A panel, her own personal demons about her fall from stardom.

This was released as part of Fun Size Horror’s Vol. 2 compendium of short films, and what makes this short so distinctive is how it presents to us a new kind of horror. That of both desperation and depression and how scary and messed up the condition can be, whilst also tying it thematically to the Hollywood industry. Gillan’s portrayal of Rachel Milligan is harrowing, disturbing and a caricature representation of the image industry, Hollywood stardom, as well as the film industry’s state of ageism and sexism, which is present in Gillan’s awkward-sized lips (kudos to makeup).

In just shy of ten minutes, with light and agile strokes, Karen draws out Rachel’s decaying years, depicting a “conventional” story that happens over and over. It’s through that we can tell and understand that she’s literally in her own hell, and Karen Gillan portrays that phenomenally well. Through the aching and disfigured face of Rachel Milligan, Karen beautifully conveys many emotions in mere seconds, from quirky to tragedy. Towards the end, Karen delivers this internal speech at her panel, and the way she delivers it is very nuanced, yet gut-wrenchingly powerful and dark. The desperation in this character is what’s truly terrifying and uncomfortable; being human is true horror.

It makes it apparently clear that this story is very close to home. Karen Gillan has done her fair share of conventions and panels since her Doctor Who days, and it’s apparently evident that she witnessed other female actors going through the same story of trying to remain relevant, connecting with a dwindling fanbase and desperately trying to fight and avoid the inevitable march of time. Rachel Milligan’s story could very easily be Gillan’s or anyone’s. Apart from Gillan’s mercurial performance and sharp writing, it’s clear that has a certain knack for directing. The way in which the camera pans, the way characters are composed within a shot, and how close-ups are utilised shows that Gillan has a pretty strong future as a director as opposed. Plus, the cinematography by Zach Voytas is impressively solid, with many brilliant uses of shadows and colour cues.

There are problems, but they are very miniscule in comparison to the quality that’s on display. The very last shot seems very off-kilter with the rest of the heavy drama that has happened before it and there is a dig at Wes Craven that was very ill-judged, especially in the wake of his tragic passing nearly two months ago (although this could’ve been filmed before that). Plus, this short may not work for everyone; people might perceive it as too grim, or it could propose a serious risk at alienating the fan-culture as it portrays them in a somewhat unflattering light.

Apart from those issues, Conventional is a harrowing and disturbing portrayal of depression, desperation, and being engulfed by your own demons. Those themes and messages is what drives the brilliantly concise narrative, which has been solidly crafted by Karen Gillan, who also delivers an outstanding performance. This just proves that, like with Doctor Who, Guardians of the Galaxy and Occulus, Karen Gillan is a talent to watch out for.

CONVENTIONAL / DIRECTOR & SCREENPLAY: KAREN GILLAN / STARRING: KAREN GILLAN, LARA SEBASTIAN, JAMES RANSONE / RELEASE DATE: OUT NOW