Review Category: Movie

VOD REVIEW: STAGE FRIGHT / CERT: 18 / DIRECTOR: JEROME STABLE / SCREENPLAY: JEROME STABLE / STARRING: ALLIE MACDONALD, MEAT LOAF ADAY, DOUGLAS SMITH, MINNIE DRIVER / RELEASE DATE: JANUARY 26TH

Written and directed by Jerome Sable, Stage Fright is a bizarre, and completely mad, hybrid of musical, horror and comedy in which a starry-eyed teenager, Camilla Swanson (MacDonald), wants to follow in her late mother’s (Driver in a fleeting cameo) footsteps and become a Broadway diva. But instead, she’s stuck working in the kitchen of her stepfather’s (Aday) snobby performing arts camp. Determined to change her own destiny, she sneaks in to audition for the summer showcase, ‘The Haunting of the Opera’, and ends up landing the lead role. However, just as rehearsals begin, blood starts to spill, and Camilla, as well as everyone else at the camp, becomes terrorized by a homicidal masked killer.

When a horror movie is billed at being “Glee meets a slasher film,” it’s understandable why that might sound like movie kryptonite for certain audiences, but the remarkable thing about Stage Fright is how completely bonkers and all-over-the-shop the film is. To put it more accurately, Stage Fright is “Glee meets a slasher movie” on acid. Tonally, it goes off on many different tangents; one minute it’s dark, bloody and strange, yet next minute it’s jolly, light-hearted and filled with gags that sometimes don’t work. That means making a decision on two things: whether you go with the film or you don’t.

The film does make a lot of satirical stabs at musical theatre culture (parodying Phantom of the Opera), and it definitely subverts every horror movie cliché in the book (Friday the 13th, Carrie, etc.). These direct gags are surprisingly wittily punchy, yet sometimes the other gags can produce more sighs than laughs (“I’m gay for musicals”). The songs are for the most part surprisingly inventive, even though they don’t really stay with you as some of the more popular musical numbers do. This is no Sweeney Todd here.

The film is stylishly shot and edited to within an inch of its life, and all the performances are completely straight-faced intentionally throughout, particularly Meat Loaf who gets in on the gag. At the centre of the movie is Allie MacDonald, who is by far and away the best thing in the film. Showing promise as a rising star, not only is she sinking her teeth into the role of a strong horror vixen here, but also of a dazzling starlet, displaying real depth and nuance to every scene she’s in and there’s no doubt she’ll have a successful future ahead of her.

So in the end, Stage Fright is not a film that’ll work for everyone and it is a mess, but yet it’s somewhat of an enjoyable fun mess nevertheless, and in a perverse way, that is more admirable than making something that could’ve been generic and formulaic. It’s insane and more unpredictable than to be expected.

Expected Rating: 6 out of 10

Expected Rating:
 

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VOD REVIEW: STAGE FRIGHT / CERT: 18 / DIRECTOR: JEROME STABLE / SCREENPLAY: JEROME STABLE / STARRING: ALLIE MACDONALD, MEAT LOAF ADAY, DOUGLAS SMITH, MINNIE DRIVER / RELEASE DATE: JANUARY 26TH

Written and directed by Jerome Sable, Stage Fright is a bizarre, and completely mad, hybrid of musical, horror and comedy in which a starry-eyed teenager, Camilla Swanson (MacDonald), wants to follow in her late mother’s (Driver in a fleeting cameo) footsteps and become a Broadway diva. But instead, she’s stuck working in the kitchen of her stepfather’s (Aday) snobby performing arts camp. Determined to change her own destiny, she sneaks in to audition for the summer showcase, ‘The Haunting of the Opera’, and ends up landing the lead role. However, just as rehearsals begin, blood starts to spill, and Camilla, as well as everyone else at the camp, becomes terrorized by a homicidal masked killer.

When a horror movie is billed at being “Glee meets a slasher film,” it’s understandable why that might sound like movie kryptonite for certain audiences, but the remarkable thing about Stage Fright is how completely bonkers and all-over-the-shop the film is. To put it more accurately, Stage Fright is “Glee meets a slasher movie” on acid. Tonally, it goes off on many different tangents; one minute it’s dark, bloody and strange, yet next minute it’s jolly, light-hearted and filled with gags that sometimes don’t work. That means making a decision on two things: whether you go with the film or you don’t.

The film does make a lot of satirical stabs at musical theatre culture (parodying Phantom of the Opera), and it definitely subverts every horror movie cliché in the book (Friday the 13th, Carrie, etc.). These direct gags are surprisingly wittily punchy, yet sometimes the other gags can produce more sighs than laughs (“I’m gay for musicals”). The songs are for the most part surprisingly inventive, even though they don’t really stay with you as some of the more popular musical numbers do. This is no Sweeney Todd here.

The film is stylishly shot and edited to within an inch of its life, and all the performances are completely straight-faced intentionally throughout, particularly Meat Loaf who gets in on the gag. At the centre of the movie is Allie MacDonald, who is by far and away the best thing in the film. Showing promise as a rising star, not only is she sinking her teeth into the role of a strong horror vixen here, but also of a dazzling starlet, displaying real depth and nuance to every scene she’s in and there’s no doubt she’ll have a successful future ahead of her.

So in the end, Stage Fright is not a film that’ll work for everyone and it is a mess, but yet it’s somewhat of an enjoyable fun mess nevertheless, and in a perverse way, that is more admirable than making something that could’ve been generic and formulaic. It’s insane and more unpredictable than to be expected.

Expected Rating: 6 out of 10

Expected Rating:
 

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SHORT REVIEW: THE ALPHA INVENTION / CERT: TBC / DIRECTOR: MARK TOWERS / SCREENPLAY: MARK TOWERS / STARRING: BILLY BOYD, WILLIAM HOPE / RELEASE DATE: TBC

As sci-fi tropes go, they don’t come bigger than the subject of Artificial Intelligence. A.I. in sci-fi predates even the coining of the phrase itself by Forry Ackerman. Almost a natural evolution of the Frankenstein story, A.I. was a popular ingredient of pulp sci-fi. The likes of Metropolis, R.U.R., and Blade Runner have all tried to explore the possibilities of mankind replicating the spark of consciousness – usually ending with a cybernetic uprising by a load of robots with a right monk on!

It is to the credit of director Mark Towers that in such a busy corridor of traffic he manages to bring something original and unique to the discussion with his captivating short, The Alpha Invention. From the start, The Alpha Invention oozes class. The main narrative is provided with a two-sided conversation between a programmer and another individual interested in taking advantage of this breakthrough. The entirety of the film resides within this conversation, which manages to explore the nebulous nature of human existence and consciousness adequately within its 16-minute runtime. No small achievement.

The acting by the main two leads is top notch. Billy Boyd (you know as Pippin from Lord of the Rings) is a revelation in this role, bringing a much needed sense of intensity as the conversation takes its divergent pathways. The voice acting by his co-star William Hope is also pitch-perfect. We all remember him as the useless sod, Lt Gorman, from Aliens. Ripley would have no problem with his performance on this occasion, his vocals providing a menacing presence that further elevates this movie above your average sci-fi short.

The main discussion about the meaning of life and what constitutes consciousness will be a familiar one for fans of this type of flick, but it does go that bit deeper. Introducing the casual fan to the intricacies of the Turing test, which uses a computer’s ability to engage in human conversation to ascertain how close it is to achieving A.I. status, The Alpha Invention manages to address the mind-bending reality of life creation via silicon, and the level it manages to penetrate would be admirable in a two hour sci-fi blockbuster.

Mark Towers and his DP, Michael Spry, have managed admirably to complement these big ideas and compelling performances with a gorgeous visual look that perfectly balances everything out. The Alpha Invention is one of the best sci-fi shorts I have seen in recent years. Taking on one of the biggest ideas in sci-fi, The Alpha Invention is on a mission to bring us a genuinely fresh perspective. Mission accomplished, and then some!
 

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MOVIE REVIEW: IN THE HOUSE OF FLIES / CERT: TBC / DIRECTOR: GABRIEL CARRER / SCREENPLAY: ANGUS MCLELLAN / STARRING: LINDSAY SMITH, RYAN KOTACK, HENRY ROLLINS, RYAN BARRETT / RELEASE DATE: TBC

Set in June around 1988, In the House of Flies tells the story of a young couple, Heather (Smith) and Steve (Kotack), whose lives are inadvertently changed forever when they are abducted by an unknown assailant. They soon find themselves isolated, alone and locked in an undisclosed, suburban basement, and become pawns in a twisted, psychological, mind-game with their psychopathic host (voiced by Henry Rollins). Surrounded by several mysterious and locked suitcases – each containing various items, valuables, and clues to their very own survival – Heather and Steve must exploit what remains of their bruised intellect and depleting sanity to escape the authority of their unidentified and brutal abductor.

The film is a psychological horror film that is very tough, very nasty, and quite disturbing to its core, and if you do go and see it, you will probably come out of it wanting a stiff drink afterwards because it’s not an easy ride. The story deals with the themes of abduction, the loss of sanity, childbirth, and how far you would go to protect your loved one from harm, and the story is strong, if somewhat overstretched. The situation is thought out well, though, and builds upon the unsteady ease and tension of the drama by putting the characters, as well as us, in those tight, claustrophobic and seemingly hopeless surroundings.

The performances from the two centrals are very nuanced, and you do get a sense that this couple are being driven to the edge of their sanity as detailed by the incredibly tight close-ups on their dehydrated, worn-out faces. The concept of having the characters being forced to play out a twisted psychological game with nightmarish results has been a customary idea that has been done before in modern horror movies, whether it’s the Saw series or the Thai horror film 13 Beloved, which was typically remade recently into 13 Sins (what is it with Hollywood and remakes?).

Over the course of the drama, we’re meant to feel tension and chills, for which there are some, but it does become tedious. This might be because the concept does become stretched out to fit the 90 minute running time, and it would’ve felt more tightly constrained and focused if it was made shorter. But the two leads do give it their all and do manage to create an uncomfortable and emotional climate that did allow more connection and investment with them and their characters.

Overall, In the House of Flies isn’t something that’s going to reinvent or breathe new life into the horror genre as it’s not completely scary, despite some horrific scenes, and both the slow pace and padded-out storyline made certain sections a tad boring for some. However, the two central performances, the writing, and practical effects were solid enough for an indie film that was made on a micro-budget like this.

Expected Rating: 8 out of 10

Actual Rating:
 

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MOVIE REVIEW: THE IMITATION GAME / CERT: 12A / DIRECTOR: MORTEN TYLDUM / SCREENPLAY: GRAHAM MOORE / STARRING: BENEDICT CUMBERBATCH, KEIRA KNIGHTLEY, MATTHEW GOODE, CHARLES DANCE, MARK STRONG / RELEASE DATE: OUT NOW

The Imitation Game gives us a chance to absorb the story of Alan Turing (Cumberbatch) and how he led the way to solving the German Enigma code in World War II.

The film, based on Alan Turing: The Enigma by Andrew Hodges, centres on Turing’s time at Bletchley Park with the code-breakers and spells out how hard it was to build, then tune, the machine that would eventually break the code. It also tells the wider story of his homosexuality, persecution and eventual suicide in the early 1950s. To give more depth to his character, there are also sequences set in his very British public school with a young Turing (Alex Lawther).

The story is told in a collection of moments, some of which come together well, others are provided as dots for the viewer to join in their own heads. Apart from Turing, there are several key characters; blinkered, regimented Commander Denniston (Dance); brilliant Cambridge mathematician Joan Clarke (Knightley); MI6 agent Maj Gen Menzies (Strong); and 1950s policeman Detective Nook (Rory Kinnear). A narrative is presented that gives a sense of how Turing’s personality traits (as portrayed he would be labelled as autistic in some sense) were allowed to run unchecked and were reinforced by his schooldays. There are also plenty of scenes of wooden huts, bombings, tube station bomb shelters and much else to make sure we understand the wider context of war.

The tale is also told with simple brush strokes when it covers other periods in Turing’s life, from lots of stiff upper lips at school, to one-dimensionally bigoted police officers in the early 1950s. This is where the film suffers – in seeking to tell the whole story of Turing and his mistreatment, it presents lots of material but takes no perspective. Although Turing is the focus, we learn nothing about his internal landscape beyond some measure of conflict in his relationship with Joan (who he proposes marriage to at one stage). He knows he is different on many levels and sexuality is one of these. He neither justifies nor defends this – indeed the most powerful relationship as presented on screen is that with his machine.

If the film came off the fence, there are stronger stories to tell with this material. The story of Joan Clarke dealing with prejudice against women, her struggle to have her great intelligence recognised, her marriage and her fascination with the genius of Alan Turing would be interesting and Knightley more than capable of evincing this. There is also a very powerful story to be told about Detective Nook, who suspects that behind his homosexuality there is a much deeper story about Turing, the War, and (erroneously) the Cambridge spies. How Nook discovers the truth while dealing with the simple prejudices of his contemporaries would be a good way to explore the story of Turing, though perhaps more suited to television.

Overall this is a film packed with content and strong performances from many, even if their characters never really get to grips with the film’s journey. The final measure of the quality and power of the story is the audience – when the packed cinema collectively sits in silence for thirty seconds as the film’s credits roll, then leaves in subdued conversation, that is a sign of the impact this film has on the viewer.

Expected Rating: 7 out of 10

Actual Rating:
 

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MOVIE REVIEW: AUTOMATA / CERT: TBC / DIRECTOR: GABE IBANEZ / SCREEENPLAY: VARIOUS / STARRING: ANTONIO BANDERAS, BIRGITTE HJORT SORENSEN, MELANIE GRIFFITHS, DYLAN MCDERMOTT, TIM MCINNERNY, ROBERT FORSTER/ RELEASE DATE: TBC

2014 has seen the quiet return of intelligent science-fiction filmmaking. Edge of Tomorrow (or Live, Die, Repeat or whatever you may choose to call it) was the acceptable face of blockbuster cinema, Christopher Nolan made a decent effort at creating a 2001 for the 21st century (if you catch our drift) with Interstellar, and the year’s been peppered with oddities and curios like Under the Skin, Her and The Congress. Gabe Ibanez’ debut feature, Automata, may not quite reach such giddy heights but it’s another thoughtful, measured slice of original modern sci-fi which flies right in the face of the incessant tide of spandex superheroes, reboots, and robots and giant monsters which dominate and dumb-down the genre in the lazy, hazy days of summer.

It’s 2044 and solar flare activity has scorched the Earth and toasted over 99% of the world’s population. 21 million human survivors live in gloomy hi-tech cities and clunky robots called Pilgrims have been created to help the last of humanity thrive in an increasingly-hostile environment. In best Asimov style, the robots have two overriding protocols: they must preserve human life and they must not modify themselves. Jaded insurance investigator Jacq Vaucan (Banderas) is intrigued by reports of a robot which appears to be modifying and upgrading itself. His investigations into the underworld of the clocksmiths, who illegally tamper with robot protocols, leads him to discover that the Pilgrims may indeed be capable of independent thought and they’re no longer happy with their existence as unfeeling mechanical creatures.

By its very nature, Automata can’t help but remind us of too many other similar dystopian science-fiction futures and tales of anthropomorphised artificial intelligence. A bit of Blade Runner here, a dash of District 9 there, sprinkle a bit of I, Robot and A.I. and leave to simmer for a hundred minutes. The resulting stew has a familiar flavour which could have been enlivened by a few fresh ingredients or at least the occasional splash of something diverting and unexpected. Automata sets up its grim vision of humanity’s ultimate fate with powerful economy and there’s much promise in the scenes of streets lashed with potentially-deadly rain, outsiders scavenging in the city’s debris and the last flickering vestiges of a technology which has nothing much to offer beyond superficial stimulation and nothing at all to promise for the future of mankind. The central premise of robots striving for humanity is deftly set up but the script doesn’t seem to know what to do with it and certainly has nothing new to bring to an idea which is, in many ways, as old as sci-fi itself. To its credit, Automata is absolutely not an action movie; there’s much philosophical posturing with the idea that mankind is losing its humanity even as the robots strive to find it, and the only concession to the popcorn crowd is a brief car chase and a last-reel desert shoot out.

Occasionally ponderous but undeniably thought-provoking, Automata doesn’t quite have the courage of its convictions nor, in the end, any real idea where it wants to drive its story. There’s nothing here we’ve not seen before but it’s done with a pleasing noirish style which its relatively-tiny budget belies, and it boasts a welcome return to form for Banderas as the world-weary Vaucan and a strong supporting cast of Brits including McInnerny, Andy Nyman and David Ryall.

Resolutely grim and refreshingly low-key, Automata doesn’t always hit the spot but it’s heartening to see another slice of sci-fi cinema which suggests that the idiots haven’t necessarily completely taken over the multiplex asylum.

Expected Rating: 7 out of 10

Actual Rating:
 

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MOVIE REVIEW: STARRY EYES / CERT: 18 / DIRECTORS: KEVIN KÖLSCH, DENNIS WIDMYER / SCREENPLAY: KEVIN KÖLSCH, DENNIS WIDMYER / STARRING: ALEX ESSOE, AMANDA FULLER, NOAH SEGAN / RELEASE DATE: TBC

What would you do to be a star? That’s the central question of Starry Eyes, which examines the extraordinary lengths one struggling actress will go to for a shot at stardom.

Sarah (Alex Essoe) is one of a group of wannabe stars in LA. Like a substantial proportion of the city’s inhabitants, she spends the majority of her time waiting tables, unsuccessfully attending auditions, and dreaming of making it big. Her and her friends spend their spare time sitting round swimming pools in cheap apartment blocks, dreaming of making their own low budget film, but getting no closer to achieving their dreams.

Then Sarah gets a shot at the big time. Following an unsuccessful audition for the lead in a horror movie, she’s caught self- harming. Impressed by the lengths she’s prepared to go to, she’s given a second chance via a rather unconventional audition process.

As Sarah edges closer to the role, she’s pushed further and further. Once she fully commits to doing whatever it takes, the movie descends into Cronenbergian body horror, as she begins both a physical and mental deterioration.  Her transformation from beautiful starlet to emotional and physical wreck is convincing, especially given the film’s tiny budget (largely the result of a Kickstarter campaign), featuring impressive, gory effects and a terrific central performance from Essoe

Less convincingly played is the introduction of satanic elements – all creepy looking film business types and mysterious hooded figures. These scenes aren’t played with much originality and feel derivative of other, better films. You get the distinct impression that writer/directors Kevin Kölsch and Dennis Widmyer have watched Rosemary’s Baby one too many times.

Ultimately, Starry Eyes is effectively unsettling but doesn’t quite add up to the sum of its parts. The body horror is well handled, with some genuinely creepy sequences. Alex Essoe, however, is fantastic and fully deserves to hit the big time. Hopefully her transformation will be a bit more conventional than Sarah’s.

Expected Rating: 7 out of 10

Actual Rating:
 

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MOVIE REVIEW: BIG HERO 6 / CERT: TBC / DIRECTOR: DON HALL, CHRIS WILLIAMS / SCREENPLAY: JORDAN ROBERTS, DANIEL GERSON, ROBERT L. BAIRD / STARRING: RYAN POTTER, SCOTT ADSIT, DANIEL HENNEY, JAMIE CHUNG, T.J. MILLER, DAMON WAYANS JR. GENESIS RODRIGUEZ / RELEASE DATE: JANUARY 30TH, 2015

After conquering Chris Nolan’s Interstellar at the US box office on it’s opening weekend, comparisons are sure to be made between Disney Animation’s latest feature (and first proper collaboration with Marvel Studios), Big Hero 6, and Disney’s previous smash, Frozen. And to be fair, the comparisons aren’t completely unwarranted.

Both feature siblings as the emotional core of the film with their parents tragically absent; Elsa and Anna in this case are replaced with brothers Hiro & Tadashi; both feature the same “Frozen-face” house art style for its characters (or more accurately “Tangled-face”); and both concern certain “wasted” gifts: Anna’s powers over the cold and Hiro’s intellect, having graduated high school at 13 years of age but wasting his time on back street Robot Wars-style fighting competitions with little plans for his future, and both films manage to pack a pretty strong emotional wallop.

After being entrusted with Tadashi’s medical robot prototype Baymax, a soft, inflatable, huggable emergency medical technician, Hiro discovers that one of his own inventions, inch high microbots that can be commanded to work together to form bigger, more complex structures, have been stolen and are being put to nefarious ends. With no help from the authorities, Hiro must rely on his own intelligence and reluctant superhero Baymax to discover who is using his microbots and why, and maybe make a few new friends along the way.

Unlike Frozen, Big Hero 6 avoids the musical route, using only a few songs from Fallout Boy and 30 Seconds to Mars during montages, during which none of the main cast sing along. Instead, Big Hero 6 focuses on action, invention and adventure as Hiro and friends race through San Fransokyo, a striking visual mash-up of Tokyo and San Francisco. While the film shares a title and character names with a Marvel comic from the late 2000s, almost everything else has been changed. Disney only used the comic as a jumping off point for their inspiration, although the film does feature a very loving and very funny homage to Marvel that, of course, continues after the credits have rolled. The hand of executive producer John Lasseter is much more apparent in the patented “Pixar twist” in the third act, where all does not go exactly as expected for the characters or the audience. It may becoming somewhat of a trope for Disney/Pixar, but as an audience it’s still preferable to be kept on one’s toes and pleasantly surprised rather than trudge a well worn, obvious path.

Hiro’s journey is just as emotionally-affecting as Anna and Elsa’s as he deals with loss, puberty, the allure of vengeance, and the acceptance of his place in the world and the friends he has in it. For a kids’ film, it does deal with some relatively weighty issues, mostly the grieving process over the loss of a loved one, but is balanced by the infectious joy from Baymax’s interactions with everything, which could have easily become annoying, overly sentimental or cloying but never do.

It might be too much to expect Big Hero 6 to have the staying power of Frozen without the support of that film’s powerful soundtrack, but it’s still a highly enjoyable adventure in its own right.

Expected Rating: 7 out of 10

Actual Rating:
 

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