Liselotte Vanophem (Big Picture Film Club): Congratulations on the amazing documentary. How did you guys meet?

Frédéric Tcheng (Invisible Beauty): We met because we made a short movie together for the CFDA in New York. They needed a 3-minute film to introduce her on stage, and I was approached to make that 3-minute film, and that’s how we met. I didn’t know who Bethann was because I’m not much of a fashion guy, even though I’ve made a lot of fashion movies. We sat down to interview for that short film. For a 3-minute film, I interviewed Bethann for like 5 hours.

FT: There’s much to discuss, and I said, “Well, this is a very special person.” And we kept in touch. Bethann told me about the feature film that was more about the industry. And then, over the years, we started talking about making a new film that was more about her, the people in her life and her influence. Three and a half years ago, four years ago, we started working on that.

LV: You mentioned that you interviewed her for five hours for the three-minute video. How long did you film to make this movie?

FT: We wanted to make a documentary representing her life. A great woman like her deserves a great documentary. The first cut we had was a documentary of around 7 hours.

Bethann Hardison (Invisible Beauty): I like that first cut of 7 hours. That’s when he had to get into it and cut it to something he could present to me.

FT: After that, we got it down to four hours.

BH: Four hours was so good!

FT: Sadly, we had to cut even more. The result may be a bit longer than most, but that’s because people sit there watching this movie and want to see more. It was just a lot—a lot of stories to tell. We had to make choices about what thread we were following. The thread in the film would differ from the one in the book. It was the thread of advocacy. And you know, that’s how we saw it. It shaped the art of the story. All the collaborators and fashion people in this movie did something interesting and amazing.

LV: Because you had all the footage, were there any ideas of turning it into a limited series?

FT: Well, we did talk about making a series. But we got shut down by our producer, Lisa Cortez, who said that our investors had signed up for a feature film. So we had to deliver a movie. It’s good to have that constraint. We have to make choices about how we tell the story. It was a long path. But I was already very happy that Bethann was proud of what we had made. She always tells the truth, and if she was not going to like it, I would have felt like I had let her down. I didn’t want that. And so when she saw the four hours and said, “You made me a believer in my own story”, that was like a huge relief.

 LV: Did the writing of the book influence the film and vice versa?

BH: No, not really. They’re both about two different things. The book had nothing to do with the film. Because I have so many relationships, it helped me to tell my story in the movie.

FT: There were so many stories about, for example, the relationships with Jean-Michel Basque, but we couldn’t fit that in the film. That’s because we had to stick to Bethan’s story. It was important.

BH: But those stories could be included in the book. I need to finish my book because everyone is now seeing the film.

LV: Does that put more pressure on you?

BH: Yes, there was no pressure when they started to film, but because of the documentary, the audience wanted to see more, and I can feel the pressure. Not sure if the book will be as good as Invisible Beauty, though.

FT: It will be. I’ve read some pages. I can’t wait for everyone else to read the book. I told Bethann that I like her writing. She’s a writer. She didn’t need a ghostwriter. I told her not to get one. She has a voice of her own.

LV: This documentary highlights the beauty industry and the lack of diversity. Do you think the revolutionary things you did are also the perfect way to see even more inclusivity? Let’s say seeing models with a disability or models that look more like the women we see in the street.

BH: That’s where I have a problem. I give so much more credit to the outside world than to the little island of fashion. On one side, you have the world, and on the other, this stupid little island of fashion. That little island represented how a model looked in my day. People have so much style and personality, and it’s nonsense to want to become like the model you see. I believe the fashion model should be something we don’t want to be. That island is them. When I go around the world, I meet many young people who say they want to be a model. What a model is, is so broad these days. So many people can be a model.

LV: What can we do as consumers to show the fashion industry that we want more inclusivity and diversity?

BH: That change is already happening. The voices for change are here. You see mixed-race families. You see, same-sex marriages.

LV: Invisible Beauty was screened during the Sundance Film Festival London. Are there any other festivals the documentary is going to?

FT: We have had a nice festival run so far. We were in Toronto, Tribeca, Seattle, San Francisco; you name it. The film will be out in the US on the 15th of September. It’s very exciting for us to get a theatrical release.

Also Read: Review: Invisible Beauty

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The most influential figure in the fashion industry you might not have heard off

The documentary opens with many influential fashion and entertainment industry figures praising Bethann. From Tracee Ellis Ross to Zendaya and Whoopi Goldberg to Fran Liebowitz, they all give short testimonials about what this fashion trailblazer meant to them. We see more comprehensive interviews with people such as Iman, Campbell and Beckford to get to know even more about Bethann. Her teenage years were rough due to the strict upbringing by her father, but Bethann isn’t afraid to admit that that is what makes her so determined.

After attending FIT and NYU, she became a saleswoman in the clothes district, and it didn’t take long before she was noticed by the big fashion names, even if it was unintentional. Black designer Willi Smith was the first one to give Bethann a model job, and her androgynous appearance, expressive look and outgoing personality made Bethann a popular model in the ‘70s as she walked alongside the likes of Pat Cleveland, Beverly Johnson and Iman.

She realizes that while some black women and people of colour are walking the runway, the % could and should increase even more. She wants to tackle that racism and lack of representation from the inside, so she decides to become a model and booking agent. In 1984, she launched the Bethann Management Agency. Her agency has received worldwide fame for discovering the most dynamic and diverse models from different backgrounds, including Kimora Lee Simmons and Veronica Webb.

Her impact became even more significant when she co-founded The Black Girls Coalition with Iman in 1988 to support African American models in the fashion industry. Bethann’s influence on the industry can’t be underestimated, and when she sees that it is all going in the right direction and that the people around her can take over the baton, she retires to Mexico to decide what she wants next in life. However, when the white homogeneity and “heroin chic” take the industry by storm, she’s forced out of ‘retirement’ with a bombshell press conference…

The traditional but effective way of documentary-making

Invisible Beauty is being told in the usual straightforward and traditional way. We see testimonials from the biggest people in the fashion world and Bethann’s son Kadeem. Of course, there’s Bethann, who gives us a very up-close look into her personal and professional life. The interviews are accompanied by runway show footage, press conferences and pictures from her childhood. We gain more insights into what was happening in the fashion industry, Bethann’s revolution and the relationship between media and the fashion industry. We all know that the images and videos we see shape how we see the world, and this documentary is the perfect reminder of that.

A must-see documentary full of passion, fashion, diversity and determination!

Bethann’s fire has been blazing for almost five decades, and she will continue for as long as possible. Her love for fashion, drive for change, and bubbly, outspoken personality are some things we all have to admire and praise. Her enormous contributions to the (fashion) world don’t all fit in this documentary (or in the book Bethann’s writing), but the stunning Invisible Beauty certainly tries and succeeds in showing us Bethann’s remarkable life in the most inspiring, affecting and fun way possible!

Invisible Beauty was part of the Sundance Film Festival London 2023 and will be out in the US on the 15th of September.

Rating: (4.5 / 5)

Read our interview with Bethann Hardison and Frédéric Tcheng here.

Also Read: Vanessa Oliveira Discusses Documenting Afro-Brazilian Culture

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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Liselotte Vanophem (Big Picture Film Club): Congrats on the film!

Charlotte Regan (writer/director Scrapper): Thank you so much.

LV: It was just announced that the film is going to Edinburgh, to the Edinburgh Film Festival. How does it feel?

CR: It’s very cool! It’s very exciting. I love Edinburgh, so it would be nice to be a part of it, for sure.

LV: How did it feel when the Sundance Film Festival London said, “we want your film as the opening film”. Opening a festival must feel even more special than ‘only’ being selected.

CR: Being part of the Sundance Film Festival London and the Sundance community feels super cool. I try not to think about it too much, though. But it’s very cool. I feel very lucky, for sure.

LV: The casting of this movie is amazing, especially the children who are making their film debut. How did you find them?

CR: Oh, our casting director, Shaheen Baig, is incredible. She was a massive part of the search. And it was just a really long search. It took like two years because we were meant to shoot the year before, but because of COVID19, we had to push it back. We went to a lot of schools, and we’re being sent hundreds of tapes of young people. But from the moment we got Lola her tape, we knew that she was like magic. And then Alin came to an audition, and he’s the most charismatic 12-year-old you’ll ever meet in your life. So straight away, we knew we had two great kids on our hands.

LV: When and how did Harris Dickinson join the cast? The relationship between his character Jason and Lola’s Georgie is incredible.

CR: I’ve worked with Harris before when we worked on a short film a few years ago. I know him from that. I also love all the work that he’s done. All his films are incredible. He’s an amazing guy. He was cast the traditional way. We cast the young people first, or we intended to. Maybe we didn’t properly lock them in, but we looked for the kids first before looking for a Jason, just because I felt like the kids needed to come first and then Jason. Harris read for it and was just amazing, you know. He was also very selfless and knew how to support the kids whilst always giving a great performance.

LV: Where did the story for this film come from? Was it something that happened to you personally, something you have seen, etc.?

CR: I think a mix of everything for sure. There are people that I recognize within the film. People from the joyful working-class community that I grew up in. But beyond that, it’s not something that happened to me personally. The story evolved over time.

 LV: This is the first movie you wrote and directed by yourself instead of having co-directors/co-writers. How was that process?

CR: It was a lot of sitting on your own, writing, which I’m not a big fan of. I like to be with people to talk about things. I worked with my producer Theo on this, who is one of my best friends in the world, and we’ve worked together for a long time. There was that ‘family’ vibe. My production designer Elena was one of my best friends in school, and we’ve known each other since we were 12. My DP Molly is one of my best friends. It felt very much like a family-orientated shoot. They came on board very early and were always willing to talk creatively, which helped. Theo in particular, has sat with me for days and days, writing the script with me and saying the dialogue out loud. He was my partner through the whole process, for sure.

LV: There are a lot of emotional moments in this film. What was the most emotional one for you?

CR: I don’t know, really. I don’t feel that emotional on set, weirdly. I don’t know why. I probably try not to. However, when I watch it back, I love the bit where they are dancing together, and they finally connect just because she’s been so reluctant to let him in. So I love that moment. However, on the day of filming, I didn’t feel very emotional about it. I was probably blurring it out on purpose. I was probably tired and drinking too much coffee.

LV: And what do you hope that the audience will take away from this film?

CR: I hope it makes people laugh and smile. I suppose that is what I love about watching cinema. Movies are experiences that make you leave feeling lighter than when you went in. Something that makes you laugh or brings you a bit of joy. And then I hope that it captures how much joy and humour there is in working-class environments because I feel like it’s not something we get to see loads on screen.

LV: Is that experience also why you went into filmmaking?

CR: I don’t know. I think I got lucky with the film so I think it’s more luck. I don’t know if I would be good at anything else.

LV: Do you already have other projects you’re working on

CR: Yes, I’m writing films at the minute and just filmed an Apple show called The Buccaneers. It’s a period drama. One of the films I’m writing is a psychological horror about a gangster. It’s a totally different genre than this one.

LV: Scraper has a release at the end of August in the UK (25^th of August, to be exact). Are there any plans for releasing it in other countries?

CR: I think it releases on the same day in the U.S. I think I’ll be working on another shoot then, so might not be able to make it to promote it there.

LV: Well, good luck with Scrapper and your other projects!

CR: Thanks a lot!

Scrapper is screened on the 7th of July during the Sundance Film Festival London and has a nationwide release on the 25th of August.

Also Read: Review: Scrapper

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The post Inside the Heart of ‘Scrapper’: An Interview with Groundbreaking Director Charlotte Regan appeared first on Big Picture Film Club.

No child should have to grow up alone

Georgie (Campbell) lives alone in a flat on the outskirts of London. Her mother just died from an undescribed disease, and it’s clear that Georgie is still grieving, which is completely understandable. Her estranged father Jason (Harris Dickinson) has been MIA for almost her entire life, so Georgie has no choice but to take care of herself. Instead of attending school, she and her friend Ali (Alin Uzun) spend their time stealing and selling bikes to get cash. Georgie is determined and resourceful as she’s been misleading the social services with the help of a local shop owner, a few audio recordings and an ‘uncle’ named Winston Churchill. Georgie knows this situation is unsustainable. To find some peace, quiet and hope, she goes into a room to lie in front of a scrap pile (hence the title).

One day her life is changed completely when Jason comes leaping through her garden one day. He has heard about what happened to her mother and wants to help Georgie. However, there’s a reason why he hasn’t been part of her life. Jason still hasn’t come to terms with growing up and becoming a father, so how do you expect someone like him to care for a young girl already on the wrong path? Will they be able to reconnect and save themselves?

Stunning performances by the newcomers!

While this plotline about the estranged father-daughter relationship feels very familiar due to Aftersun, released last year, Scrapper still has a lot of uniqueness to offer. The main reason why you should see this movie is the stunning standout performance by newcomer Campbell. During our interview with Regan, she mentioned that she was the perfect Georgie right from the start of Campbell’s audition, and we certainly agree with her. Campbell perfectly balances Georgie’s rough-tough side and her vulnerability, and her comedic timing is top-notch. While she shares the screen with Dickinson, she could have easily carried this film herself through the end.

Dickinson, who’s on a roll after releasing Triangle of Sadness, See How They Run, and Where The Crawdads Sing all last year, is perfect as Jason. He gives his character the mysterious vibe he needs (Georgie initially thought that her father was clearly out for something) but also shows us that no matter how long you’ve been out of each other’s lives, the father-daughter connection is never completely broken. The chemistry between Campbell and Dickinson spat off the screen, making the relationship between Georgie and her father feels very authentic. We also have to congratulate Uzun on his stunning debut performance as the loyal friend who’s certainly not immune to Georgie’s wit and mischief.

Smooth editing and soft cinematography with a few flaws

Visual-wise, Regan uses many different aspects and techniques. She mainly relies on the ‘traditional’ way of filming a drama. Long, emotional scenes that have no background score whatsoever. The main focus is the characters and their feelings. To make sure that the movie doesn’t become monotone, she also decides to include the comedic testimonials of people in Georgie’s life—think of her teacher, school enemies, and social workers – about her grieving process and way of living. Regan also speeds up some scenes for dramatic effects and sometimes swaps the smooth editing for jagged cuts. While those aspects sometimes feel a bit out of place, the overall visuals perfectly fit the storyline. The score mainly consists of hip-hop and rap music, giving this movie that ‘in the hood’ vibe.

A heartbreaking movie about grief, maturation and family

Despite some distracting visual choices, Scrapper stands extremely strong throughout its 84 minutes runtime. The heartbreaking story of grief, maturation, (dis)trust and family comes to life stunningly thanks to the great sense of humour, outstanding performances and excellent chemistry.

Rating: (4 / 5)

Scrapper is screened on the 7th of July during the Sundance Film Festival London and has a nationwide release on the 25th of August.

Also Read: Fry-Up (Directed by Charlotte Regan) | Short Snacks #13

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From the extremely busy Hong Kong to the tranquillity of Iceland

In 2018, Hong Kong was ranked as the 74th saddest population in the world. That heartbreaking fact is what Chan and Lam want to bring to the audience’s attention. Finding Bliss follows musicians such as Josie Ho (HK singer/actress), MC Yan (street artist and rapper), Jimmy Mak (guitarist), Ceung Yee-sik (drummer) and Jan Lo (singer) on the journey to self-improvement and happiness. Ho explains how living in Hong Kong is depressing and stressful and that Hong Kong is a place where people lose touch with who they are. To undo that damage, the group entertainers embark on a trip to Iceland, where they want to find sanctuary, peace, happiness and bliss. Inspired by the philosophy of Philippe Gaulier, they make short videos in which they explain what they’re feeling and how they are improving themselves throughout this trip.

Find happiness within

It’s clear that finding yourself, peace, and happiness is the most essential things in life. Unconsciously, many of us try to find that happiness and validation outsides ourselves, mainly through the praise of others and material things. Therefore we might forget what really matters in the end. In one of his classes, Jim Chim (motivator and entertainer) shows us how glorious and rich our lives would be if we allow ourselves to make mistakes and to be ourselves unconditionally. The key to happiness starts within and not by looking at the external world. In Finding Bliss, you see many moments during which the group enjoys the little and simple things in life, such as being together, playing around and having a good laugh. This proves that societal barriers can be torn down by just being who you are.

What makes that message even stronger is the beautiful parallel between the group’s search for freedom and the stunning scenery of Iceland. The strong wind, the unexpected explosions of the geysers and the significant manifestations of nature are metaphors for people finally having a mind-blowing epiphany that the way to freedom is just to let go of the norms and prejudices. Being yourself can enrich your life, just like becoming one with nature.

Living in Hong Kong can feel very hectic, and while it’s the way of life, you have to find the right balance between a business-centric lifestyle and necessary tranquillity. Those contrasting elements are beautifully represented on screen by the fire and ice of Iceland. It’s crucial to find a balance between the two so that you, as a person, can survive. The search for yourself can be very intense and powerful, and Chad and Lam manage to capture feeling by integrating strong rock music into this documentary.

No drastically life-changing but the perfect guide to peace

While this documentary isn’t drastically changing everyone’s lives, it’s a great guide to help you find peace and joy. It also shows us that you can and must trust your inner self. After all, you’re the only person who can figure out where to find your bliss and happiness.

Finding Bliss is part of the UKChina Film Collab’s Odyssey Film Season at Battersea Power Station. Click here for all the information.

Also Read: Sustainability Is Never a Boring Topic, See How Chinese Young Filmmaker Hong Ning Perceives ‘Global Sustainability’ Through Images

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New York: The city that never sleeps

Set a year after Scream (2022), half-sisters Tara (Jenna Ortega) and Sam (Melissa Barrera) move from Woodsboro to Big Apple alongside fellow survivors Chad (Mason Gooding) and Mindy (Jasmin Savoy Brown). They hope to finally escape their past, move forward and enjoy their lives. However, it seems that dread and murder find them wherever they go. Soon after their arrival, a series of brutal murders happen, inspired by Ghostface, the Stab movies and everything that has to do with it. Someone is continuing the work of the likes such as Billy Loomis, Roman Bridger, Jill Roberts and Stu Macher and again, the “core four,” as the group calls themselves, fear for their lives.

However, with Gale Weathers (Courteney Cox) and former classmate/now FBI detective Kirby Reed (Hayden Panettiere), they decide to try and get rid of Ghostface once and for all, but during Halloween night, New York is full of people in Ghostface costumes. Will they be able to find the real killer and bring him to justice?

The perfect combination of nostalgia and modern aspects

When watching Scream VI, it’s clear that this movie wants to honour its predecessors in the best way possible. Think of the massive shrine the killer has set up, Mindy’s monologue about the different elements of a horror slasher movie and the many subtle and not-so-subtle mentions of horror classics. But it’s not all about tradition in this movie. No, by swapping Woodsboro for New York, the filmmakers can use brand-new ideas. A bigger city, more people, and more potential victims all lead to a more inventive, bloodier and funnier film.

While the ‘core four’ certainly has more fun in this movie, they can’t fully enjoy it because Ghostface is always right behind them. With a higher population, the Big Apple is the perfect playground for Ghostface and directors Matt Bettinelli-Olpin (Ready or Not, Devil’s Due) and Tyler Gillett (V/H/S, Ready or Not). This is highlighted during the subway scene and the bloody and adrenaline-fueled climax. We even dare to say that Scream VI might have the best opening scene since the first movie. We don’t see much of Samara Weaving (The Babysitter, Babylon), but she undoubtedly impacts with her strong performance. 

A new environment, the same old great performances

Speaking of solid performances, both Barrera (In the Heights, Carmen) and Ortega (X, The Fallout) absolutely carry this movie. You might not have liked Sam in Scream (2022), but we’re confident you will change your mind when watching this film. Ghostface having even more rage and a sharper tongue and knife ensures that Sam has to step up her game, and Barrera does that. Her fierce, strong and clever performance ensures you will sympathize and root for Sam.

Barrera’s on-screen sisterhood with Ortega is extremely powerful. This is also because Ortega is in top form. After being stuck in the hospital for most of the previous film, she now gets to shine, and that’s precisely what she does! She’s finally allowed to have fun, stab around and bring out the badass in her. Do we have a new scream queen on her hands? Maybe not, cause Tara still feels a bit underdeveloped.

Because Sidney Prescott didn’t return to this movie, Gale Weathers gets a lot more screen time, and Cox (Scream, 3000 Miles to Graceland) certainly grabs that opportunity with both hands! Weathers is finally standing face-to-face with Ghostface, resulting in a standout scene and a knockout performance by Cox. She brings both power and humour to this movie. While the return of Panettiere (Custody, The Forger) as Kirby is wonderful to see, her excellent acting doesn’t come through as much due to the unfortunate wig and mainly supporting role. It’s only during that climax scene that Panettiere can show us what she got.

Scream is bloodier, creepier and funnier than ever!

After the release of Scream (2022), fans were questioning how the franchise could stay alive after Craven’s death. With his death, we lost a master in horror, but directors Gillett and Bettinilli-Olpin know what they’re doing. They have proven that by creating a frighting 2022 film and even bloodier, creepier, funnier Scream VI. Thanks to the many plot twists that certainly keep you on your toes, the standout performances, and the many wonderful easter eggs, the Scream franchise is still very much alive!

Scream VI is out now in U.K. cinemas

Rating: (4.5 / 5)

Also Read: The Future of Scream Without Sidney Prescott

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When your lifelong friend becomes your boxing rival

Jordan takes you back to 2000, when the 15-year-old foster kid, Adonis (Thaddeus James Mixson Jr.), gets in a lot of trouble with Damian “Dame” Anderson (Spence Moore II). Their relationship is more like the one between brothers than between friends. Adonis looks up to Dame, the first person who taught him how to box. One night, Dame is arrested and locked up after pulling his gun towards a man who picked a fight with Adonis.

So many years later, the two best friends come across each other outside Adonis’ box practice. Adonis is now a retired boxer living with his wife (Tessa Thompson) and daughter (Mila Davis-Kent) in LA and training upcoming boxing talent. Meanwhile, Dame (Jonathan Majors) has just been released from prison. It seems their friendship is still powerful, but it soon turns out that time and prison change a man. Someone who was once Adonis’ friend has now become a threat to his legacy, livelihood and family.

Different direction and style but the same knock-out performances

If you have seen the previous Creed movies, you will notice how different this film’s direction, style and vibe are. Ryan Coogler (Black Panther: Wakanda Forever, Black Panther), who helmed the first movie, and Steven Caple Jr. (The Land), who sat in the director’s chair for Creed II, had similar approaches to the characters, the fights and the story development. However, this time, it’s different. Jordan isn’t afraid to show you the tough moments his character has to go through, both during his teenage and adult life, and highlight topics such as gangs, gun violence, betrayal and secrets. Yes, it’s a new-ish take on Creed, which is excellent, especially if you want to keep this franchise going.

This is the third time Jordan (Black Panther, Fruitvale Station) steps into the ring as Adonis, and now that he’s helming his first Creed film, his on-screen performance becomes even better, more powerful and more exhilarating. Thompson (Passing, Selma) and Davis-Kent deliver stunning performances, and they absolutely deserve more screen time. We would have loved to see a bit more of Adonis’ family and which impact the return of Dame has on his wife and daughter.

Despite their strong performances, Creed III certainly is Majors’ (Ant-Man and the Wasp: Quantumania, The Harder They Fall) movie. The menace, anger, darkness and pain he brings to this movie are out-of-this-world. Don’t expect a boxer who’s only out for blood. No, expect a broken sportsman torn between his violent past, resentment for Adonis, and friendship and strong connection with Adonis. Majors brings an incredible layered and nuanced performance to this movie.

Of course, a Creed movie wouldn’t be anything without astonishing fights. Cinematographer Kramer Morgenthau (Thor: The Dark World, Chef) uses many slow motions and close-up, resulting in sweat, bloody and fantastic scenes. That final fight is an absolute masterpiece. We don’t want to say too much about it because the scene is a must-see without knowing anything about it. It makes the experience even more breathtaking and impactful.

The film loses some power due to the lack of Ludwig Göransson’s (Tenet, Black Panther) score. The music is a little bit of a let-down, but the other creative decisions certainly make up for that.

Breathtaking, action-packed and multi-layered directional debut!

While Creed III doesn’t reach the same level as the previous movies, it’s still a knock-out film. Jordan’s directional debut is, without a doubt, a love letter to the legacy of Adonis Creed. The boxing scenes are adrenaline-packed, while the performances are multi-layered and highly effective. This movie is not the end for this franchise, and we hope to see Jordan back in the director’s chair and on-screen soon!

Rating: (3.5 / 5)

Also Read: Review: Creed II

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What if Will Farrell interferes in Ryan Reynolds’ life?

Anders’ movie is a modern take on Charles Dickens’ A Christmas Carol, but with a beautiful twist. What if the Ghosts of Christmas Past, Present and Future would transform someone into a much better person every Christmas and not only once? The world would be so much better! For this Christmas, the Ghosts and their team found the perfect man: A hotel boss who treats his staff in the rudest way possible. However, before they start interfering in his life, the Ghost of Christmas Present (Will Ferrell) runs into a hotel guest, Clint Briggs (Ryan Reynolds). The businessman uses social media and his ability to swoon everyone over with his fancy words to profit from weaponizing the war on Christmas. This goes against everything the Ghosts stand for, and because of that, Briggs becomes their target.

Present discovers that Briggs has no sense of morality when infiltrating his life. Briggs doesn’t see how worn out his loyal assistant Kimberly (Octavia Spencer) is, and when his young niece Wren (Marlow Barkley) wants to become an important person at her school, he convinces her to play it dirty instead of fair. However, it turns out that this mission might not be an easy one at all for Present. Briggs is stubborn as hell, and Present falls for Kimberly and has to face his dark past. Will Briggs be the unredeemable who’s redeemable after all, and how will Present face his demons?

Go on a joyful, Christmassy and never-ending trip

What makes Spirited extremely enjoyable is the chemistry and performances of the leads. After appearing in Elf and Eurovision, a film that combines the Christmas spirit and musical numbers is right up Ferrell’s street. He leads this movie with such humour, sassiness and emotional touches so that you can connect instantly with the characters. Hollywood-favourite Reynolds (Free Guy, Deadpool 2) is again on-point as a cruel and macho businessman who lets no one or nothing stands in his way. He brings bags of humour, witty moments and even an uplifting vibe to this movie.

For us is Spencer (Snowpiercer, Ma) an actress who shines in every role she takes due to her impeccable talent and delicate performances. This time is no different. She took singing classes for this movie, and it paid off beautifully. Her lovely singing voice is a beautiful addition to her multi-layered performance, and she heightens that touching feeling of this movie immensely. Some cameos throughout this movie will put a smile on your face.

When watching Spirited, it’s clear that cinematographer Kramer Morgenthau (Thor: The Dark World, Creed II) understood the assignment perfectly. The combination of red-green is seen in every scene in one way or another; the tailing shots bring the songs and dance routines perfectly to life, and the wide shots add another beautiful layer to this movie. With music from The Greatest Showman and La La Land duo Benj Pasek and Justin Paul, it’s not surprising that the songs and dances are full of glitz and glamour.

Sadly, Spirited is not all fun-fun, joy-joy. Due to using the same songs, sung each time differently, the film becomes too repetitive to stay interesting for the 2h7min runtime. Another reason why we can’t give this movie the full five stars is the cheap-looking production design. Sometimes it feels like the musical numbers are sung in front of a green screen or on a cheap set. The songs would have had a much better impact if the director would have used actual physical spaces.

Not a classic Christmas film but a pretty damn good movie!

Whether you like this movie mostly depends on how much cheesiness you can take from a film. As long as you want to be carried away by sweet and predictable plots, uplifting songs, over-the-top choreography and outstanding acting performances, this is certainly a movie you will enjoy! While Spirited won’t become a classic Christmas film, it’s a pretty damn good movie!

Rating: (4 / 5)

Spirited is out now in UK cinemas and on Apple TV+.

Also Read: Who Did It Better: Miracle on 34th Street

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The man, the myth, the legend!

Director Eric Appel (Silicon Valley, Brooklyn Nine-Nine) takes you back to the 1980s. The young Alfred Matthew Yankovic (Richard Aaron Anderson) dreams of becoming one of the most outstanding musicians and accordion players the world has ever known. Not by writing his songs but by changing the lyrics of already written ones to ‘make them better. While he wants to pursue this dream from a very young age, he has to keep it hidden because of his unsupportive parents (Julianne Nicholson and Toby Huss). When he’s finally able to leave the house and move in with some housemates, his musical life is about to take off enormously. When making a bologna sandwich, “Weird Al” (Daniel Radcliffe) hears the song ‘My Sharona’ on the radio, and you can already guess what happens next. Yes, Yankovic’s first hit, ‘My Bologna’, becomes a thing!

The song skyrockets Al and his roommates/musicians, and he can take on any song he wants. Finally, “Weird Al” reaches the success he only dreamed of, and at first, he still keeps his feet on the ground and stays the humble but highly talented musician. However, when his fame rises even more, “Weird Al” becomes an arrogant man, an abuser of many substances and a musician who’s taken advantage of, especially by his girlfriend, Madonna (Evan Rachel Wood). It doesn’t take long before Yankovic his career hits rock bottom. Will he find his way out and become the hilarious and unique musician again, or will his arrogance and bad influence be his doom?

A large than life biopic that runs with the truth

Another reason Weird: The Al Yankovic Story is unlike any other biopic you’ve seen is because the film runs with the truth. While there might be some truthful aspects to this, much of the storyline is entirely fictional. It fits the man, the musician and the legend perfectly well. From the broken relationship with his parents to having to suppress his musical talent, from becoming a rising star to struggling with addiction, it’s all brought to life in the most fictional, entertaining and eccentric way. The story is written to constantly bombard you with hilarious moments, witty conversations and well-known parodies.

The on-point acting performances are also why you should put this film on your to-watch list. Normally when casting someone for a biopic, you at least try to cast an actor/actress that resembles the performer. Well, that’s not the case in this movie. Radcliffe (Escape from Pretoria, Swiss Army Man) looks nothing like “Weird Al”, but who knew that a wig and a fake moustache could do so much! Radcliffe embodies “Weird Al” stunningly with a perfect comedic, emotional and exhilarating performance. He brings a lot of power and energy to this movie and delivers every line (no matter how ridiculous) with fierceness and passion.

While Wood (Kajillionaire, Into the Forest) only makes her first appearance mid-movie, she leaves a lasting impression. She portrays Madonna with humour, rock ‘n roll and charisma. She captures the mannerisms and the personality of the Queen of pop freakishly good! There are also many other guest appearances, all equally brilliant and hilarious, but we don’t want to tell you which one cause they’re too good to spoil.

We can see why “Weird Al” gave his stamp of approval!

When making a biopic, you want the stamp of approval from the artist/performer, and Appel gets the best one you can get. “Weird Al” co-wrote this story and blessed this hilarious homage in the best way possible. We understand why! While Weird: The Al Yankovic Story might not be to everyone’s taste (just like the music itself), it still provides you with enough weirdness, top-notch humour and stunning acting performance to enjoy “Weird Al” his biggest parody to date yet.

Rating: (4 / 5)

Weird: The Al Yankovic Story is now available on Roku

Also Read: Will We Ever See These Celebrity Biopics?

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Evil is on the run again!

Halloween is around the corner, and in recent years, it was the period during which the inhabitants of Haddonfield took precautions to stay out of the hands of Michael Myers. However, not this time. No one has seen the killer in many years and even Laurie and her granddaughter Allyson (Andi Matichak) seem to have turned a leaf on the dark past. Laurie writes her autobiography while Allyson is a nurse at the local hospital. Allyson’s life is about to become much brighter when Corey Cunningham (Rohan Campbell), who injured himself after a brawl, enters the hospital.

Both take an immediate interest in each other, and soon they go on a first date. They realize that they have a lot in common, including what seems to be a dark past. When Laurie meets Corey, the anger, darkness, and emptiness in his eyes reveal more about him than she wants. While she wants to warn Allyson about it, the latter seems to have entirely fallen into Corey’s hands. Will Halloween once again be a dark day for Laurie, Allyson, and Haddonfield, or will they have a peaceful Halloween?

“When is someone going to get murdered?”

When reading the synopsis, you would think that Halloween Ends is one of those movies in which blood and murder fill the screen every minute. Even more so when you know that we didn’t describe the vicious murders that get this film going. However, apart from that murder, you have to wait for ages before another body turns up. When we watched the movie, an audience member shouted, “When is someone going to get murdered?” We fully agreed with his question. Most of the film is about Laurie writing her biography and Allyson finding the happiness she deserves. There are sinister figures, extremely recognizable masks and gruesome bodies, but those are rarities, especially during the film’s first part.

If you’re wondering when Myers appears for the first time (apart from during the flashback to the 2018 movie), be prepared, it takes a while before he makes his entrance. He’s not as present as he should have been, but when Myers appears, he’s as compelling and horrifying as always. It’s clear that director David Gordon Green (Halloween Kills, Stronger) and his writing team want to take the Halloween franchise in another direction for the last film, but was that a good idea?

Curtis is still the Scream Queen

While there’s a lack of Myers, blood and murder, there’s the usual amount of great acting performances. Curtis (Everything Everywhere All at Once, Knives Out) is still the Scream Queen, as her performance is spot on. As Laurie, she captures the perfect balance between being relatively at peace with life and being badass and determined to get rid of all the evil in the world. Matichak (Foxhole, Son) gives a captivating performance as the broken but still headstrong and hopeful Allyson. Campbell (Operation Christmas Drop, Diablo) makes an impressive impact as the innocent looking but with darkness-filled young man.

A bold decision that paid off or the wrong way to end a 40-year-old franchise?

Taking the Halloween franchise in a different direction is something to applaud, but it might have been better if Green and his team didn’t wait until the last film. While the movie introduces a fresh plot and brand-new characters, maybe people just wanted a two-hour slasher movie like the previous ones. Depending on what one you want, you will either love or hate Halloween Ends. But, no matter what you want, you still get a grand finale and stunning acting performances.

Rating: (3 / 5)

Halloween Ends is out now in U.K. cinemas

Also Read: Review: Halloween Kills

Also Read: Women In Horror: An Ode to Laurie Strode

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When a lifelong friendship ends in violence and pain

In his latest movie, McDonagh takes you back to Ireland in 1923. A time during which not only the battlefields rumble but also the lifelong friendship between Padraic (Farrell) and Colm (Gleeson). While Padraic fills his simple life with walking, living with his sister and enjoying a pint at the local pub, his Friend Colm wants a more meaningful life. This different opinion on life hasn’t become a problem until now. One day Colm informs Padraic that he wants to end their friendship because there’s no time for silly conversations and hours in the pub. Instead, he wants to lead a more meaningful by focusing on writing music and more important issues.

At first, Padraic doesn’t believe it and tries to hold on to their friendship, but Colm is headstrong and wants to ensure his ex-friend backs off. The results in violence, a tense relationship and Colm cutting off one of his fingers until Padraic would finally get the message. Padraic resorts to the other two prominent figures on the island, the troubled kid, Dominic (Barry Keoghan), and Padraic’s worried sister, Siobhan (Kerry Condon), but will they able to help the friends out before their relationship takes the darkest turn?

Never change a winning team

Suppose you’ve seen Three Billboards Outside Ebbing, Missouri, or In Bruges; you know that McDonagh’s writing is always on point. Whether it’s the dark humour, an incredibly witty conversation or an honest and poignant moment, whatever is going on, it’s been heightened even more due to the stunning script. It’s precisely what you get and need in The Banshees of Inisherin. He finds the perfect balance between humour and darkness, between the joys of friendship and family connections and what happens when all those relationships are at a breaking point.

However, no matter how great the writing is, his ensemble is even better. The Banshees of Inisherin again prove that McDonagh has an eye for bringing actors together who create magic on screen. While there are no weak links in this movie, this film absolutely belongs to Farrell (The Lobster). Padraic’s different character traits come through beautifully and balanced. Whether it’s the more naïve, innocent, loving side or the more determined, broken and selfish personality, you always root for Padraic. The sympathy for him fades off a little bit, but that’s because you probably come to understand why Colm would want to end the relationship.

Gleeson (Calvary) gives Colm the perfect amount of harshness, darkness and impressiveness. One stare from him or one look at him, and you instantly know what Colm is going through. While we don’t see many supporting actors at the beginning, they get a more prominent role throughout the movie. This result in Keoghan (The Killing of a Sacred Deer) almost becoming the lead in this film because his performance as the funny, vulgar and lost Dominic is highly poignant and vulnerable. The stunning Condon (Gold) performance also brings more humanness and recognizable emotions to this movie.

An honest, brutal and dark portrayal of a broken friendship

After being praised at the Venice Film Festival, Toronto International Film Festival, and most recently, the BFI London Film Festival, The Banshees of Inisherin is now making its way to U.K. and Ireland. From the 21st of October, you will be able to watch an honest, brutal and dark portrayal of a broken friendship, told by an incredible writer and stunning performances, and we suggest you do it.

Rating: (4.5 / 5)

The Banshees of Inisherin will be released in U.K. and Irish cinemas on the 21st of October.

Also Read: The Films of Martin McDonagh

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No one can replace your daughter… or can they?

Life has been incredibly hard for Laura (Andrea Riseborough). After losing her daughter Josie in a car accident, Laura, her husband Brendan (Jonjo O’Neill) and son Tadhg (Lewis McAskie) are extremely disconnected. Brendan has dealt with the loss quickly while Tadhg’s going through his rough teenage years (and that in combination with his sister’s death). Laura stays home and only leaves to take her son to and from school or to visit the local cemetery. Laura is clearly in pain, but it’s all under the surface. This is until she meets Megan (Niamh Dornan), the daughter of her new neighbours. Since their first encounter, there has been an undeniable connection between them. From inviting Megan and her parents to dinner to giving her a lift from school and from spending a proportionate amount of time together to organising parties, yes, there’s an immediate friendship between Laura and Megan.

However, it doesn’t take long before people notice that there’s something different about Megan. She just moved to the new town, but she claims that she already attended the local school and playground. When Megan starts to draw family pictures of her, Laura and Laura’s family and dressing up as Josie, Laura begins to wonder if there’s a supernatural connection between the two young girls. This undoubtedly impacts the relationship between her, her family and Megan’s parents. Is Megan a reincarnation of Josie, or is she just the perfect means for Laura to keep her daughter alive and to avoid dealing with loss?

Riseborough makes Here Before a must-watch movie

Making a debut movie comes with nerves, anxiety and doubts, but Gregg’s film certainly oozes confidence, creativity and filmmaking know-how. There’s just one element that punctures through the big self-confidence bubble, and that’s the storyline. Some moments don’t add up, many characters feel out of place, and it all feels a bit forced. Because of this, Here Before doesn’t reach its full potential, but it’s certainly worth the watch, mainly because of the stunning cast, with Riseborough (Possessor) as the terrific lead. From overwhelming fears to motherly feelings and from desperation to family love, you feel every emotion Laura’s going through. This is thanks to Riseborough her penetrating glances and poignant looks. While Riseborough certainly rises above everyone, she gets excellent support from Dornan and O’Neill (Rare Beasts). Dornan shows us powerful and gorgeous acting, while O’Neill pulls off a charming and captivating performance as the compassionate but worried husband.

Because of the thrilling and mysterious but also open and bright cinematography from Chloë Thomson, darkness, distortion, friendship and a strong family bond are stunningly created. If you add the splendid score of composer Adam Janota Bzowski (Saint Maud) to the intimate vibe of Belfast and the versatile cinematography, then the suspenseful but also welcoming element becomes even better!

What could have been a top-notch film

With Here Before, Gregg shows us that she can create a mysterious and familiar movie in a tender and confident way. Thanks to Riseborough’s stunning and balanced acting, thrilling cinematography, and mystic soundtrack, Here Before becomes a beautiful debut movie indeed. It would have been a top-notch film if the storyline was only worked out a bit better and with more care.

Here Before is out now in cinemas across the UK and Ireland

Rating: (3.5 / 5)

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The things a mother would do to protect her family

From the start, it becomes clear that life is tough for Lemon Cassidy (Danielle Deadwyler) and Coy (Ezra Haslam). They don’t have a lot of money and can barely make ends meet. When Cassidy’s husband disappears without a trace, life becomes even more challenging. However, the mother and son still have each other, and their strong bond ensures that they can stay positive. Sadly, that positivity fades away when two intimidating men arrive at her door. Cassidy fears the worst regarding her husband’s whereabouts. As if it can’t get any worse, she’s being summoned by the Runion family matriarch, Tommy Runion (Catherine Dyer), who runs the small Appalachian community. Tommy protects the people and gives them a certain amount of power in exchange for money.

When meeting Tommy, Cassidy finds out that her husband has a debt and that she and her son might have to pay for that with their lives. The only thing that can keep Cassidy and her son alive is finding her husband, some money or, in the best-case scenario, both. Cassidy faces a problematic search, but as a headstrong and determined woman, she sets sail to find the solution. However, where will the Appalachian roads lead her, and will she find the answers and means she’s looking for?

An incredibly well-executed, stirring and violent film!

After working together during short films The 7 Sevens and Hungry for Love, the husband-wife team now deliver their debut feature. The step from a short film to a full-length one is probably a big one that comes with a big bag of nerves, anxiety and insecurity. However, the couple kept everything under control and successfully turned the violent, emotional and gripping story of a mother protecting her child into the stunning The Devil To Pay.

What makes this movie so riveting are the astonishing acting performances from Deadwyler and Dyer. While Dyer (The Founder, Taken 3) puts on a spellbinding and intriguing display that will leave you breathless, it’s Deadwyler (The Harder They Fall, Gifted) who’s the brightest star of this movie. Her performance is fierce, violent and passionate but also vulnerable, sweet and sympathetic at the same time. Thanks to her highly diverse acting, the gun-wielding mother comes to life spectacularly. While the movie is a bit too brutal at times, the magnificent cast makes sure that it’s never over the top. It’s hard to look away from the screen, even during the most horrible scenes.

What adds even more emotions are the exquisite cinematography and the elegant bluegrass soundtrack by Brad Carter (One Last Score). The country-folk music creates the tension, the tiny happy moments, the nervosity and roughness of the characters perfectly. The diverse emotions and the darkness of the story are heightened even more thanks to gorgeous wide nature shots, poignant close-ups and explosive action scenes from cinematographer Sherman Johnson (Tio Papi, The Other Side)

Don’t let The Devil to Pay pass you by!

The Devil To Pay clocks in at just under 90 minutes. With a relatively short movie like this, it’s always intriguing to see how they create a coherent film in which nothing is left out or rushed. It’s a pleasure to say that the creative and passionate cast and crew of The Devil To Pay made sure that the storylines came together pleasingly. If you add the thrilling and dangerous journey of a mother, the impressive lead performance by Deadwyler and the fascinating fitting score and cinematography to that, then you know that The Devil To Pay is a movie you should watch!

The Devil To Pay is now available on Digital Platforms

Rating: (4 / 5)

Also Read: 5 Horror Films To Look Out For In 2022

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The return of the Western genre but not as you know it

A Western revenge story? Yes, that’s how you can describe The Harder They Fall in a nutshell. As a child, Nat Love watched his parents getting murdered by Rufus Buck (Idris Elba), and now, so many years later, he (Jonathan Majors) is looking for the person who killed his parents. Together with his Nat Love Gang, which includes gangmates Bill Pickett (Edi Gathegi) and Jim Beckworth (RC Cyler) and love interest, Stagecoach Mary (Zazie Beetz), he’s out for revenge. After hearing that Buck escaped from prison, their thirst for revenge get even bigger.

However, it won’t be that easy to kill one of the most ruthless killers, especially not when he’s surrounded by the Rufus Buck Gang. While Buck was in prison, his gang was led by Trudy Smith (Regina King) and a kind-of-spokesperson Cherokee Bill (Stanfield), and they absolutely ensured that they upheld Buck’s brutal and bloody reputation. Both gangs go head-to-head, but there can only be one victor, right? So which gang is it going to be?

What stunning on-screen and off-screen talent!

Sure, the storyline might seem a bit simple or straightforward, but writers Boaz Yakin (Aviva) and Samuel still make sure that they never fall back into the stereotypical characters. While the story itself might be fictional, the characters aren’t. At the start of the movie, you get a “These. People. Existed” warning, due to which the violence, tough times and bloodshed make an even greater impact.

It doesn’t matter how much of the story is true; when portraying real-life characters, you must work with a cast that can deliver strong, honest, genuinely-looking and captivating performances. Casting director Victoria Thomas (Django Unchained) clearly understood that assignment as she brought a top-notch cast together in this film. First of all, there’s Majors (Lovecraft Country) as Nat Love, who’s an absolute pleasure to watch! His charms, the intensity of his performance during the brutal scenes and the emotional impact he has during the more touching moments make sure that you watch the movie from start to finish.

Elba (Molly’s Game) absolutely excels in this movie as his performance is a tour-de-force in more than one way! Not only the violent and ruthless side of Buck is being heightened, but you also see that, despite having a rough exterior, Buck is also a man with human feelings. Yes, Elba’s performance is top-notch on both physical and emotional levels, and it’s not hard to see why director Samuel wanted to work with him.

It’s not only the men who deliver stunning acting performances. No, also Regina King (If Beale Street Could Talk) is phenomenal as Smith. She oozes power, and her bad-ass vibe shines through the entire movie. She can absolutely stand her ground in The Harder They Fall. Beetz (Deadpool 2) is also putting on a great performance that will absolutely leave a big impression. It’s just a shame that she doesn’t get enough screen time. That being said, when you put Beetz and King together in the same scene, you get absolute firework!

The openings scene is one of the most impressive scenes of the movie, and that’s not only because of the terrific performances. No, it’s also because of the extremely captivating and stunning cinematography by Mihai Malaimare Jr. (Jojo Rabbit). He leaves those more neutral colours behind and goes straights for eye-popping ones. The violence is right in your face, and so are the blood red and the pitch-black dark colours. Malaimare Jr certainly knows how to create a mesmerizing spectacle. 

Just as in any Western movie, music is of vital importance. However, don’t expect the traditional Western-movie music. In The Harder They Fall, it’s all about “the harder and louder” the better. You get songs from Jay-Z (who’s a producer of this movie), Ms. Lauryn Hill, Kid Cudi and Koffee. Based on those names, you know the music absolutely accompanies the film in the best way possible.

What an outstanding debut

Last month, The Harder They Fall was the openings movie of the BFI Film Festival, and it’s no surprise why. The film is made with such passion for the Western genre and edgy filmmaking, and if you combine that passion with a terrific cast and an extremely creative crew, you know that you’re in for a fantastic ride! The Harder They Fall is available on Netflix, but if you really want to get the action, the adrenaline rush and the powerful acting performance, then try and catch the movie on the big screen.

The Harder They Fall is out now on Netflix and in U.K. cinemas.

Rating: (4 / 5)

Also Read: Inclusion In The Director’s Chair: Are Female Directors Finally Breaking Through?

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Welcome to Arrakis!

For those of you who haven’t read the novel by Frank Herbert or seen the previous Dune movies, here’s what you’ve missed. Dune is taking place in 10191 on Arrakis. This desert planet is the only place where spice can be found. To ensure that this precious product is being preserved, Duke Leto Atreides (Oscar Isaac) from the House Atreides has been asked to take over Arrakis from Baron Vladimir Harkonnen (Stellan Skarsgård) and to keep the spice production ongoing. While he’s fulfilling his new function, his son Paul Atreides (Timothée Chalamet) is getting all the attention. Ever since Paul was young, he dreamed of Arrakis and its Fremen. While those dreams seemed fictional, there might be a lot of truth to them after all.

Because of his real-life looking dreams and mind-controlling capabilities, Paul might be Kwisatz Haderach, who will lead the universe in the years to come. His mother, Jessica (Rebecca Ferguson), a member of the Bene Gesserit and who has special powers, is being tested by the leader of the Bene Gesserit, Gaius Helen Mohaim (Charlotte Rampling). As if the House Atreides hasn’t had enough to deal with already, their arch-enemies, the Harkonnen, want Paul dead because of his powers. The Atreides family is fighting multiple battles on different fronts, but how long will they be able to keep going?

Villeneuve takes his filmmaking to a higher level

We’ve tried to keep it simple, but we do get that Dune might seem a bit confusing, especially if you’re not familiar with it and its inhabitants. Once you get the chance to absorb the story, the characters and the different worlds, the film will never let you down. This is thanks to the incredible work by the Dune cast and crew!

First of all, there’s the striking cinematography by Greig Fraser. Suppose you have seen his work, such as Zero Dark Thirty and Villeneuve’s Arrival. In that case, you know that both men are experts in creating out-of-this-world cinematographic experiences. So you can already imagine what happens when they work together. Yes, we might be a bit biased as we saw this movie in IMAX (we recommend you do the same). Still, we’re pretty sure that even during a ‘standard’ screening, the cinematography will mesmerize you in an instant!

The special effects go hand in hand with the cinematography of a grandiose sci-fi movie like this one. The spaceships are gigantic and remarkable, and the palaces are splendid and extremely detailed. So yes, the special effects team of Dune certainly deserves all the praise it can get. Especially because of the scenes during which Josh Brolin (who portrays Gurney Halleck) pulls Chalamet into the spaceships during a rescue mission mid-movie. 

Speaking of Brolin and Chalamet, both men are part of a massive and perfect cast. Chalamet (Call Me by Your Name) puts on an excellent performance as Paul. You can see Chalamet’s confidence and Paul’s determination coming through life perfectly. Isaac (Ex Machina) is extremely impressive and emotional as Leto Atreides and Ferguson (Mission: Impossible – Fallout) remarkably conjugates the Atreides family with a fierce and emotional performance Momoa (who portrays Duncan Idaho; Zack Snyder’s Justice League) and Brolin (Sicario) certainly bring the (dry) humour and strength to this movie in a beautiful way. Both Skarsgård (Good Will Hunting) and Bautista (Hotel Artemis) deliver villainous and electrifying performances as Baron Vladimir Harkonnen and Beast Rabban Harkonnen.

We’ve saved the best for last! For this movie, Villeneuve worked together with Hans Zimmer. With around 140 composing credits (including Inception), do we still have to tell you what a fantastic composer Zimmer is? Probably not, but we’re going to do it anyway! His Dune score is epic and incredibly bombastic. The drums and violins create undoubtedly pulsating and extraordinary scenes. After the handful of almost entirely silent scenes, Zimmer intense work feels even louder than ever.

Ready for Dune: Part Two!

When watching the movie, you certainly feel that this movie is part one of a superb and epic Dune-saga. It would be an absolute shame if we don’t get to see part two. Not only because there’s much more to discover on Arrakis but also because if the highly talented cast and the ultra-creative crew work together again, you will get another astonishing sci-fi rollercoaster.

Dune is out now in U.K. cinemas.

Rating: (4.5 / 5)

Also Read: The Best Sci-Fi Films of the Decade (2010 – 2019)

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Michael Myers is back and in more than one way

For many of us, Halloween is the day we dress up, go trick-and-treating and indulge ourselves in special Halloween drinks. However, for the people of Haddonfield, the festive day will always be even darker. It’s the day that reminds everyone of Michael Myers, the murderer who went on a killing spree in 1978 and who’s been killing ever since. His murderous time almost ended when one of his surviving victims Laurie Strode (Jamie Lee Curtis), caught him in a burning trap. However, he managed to escape. When trying to kill Myers once and for all, Strode, her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) were severely wounded themselves.

While the three of them are rushing to the hospital, Myers keeps doing what he’s good at: Killing every innocent person who crosses his path. After learning that her trap was unsuccessful, Laurie is determined to kill her lifelong tormentor finally. So are the other villagers of Haddonfield. Amongst them are the parents of the victims and even survivors. They’re road to take the matter into their own hands. Will they finally be able to bring this monstrous murderer down for good, or will Myers keep causing destruction, death and a massive bloodbath every Halloween to come?

Is the success formula still a hit?

As mentioned before, Green is using the success formula of the previous films. Again, there’s the dark and sinister cinematography (this time provided by Michael Simmonds), many returning A-list stars and the eery extremely recognizable soundtrack from John Carpenter. However, does this successful combination still work after all these years? We’re not 100% sure anymore.

The biggest problem we have with this movie is the storyline. Yes, we understand that a slasher movie is about a killer that goes on a rampage, but if that’s the case, at least you have to make sure that the story during the non-killing moments can still captivate you. There should be a proper balance between the killings and the rest of the storyline. Sadly, that’s not the case in this movie. We get the feeling that this movie goes from one Myers murder straight to another. As a result, you don’t get the chance to process what just happened and to connect with the people. That latter is undoubtedly a shame because you could get such a deeper insight into the feelings of the Strode family and what the survivors go through. The writing team was clearly already thinking of the 2022 sequel while writing this film.

During Halloween Kills, it becomes clear that Curtis (Halloween, Knives Out) is still the queen of the horror movies. While we don’t see much of the Scream Queen in this movie, she again puts on a powerful, bad-ass and captivating performance. Her leading role is being taken over by Judy Greer (Halloween, Ant-Man and the Wasp), who shines extremely bright in this movie as Karen Nelson. It’s harder to connect with Allyson Nelson, daughter of Karen and granddaughter of Laurie. Still unsure whether it’s because of Andi Matichak (Son, Halloween) her performance, her lack of screentime or the wobbly script.

We’re also introduced to adult Tommy Doyle, and he comes in the form of Anthony Michael Hall (Foxcatcher, The Dark Knight). Hall gives an extremely enjoyable, strong and sometimes little exaggerated performance. Even some of the minor characters are well thought of and in particular Big John and Little John. This couple is portrayed beautifully by Scott MacArthur (The Babysitter: Killer Queen, Coldwater) and Michael McDonald (The Happytime Murders, The Heat), who bring laughter, fun and light to this movie.

We certainly also don’t have any complaints about the cinematography by Michael Simmonds (Halloween, Nerve). Halloween Kills is an extremely horror treat (or should it be a threat). As an audience, you will certainly feel the fear, the destruction and the darkness of Haddonfield, thanks to the dark, sinister and compelling cinematography. To counterbalance the pitch-black colours, there’s always a light source present. Whether it’s the torches, the police flashlights or the headlights of a car, this dark-light combination is exceptionally well.

While there might be a slight overuse of the mirrors and the ‘knocking on doors’ element, the creative team still succeeds in bringing unique twists to the scenes. If you combine this dark and cleverly done cinematography with a very effective and fear-provoking and an incredible score by Carpenter (all Halloween movies, Ghosts of Mars), you know the film might be worth the watch after all. There’s even a new rendition of the classic Halloween theme song, which will give you chills!

Ready for the next Michael Myers chapter?

Die-hard fans of Halloween and Michael Myers will love Halloween Kills. The movie is certainly a high-quality slasher film because it’s incredibly violent, explicit, and brutal. The dark and sinister cinematography heightens the evil of Michael Myers, the performances are still top-notch, and the music score from Carpenter certainly brings the nostalgic and diabolic vibe to the movie. The question remains whether you’re willing to accept the weak storyline or not?

Halloween Kills is out now in U.K. cinemas.

Rating: (3 / 5)

Also Read: Women In Horror: An Ode to Laurie Strode

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Say my name!

Anthony McCoy (Yahya Abdul-Mateen II) lives with his girlfriend Brianna (Teyonah Parris) in Chicago, and both are extremely passionate about art. She’s an art curator, and he’s a painter trying to make a name for himself. However, while his work about gentrification shows a lot of creativity, passion and authenticity (or at least according to us), the critics and gallery owners aren’t fond of his work. To please them, Anthony is using the Cabrini-Green housing project as his next inspiration. Sadly, those now-abandoned buildings have more secrets than he could have imagined. He meets William Burke (Colman Domingo) during his observation, who tells him about the famous killer ‘Candyman’, who saw death and destruction in the ‘90 with his hook.

Anthony is instantly captivated by this legend. He doesn’t only use it as a source of inspiration, but he also does what he shouldn’t do—saying Candyman five times while looking in the mirror. As anyone knows, with this act, you summon the killer. Soon, the art world is being struck by unexplainable deaths, which has an odd positive impact on McCoy’s success. The more deaths occur, the more successful McCoy becomes and the more he gets sucked into the Candyman story to the point his passion for it becomes an obsession…

Impressive talent emerging

Those who have seen the first two movies will notice that the protagonist in this film has changed. Instead of a white woman, it’s now a black man analyzing the Black legend. However, the original topics such as race, community, gentrification and police brutality are still present. Despite the slight change in the protagonist, DaCosta’s approach has definitely taken the Candyman story and this movie to a whole new level.

First of all, because she allows stunning new talent to shine. Yahya Abdul-Mateen II (Aquaman) puts on a terrific and authentic performance. He brings real emotions to the screen, thanks to which the story is more alive than ever. Parris (If Beale Street Could Talk, Where Children Play) does an impeccable job, too, as the compassionate and headstrong woman. While she delivers every line with a lot of power, she excels by showing her characters’ emotions through facial expressions. We can’t wait to see what her next collaboration (The Marvels) with DaCosta will bring.

The supporting actors are definitely also ones to watch (even more). Domingo (Zola, Ma Rainey’s Black Bottom) his performance is certainly a strong one we will never forget. There’s also some lightness in the film thanks to the fun and cheerful performance by Nathan Stewart-Jarrett (The Kid Who Would Be King, Benjamin) as Brianna’s brother.

A horror movie wouldn’t be a horror movie without jump scares, gore scenes and unnerving moments. When it comes to jump scares, Candyman is a little bit of a let-down. You know that if people say Candyman five times in the mirror that something terrible will happen, so the element of surprise isn’t just fully effective anymore. However, there’s an abundance of gore and nerve-racking moments. Those are mainly because of the stunningly shot scenes and the stunning makeup effects.

Not only the use of mirrors is terrific but also the use of music. Music is undoubtedly vital to the Candyman movies, and it’s not different this time. Every non-dialogue scene is full of music that gives this movie a modern, horror, and captivating vibe.

A stylish, ambitious and exciting horror sequel

Making a sequel is never easy, especially not when you didn’t write or direct the first movie. However, DaCosta takes on that difficult job with a lot of grace and dignity. Together with an exceptional cast, she creates stunningly looking shots. These scenes will make you cringe in a very way, though and overall, an extremely stylish, ambitious and exciting horror sequel.

Candyman is out now in U.K. cinemas

Rating: (4 / 5)

Also Read: What Happens To Your Brain Watching A Horror Movie?

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Will reality and fiction turn out to be the same?

You’ve probably seen those ‘age warnings’ every time you go to the cinema, and even in the ’80s, their warnings were already present. As a censor, Enid (Niamh Algar) has a lot of influence on that rating. Her workings days consist of watching horror films, gore, violence and horrific acts and then provide which scenes are too terrible to watch. Sadly, not only her work consists of horror but also her private life. When she was younger, her sister went missing, and decades later, she’s still traumatised by that.

While she’s seen almost every kind of horror movie, she didn’t see the next one coming at all. When viewing “Don’t Go into the Church”, another nasty, she re-lives her sister’s disappearance more vividly than ever before. The film seems to align with what she remembers of that tragic day. While watching this disturbing nasty, she uncovers more and more information about what could have happened that day. Will reality and fiction turn out to be the same, or is Enid just imagining it to find closure after all?

The stunning cast and creative crew come together in a great way

When watching Censor, you might not realise it because of the beautiful way the movie was created, but it’s Bailey-Bond full-length feature debut. The story is loosely based on her short film Nasty from 2015. While the narratives of Censor and Nasty are entirely different (A woman watching Nasties versus a young boy finding a family connection through many horror videos), they both involve nasty videos and uniqueness and lacks tons of cliches (which isn’t bad at all).

Instead of focussing on the harmful effects horror movies could have on society (especially during the Nasty area), she focuses on the human emotions and the characters trying to keep their lives afloat in a world full of death, horror and nasty scenery. Yes, more towards the end of the movie, it might all seem a bit over-the-top, and there’s the “they didn’t really know how this movie would” end vibe but overall, Censor is a very well-crafted movie.

This is mainly because of the stunning combination of the gripping score by Emilie Levienaise-Farrouch (Rocks, Only You) and the authentic 35mm cinematography from Annika Summerson (Mogul Mowgli, Await Further Instructions). The flashy and neon lights create a sinister atmosphere that certainly draws you into the movie. By adding fast-moving close-ups to it, Bailey-Bond indeed manages to capture the 80s vibe beautifully.

What Censor also shows you is that we have a new leading lady of horror movies, and her name is Niamh Algar (Calm with Horses, The Last Right). She delivers an outstanding performance in this movie that excels on both emotional and physical levels. Her fellow cast members, including Michael Smiley (Free Fire, The Lobster) and Nicholas Burns (Emma, Hope Gap), are doing an excellent job as well. They’re providing this movie with balanced, emotional and not over the top performances.

A mesmerising debut

Yes, while the movie’s second half feels a bit all over the place and unhinged, the first part makes up for that. This is because Bailey-Bond creates a nerve-racking, gripping and claustrophobic feeling, the same Enid experiences, thanks to which the movie has you in its grip for most of it. If you add the old-fashion and gripping acting performance from Algar to this movie, as well as highly authentic sounds and the fitting cinematography, you know you overall got an extremely decent debut movie.

Censor is out now in U.K. cinemas

Rating:

Also Read: Video Nasties: The History of Censored Films in the U.K

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“Y’all wanna hear a story about why me and this b*tch here fell out?”

That’s how Bravo introduced us to the intriguing movie and its diverse characters. Part-time waitress and part-time stripper Zola (Taylour Paige) is trying to make ends meet, but it doesn’t go as planned, even with two jobs. One day, she meets Stefani (Riley Keough), the typical glamorous woman enjoying the attention she gets from many men. Stefani is, just like Zola, a stripper, and soon the two women hit the same gloriously looking club. This is the beginning of a genuine and close friendship that consists of dancing together, taking ecstatic pictures and having an electrifying time. While the women have known each other for less than 24 hours, Stefani takes Zola to Florida to make more money than she has even had before. While anxiety and nervousness are taking over, Zola still decides to give it a chance as she wants to spend time with her new best friend, and more money is more than welcome.

However, this trip isn’t what Stefani promised and Zola expected! The break becomes a head-spinning one involving Stefani’s pimp (Colman Domingo), her ignorant and clueless boyfriend Derrek (Nicholas Braun), Tampa gangsters with itchy trigger fingers, tons of cash and crazy events you have to see to believe. The more or less innocent Zola is being dragged into all of this. Will she find a way out, or is she tangled forever in a web full of lies, money and sex.

The genuine performances hold this movie together

We all know how hard it is to say what you want to say in one tweet due to the limited amount of characters you can use. To tell her own story, Zola used 144 funny, eccentric and captivating tweets but sadly, those elements get lost in the script. The story and the movie itself are still fun and compelling during some moments. However, most of the time, nothing and everything are happening simultaneously, and it just doesn’t make any sense whatsoever.

Yep, a more polished script would have made from Zola a much more impressive and quirkier A24 film, but at least we still got the stunning and genuine performances that hold the film together. While Stefani looks and sounds like a backstabbing and untrustworthy woman, you will still feel for her and the rough time she’s going through, thanks to the incredibly strong performance by Keough. The actress, who already shined in American Honey and Under the Silver Lake, brings such intrigue, wickedness and secretiveness to the screen. She overclasses her co-stars in every scene.

The best scenes are undoubtedly between her and Paige (Ma Rainey’s Black Bottom, White Boy Rick), who brings out a witty, compelling and fresh performance. She will make sure that you feel what Zola feels, that you sheer for her escape out of that craziness and that you hold your breath when Zola goes through a rough patch.

Sadly, it becomes evident early on in this movie that the male performances won’t reach the same top-notch level. Yes, while Domingo (Without Remorse, Selma) delivers a very menacing and intriguing performance, it’s Braun (The Big Ugly, The Year of Spectacular Men) who doesn’t deliver at all as the simple-minded boyfriend. Derrek becomes too cliché and unsettling. 

Not everyone’s cup of tea

Yes, when watching Bravo’s previous work, you know that her abstract and surreal movies won’t be everyone’s cup of tea, and luckily, we all have different opinions about which films we like and don’t like. However, this time her movie might be a bit too over-the-top. While the acting performances are ones you should see, they aren’t enough to make you see past the sloppy and underwhelming script.

Zola is out now in U.K. cinemas

Rating: (3 / 5)

Also Read: The Unlikely Success of A24

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The entertaining and merciless trio reunites

Ryan Reynolds is back as Michael Bryce, who’s having a hard time dealing with his triple A-bodyguard failures. After losing his ‘license’ and experiencing the same vivid nightmare, his therapist suggests time away from bodyguarding by enjoying an Italian break by the pool. His time off heals Bryce but not for long. He unwillingly becomes part of Kincaid’s ferocious wife Sonia (Salma Hayek) her rescue mission to save her ‘cucaracha’ (Samuel L. Jackson) from some baddies. Been there, done that, and once again, the bad-ass trio gets together.

This time, they take on Aristotle Papadopoulous (Antonio Banderas), who’s out for revenge on the EU by drilling a hole in their underwater safety box that contains all the computer systems. While trying to save the world and battling Papadopoulous, each trio member has to deal with personal problems. Bryce feels inferior compared to his stepfather (Morgan Freeman), a legendary bodyguard, with whom he reconnects during the mission, and Kincaid and his Sonia deal with family problems. Will they overcome their problems and save the world from the Greek supervillain, or is the world doomed this time?

Don’t take it too seriously

When reading the plot, you get that this movie doesn’t take itself too seriously, so don’t expect a brand-new and cinema-changing story. No, what you can expect from The Hitman’s Wife Bodyguard is an entertaining and enjoyable trip throughout Europe (without leaving the country). A journey you have to go on, and here’s why.

It’s such as pleasure to see Reynolds (Deadpool, The Change-Up) again as Bryce. With him, there will always be laughter and seriousness at the same time. When his on-screen action is explosive and fast, he still finds a way to put some witty and fun elements in it. It becomes even more amusing if you put him in front of Jackson. Jackson (Spider-Man: Far from Home, The Hateful Eight) his dialogue mainly contains swearwords, but he delivers his lines with such a great and captivating attitude that it becomes such a pleasure to watch him. The female power and temperament in The Hitman’s Wife’s Bodyguard come from Hayek (Frida, The Roads Not Taken). Ok, yes, it might not be the most in-depth role she has ever had, but it’s still a thrill to watch.

When watching The Hitman’s Wife’s Bodyguard, it becomes clear that screenwriters Tom O’Connor (Fire with Fire, The Courier), Phillip Murphy and Brandon Murphy certainly didn’t mind the lack of depth or credibility of the characters. Sadly, this has a negative impact on the new characters. Banderas (Pain and Glory, Life Itself) can’t convince us in the slightest, mostly because of his so-called Greek accent, as it sounds more like his Spanish one. Freeman (The Shawshank Redemption, Seven) only has a handful of scenes, of which none are very memorable. There’s nothing wrong with his performance, but it doesn’t contribute a lot to this movie.

You might not get the most exciting and innovative storyline, but what you will get is tons of European locations and more than enough car chase scenes, guns going off and violence and if that’s what you’re up for, then cinematographer Terry Stacey (The Angel, Den of Thieves) absolutely shot the perfect scenes for you.

An action-comedy that hits some marks and misses a few

Yes, if you want a movie with more personality, in-depth characters and innovative plot twist, then this movie is absolutely not a film for you. However, if you’re in the mood for a thrilling rollercoaster full of action, witty jokes and a lot of banter, then we’re pretty sure you will love, The Hitman’s Wife’s Bodyguard, you mother*cker!

Rating: (3.5 / 5)

The Hitman’s Wife’s Bodyguard is out now in U.K. cinemas

Also Read: Horror-ibly Funny Movie Titles

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Don’t break the silence

For those who haven’t seen the first movie or those who forgot what it was about, co-writer/director Krasinski gives you a recap. Day one was the day during which everything changed. A normal day in a small town turned into a nightmare when alien creatures attacked the inhabitants, including Lee Abbott (John Krasinski) his family. They killed anything that made a noise, and being quiet was the best way of surviving. Four hundred and seventy-four days later, we see the aftermath of that day. Lee is dead, and his widow Evelyn (Emily Blunt) left their home with their three children Marcus (Noah Jupe), Regan (Millicent Simmonds), and a newborn baby. They’re running for the hills where they will be safe from the aliens.

During their journey, being quiet is of vital importance, but that’s easier said than done. They come across an old friend Emmett (Cillian Murphy), who at first refuses to help; there aren’t enough resources, more people make more noise and “there are people not worth saving”. Evelyn can convince him, and from then onwards, Krasinski gives you multiple storylines evolving simultaneously. All with their heroic lead and darkness luring over them. Regan cracked a radio signal that would help the next generations to survive, and together with Emmett, she tries to find where the radio signal comes from. Evelyn is left to look after Marcus and her baby, but when resources become scarce, it seems that their days are numbers, especially with a crying baby. Will Regan and Emmett find the radio signal to save the family, or will the creatures tear apart the Abbott family once more?

We received amazingness of the cast and crew loud and clear

A Quiet Place was mainly about a man sacrificing himself to save his loved one; this movie is about surviving by helping each other. During the first movie, you had to wait to get a glimpse of the aliens, but now you see them straight away. The ‘how do the monsters look like?’ question is replaced by ‘will this character make noise?’. Yes, there are few shifts from A Quiet Place to Part II, but luckily for us, Krasinski created a clever, intriguing, and dark movie again.

As mentioned, multiple storylines are happening at the same time, and to give you that suspenseful vibe, editor Michael P. Shawver (Black Panther, Creed) uses fast-paced editing to go back and forth in between those subplots. The closer they get to unravelling, the faster the editing becomes, and when some of them come to an end at the same time, it all goes to pitch black, and for few seconds, you wonder who survived and who didn’t.

Of course, brilliant editing like that wouldn’t have the same effect if it wasn’t for the great combination of stunning cinematography and top-notch acting performances. The long, slow and wide shots from cinematographer Polly Morgan (Lucy in the Sky, Spinning Man) give you the chance to immerse yourself into the world of the Abbott family. Whether it’s brighter scenes before the world came to an end or the darkest ones, when death and darkness are present, Morgan knows how to capture the spirit of each moment. Even more so when she uses close-ups to highlight human feelings. There are also subtle references to the previous movie. Remember when she goes down the stairs, and a nail sticks out of one of the steps? Well, it might or might not happen again this time.

The performances are as solid as the ones in the first movie. Blunt (Edge of Tomorrow, The Girl on the Train) excels on multiple fronts. Not only as the caring mother but also as the unafraid woman who would do anything for her family. That scene, in which her and her on-screen son Marcus storyline comes to an end, is just perfectly balanced. You will get both big emotions and action. It’s just a shame that she doesn’t have a lot of screentime as sometimes it feels like the A Quiet Place newcomer Cillian Murphy (Free Fire, Inception) is taking on the role Krasinski had during the first movie. However, there’s nothing wrong with Murphy’s electrifying and touching performance; we see his rough-tough character come to life stunningly, especially because he even shows the hidden sensitive side of Emmett.

While Blunt and Murphy might have the most credits under their belts, A Quiet Place Part II is Simmonds’ and Jupe’s movie. They might have a sweet and innocent vibe around them, but they definitely show you that they bring exhilarating and poignant performances to the big screen. It’s also great to see that Krasinski allows them to shine in their storylines. Simmonds (Wonderstruck, Close Up) brings out captivating acting during Regan’s dangerous search for help while Jupe (Le Mans ’66, Wonder) delivers a tremendous performance when protecting his A Quiet Place family.

Cinema is back!

The cinematic world is finally opening up again, which is fantastic! Ok, the world of A Quiet Place Part II might be a dark one to discover. However, if you dare to step into that world, then you won’t regret it because Krasinski delivers again a dark, thrilling, suspenseful and emotional movie that will keep you on your toes the entire time. It’s also a great starting point for a potential Part III…

Rating: (4 / 5)

Also Read: A Horror Fans Film Guide to 2021

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Two strong women, one loud and clear voice

The 8th follows several campaigners, each with a poignant story, but the real heroes are Ailbhe Smyth and Andrea Horan. Smyth has been a pro-choice activist for many years and isn’t afraid to show spread her opinion. This already resulted in her becoming the most important LGBTQ activist and receiving a ‘Lifetime Achievement’ award at the GALAS. When you look at her, you see a happy, joyful and open person, but deep down, she faces her struggles because of the way society sees her and many other women.

On the other hand, Horan describes herself as a “glitter activist” and is the proud owner of a nail salon. At first, it seems that they come from totally different backgrounds and have not a lot in common, apart from being two strong women. However, by the end of the documentary, you realize that their fight (and the one of many women all over the world) is the same.

More than about just fighting the 8th amendment

While the documentary’s main focus is the restrictive 8th amendment, The 8th is so much more than that. It gives you a deeper insight into the global Irish society, how the role of women changed between 1983 and 2017 and the struggles women had to face throughout all those years. It also highlights emotional cases in which women requested an abortion but weren’t granted one, resulting in disastrous aftermaths.

While the topic is a very contemporary one, the format of this documentary is traditional. You follow the many strong women fighting for their rights, and in between, you see news footage and debates about abortion. You hear the many female voices of women who were denied abortion or who got one. The makers combine those voices with a delicate and emotional score, turning this documentary into a very moving one.

Sadly, there are also a few elements that could have been improved in The 8th. The fight for LGBTQ+ rights and same-sex marriage is mentioned because of Smyth’s LGBTQ activism, but the makers don’t go deeper into the similarities between the battles LGBTQ activists and the one women fighting for abortion face. This documentary provides you with the stories of people who fight for abortion rights but you don’t hear the opposition. That pro and cons dialogue is missing a bit in this documentary.

A vivid, compelling and up-close documentary

While The 8th isn’t flawless, it’s still a success on many levels. The documentary explains the different topics (abortion, the referendum, the amendment, etc.) in detail. The filmmakers combine this with stylish and personal footage, a moving score, and up-close stories. This absolutely results in a beautiful documentary that’s definitely worth the watch.

The 8th is available in cinemas and via Video on Demand.

Rating: (4 / 5)

Also Read: Inclusion In The Director’s Chair: Are Female Directors Finally Breaking Through?

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Let’s get ready to fulfil those New Year’s resolutions

Being single in your thirties isn’t easy, mainly because of those awful “your biological clock is ticking”, “Time is running out to find the right man”, and “When are you getting married” comments. It’s even worse during the festive period. After being again unsuccessfully introduced to her potential new partner Mark (Colin Firth) by her mum and experience a terrible New Year, Bridget (Renée Zellweger) is determined to turn her life around. Just like us, she writes down some New Year’s resolution, of which not “form romantic attachments to any of the following: alcoholics, workaholics, commitment phobics, peeping Toms, megalomaniacs or perverts and especially not fantasise about a person who embodies all these things” is one of them. However, that doesn’t go according to plan because that person is her boss Daniel Cleaver (Hugh Grant).

What starts as some innocent flirting soon becomes a whirlwind office romance. A romance she gladly talks about to her friends Jude (Shirley Henderson), Shazza (Sally Phillips), Tom (James Callis), and it even reaches the ears of Mark, who himself shares a dark secret with Daniel. Just like any relationship Bridget and Daniel’s has ups and downs, but when it reaches an extremely low point, that’s again another blow to Bridget her self-esteem; it seems that she’s back to her old single self. However, not before the dark secret between Mark and Daniel turns her life upside down again.

Congratulations to casting director Michelle Guish

Saying that Bridget Jones was the stepping stone for Zellweger (Judy, New in Town) into the movie world would be an understatement. While some of us saw her in Jerry Maguire and Empire Records, her heart-warming, sweet and touching performance as the clumsy, insecure but also passionate and headstrong Bridget was the one she captures the hearts of many viewers with. She made sure that many women recognised themselves in the performances, and we all know what the feeling of recognition can do to a movie.

Before making Bridget Jones’s Diary, Firth (1917, The King’s Speech) already appeared in Pride and Prejudice (the television series) and Shakespeare in Love. This time, he again makes the audience swoon with a charming, typically British and skilful performance. Grant (Notting Hill, Love Actually) as a boss flirting with one of his co-workers? What would this movie be without that? He brings charm, wittiness and a lot of charisma to this movie and wait until you see his first appearance in this movie.

Also the supporting cast is the crème-de-la-crème of British acting. Gemma Jones (Rocketman, God’s Own Country) and Jim Broadbent are the best on-screen parents you can ask for. Jones because she’s giving a moving and silly performance as Bridget’s mother and Broadbent (Iris, Moulin Rouge!) with this beautiful and versatile acting. We also have to applaud Henderson (Blinded by the Light, The Fight) for her open and vulgar (but in a good way) performance, Phillips (Okja, T2 Trainspotting) for her touching and clever acting and Callis (Battlestar Galactica and Austenland) for providing us with one of the funniest moments in this movie.

A top-notch crew makes this movie complete

Of course, those performances wouldn’t be able to capture the audience if it wasn’t for the incredible crew behind Bridget Jones’s Diary. Cinematographer Stuart Dryburgh (Alice Through the Looking Glass, Ben Is Back) knows a thing or two about camera angels. Wide ones for the gorgeous shots of London, the lively scenes between Bridget and her friends, and the flirty moments while close-up for the more touching and essential scenes. Both the stunning performance and fitting cinematography are being hugged by the incredibly soothing and relaxing score provided by Patrick Doyle (A United Kingdom, All Is True), making the whole movie come together.

A rom-com that puts an instant smile on your face

You already guessed it; if you’re not in the mood for a cheesy rom-com, then you have to watch Terminator 2: Judgment Day, which celebrates its 30 anniversary this year. However, if you’re in the mood for a delightful feel-good movie about the sweet Bridget Jones (with whom we can all resonate for one reason or another) that includes cheerful and emotional performance, a lot of witty moments and a feel-good soundtrack, then this is an absolute must-see (and so are the two sequels to this movie).

Rating: (4 / 5)

Also Read: Too Awkward For Love: Understanding British Rom-Coms

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Just like having an inner dialogue with yourself

Cassandra lives in Toronto, and after a night out, she wakes up hungover to the news that her mother died suddenly. The saddest part is that her mum left her many messages the night before, but she didn’t hear them. Now, Cassandra has to plan everything herself. From the funeral to the food and from the casket to the attendance list. But who’s ready for those heart-breaking and emotional tasks? No one, matter when in your life you have to deal with these. To illustrate the different voices and ways we can deal with these unforeseen dramatic events, Cassandra is portrayed by Nostbakken and Sadaya (The New Canada, Diamond Tongues). Their Cassandra’s both have unique and different personalities.

As a viewer, you witness Cassandra’s inner dialogue, which results in terrific, intriguing and emotional scenes. When Sadaya acts in one way, Nostbakken does it in another, and when Nostbakken her Cassandra sprouts her opinion, Sadaya’s character contradicts it. However, there’s one aspect they both struggle with: writing the eulogy. As a writer, technically, it should be easy. However, expressing emotions and talking about her mother who just passed away hinder that. How will she cope with it? Well, that’s for you to find out by watching this intriguing and touching Mouthpiece.

From a terrific and unique stage play to a gorgeous and gripping film

As mentioned, Mouthpiece first saw the light of day as a theatre play written and performed by Sadaya and Nostbakken themselves and Rozema was introduced to this intriguing story by her daughter. Her love for Cassandra’s story oozes out of every pore of this family. She finds the right balance between the original theatrical story and the elements of a filming adaptation. She makes it feel like you’re watching a play one moment and a great movie the next one.

Of course, a story like this stands or falls with the performances, and Mouthpiece couldn’t have asked for better leads. Nostbakken and Sadava know this story, the characters and their nuances from the inside out, and while the leap from stage to film probably was a big one, they pulled it off incredibly well. They have excellent chemistry, thanks to which they bring amusing, witty and funny scenes and more restrained, emotional and very personal moments. Mouthpiece is full of strong and amazing women, and cinematographer Catherine Lutes (Disappearance at Clifton Hill, Firecrackers) is no exception. She creates that dreamy, surreal and playful vibe beautifully and it heightens the peculiar but wonderful storyline.

The intimacy you need from a movie like this

Mouthpiece might not be everyone’s cup of tea, mainly because it takes a while to get used to the ‘two voices, one woman’ element of the film, but that being said, Mouthpiece is surely worth your time. The very human aspects of the storyline, the intimate and marvellous performances, and the dreamy atmosphere make Mouthpiece a movie you can definitely resonate with.

Mouthpiece is now available in the U.K. via digital platforms.

Rating: (3.5 / 5)

Also Read: How Film Changed Me: On Kathryn Hahn

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Real-life events turned into a thrilling movie

To put the ‘based on real-life events’ stamp on this movie, Judas and the Black Messiah opens with archival footage of Fred Hampton (played sensationally by Kaluuya), the chairman of the Black Panther Party’s movement in Illinois and the founder of the Rainbow Coalition. Hampton has ties with multiple groups fighting against black people’s oppression and therefore he’s on the FBI to-watch list.

Because FBI director J. Edgar Hoover (Martin Sheen) wants to uphold white supremacy, the Black Panther movement and Hoover’s agents clash on multiple occasions. To find out what’s going on inside the Black Panther movement, FBI agent Roy Mitchell (Jesse Plemons) recruits Bill O’Neal (LaKeith Stanfield) and plant him successfully within the Black Panther Party. As the head of security, O’Neils has the full trust of Hampton and is the perfect pion for the FBI. However, when that trustworthy bond is being put on the line, things take a different and deadlier turn.

The performances are what keep this movie going

The reason or better said reasons why you need to watch this movie, are the stunning performances. Kaluuya (Get Out, Queen & Slim) embodies Hampton perfectly! Whether it’s as the loyal friend and brother during the battle or as the Black Panther community’s determined leader, Kaluuya knows his character from the inside-out. The “I am a Revolutionary” speech scene is one of the most impressive, emotional and hypnotizing scenes you will see this year. It would come as no surprise if Kaluuya would receive an Oscar nomination (and possible the Oscar itself as well).

On the same high-standard level, we see Stanfield (Knives Out, Uncut Gems) as O’Neal, the guy who has to report to the enemy what his people do every day. You should detest and hate O’Neal because of his betrayal, but instead, you feel, sympathize and even connect with him. This is due to Stanfield multi-layered, emotional and on-point performance.

Not only the leading performances are captivating, but also the supporting ones are certainly doing the trick. You might not have heard of Dominique Fishback (The Hate U Give, Project Power), who’s portraying Hampton’s partner Deborah Johnson. However, we’re pretty sure you will follow this great actress from close-by after seeing Judas and the Black Messiah. This is because of her vulnerable, touching and mature acting. Plemons (The Irishman, Vice) brings many layers and complexity to his character, one that could have fallen flat if not performed well.

While the acting performances are great, but the characters themselves aren’t as compelling as they could have been. Therefore the story and the legacy of the Black Panthers don’t reach their full potential. That being said, the last half of the film is extremely exhilarating and fast-paced. The beginning seems a bit slow and confusing, but the end certainly makes up for that.

Big impact on society and on the award ceremonies

Because of the current climate, Judas and the Black Messiah won’t have a cinematic run, you can still watch it via the comfort of your home. You should take that chance. Just don’t expect one of those ‘just made for Hollywood’ biopics. Instead, you will get a rough, unpolished and straight to the point movie. While the start makes you wonder whether you’ve made the right decision by putting on this film, the remarkable performances and the thrilling overall vibe convince you that Judas and the Black Messiah was worth watching after all.

You can watch “Judas and the Black Messiah” via video-on-demand from the 11th of March.

Rating: (4 / 5)

Also Read: Queen & Slim (Review)

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Review: Judas and the Black Messiah appeared first on Big Picture Film Club.