Ghostbusters: Loud Does Not Equal Funny, An Irritation

Ghostbusters is a science fiction comedy film directed by Paul Feig. The plot sees a new group of Ghostbusters rise up to take the fight to everything that goes bump in the night.

Yes, much like my Rise Of Skywalker review this will be a long one so buckle up.

I have seen this film 3 times now, the first two times were on release when I firstly went to see if it was as bad as I had heard, and then secondly went after being invited by a friend. After the second time I vowed that I would just forget about this film and move on, however, the other night (years later), I saw in on streaming and thought ‘eh maybe I am remembering it worse than it is’, nope….. It is just as bad as I remembered.

Do you know what the main issue is with this film? It seems too much creative freedom was given, usually it is a good thing for the creative in control of making a film to have a large amount of freedom, not here however, as they abused that privilege.

This film feels like a sketch that they dragged out for over two hours (that is a common complaint of mine with the films of Kristen Wiig, but it is especially true here). There is far too much improv comedy, that reeks to me of them thinking that they are naturally funnier then they are. The original Ghostbusters were silly, yes they were comedy films, but there was also a seriousness to them. The balance between comedy and seriousness is maintained and used well hence why they are funny, here the balance is way, way off and it is painfully unfunny.

As many others have said, the only funny thing about this film is Chris Hemsworth’s dumb receptionist character, which in itself could be viewed as a harmful stereotype adding to the ‘hot but dumb’ cliché. Hemsworth is the only part of the film that actually worked for me in a comedic sense, there was not even any unintentional humour as you might expect from this kind of thing, no it was all just flat and repetitive.

Moreover, the characters are all almost entirely unlikeable, they all seem to have one personality trait that is played up and up and up to the point of mind-blowing annoyance, to be funny? They have all the depth of a puddle of vomit, and seem to go out of their way to be confrontational towards the audience in kind of a meta way that just comes across as petty that it was left in.

Overall, this will be remembered as one of the biggest misfires in the history of modern Hollywood and for very good reasons the sequel to it is dead in the water, with the next film in the series ignoring it all together. Just bad all-round.
Pros.

Chris Hemsworth is funny when he is on-screen

Cons.

The rest of the cast are painfully unfunny

The comments scene feels overly petty

The characters are one note and annoying

This is a stain on the career of everyone involved in it, with the exception of Hemsworth

The CGI is bad

0.5/5

Reviewed by Luke

Interview with Mike Morelli: Writer/ Director of Sh*t Head

Written by Luke Barnes

Hey Everyone! I recently had the chance to interview Mike Morelli, about this award winning feature film Sh*thead, which is about a man selling his friends baby, so that he can afford to go and see his favourite musical artist. We talk about, wild quests, dancing, and the death of cinema- I hope you enjoy.

Q: If you were to sum the film up in one word what would it be?

A: Stoned.

Q: Do you have any funny production stories?

A: We rented a drone for the concert scene but there was some mix up with the rental house, it came in after we were supposed to shoot with it, so they just let me have it for a full week. We ended up improvising and playing around with that thing literally non-stop the whole week, just trying to get whatever wide-shots I could with it. I had Jordan’s costume and from far enough away, if I put it on you really couldn’t tell as easily Jordan suddenly got like 6 inches taller. I did a ton of those shots, and most of the actors weren’t available on short notice so a lot of times I’d program a route for the drone, run into place and try and get the shot all by myself. It always felt like some bizarre silent film routine.

At the end of the week, I had literally done as many shots as I could possibly think of they were coming out so good, I had one night left with the drone, I was just like, alright, you know what if we get really far away and it’s kind of dark, maybe I could pull off doubling as Janeé too? I had Erica’s costume and a wig, so, yeah I put it on, stuffed some balloons in my chest and set out at 4AM to try and sneak some night shots where no one could see me.

I did like four or five shots, and it really wasn’t working no matter how far away you got you just could tell – that’s no lady. There was no way anyone was gonna’ buy that was Janeé. Ever.

To do the shot, I’d have to program the drone, run into place and then I’d have 30 seconds before it starts. And I remember, I’m right in the middle of doing one of my last takes and this van full of young, construction guys probably going off to a super early morning job pulls down the road before I had time to hide. And they just stop. And stare at me. And they see this crazy man, dressed as a lady with balloons in his chest, flying a drone. At 4AM. Filming himself.

They didn’t laugh, they simply stared at me for like a full minute trying to piece together what the hell their eyes were seeing. The looks on their faces, thinking about now I’m dead.

None of the shots made it into the film.

Q: What inspired you to make this film, what was your drive, your catalyst?

A: I made a short called “SHITHEAD” that this is loosely based off. I sold weed when I was younger, and I was always fascinated by the delicate juggling act that went into balancing out a serious illegal drug habit. Drugs aren’t free and by the very nature of the activity, they need to be replaced fairly often. So, it becomes this game of constantly trying to make money, find drugs, take the drugs, run out of drugs, repeat.

Now take that dynamic and tell it like a raunchy, Preston Sturges screwball comedy. That was the idea, at least.

Q: Does your film have a message and if so what is it?

A: Don’t sell your baby. Use Birth Control. Liberate Taiwan.

Q: Who is your filmmaking influence?

A: My older brother, John. Authors like Charles Willeford and James Ellroy loom large in the stories I like to tell. There are so many filmmakers from around the world I could name drop to make me sound smart, but I’ll stick with that.

Q: How would you describe the film’s sense of humour?

A: Juggalo Crack. I guess that’s really what Chenko is, anyway.

Q: Have you ever been on any wild quests of your own?

A: Making this movie. Without a doubt the most epic quest that I have ever been on. And I’m still talking about it, right now…

Q: If you had the sum the production up in a word what would it be?

A: Vietnam.

Q: If you could travel back in time to when you were a young filmmaker just starting out what advice would you give yourself?

A: Learn to dance. I’d tell myself that, hey, by the time you’re able to release your first feature film cinema as you know it, conceptually, will be dead. Monopolistic corporations will destroy a lot of the things you hold so dear, and people’s attention spans are going to dwindle to below a minute. Maybe less.. So learn to dance and Tik Tok. It’s your best shot.

Q: If you ever win an award who will you thank in your acceptance speech?

A: I probably wouldn’t attend any awards ceremony. I actually just won something and am trying to get someone to attend virtually in my place. Nobody knows what I look like, it would make me laugh so hard if they cut to a speech by me and it’s like a 90-year-old man from Wisconsin or something.

We did win some awards for Sh*thead, I never attended any of those ceremonies to thank anyone.

That’s not because I’m not grateful, far from it. Making an Independent Film is tough, and you need a lot of passionate, motivated people for it to work. And we had a lot of talented souls come together to make Sh*thead. I really am deeply thankful for so many people. Of course, I gotta’ thank Johnny Smith who is a genuinely great person and good friend of mine. Johnny lit up our film, everyone on set loved being around him so much. And people don’t realize, Johnny had severe back issues from a car accident, he was in a lot of pain during the shoots. And Tom Valentino and Erica Everett, I gotta’ thank them so much, they stuck with the film, and me, to see this through. I’m grateful to everyone that helped make Sh*thead happen, thank you all.

You can watch Sh*thead on Amazon Prime, Google Play and Vimeo and as always my review of the film is up on site right now!

Chocolat: Chocolate’s To Boost Your Sex Drive

Chocolat is a romantic comedy drama film directed by Lasse Hallstrom, based on the book of the same name by Joanne Harris. The plot sees chocolatier Vianne (Juliette Binoche), move to a small religious French town in the middle of Lent, as she begins to sell her devilish wares whilst most of the residents of the small town are fasting she quickly makes herself a number of enemies. Can a good heart and a lot of chocolates change the locals minds about her?

Finally! After all this time, after countless numbers of films that demonise them, finally I have found a film that has positive Traveller representation: honestly it is nice to finally find a film that treats this group of people as humans, as not as some sort of easy scape goat for whatever ills are going on at the time, however, it is also sad as it makes me think of few other films share this film’s progressive outlook.

I enjoyed this film for the wholesome good time that it is. There are some sad things that happen in it, but in the end everything works out and everyone has a nice party- and in the times we are currently living in sometimes that is all you need to stop the nihilism for finally settling in.

There are a number of strong actors giving great performances here. Firstly, you have Binoche who creates a character that is perhaps one of the most likeable characters in all of cinema, and who you immediately want to see succeed, but also one that clearly has a dark past and is somewhat empty. Secondly you have Doctor Octopus himself Alfred Molina, as the films villain who is equally as sublime as the lead. Molina plays the leader of the town who takes an immediate dislike to Vianne and who goes to war with her, the two have an interesting relationship and Molina adds a lot of layers and depth to the character. Finally, you have the always marvellous but often overlooked Peter Stormare, as the real villain of the film an angry drunk/ wife beater shopkeeper who also forms a dislike of Vianne after she has a negative impact on his life. Stormare brings us a character that is easy to hate, but who also has more to him than simple villainy: moreover, he also brings some of his trademark weirdness to the role and gives us a few scenes that are unintentionally hilarious.

Johnny Depp is also in this film, at the height of his heart stealing good looks and he is a perfectly fine romantic lead. Shame they didn’t cast an actual traveller in the role but ah well it is Hollywood after all.

Overall, a lovely heart-warming film.

Pros.

The wholesomeness

A nice happy ending

The romance

Positive Traveller representation

Cons.

A few slow moments

4.5/5

Reviewed by Luke

Six Minutes To Midnight: Peak Britishness

Six Minutes To Midnight is a British spy thriller film directed by Andy Goddard. The plot sees Thomas Miller (Eddie Izzard), a British spy sent to infiltrate a boarding school for the daughter of the Nazi high command operating on British soil mere weeks before the onset of WW2.

There is something so British about a period piece, set around the war, and featuring Judy Dench; it is almost like a Britishness trifactor.

When I first saw the trailer for this film, I thought it was going to be a very tense spy film. However, when I watched it my expectations were met, though they were also a little underwhelmed at the same time. Yes, there is some spy thriller elements, but the film could do with losing a few of the slower sequences in favour of more sustained prolonged tension. Like honestly, I don’t care that one of the girls clearly feels left out from the rest, this is not a coming of age film, I want spy thrills.

Izzard handles most of the dramatic heavy lifting and manages to have quite a few strong character moments. I would dare say she is the strongest performer in this film, yes even out performing Dench and veteran actor Jim Broadbent. However, that might not be that hard as neither is given much to do, and Dench is just playing the same character she always plays, a sassy old woman.

The villainous reveal in this film also receives a portion of my ire, it is so painfully obvious. I won’t spoil it for you, but from the opening few minutes you will be able to guess it.

Overall, Izzard is trying to keep this film together and just about manages thanks to some strong tension and character moments. However, the film could do with being trimmed down and with having Judi Dench and Jim Broadbent being given far more to work with.

Pros.

Izzard

Some strong tense sequences

The ending

Cons.

Wastes a large amount of the cast

The identity of the villain is painfully obvious

3/5

Reviewed by Luke

Curse Of The Blind Dead: The Templars Were Even More Evil Than Assassin’s Creed Led Us To Believe

Curse Of The Blind Dead is an action horror film directed by Raffaele Picchio. The plot sees the restless spirits of a group of satanic Knights Templar haunt a forest after being massacred by a group of locals. Years later in a far-flung future a father and his daughter must be battle against the undead knights along with a post-apocalyptic murderous religious sect led by a mad preacher.

So, there is a lot going on with this one and I do mean a lot. What might on the surface sound overly complicated or too much actually works really well here. The old and the new come together beautifully, in a way I would not expect them to, really giving this film a nice sense of originality and personality.

I enjoyed the horror and the gory violence of this film. I thought the gore was just right, it was nice and visceral but also not too much. The battle scenes, if you can call them that, with the knights are well done and leave quite a menacing impression. Moreover, the scares are quite strong here it is not so much jump scares scary as it is an oppressive atmosphere that builds over time, until a satisfying and impactful climax.

Overall, it ticks all the boxes you would want it too based on the premise and is mostly satisfying, no major complaints.

Pros.

The gore

The Knights Templar

It is an interesting idea

The future and the past plotlines actually complement each other quite well.

Cons.

The leads are lifeless and dull, but its okay as the gory action is what you are watching it for

4/5

Reviewed by Luke

Rain Beau’s End

Rain Beau’s End is a drama film directed by Tracy Wren. The plot focuses on a lesbian couple who adopt a child with a genetic condition that makes them more likely to be violent, as such they have to find a way to help and support the child whilst revaluating their own acceptance.

This film has a lot to say about how LGBTQ+ couples are viewed within society, pointing out the higher standard and the subconscious judgements that they face on a daily basis, and how though we view ourselves and our society as progressive we still have a ways to go to better ourselves.

This film brought a tear to my eye twofold, both because there are beautiful moments that punch you in the heart with enough force that you think it is going to break and also because parts of it are desperately sad.

The performances from both Amanda Powell and Janelle Snow are transcendent, they real and genuine. You sink into these characters, forgetting that you are watching a film and think instead that you are having an outer body experience watching friends you have known all you life as they are tested; though it might be confusing that was a compliment towards the films writing.

Overall, an important film that prompts much needed self-reflection.

Pros

The lead performances

The emotions

The comments on society

The ending

Cons.

Some of the supporting characters could be stronger

4/5

Reviewed by Luke

Nomadland: Vast and Empty

Nomadland is a drama film directed by Chloe Zhao. We follow Fern (Frances McDormand), a homeless woman who travels across America in her van looking for a family, a community, the American dream…. Something.

This is a strikingly addressing film, it is beautiful, and it is haunting. It allows us to see a look into fringe America, the area usually forgotten by Hollywood, a place where there are no good guys and bad guys, and there is certainly no happy ending- there is just life, complicated, often obtuse life.

From a cinematography stand point I don’t think I’ve seen a film that makes America look so vast and so empty. The vista and the establishing or wide-angle shots throughout this film are simply breath taking, if this film does not win for anything else it should see some awards love for its cinematography.

The film is very depressing, and I can only recommend it for you to watch if you have either a happy film lined up for afterwards or if you are properly prepared for it, this film bummed me out so much I had to take a break midway through and do something else.

I didn’t love this film, and I think as far as awards contenders go this is on the weaker side. Mainly these issues come from a storytelling perspective, as the film doesn’t really have a story, it almost plays more like a documentary capturing a journey.

Overall, I think this a very bold first film for Zhao and I am eagerly awaiting her Dracula film, and though the film is beautiful, it is also quite weak on story and massively depressing.

Pros.

McDormand

The cinematography

The fringe focus

Cons.

It is depressing

The story feels quite weak and a bit too segmented

3/5

Reviewed by Luke

Dementer: Cults Can’t Live With Them, Can’t Maintain The Safety Of Those Around You Without Them.

Dementer Is a horror film directed by Chad Crawford Kinkel. The plot sees Brandy (Brand Edmiston), escape a rural cult, later taking upon work at an assisted living facility for adults with special needs: to try and make up for her dark past. However, that very dark past threatens to tear back into her life and effect those closest to her.

The horror in this film is very effecting, mainly because it is so personal and human. As I have said in other reviews, with demons and ghost there is a degree of fantasy there you can convince yourself after the film that they don’t exist. However, the threats in this film, cults, and local evil is very real and not as easily pushed from one’s mind.

Edmiston make for a solid lead, we like her and want to see her life turn around and it does that despite the challenges she faces. Honestly, the personal journey her character goes through in this beautiful and very well constructed.

My one critique of the film would be that there are several lulls over the course of the film where things slow down, these bits lost my attention and took me out of the film. Moreover, the ending also doesn’t feel as satisfying as it should and instead feels rushed which makes the film end on a sour note

Overall, a very harrowing film that despite a few lulls and a botched ending manages to scare and leave a mark on the viewer.

Pros.

The scares

The very real sense of danger

Edmiston

Cons.

The lulls

The supporting characters need more development

The ending felt a little rushed

3/5

Reviewed by Luke

Interview with Alexander Jeremy The Writer/Director Of F r e d And Milk Run

Written by Luke Barnes

Hey Everyone! I recent had the chance to sit down and chat to Alexander Jeremy, the writer director behind f r e d and the lockdown thriller Milk Run. We talk about filming during lockdown, dancing through grief and the films of Russian cinematic giant Andrei Tarkovsky. I hope you enjoy!

Q: Who is your filmmaking inspiration?

A: I think it’s quite a lot of things actually. Film wise, from super strange niche stuff, like Tarkovsky/Bresson or something like that; things that kind of push the boundaries. Then on the flip side, pretty straight down the line films like Star Trek, The Last Samurai and the Avengers movies! I also get a lot of inspiration from music and the whole music world. I love weird electronic music and rap.

Q: Do you have any funny on set stories?

A: Not particularly hilarious but just one of those unexpected moments whilst filming; in f r e d, there’s a bit where Fred dances through a restaurant. We just shot that with no prep and no warning to the restaurant (naughty) – but at the end, a random guy started dancing with him. I love things like that.

Q: How would you describe the production of either F r e d or Milkrun?

A: F r e d was my first serious “piece”. Everyone was going out on a limb and we had no idea what it was going to turn out like, it felt a lot like a train in motion and we just kept up a long with it. Milkrun was strange, because I shot everything by myself on the cheapest of gear I could afford. So it was incredibly rough and “lofi” as I call it, it was not at all like a proper set – but I quite like that, makes it feel more like a bunch of kids with cameras. I think we should value short films made with nothing that are rough around the edges, as opposed to super high-budget, professional ones, clean ones – I always find them less interesting, (less risk?).

Q: How would you describe your experience with Lockdown filmmaking?

4. It’s been an incredible time for me as a filmmaker, you’d think it’d be the opposite. If you’re willing to accept that shooting in Lockdown with nothing is probably not going to get you into Cannes or Sundance, and you can focus more on the love of it, practice, play etc – then in that sense, it’s been lovely. The super affordable gear and equipment these days are making filmmaking so accessible, it’s awesome. I want a Black Magic Pocket 6k Pro very badly!!

Q: How key was tapping into the fear and paranoia of the British lockdown for Milk Run? How close to life was your spoof?

A: I love the old silent films, so I wanted to do something like that – also because it meant I wouldn’t need sound which cuts costs massively and makes everything much easier to shoot. In terms of the paranoia, and especially at that time (during the end of the second lockdown), you’re constantly in waves between paranoia and “fuck it”. I myself have probably swayed too far in each direction at one point, so I guess I wanted it to be a reminder not too swing too far in any direction.

Q: If you could go back in time to when you were a filmmaker first starting out what would you say to yourself?

A: Make more, keep going, be patient…and what I try to tell myself now is to focus on the fun, the joy, the creating, making good work – and try to forget about everything else. I think focusing on your “career” might make your work mediocre.

Q: With F_r_e_d what was vital to you when trying to convey the grief on screen?

A: Just the silence, I think. How someone is there, with you, every day and then isn’t. Also, that with grief you cry one minute, dance the next, cry, then laugh, then numb, then cry – all over the place.

Q: Dance is obviously a central part of the narrative in f r e d, why is that and how did the idea come about?

A: F r e d ended up a very ambiguous piece, people read lots of different things into it – so I don’t really want to say too much. However, I’ll say the dance came from the fact that it’s so opposite to grief, and I thought it would suit Fred’s character – you can’t place him, he feels more like a force, a spirit, then a living person.

Q: Sequel ideas or potential new endeavours?

A: No sequels in the works! Just more projects. I have another film coming out very soon, called Crowning, written by Hannah May Jessop. That film I think continues to explore stylistically some things I was tapping into with f r e d; a kind of stylistic awkwardness, anti-cinematic – to make you feel slightly unnerved – it’s not following the cinematic rules that we take comfort in, so you don’t know what it will do. Then, combining that with the silent era call-backs of Milkrun. Let’s see what happens with it! Please follow @crowningfilm !!

Q: If you ever win an Oscar or other award who would you thank in your acceptance speech?

A: My Mum and Dad, my late friend Josh, and Keith Johnstone. (And agent + wife I imagine!)

You can check out F r e d and Milk Run, on Youtube, Vimeo and other streaming services now and of course you can check out reviews of both on my site now!

The Map Of Tiny Perfect Things: My 1000th Post!

The Map Of Tiny Perfect Thing is a romantic comedy film directed by Ian Samuels. The plot sees two people stuck in a time loop together, though they don’t realise this until a little bit into the film, who decide to make a map of all the perfect things that happen in their loop in hopes of better understanding it.

I have said before the time loop concept is quickly becoming dried up and samey, however, this film narrowly avoids feeling repetitive, and instead manages to still feel real, genuine and dare I say it fresh.

The romance between Mark (Kyle Allen) and Margaret (Katheryn Newton), feels heart warming and rootable, there are no troublesome elements as there often are in romantic comedies, I am pleased to report. I thought of the two performances Newton vastly outperforms Allen, and it was her character and her journey that made the film.

For the time loop to end, Margaret needs to do something, as she has effectively caused the loop itself: when she finally takes action and crosses that line it really adds to the strengths of the film in a dramatic sense and helps to elevate it in my opinion.

My only issue with the film is that it can be a little too mushy and over sentimental at times and has a very teen feeling to it, which is not a knock against the film as no doubt they are the target audience, but it does put me off a little bit.

Overall, a nice couple watch that though not perfect is entertaining.

Pros.

Using the time loop concept in a way that didn’t feel played out

Newton

The central relationship

The ending

Cons.

Overly sentimental

4/5

Reviewed by Luke