Falcon And The Winter Soldier: New World Order

Written by Luke Barnes

Falcon And The Winter Soldier is the latest entry in the Marvel Cinematic Universe, and the second Disney + offering. The plot sees Bucky Barnes (Sebastian Stan), and Sam Wilson (Anthony Mackie), existing in a post Endgame and post Captain America world.

As far as first episodes to event TV shows go this one is quite slow. There is a fairly tame opening action set piece to start with, but the main purpose of this episode entitled New World Order is to function as a character study of the two leads- and to clearly define where they are at, both as heroes and as people.

This episode delves into some quite deep areas, such as loss, accountability and self-loathing and is far darker than most content coming out of the MCU in recent years. The show feels mature, and the themes and ideas explored further this as they feel very real and lived rather than fantastical.

Moreover, this episode also has a socio-political/ racial message to it, which again is a first for the MCU. Whilst not being overt and choosing to use the returned people after the blip as a standin for oppressed Black Americans, the metaphor is clear. Sadly, this will make the episode polarising as there will be those asking to keep real world politics out of this action/ fantasy show.

In terms of wider lore building this episode introduces us to the new Captain America (Wyatt Russell), who will factor into the events of the show heavily going forward. Likewise the new villainous group the Flag Smashers are also introduced, and this is important as comics wise this group has ties to the New World Order, The Masters Of Evil and The Dark Avengers- so might be an indication as to wear the MCU is heading.

Overall, not what I was expecting, far slower and more introspective, however it does do some great character work and sets up a series of interesting events to come.

Pros.

Bucky’s arc

Sam’s arc

Setting up battles to come

Cons.

It is very slow

It might be too political for some

The new Captain America reveal feels a bit rushed

2.5/5

Beware The Slenderman: A Look Into The Dark Heart Of The Internet

Written by Luke Barnes

Beware The Slenderman is a documentary directed by Irene Taylor, centring around the internet creepypasta figure of Slenderman, and the real world nightmare that saw two young girls stab one of their classmates multiple times in an effort to appease the fictional being.

I remember when I was a teen and Slenderman was all the rage, it was a huge moment in internet folklore history. I think the idea of a shared communal myth is so fascinating, and that is really what Slenderman is, an idea added to over and over again and turned into something much bigger than it began as.

This documentary is very bleak, but you knew that coming in. Tragic is the word I would use to describe the events that this documentary highlights, it raises questions around how does the content we view affect us on a psychological level and, where is parental accountability when it comes to policing what your kid watches and doesn’t watch?

I think the documentary does quite a good job in explaining what Slenderman is, they also have folklore experts as talking heads to talk about the idea of building and creating myth which I think is a truly strong choice in this regard.

I think using the girl’s families as talking heads to explain the events that transpired is both a pro and a con, it is a con in that there will inevitably be a degree of bias there especially when it is parent child as it is here, however, it is also a pro as it allows us to have a uniquely personal view into the incident.

Overall, a strong documentary that raises a number of good points and provides a thorough and well thought out investigation into internet urban legends.

Pros.

The personal access to the case

A good explanation of Slenderman and the internet urban legend

A number of thought provoking questions are raised

A solid pace throughout

Cons.

Bias creeps in

4/5

Bend It Like Beckham: David Beckham Really Is In Every Film

Written by Luke Barnes

Bend It Like Beckham is a sport coming of age comedy film directed by Gurinder Chadha. The plot sees Jess (Parminder Nagra), try to pursue a career in football despite her parents wishes.

I enjoyed this films depiction of ‘football mad England’, its approach is far more subtle and thoughtful than films like Football Factories or Green Streets would have you believe. I thought Jess as a character was very easy to warm to, and also very relatable. We could see the identity crisis she was facing, and we sympathise as the character almost becomes like a friend to us over the course of the film.

I thought the ending of the film were she gets to go and become a professional footballer in America is heart warming and just the right amount of feel good resolution that makes you think ‘hey maybe things will be okay’.

My main issue with the film would be that the central romance between Joe (Johnathan Rhys Meyers), and Jess is troublesome on several levels. Firstly, the love triangle between Jess, Jules (Keira Knightly), and Joe feels a bit too male fantasy, and secondly because he is the coach of the team and both of his female love interests are players on the team, meaning the power dynamic is icky.

A bigger question not just for this film, but also applicable more generally, was a romance plot line actually needed at all?

Overall, a feel good film on the surface but troublesome underneath.

Pros.

Nagra

Knightley

The ending

Cons.

The romance plot line

Some of the wider messages

2.5/5

The Mauritanian: Deeply Uncomfortable, But Needed Viewing

Written by Luke Barnes

The Mauritanian is a drama film directed by Kevin MacDonald. The film serves as an adaption of the Guantanamo Diaries by Mohamedou Ould Salahi, with the plot recounting the experiences of Salahi as he was detained by the United States Government, without a charge, for 16 years in Guantanamo Bay.

This is a powerful film. Tahar Rahim’s central performance is simply magnificent; it is no wonder that it is receiving so much awards attention. Rahim plays the character in a very human way, and that is fundamental to the film. We see the torture he endures, and it makes for very uncomfortable viewing but also very needed viewing, as it causes us to rethink our society and see where we are going wrong.

Jodie Foster has a supporting turn as Salahi’s Lawyer who spends the film fighting for his release and gives almost as good a performance as Rahim, but not quite. Foster commands the screen and makes for some very memorable scenes. The acting across the board in this film is great.

My one complaint of this film is that it is a little overly long, about 80% of this film is vital and is must watch, however there are a few scenes that run too long, or could have done with being cut out to make the film tighter.

Overall, a magnificent film that makes you rethink the world and that proves Rahim as a name to watch out for on the big screen for years to come.

Pros

Rahim

Foster

Showing the torture and doing it in an impactful way that provokes a strong response#

Recontextualising history

Cons.

A few pacing issues

4.5/5

Slaxx: Skinny Jeans Really Will Be The Death Of You

Written by Luke Barnes

Slaxx is a horror comedy film directed Elza Kephart. The plot sees the workers of a fashion store come under attack when a possessed pair of jeans goes on a murderous rampage.

This is one of the best surprises I’ve had recently. Though this film’s premise sounds absurd it is actually surprisingly well executed, and actually quite thoughtful as well. The backstory of how the jeans came to be possessed, and yes there is a significant backstory put in place for this, which I won’t spoil as this is a fairly new film is actually inspired and has a spot on message behind it.

The jean kills, are hilarious in the best way. A few made me laugh out loud, and the rest made me chuckle, they are so comically over the top and gory it is perfect. The unique nature of watching a pair of jeans kill someone is something that really hasn’t been covered much in the horror genre and this film makes up for that in a big way.

The acting is serviceable, and they manage to sell the serious threat of the possessed jeans rather than breaking down laughing so I will give them props for that.

Overall, a hilariously silly horror comedy film that you should definitely check out.

Pros.

The hilarious premise

A surprisingly deep backstory for the jeans

The jean kills

The gore

Cons.

The characters are a bit thin

4.5/5

Interview With Andrew J.D Robinson: The Writer/ Director Of Confessions Of A Haunting

Written by Luke Barnes

Hey Everyone! I recently had the chance to chat to Andrew J.D Robinson, the writer director behind Confessions Of A Haunting, a short film wherein a grieving character receives a message from the other side. We talk, ghosts, ghouls and of course David Lynch, I hope you like it.

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

A: ‘Catharsis’.

Q: Who is your filmmaking inspiration?

A: Cinema is a powerful medium that’s both provocative and a rewarding trade to create in. It brings in all of my passions with the arts, and any project can demand different elements. When it comes to what inspires me to have storytelling be one of my callings in life, I’m inspired by the need to reach others whether it’s to arrive to some nuanced deeper feelings together or simply to entertain (which the horror genre has been a lot of fun to dedicate to) as if these stories are little amusement park rides. There’s been many filmmakers who’ve inspired me or helped me find my voice, but pound-for-pound David Lynch’s work, despite how many times I continue to revisit them, continues to fan that ember in me to want to take something familiar and twist it; to in a sense boil it down to its roots, in an attempt to really connect something for the viewer that they perhaps may not arrive to with your regular scheduled programming.

Q: What was your catalyst for making this film?

A: I certainly strived to create an inner dialogue for viewers who could see themselves relating to this push-pull angst experienced between loved ones, but also in hopes they receive to its bottom line message.

Q: What was your message with this film?

A: Its bottom line message is ‘Don’t become the evil that this world gave you and give it to someone else’. In this case it’s those feelings of neglect, abandonment etc that our protagonist expresses that her late father caused her; how it’s haunted her up until this point in her life despite, yet her daughter tries to play with her and she sidelines, implying his ‘cycle’ of a lack of expressed and attentive love is generational, which many can relate to. Its supernatural twist, that her father tells her to break the cycle, is his way of wishing better for her and hers.

Q: Do you have any funny on set stories from the production?

A: Hehe well this film was produced remotely so there was no face-to-face anecdotes. Julie, however, is a great personality, but we executed the project virtually via text where we carved it out and after some back-and-forth she went ahead and recorded what is the only take she sent me. She killed it and then I handled the rest in post-production.

Q: How much is your film a comment on grief and coping?

A: The film is absolutely a commentary on grief and coping; a showcase of it. I find too there’s people I’ve met in my life who aren’t as upfront or confronting with ‘how they feel’; they’re more lost in subtext, which always motivates me to write characters who get right to it and ‘let you in’, especially about grief which permeates through everything. It’s almost the elephant in the room.

Q: How did you decide to include the supernatural twist in the film?

A: To have the father’s ghost tell her to ‘break the cycle’ is a paradox where (1) if you believe in ghosts, then this is a lovely ‘arrival’ for the protagonist in her life, but (2) I’m certain many of us feel that life won’t work out this way like it does in the movies where we may catch onto having a second chance… so for those who receive to it, they can reflect how ‘they themselves’ have to recognize they need to understand the past in order to not repeat it.

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

A: For one, where I am now is one of the most happiest places I’ve been with filmmaking where I know my ‘why’. My why isn’t to turn profit, to chase Hollyweird, or to ‘prove something’, rather, I just enjoy doing it. I enjoy the people I can meet. Naturally you’ll run into all sorts of ‘characters’, but for the most part I can say with a straight face that I’ve collaborated with some of the most genuine people who love stories, love becoming part of stories, just as much as I am. The fact we can ‘create art’ and not just be machines or something is wonderful, and it doesn’t have to take a lot to make a project. So what I’d tell myself back then would be that the enjoyment won’t come at the ‘destination’, but in ‘the journey’; the journey shared with your peers and viewers who receive to your weird little movies lol. Nevermind about trying to be ‘the best’ or if you have the right gear etc etc… find out asap ‘why’ you even do this just like when you were younger when you’d draw ‘just because you enjoyed to; absent of any well if you’re going to spend so much time on something, you better be making money from it’ mentality so rampant. ‘Passion’ should always be Plan A with our limited time here. That’s what I would remind the very stressed, hyper, and insecure past filmmaker I was coming up lol.

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

A: I’d have to thank my family for always telling me they just want me to be happy with whatever I do in life, with never expecting me to go to University and become a doctor or something. I’d thank everyone who not only ‘believed in me’, but invested their dreams into me, entrusting themselves in me to lead them through the unknown and these ‘visions’, these projects together. For everyone inside and outside of filmmaking who give me their time and energy, that’s the most valuable thing you can give to someone: their time. Let alone finding people along this adventure who wish to ‘share time’ with you, I owe everything to them, because it’s immeasurable how much and how far that can take someone.

If you would like to check out Confessions Of A Haunting you can find it on Youtube now, and as always I have a review of the film up of site now!

Confessions Of A Haunting: Passing On

Written by Luke Barnes

Confessions of a Haunting is a horror, drama short film directed by Andre J.D Robinson. The plot sees a woman (Julie Mainville) talk into an online confessional about a recent loss she has suffered in her family, as she does a voice can be heard talking back- presumably a voice from the other-side.

I will never cease to be surprised by the wonders filmmakers are achieving during lockdown. Though the premise and set up of this film are quite simple, they are used to great effect, both in terms of horror and drama.

On the drama side of things, the monologue delivered by Mainville is deeply personal and touching. We have all lost someone in our lives, or most at least, and can relate to what she is going through. The dialogue manages to become affecting and have an emotional impact which is always a positive sign.

In terms of horror, when we first hear the voice from the other-side it is shocking, because as you approach the midpoint you think that the short will be about this person coming to terms with their loss and that the horror on display will be emotional. However, when it does take a supernatural turn it is surprising and unnerving and you being to question what is happening.

Overall, a sad and creepy affair that is made as strong as it is by the writing.

Pros.

It is well written

It makes you feel something

The supernatural turn is unexpected

Mainville

Cons.

Could do with further expansion, maybe a few extra minutes

4/5

Interview With Ross Munro: Writer/ Director For European Tour 73

Hey Everyone! I recently had a chance to interview Ross Munro, the writer director behind European Tour 73 a documentary film with animated elements about Monroe’s family holiday to Europe when he was a child. We discuss, travel, family and Fellini. I hope you enjoy.

Q: If you had to sum up European Tour 73 in a word what would it be?

A: Memories

Q: Who is your filmmaking inspiration?

A: Fellini for his wild inventiveness and powerfully visual poetic sense combined with his dreamlike sensibilities and almost child-like sense of nostalgia. I grew up going to movies in the early 1970s so the New Hollywood filmmakers like Scorsese and Altman were also a big influence. More currently I’m excited by Tarantino and PT Anderson.

Q: What was your catalyst for making the film?

A: As both my mother and father have passed away, I felt compelled to make “ET’73” as a loving tribute to them and their memories and, in a way, to immortalize this crazy trip they took us all on back in 1973 as it seemed like a seminal event that really defined and brought us together as a family.

Q: If you could go back in time to when you were first starting out as a filmmaker what would be some advice you would give yourself?

A: I would tell myself to break through the fear that I had about moving forward to make films and that it’s okay to make “mistakes” as they are actually learning experiences that in the long run will make you a better artist and person. Also, try and take a little time to absorb and enjoy the journey of making your films and don’t worry so much about the destination down the road. Also, always try to seek out like-minded, passionate collaborators.

Q: What made you decide to include animation in your film?

A: With “European Tour ’73” we knew from the beginning that we wanted to tell the story of our family’s trip to Europe using every visual element in the cinematic toolbox- along with the core of Super 8mm film that composed the heart of the film, we used stock footage, photos, live action footage that we shot and so animation was the next logical extension of how to tell our story. It was quite exciting to work with the animator on these segments and really added a new, exciting dimension to our film that viewers have repeatedly commented on favourably. I’m actually planning on doing more original animation for our next documentary as well.

Q: How did you decide on the balance between animation and stock footage within your film?

A: The goal was always to just punctuate our film with the animated segments to add depth and humour and insight to the proceedings- of course once the film was completed I had more ideas that I would have loved to see in the film but, alas, that’s always the case when you look at a finished film: you always see the things you wish you’d included.

Q: What would you say the message of European Tour 73 is?

A: Oddly, I’ve never been asked that before. I’d say the message is to appreciate the time you are gifted on this planet to spend time with your family and loved ones. Even though the film is very joyful I can’t but help to feel also a small sliver of sadness that my parents and my eldest brother Jim- who passed while we worked on the film- never had a chance to see “European Tour ’73” as it’s a testament to my memories of them as much as anything.

Q: Within the family unit how important do you think shared experiences are?

A: I think you can’t overstate the importance of shared family experiences- especially growing up. My parents always strived to raise us in a manner where myself and my five siblings always did things together- the trip to Europe back in 1973 being the highlight of that philosophy. Because of their efforts to have us do things constantly as a family unit, I was able to move on through life having a great relationship with all my brothers and sister- almost like we are friends. This bedrock foundation is absolutely a direct result of my parents notion that we share as much time as possible as a family growing up.

Q: Would you one day take your kids (or potential kids if you don’t have any yet), on the same tour?

A: Not having kids (I guess my movies now represent my children- and how naughty they’ve been let me tell you…!), I’ve never had to contemplate this undertaking but one of the reasons I undertook this movie was also that I was amazed that my parents would actually bring all of us small kids barnstorming around Europe all tightly packed into a camper van for 6 weeks! Also, it seems crazy to me that I’ve never returned to Europe since that trip nearly 50 years ago! My wife, Maria, (who’s also the Producer of the movie as well as most of my past and future movies) and I really want to go to Europe someday soon and we look forward to screening our film in the many countries I visited in the film. This would, in a way, bring the whole journey of “European Tour ’73” full circle.

If you want to watch European Tour 73, it is currently playing on the virtual film festival circuit and will be playing in Canadian cinemas once the pandemic is under control, as always I have a review up on my site now!

Tom And Jerry: Cat On A Hot Hotel Roof

Written by Luke Barnes

Tom And Jerry is a live action hybrid animation film directed by Tim Story. The film serves to bring back the classic cartoon duo, but now in the real world fighting over hotel rooms. Yes, that’s right.

So before, I get into this I just want to acknowledge that this film is aimed at kids, you can tell it is in several ways such as the constant references to youth culture (that feel very much hello there fellow kids), and just the whole vibe of the film, and that’s fine maybe kids would enjoy the mindlessness of it, but anyone else would be a much harder sell.

I did not think that this film was bad, nor did I think it was good, if anything I thought that it was painfully average to the point of being a bit boring. If you compare the spectacle of the old cartoons, and the escalating fight scenes that Tom and Jerry used to have this film feels even tamer. The best sequence would probably be when Tom is trying to get into Jerry’s room for the very first time and things escalate to them wrecking the room, but even then it feels basic.

Perhaps most damning of all is that I actually preferred the human characters to Tom and Jerry. Chloe Grace Mortez as Kayla was a lot of fun and had quite a few great moments: I hope Mortez hitches her wagon to this franchise and appears in any sequels going forward, as she has a good emotional rapport with the characters which is hard to establish as they don’t talk- yet she finds a way. Likewise Michael Pena is entertaining as the film’s villain Terrence, though Pena gets stuck with most of the hello fellow kids dialogue he also manages to have a few funny moments, and actually makes the film bearable.

Overall, if you need something to show your kids that’s bland, stick them in front of Raya and the Last Dragon (which is actually better than this), but if you don’t want to pay for premium access on Disney + then I guess this will do. Though don’t try and watch this if you are over the age of 10 as it might put you to sleep.

Pros.

Mortez

Pena

Cons.

The cartoon was better

This feels overly tame

The soundtrack is distracting

It is mind-numbing

2/5

Zack Snyder’s Justice League: The Day Is Finally Upon Us

Written by Luke Barnes

The Snydercut or as it is sometimes more formally known Zack Snyder’s Justice League is a superhero film directed by Zack Snyder, serving as a remastered cut of the 2017 Justice League film that Snyder had to step away from due to personal reasons. The plot focuses on the formation of the Justice League in an attempt to fight off the invading forces of Steppenwolf (Ciaran Hinds) and Darkseid (Ray Porter).

So as many of you know, I have thought for a long time that this film was going to be bad, or at the very least unnecessary. However, I can admit when I am wrong and am pleased to tell you this film is a vast improvement over what we got in cinemas 4 years ago: now I am not saying it is perfect, but I am saying it is a marked improvement, buckle up this is going to be a long one.

Firstly I want to address something that for me was a glaring issue with the film and that is the overly sexualised nature of the female characters. Sorry Snyder fans this is going to upset you, but there is a recurring theme in Snyder’s work of ogling women and that is very much here as well. Wonder Woman’s (Gal Gadot) skirt seems shorter, the Amazonians are basically just wearing fancy metal underwear in some cases with their midriff fully exposed, because that is wise in battle? Iris West (Keirsey Clemons)is included just as a plot device and a damsel to be saved by Barry (Ezra Miller), and of course I would be remiss if I did not mention the camera’s fascination with Gadot’s behind.

Though Cyborg (Ray Fisher), is given more to do, his look and crucially the CGI aspects of it are still quite a ways off and are distracting throughout the film, if they could remove the light in his forehead it would look infinitely better. The same can be said of Steppenwolf the other major CGI character who looks like he has come straight out of a videogame and is again distracting.

The film does benefit from better pacing with the 4 hour runtime allowing the film to feel grander and more epic. I feel that by stretching the film out more a lot of things that didn’t make sense the first time around through lack of context suddenly do, and the world as a whole feels better explored and created.

Oddly enough despite the sexualisation Snyder seems to understand Wonder Woman better than Patty Jenkins, and after watching this I think the reason the first Wonder Woman film was so good and the second was so bad was Snyder’s involvement. Snyder gives Wonder Woman a lot of good character work that makes her feel far more central to the narrative, and also far more interesting. Moreover, by redoing the bank scene and the Amazonian battle scene Snyder it able to make both more inspiring and appear better on screen; the shortening in the Whedon cut really hurt the film.

Similarly, Snyder finally seems to understand Batman (Ben Affleck) and Superman (Henry Cavill), here as well, moving away from some of the edgy aspects of their characters from his previous films and giving us a more comics accurate portrayal.

I think the tone is much better here than it has been in a lot of the other DCEU films as there are moments of levity amongst an otherwise serious affair, but they aren’t treated like dumb cringey jokes like in the original version of Justice League here they feel far more natural to the characters and importantly work.

I think this film is improved by being a Snyder film and from having his sensibilities applied to the project, I think his trademark use of slow motion is often used to great effect especially with the Flash stuff. I also feel like this film could be viewed as somewhat of a spiritual successor to Watchmen,also directed by Snyder, and think it would make for an interesting double bill.

Ezra Miller’s flash does still stand out for all the wrong reasons, and I do hope in future films they tone down the character and his awkwardness as it does become cringe at times, but not as much as in the previous version. Likewise, I also found the amount of problematic people cast in this film off putting as you have Miller (who choke slammed a fan allegedly), Amber Heard (who is the internet boogeyman) and Jared Leto (look it up), all rubbing shoulders with each other in a troublesome trifactor. Though I will give Snyder the benefit of the doubt the incidents involving two of them didn’t come out until it was too late to change it, but it is a shame.

The score by Junkie XL is terrific and really does bring the film together, with the music really adding a lot to the fight scenes in particular; with the new motif they have for Wonder Woman probably being my favourite.

Sadly, there is a large amount of product placement in this film that really does cheapen the film to an extent, admittedly only brief sections feel almost like adverts within the film.

The things added that have made this film R rated are a mixed bag, the blood does add to the intensity of the battle scenes, though the swearing really adds nothing and on the whole the film does not need to be R rated.

Moreover, the reach around line from Joker, is creepy and needless and should have been left out of the film.

Finally, I just want to talk about some of the stuff from the end of the film. Batman’s attempted self-sacrifice does still feel needless though it is handled better here, and the Nightmare section feels forced in at the end for no real reason. With the nightmare section it is clearly Snyder setting up for another film that he does deserve but most likely won’t get. Furthermore, the film does not really neatly address the Flashes’ warning from the previous film, and there are a number of other outstanding questions left to be answered as well.

Overall, a moment of triumph for the DCEU, something far better than the recent offerings (BOP and WW84), though sadly let down by sexual objectification, poor CGI and product placement.

Pros.

Solid world building

Good character work

The battle scenes are far more intense

A lot of the scenes flow better with more context which is allowed for with the longer run time

Cons.

The sexualisation and using of women as a plot device

The reach around line

The poor CGI

The product placement

3.5/5