★★★★★ Directed by: Ryan Stevens Harris Written by: Ryan Stevens Harris Starring: Angie Duke, Brionne Davis, Haven Lee Harris, Morgana Ignis Grimmfest Review by: Darren Tilby Out of all the films I was planning to see at this year’s Grimmfest, Moon Garden is perhaps the one that stood out most. This is due in no small part to the film’s striking visuals and exciting premise. Moon Garden is a peculiar piece of work in which traditional narrative gives way to imagery and style. So if you’re looking for a solid, coherent story, you will likely be disappointed. And I think, having now seen it, that will likely remain the case. There is a story, of course, and we’re introduced to it through a harrowing opening scene in which a mother (Angie Duke as Sara) and daughter attempt to flee from her husband (Brionne Davis as Alex). Sara and Alex’s heated arguments culminate in their young daughter suffering a near-fatal accident that leaves her comatose. From here on in, we follow 5-year-old Emma (Haven Lee Harris) as she navigates her own subconscious, guided home by her mother’s voice on a small radio. Wolfgang Meyer’s cinematography is key to making this film work, as colour here is essential. He bathes the opening scenes in a perpetual blue hue, emphasising the coldness of this family unit and the lack of warmth in the household. Then, as we move into Emma’s subconscious, the colour palette embodies a far more sinister character. Emma’s subconscious is a nightmarish dreamscape, resplendent with loud colours and flashing lights, that lends an eerie and dizzying quality to the film, evoking the likes of Dario Argento’s Suspiria. I’m reluctant to call Moon Garden “experimental” as I don’t think that really favours it. However, the film undeniably has elements of the abstract about it. More than anything, though, it seems clear that much inspiration has been taken from the works of Guillermo del Toro: the film has a dark fairytale vibe with a unique steampunk aesthetic, and the incredible creature design, practical effects and use of specific camera techniques – like shooting on 35mm – do a lot of work here. There are some stellar performances here, too, particularly from Haven Lee Harris, the young daughter of director Ryan Stevens Harris. Harris gives a fine performance in the central role of Emma; she carries the weight of the movie on her shoulders almost entirely. The fact that she can put out a sympathetic and consistent showing is nothing less than remarkable. Another standout performance is that of Morgana Ignis as the creature simply known as Teeth. A manifestation of Emma’s anxieties and fears, Teeth is an unnerving and frightful being. And Ignis’ performance here is superb! The creature design, costume, and makeup work go some way to making for a scary and memorable creature, and they’re done incredibly well here. Nevertheless, there’s a reason that the likes of Doug Jones and Javier Botet are repeatedly chosen for these creature roles: the performer gives the creature its movement, on-screen presence, and essence. My only real complaint about Moon Garden is that the narrative is very messy. There’s quite a bit of unnecessary (but very beautiful) stuff during the middle of the film, which means it can occasionally feel a little too long, despite being only 93 minutes long. However, for me, the good far outweighs the bad. When the movie finally wraps, we’ve been taken on a beautiful, emotional journey through a visually stunning, intimate, aesthetically pleasing dreamscape full of endearing, fascinating, and occasionally terrifying characters. And that’s no bad thing.

★★★★ Directed by: Kristina Buozyte, Bruno Samper Written by: Kristina Buozyte, Bruno Samper Starring: Raffiella Chapman, Eddie Marsan, Richard Brake, Rosy McEwen, Melanie Gaydos, Edmund Dehn Grimmfest Film Review by: Darren Tilby Kristina Buozyte and Bruno Samper’s Vesper join a long line of post-apocalyptic films dealing with climate change and the destruction of the natural planet. And while Vesper garners influence from various works, the movie I believe most resembles is director Gareth Edwards’ feature-film debut, Monsters. Indeed, Vesper is a science-fiction film that forgoes a strong narrative structure in favour of its world-building and an intimate story with themes of family and class privilege. There’s an incredibly talented cast on display here: Eddie Marsan disturbs in his portrayal of Jonas, a village leader and uncle to Vesper who wants her to become his “breeder”; Richard Brake, as the paralysed father, expresses layers of emotion using the slightest of facial expression, and Rosy McEwan dazzles as the mysterious Camellia. It’s only a small cast, but that allows us more time with each character. Our lead here is 13-year-old Vesper (an outstanding turn from Raffiella Chapman), who struggles to survive whilst caring for her paralysed father in a future where Earth’s ecosystem has collapsed. Engineered viruses have wiped out large populations of people, and edible plants and animals are no more. The rich thrive still in large walled cities called citadels, while the poor struggle to survive. The only food left to eat is genetically engineered seeds traded by the citadels, coded to only yield one crop. The rolling text at the film’s opening refers to this time as “The New Dark Ages”, and it’s easy to see why. It’s a classic case of the rich controlling the poor by means of power and control. Those privileged by birth or money thrive in castle-like structures, while those less fortunate are left to live in squalor and fend for themselves. Oddly, we don’t get much in the way of information about the ecological disaster that has taken place here. For the most part, we stay firmly focused on the neo-feudalist politics of this new world. It’s an odd choice in many ways, but it’s well-presented and works just fine. Pacing is likely to be a problem for some, as it starts incredibly slowly, only picking up at around the halfway mark. The story is also a little wayward and scattered, resulting in a lack of emotional clout. Vesper presents itself as a quiet contemplation on socio-political issues rather than an action-packed romp through a post-apocalyptic wasteland. And suppose you appreciate great settings and stunning visuals like me. In that case, you’ll be happy to watch Vesper wandering the wilds of this ruined but still recognisable Earth for hours. The stunning world-building in Vesper comes largely down to the work of cinematographer Feliksas Abrukauskas and composer Dan Levy, who drench its world in an intimately sullen atmosphere, which seems to change with the prevailing winds of emotion carried throughout the film. We get a real sense of not just what the world now physically embodies but the emotional turmoil it has endured. In this way, a mere setting takes on a character of its own. It serves as a poignant reminder of the environmental issues affecting us all. Vesper is an awe-inspiring piece of work in its own right. Still, its real strength lies in the possibility of development in potential sequels. There’s so much more to see, explore, and discover stories to tell in this desolate but beautiful world. However, to reach its full potential, the narrative must be tight, focused and have a clear purpose. Vesper is top-notch sci-fi, and I sincerely hope Kristina Buozyte and Bruno Samper get the opportunity to make more films set in this universe.

★★ Directed by: Lee Thongkham, Aqing Xu Written by: Lee Thongkham Starring: Sushar Manaying, Xu Qian, Zang Jinsheng, Palita Chueasawathee, Su Jack, Wanmai Chatborirak Grimmfest Film Review by: Darren Tilby Creature features are one of my favourite subgenres of horror: I grew up watching films like The Relic, The Faculty and Deep Rising, so you can imagine how excited I was to see Lee Thongkham and Aqing Xu's, The Lake. And so you might also be able to imagine how utterly disappointed I was to have given it a frustratingly bad 2-star rating when I finally did get to watch it at Grimmfest. And know that I take no pleasure in saying this, but the whole time I was watching The Lake, it had me wishing that I was watching anything else. In the film, a creature emerges from the Mekong river and attacks the nearby town of Bueng Kan in Thailand, killing scores of people and cutting it off from the outside world. We then follow several groups of people as they fight to survive, escape or capture the creature. The issue which presents itself almost immediately is the director's overgenerous showing of the creatures: one we see within the first 5 minutes of the film, the other in the first 20 minutes. Now, the creatures themselves are really very good. In fact, the creature design stands out as the one genuinely good aspect of the film. The CGI is solid for the most part and does a good job of showing the sheer size of the bigger creature, while the practical effects – used primarily on the smaller creature – are incredibly good overall. Looking like an aquatic version of Sammael from Guillermo del Toro's Hellboy, The Lake, at least visually, takes on a Lovecraftian aesthetic. Unfortunately, the filmmaker's decision to so unreservedly present the creatures to the viewer as early as they do results in a complete lack of tension. Bong Joon Ho did something very similar with his film, The Host. However, he succeeded by having a concise narrative, in which there are well-written and interesting characters whose plight is compelling to the viewer. But that's not what we're left with here. What I mentioned earlier is about as much of the story as you're going to get. Nothing much is explained or explored when it comes to the creature's origin, and if it is, it's lost amongst the appalling shambles that is the narrative structure. Moreover, the characters are exceptionally dull and their dialogue is forgettable; there's no standout performances here, and no emotional connection to any of them. Having said that, the performances are fine and the actors do what they can, but there's just nothing for them to work with here. The Lake is a terribly disappointing little endeavour. It's clear that Thongkham and Xu were trying to pay homage to some of the classic monster movies; The Host, Godzilla and Cloverfield have all influenced The Lake in some way or another. However, I think that's also the problem. There's a distinct lack of focus or purpose here, and the film, more concerned with paying tribute to past films, has no identity of its own. Thai cinema has a long history of great films, unfortunately, The Lake isn't one of them.

Filmmaker interview by Patrick Foley Following the release of Spears on Amazon Prime, UK Film Review spoke to director Gerard Lough about the film, his influences, and the awesomeness of electronic music... Hi Gerard, thanks for speaking with us at UK Film Review! Give us a brief overview of your latest film Spears Spears is just your typical globe-trotting, double crossing, synth scored, snazzy looking, gadget heavy, moody Neo Noir... with a twist. Three desperate men team up to take down another group who has conned them. Once they take the law into their own hands, things quickly escalate into violence and betrayal. Tell us what the film means to you. Why do you want to tell this story? I love Neo Noir and wanted to see more of the world. This project killed two birds with one stone once I adapted the structure of Sorcerer (1977), where several dodgy protagonists are introduced in different countries, then all brought together at the midway point. The Neo Noir genre appeals to me because happy endings are not a given and good and evil are not clearly differentiated. There are no obvious heroes or villains by the end of this film, just one big grey area. That’s going to be confusing and uncomfortable for some of the audience who you’ll risk alienating. On the other hand, another section of the audience will appreciate that you are trying to tell a story that treats them like adults. Instead of mollifying them with a false sentiment, you’re letting them make up their own mind after the credits have rolled. To paraphrase Chinatown (1974 ), “Forget it, Jake, its Neo Noir.” Give us some more detail about the film’s title. A ‘double-edged spear’ as described in the trailer is a striking image… We have Emily Bronte to thank for that! She had a good quote about revenge being a “double-edged spear” that will wound you as bad as your enemy. There are three characters out for revenge in the film, so they are the “Spears”. The downside of having this cool movie title is that whenever you google ‘spears film’, Britney’s movie Crossroads (2002) will pop up. But you can’t have it everyway... Spears is set across multiple locations around Europe. Which was your favourite to shoot in and why? I might cause an international incident if I say one is better than the rest! But honestly, they were all great for different reasons. I have a soft spot for odd locations that can be used in a creative way. A good example being the Ventilation Tower Sculpture outside Pimlico tube station in London. In Spears, we first see it in a close up as Aidan O’ Sullivan lights a cig and right away we’re wondering, ‘what the hell is that weird wall behind him? Where is he now?’ Then the wide shot reveals it’s a sculpture... and anyone not from Pimlico will go... ‘cool’. (see picture below) Aidan O'Sullivan outside Pimlico Station What are the challenges that come with telling a story from the perspectives of multiple protagonists? Which of the leading characters do you empathize the most with? The challenge is telling a trickly story and not losing the entire audience because you have confused the hell out of them. That said, as a writer I’m not beholden to the typical three act structure. Spears is four acts (Florence, London, Berlin, Donegal) with a prologue and a movie within a movie intermission at the midway point... certainly not the norm and pushing my luck a bit. From the cinema showings I observed that some were frustrated with the first half of the movie as it jumped from one country to the next and gradually showed you how these seemingly separate stories were in fact all connected but most had no problem. I’m not saying one group is smarter than the other necessarily. I believe a lot of the audience has been conditioned to the typical three act structure. You mess with that and some people will feel a bit confused. Some will reject the experience but others will enjoy that you’re presenting them with a mystery to solve. Who do I empathize with? Well certainly not Aide and Bobby’s characters who you could argue had it coming. Probably Kian (Nigel Brennan) who we are told was a social media moderator in the past and the role has left him traumatized. At the start of the film, he is trying to reinvent himself as a P.I. It’s morally dubious work at times but the opening scene showed he was willing to do the right thing even if it wasn’t in his own best interest, something the other two guys failed to do. But we did even try to humanize arguably the worst character in the film, Hidell (Michael Parel). The scene where he (literally) has blood on his hands was there to show he may have been a sociopath but he wasn’t a sadist. He regretted the course of action he felt he had to take. There is a sense of darkness in Spears that grows as its sinister conspiracy is explored. How do you imbue a sense of dark foreboding in a thriller compared to your previous feature Night People (2015) – a traditional horror? The dark vibe comes from portraying a very paranoid world where nobody can trust anyone anymore. The effect is then heightened by the low-key lighting, the cold electronic score and recurring themes like how technology trips us up, robs us and invades our privacy. And let’s face it, drones are a bit creepy, right? Night People dealt in the supernatural and fantastic, where is the concerns of Spears are sadly very much real-world ones. The film’s synth-heavy score by Sigrid Anita Haugen has received a lot of praise for perfectly soundtracking the neo-noir story. Did you shoot the film with this kind of music in mind? Absolutely because modern noirs that made a big impression on my growing up, such as Manhunter (1986) and Thief (1981), one of their trademarks was a synth score. That cold electronic sound and that moody genre just go together so beautifully in my mind. Obviously, it helps that I am a big electronic music nut anyway with a good ear for great new up and coming artists. Which is why we were lucky enough to get to use tracks by Sleep Thieves, Shaefri, Le Groupe Fantastique and Exit: Pursued by a Bear. The songs were carefully selected, then the sequences planned and edited to them. Nothing was arbitrary about their use; it was done with careful thought. Same goes for Sigrid’s score, that’s why they made such a strong impression in the film. What is the one lesson you want audiences to take away from Spears? That playing tit for tat is a game that will never end well... if indeed it ever ends. We’ve seen this conflict play out in parts of the world throughout history, Spears is that kind of conflict but in a microcosm. And like I said... drones are damn creepy. What are your next projects? Well, I keep saying (or threatening?) I’d like to do a movie about the New Romantic or New Wave scene in London, 1981. That would present a wonderful setting and soundtrack but what’s the story? That’s the riddle I haven’t solved yet. I have a bout of writer’s block at the moment and probably the way to break it is to do a smaller project such as a short film or music video. So, for now, no idea what film number 3 will be. One thing’s for sure, it probably won’t be a romantic comedy. And finally, what is it you love most about being a director? You not only create a world of your own... other people can then enter into it for two hours when it's released in the cinema. And if you’re lucky, the making of it will be an adventure too. Spears is now available on Amazon Video

★★★★ Directed by: #EámonnWrightstone Written by: #EámonnWrightstone Starring: #EámonnWrightstone Short Film Review by: Emily Davison A young man is struggling to move on after losing his aunt and uncle and creates a portrait of grief in this immensely powerful and intimately personal short. 21 year-old Eámonn Wrightstone is an award-winning director and cinematographer based in NYC and began is career producing childhood YouTube videos on a Mini DV camcaorder, before editing and creating his won short web series and films. He now studies film and television production studies at NYU. Wrightstone tragically lost his uncle to suicide and three years later, his aunt passed away after being unsuccessfully treated for illness, with Eámonn attempting to navigate his grief by creating a short film to help him heal and hopefully connect with others suffering from bereavement. The short runs at just under four minutes and is put together with home video footage of Wrightstone’s family, as well as present day segments which are shot in the 4:3 academy ratio. The film opens with the striking visual of Eámonn sitting on a bed, with a blanket covering some of his body as he stares vacantly into an empty room and we hear numerous voicemails from family and friends, attempting to contact him. Grief can very often become all-consuming and difficult to navigate, leading to individuals cutting off connections with others as they come to terms with their own mental state, with Wrightstone capturing this sense of isolation perfectly in his short. Old family videos of Eámonn’s father playing with him in the snow, or his mother and father’s wedding, are edited together with an immersive and methodological sound design. What sounds like water dripping in a cave is played over a recording of Eámonn’s mother and father slow dancing at their wedding, enhancing the existential sensations that often come with the experience of grieving loved ones along with the immense feelings of loss and loneliness. The disturbing voice over representing Wrightstone’s state of mind: “they were so much happier without you”, is accompanied by a long shot of him sitting at a dining table alone and demonstrates the awful self-deprecating thoughts that can plague the mental health of an individual struggling to cope with their grief. We hear the devastating account over a voicemail from Eámonn to his aunt, as he recalls the experience of witnessing her raw grief when she found her brother after committing suicide. This leads to the heavy emotional crescendo of the short, where we see a powerful long shot of Eámonn, alone, kneeling at either his aunt’s or uncle’s grave and his tearful confession over voicemail about not being ready to grieve again is crushing. He states: “I’m not sure that I’m ready to grieve again, I really don’t want to grieve again. If I’m honest, I don’t know how to grieve you” and this honest declaration is sure to resonate with many viewers who have also gone through similar experiences in their own grief. Will You Have Any Regrets makes for a hard-hitting watch and its intimate depiction of the rawness of fresh grief may hit too close to home for some, but its value lies in the honest sincerity displayed in its direction and the catharsis reached in seeing bereavement represented through art. This touching short succeeds in creating an empathetic, helpful viewing experience for any individual who has lost a loved one and Eámonn must be commended for his courage to share his story with the world. #EmilyDavison Will You Have Any Regrets (2021):

★★★★★ Written & Directed by: #MartinMcDonagh Starring: #ColinFarrell, #BrendanGleeson, #KerryCondon, #BarryKeoghan Film Review by Taryll Baker As part of BFI London Film Festival 2022 Easily the best I’ve watched at the festival this year; The Banshees of Inisherin is a film about friendship and rivalry, with two brilliant actors reuniting with director Martin McDonagh for the first time since his 2008 classic In Bruges. From the opening shot to the last, this richly engaging and funny film transports you to a small fictional town in Ireland, where everyone knows each other and nothing is a secret. From In Bruges to Three Billboards, McDonagh’s skilful writing has always blended sharp humour with heartfelt undertones, and it’s no different with his new film. You can expect more of his cold, dead-pan wit; it fills almost every page of this brilliant script. There’s a feeling that I sensed the room tonight; the atmosphere thickened because everyone knew that they were about to go on a ride. The audience was game from the second McDonagh and his two leading men, Colin Farrell and Brendan Gleeson took to the stage. Once the lights went down, silence creeped into the air and within minutes of the film starting, we all collectively remembered what it felt like to be inside a world created by Martin McDonagh. After realising he wants to stop “aimlessly chatting” with his friend to pursue a musical career, from which his name might be remembered decades after his death grants him leave of this place, Colm (Gleeson) one day decides to give Pádraic (Farrell) the cold shoulder. Pádraic—and the rest of the town—can’t figure out why, so he starts questioning him and after several attempts to reconcile, things get a bit out of hand. With help from the strange young man Dominic, played by a dominating Barry Keoghan, and his sister Siobhan (Kerry Condon), he decides that the friendship he held onto with such respect, might have been a lie all along. Throughout the film, we follow Pádraic as he grapples with himself to discover whether or not his friend was ever a nice guy at all, and a staggering sequence of chaotic events lead to a striking yet simplistic final few moments. The Banshees of Inisherin is presented very much like a stage play for the big screen, and it’s all the more stronger for it. Just like McDonagh’s previous work, it shines in its bleak and blunt nature. The comedy excels, the drama triumphs and the excellent blending of the two makes for a very exciting cinema experience. I think I knew that The Banshees of Inisherin would be my favourite selection at this year’s festival, but even then, I wasn’t prepared for how much I’d end up liking it. BFI London Film Festival 2022 runs from October 5th - 16th, for more info visit: https://whatson.bfi.org.uk/lff - #TaryllBaker

Ahead of the UK Premiere of his latest film Enys Men, I was fortunate to talk with director Mark Jenkin about the film (the full interview will follow at a later date), but it felt critical that we discuss the recent news about Edinburgh Filmhouse, Belmont Filmhouse, and Edinburgh Film Festival, being forced to cease trading, incurring a loss of 102 jobs. “It’s shocking, it’s a disaster for Edinburgh, for Scotland, and for British screen culture. It’s also scary for everybody involved in cinema, that that can happen. It’s like when the Arclight shut down in the States” [he also mentions Cineworld falling into administration earlier this year]. “I saw Mark Cousins asking for help on Twitter. The first time I met him was in the [Edinburgh Filmhouse] café there. It’s where I met Bill Forsyth. He came up to me after watching Bait and told me how much he loved the film. I’ve got incredible memories of being in Edinburgh, it was where we did the UK premiere. I thought it was incredible, it’s where we hung out every day. I barely saw any of Edinburgh because every waking hour I was sat in there immersing myself in the culture and watching films there. It’s why, when we went on the preview tour with Bait, two months after the release, the first thing on the list was I want to go back to Edinburgh again. It seems surreal to think that something like that can go. But it has to come back quick.” “Edinburgh [Film Festival] felt like it was the greatest people on the ground holding it together. We need to subsidise, we need safety netting, they [film institutions] need to be allowed to fail at times, and that not to be the final nail in the coffin every time.” “I always wanted to go to Aberdeen as well, Bait played up there.” I mention that Enys Men would have likely been playing in the Edinburgh Filmhouse that night as part of the LFF satellite screenings. “Yeah, and it was planned in for the January tour because I have an affinity with Edinburgh” Please sign the petition and share your support for these important film institutions: Petition · Save Edinburgh International Film Festival, Filmhouse and Belmont · Change.org

★★ Directed by: Neil LaBute Written by: Neil LaBute Starring: Justin Long, Kate Bosworth, Gia Crovatin, Lucy Walters Grimmfest Film Review by: Darren Tilby It's always satisfying to see a chauvinistic male get his comeuppance at the hands of the woman he's pursuing. That's one thing House of Darkness had going for it from the off. Unfortunately, writer-director Neil LaBute is never really able to capitalise on this premise. By the end, the inevitable "payoff" feels less like a payoff and more like a relief that the film has finally ended. Justin Long's Hap is a man who fancies himself a bit of a player who will later describe his relationship status as "separated" - we know that's in its broadest possible sense. Out for another notch on his bedpost, he meets Mina (played by Kate Bosworth) and, playing Mr nice guy, starts to worm his way into her confidence. She invites him into her suspiciously impressive house, and it seems like he has won himself another conquest. But something about the mysterious Mina isn't quite right. Not that Hap notices, of course; so blinded is he by his supposed male dominance, and so little does he think of women in general that he doesn't see the obvious: there's something sinister about Mina, and he's being played. Toxic masculinity is the theme here, and it's so far, so good. Watching as Hap arrogantly blunders his way deeper and deeper into Mina's web of deceit is satisfying—to a point. Unfortunately, it's also blindingly obvious to the viewer, to the fact that it becomes a problem. This storytelling style, usually found in gothic literature and film, can work a treat if done well. But for it to work, the characters must be well-written, and the tension must crescendo into something spectacular and worth waiting for. But here it's just flat: the film plods along, meaningless conversation after meaningless conversation, never really going anywhere, never really exploring the character of either Hap or Mina - the only time we "discover" anything about Mina is at the end of the film during an egregious exposition dump posing as a shock ending. Consequently, the viewer is left with an irritatingly dull experience in which the payoff feels more like the welcome relief from an unpleasant, itchy skin condition than the gratifying finale of a piece of revenge fiction. Honestly, the only reason House of Darkness is getting a very generous 2-star rating is because of the film's gorgeous visuals. Cinematographer Daniel Katz clearly understood how the film should be shot. He relishes the chance to showcase the house's interior shots (as he well should) and understands how to get the most out of them; he uses square framing and bathes the interiors in muted colours, accented by the subtlety of candlelight and the warmth of crackling fireplaces to evoke the bygone era of the haunted house movie. By echoing films like The Others, The Haunting and The Old Dark House, Katz bequeaths a personality to this fantastically rendered setting, making it as much a character as any of the others in the film. Alas, despite heroic efforts, Katz's work isn't nearly enough to redeem the rest of the film. House of Darkness had so much potential to be something truly special. But, what should have been one of my favourite films of the festival instead blunders around aimlessly, unable to find direction. It's a shame that the characters weren't better written; it's a shame that there's a complete lack of tension; it's a shame that the inevitable payoff falls flatter than an English pancake; but moreover, it's a damn shame Katz's work will likely go overlooked due to the poor construction of the rest of this film.

★★ Written & Directed by: #SamMendes Starring: #OliviaColman, #MichealWard, #TobyJones, #ColinFirth Film Review by Taryll Baker As part of BFI London Film Festival 2022 Stunning imagery of a time gone by. Blurry memories flickering before our eyes; light creating the illusion of life. A scrapbook being gently flipped through. The history and tapestry of a director trying to connect with his audience. Yes, this is Sam Mendes’ Belfast. Empire of Light was introduced by its director as a film not only about movies and how they can be a form of comfort for all, but also about race, mental illness and community. Across its 2 hour runtime—though feeling much, much longer than that—it manages to capture a feeling of lonely existence. Olivia Colman’s Hilary struggles with mental illness and works as a duty manager for Empire, a cinema on the coast of Margate. She doesn’t have any friends outside of those from work, that is until Micheal Ward’s Stephen is employed at her cinema. Shot on location, Deakins’ stunning cinematography grasps you and entices the eyes, as to be expected from one of the greatest cinematographers working today. The beautiful imagery is supported by a warm, melodic, piano-driven score from Trent Reznor and Atticus Ross; which, especially during the opening montage, proves to be a truly wonderful visual and musical pairing. Featuring a fairly large cast of well-known “British treasures,” as stated by Mendes, only a select few are really focused on during the film. Colman leads with her usual efforts, but the real star here is Ward. His performance is multi-layered, aptly fine-tuned and his charisma is ever flowing. He is, without a doubt, a rising star to be made aware of, and this film will have audiences waiting for what he does next. If you take away these three aforementioned positives, there really isn’t anything left in Empire of Light to love. Much like Belfast from last year, Empire of Light struggles to say what it actually wants to say. You can see fragments, but the potential is never met with good results. This is a painfully stretched out “love letter” to Mendes’ childhood, yet never feels like a childhood that he could have had. I don’t see him anywhere in this. It’s a shame that a film this personal to Mendes, where he’s trying to reach out and connect to us, could feel so distant and empty. The ideas are there, they just don’t work. Almost everything in this film feels too crisp and clean; even when bad things are happening to the characters, it’s placed there to make the viewer feel something, but it’s forced. One scene during the final act did make me angry, but even then, it felt like I was being manipulated and tricked into thinking this film is much smarter, with more to say, than it actually is and does. Unfortunately, apart from its splendid visual and musical presentation, and a star-turning performance from Micheal Ward, Empire of Light is utterly bland and one of this year’s most disappointing films. BFI London Film Festival 2022 runs from October 5th - 16th, for more info visit: https://whatson.bfi.org.uk/lff - #TaryllBaker

★★★★ Directed by: #DarrenAronofsky Written by: #SamuelDHunter Starring: #BrendanFraser, #SadieSink, #HongChau, #TySimpkins Film Review by Taryll Baker As part of BFI London Film Festival 2022 In true Aronofsky style, his new film The Whale, adapted from a play of the same name, polarises audiences with its depiction of human redemption through a character suffering from severe obesity. The film is already causing a spike in discussion, for better or for worse, but the one thing that most are agreed on, is the breathtaking, star-reclaiming performance by its leading man, Brendan Fraser. Charlie is a character that is greatly flawed. He felt forced to leave his wife and daughter for the man he loved, and deeply regrets losing touch with them. He longs for redemption, to repair the fractured relationship he has with his teenage daughter. A quick glance at this film would have you believe it’s a spotlight on mistreated Hollywood royalty in a “fat suit,” but it’s actually more than that. Though the focus on Charlie’s obesity comes into play for a lot of key scenes—in fact, we’re restricted to his apartment just as he is—it doesn’t feel exclusively glued to it. Underneath that suit, is an actor gripping on, to climb back to the top. After over a decade of no big starring roles, Fraser returns to the scene with a powerfully rich and textured performance. Themes of guilt, regret, self-loathing, and sexuality are weaved within the fabric of this film, and above all else, a glimmer of hope. Charlie remains tremendously hopeful regardless of his situation. He’s deeply tormented from an event that made him what he is, but he clings on to that sliver of hope inside of him. The Whale will be bashed by some while also being adored by others. If you know Aronofsky’s work, then you’d expect no less. While the positives greatly out-weigh the negatives, I do think it’s difficult to gift this film ultimate praise. This film had me captivated from the uncomfortable opening moments. But, somewhere in the middle it falters due to the film’s weakest character, played by Ty Simpkins. His character just feels very confusing and misplaced, and while Simpkins’ performance is great, this character just makes the film sag and drag almost every time he’s on-screen. I also found the daughter character, played by an outstanding Sadie Sink, to be quite underwhelming. The father-daughter relationship is both convincing and unconvincing, but one thing can be said with full confidence; Fraser and Sink are a magnificent pairing. Without speaking too much on the plot and giving too much away, I’ll place focus back onto the positives. The Whale is expertly directed, brilliantly shot and scored. It features a small, intimate cast that breathes life into these characters. One of the best parts is the bond that was created between Fraser and Hong Chau. Their chemistry is beautiful; you really feel the tension within their character’s friendship. This really is a film that attempts to go deeper, and it’s up to you to decide whether it does so successfully. Though I was enjoying the film for the performances alone for most of the runtime—I found it hard to connect—that was only until the final 15 minutes, where it pulled me right in, entirely. The way Aronofsky captures the conclusion to his adaptation left me and the entire audience at LFF speechless. That was until the credits rolled and everyone around me began to stand up from their seats, applauding and cheering for several minutes straight. And for that moment, I was right there with them. BFI London Film Festival 2022 runs from October 5th - 16th, for more info visit: https://whatson.bfi.org.uk/lff - #TaryllBaker

★★★ Directed by: #OliverHermanus Written by: #KazuoIshiguro & #AkiraKurosawa Starring: #BillNighy, #AimeeLouWood, #AlexSharp Film Review by Taryll Baker As part of BFI London Film Festival 2022 What a wonderful, charming little film this is. It’s interesting how every film I’ve watched so far at this year’s festival has had a focus on the human condition. Living explores, as the title suggests, the notion of living. Not just existing, but actually learning to live a little. To leave comfort zones and push just a smidge harder for something that will bring some ounce of happiness. Living follows an older gentlemen’s final tenure; after hearing the dreadful news that he only has 6 months to live—8 or 9, at a push—he decides to provoke a change within himself. Bill Nighy’s performance here is a showcase of pure intimacy and tenderness. Much like a handful of other actors starring in the other films at the festival this year, Nighy’s leading charisma shines through above a bed of other splendid actors. There are two scenes where I felt particularly affected by the rawness present in this performance. One where Williams tries to work up the courage to tell his son about his illness, and the other comes from a small monologue in conversation over drinks. Unfortunately, as the film chugs along at its steady pace, it reaches a destination that feels quite final. But due to a strange structure that clunks around during the final portion of the film, the graceful warmth that filled every scene prior, is slowly cooled to a soft chill. That’s not to say that Living isn’t successful in achieving what it wants; it absolutely is. But, the final 20 minutes or so leans too hard into being bigger than itself, and ends up feeling quite stale. Though, it falls back into a safe and comfortable position for the final shot that drifts off gently into the credits, where sniffles may be heard from an older generation in the audience. Living is a visually pleasing, delicate film and whilst it suffers from a few stagnant moments that bring it to a slow, it doesn’t come to a complete stop until those tissues are being reached for in its final seconds. It’s not incredible, but it is wonderfully charming. BFI London Film Festival 2022 runs from October 5th - 16th, for more info visit: https://whatson.bfi.org.uk/lff - #TaryllBaker

Directed by: Luca Guadagnino Written by: David Kajganich Starring: Taylor Russell, Timothee Chalamet, Mark Rylance Film Review by Robert Stayte Luca Guadagnino has been on a break film wise since his Suspiria remake, but he’s returned to doing his own take on the subject of cannibalism. Whilst there have been a number of films about cannibalism, blending that with a coming-of-age romance road trip narrative is a tricky tightrope to pull off, but thankfully it is a good and non-gross time at the cinema. In 1988 America, Maren (Taylor Russell) is a teenager with an affliction for eating human flesh. Her single father (Andre Holland) abandons her and she is left on her own. She goes on a journey to find her mother (Chloe Sevigny) and along the way meets up with fellow cannibals Sully (Mark Rylance) and eventual love interest Lee (Timothee Chalamet), travelling with him and learning about Cannibalism. The dark subject matter had the potential to weigh the film down in nastiness, but it does not do that because there is not a lot of violence. Altogether only a few individual sequences of blood and eating, but when these moments come, they are disturbing thanks to the convincing gore effects. The climax especially goes extreme and is a rather tense and emotional conclusion. However, Bones and All focuses less on the violence and horror and more on the character journey of Maren and her relationship with Lee. Maren goes on the arc of trying to find her place via knowing about her past, meeting these cannibals and choosing her place. Lee is a supporting figure, yet we learn a lot about him too and both of these characters have a relationship that can be messy but also romantic and nice. The road trip structure gives us the chance to see them in different situations and learn how they react to them. It’s a decent narrative and a good journey that has both metaphorical underpinnings of addiction and being stuck in a toxic cycle and tells a love story that gets the heart going sometimes. The high point of the film surprisingly is in the supporting characters/cast, as they act as an anchor that makes each individual section consistently good. Within single scenes, we learn a lot about these people and they sometimes get enough screentime to really leave an impact. There’s Andre Holland and Chloe Sevigny, who’s roles are voiceover heavy yet still deliver really good performances, but the standout is Rylance as Sully. Sully is almost a twisted and possessive father figure to Maren and he gets more and more desperate in his subsequent appearances, being a scary but also sympathetic character. Rylance’s performance is eery and creepy yet very natural and human, he dominates every scene. Though the two leads are still strong, having good chemistry together and having great individual moments of powerful acting especially in that climax. Guadagnino direction can be understated sometimes, but other times his camerawork and editing will quicken and come to life which enhances what’s going on. It’s not a film that overstays it’s welcome despite the 130-minute runtime and the music by Trent Reznor and Atticus Ross is emotional and reliant on guitar strings, a good score that sometimes becomes more traditional in the more tense moments. Bones and All is another artistic success for Guadagnino, with an emotional core at its centre yet a harsher edge than something like I Am Love or Call Me By Your Name. For fans of both those and Suspiria this is a good blend of the two and a sometimes challenging but hopefully rewarding watch.