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The Event took people we cared about, but it also left a part of them behind. Remnants. When I saw “Shovel Buddies” a while ago, I decided to add the item “Watch movies with Bella Thorne playing in it” to my to-do list. Now, I have a large number of to-do lists in the meantime. I could wallpaper my living room with it. In short, too much talk and too little action. I was pleased to see at the beginning of the film that she also participated in “I still see you“. The only thing that surprised me was her appearance. Not such an adorable, fresh looking, and stunning appearance as in the first mentioned film. No, this time she’s an alternative looking, rebellious goth chick with raven black hair and sturdy shoes on her feet. Such a type of girl you’d encounter in a pub full of smoke and doom music. The only thing missing was a piercing through her eyebrow and lower lip. Belle Bella Thorne. And yet you can catch a glimpse of that lovely face with those sparkling eyes through the mascara. I myself was such an alternativo in times long past and I knew girls who looked like this. But believe me. There were quite a few scarecrows between them who used the thick layer of make-up as a camouflage. Bella Thorne, on the other hand, remains a ravishing appearance. Maybe her lips look rather botox-treated. But otherwise she’s a very attractive looking young lady. Especially when she’s a wearing a T-shirt braless. But enough about Bella Thorne. There is also the movie. One day they were gone. Just like in “Shovel Buddies” we are dealing here with deceased fellow humans. Something Veronica (Bella Thorne) is confronted with in her daily life. And not only Veronica. People worldwide see the victims of a scientific fiasco in which a laboratory imploded. An implosion that made people disappear within a mile radius, after which they re-appeared as holographic images in society. Somewhat like the shadows that remained behind of the people who were present in Nagasaki and Hiroshima when the atomic bomb fell. I see dead people. So these aren’t phenomena as Cole could see in “The Sixth Sense” or Thomas in “Odd Thomas“. Cole and Thomas saw real spirits. In “I still see you” it’s visualized memories that appear daily at regular intervals, performing the same routine all the time. Until you touch them and they disappear with a plop. They are immutable appearances without consciousness that have no influence on daily society. Until one of them appears in the bathroom where Veronica is taking a shower. It tries to tell her something life-threatening is going to happen. I found a remnant in my soup. And that’s what’s similar to the aforementioned films. Namely that entities from the hereafter warn the main character that something is about to happen. Anyway, these appearances are part of today’s society. Kids at school are having lessons about these “remnants” as they are called. They are remains from the past. The only thing I didn’t understand very well, was the presence of people from an ancient past. Teenage girls will love it. I add “I still see you” to the list “horrors for teenage girls“. There’s certainly no trembling and shuddering while watching such films (such as in “Happy death day” or “Before I fall“). So, don’t expect screaming teenage girls running out of the movie theater. And there’s also a bit of romance in this movie so that this target audience can daydream a bit. At first, I expected an exciting film with paranormal and ghostly events. In retrospect, it’s sort of a Nancy Drew-like film in which Veronica tries to solve the mystery of a so-called serial killer with the help of fellow student Kirk (Richard Harmon), who’s really interested in these “remnants”. In the end, it was disappointing. Although the movie is filled with sometimes beautiful images and you can call the story highly original, it’s all in all a bit disappointing. The start was promising. But as the film progressed it all became rather superficial. And guessing the ultimate outcome wasn’t so hard either. “I still see you” is indeed a movie suited for teenagers who are sitting anxiously close to each other while watching. For me, it was just like watching a political debate. Always the same and nothing special. My rating 5/10 Links: IMDB More reviews here

When I was younger I used to be a huge fan of Jackie Chan, from his cult classic 'Police Story' series of films to his entertaining action comedy capers 'Shanghai Noon' and 'Shanghai Knights'. As a young boy I always had a fascination with martial arts and Chan was among others such as Bruce Lee and Jet Li of my on screen idols. When I hit my mid teens, I dropped out of my Ta-Kwan-Do lessons and decided to focus on a new passion, writing. I still enjoyed watching martial art flicks but wasn't as obsessed with them as previously. As I got older, I became more interested in the film genres of crime and drama. So it was a surprise and a delight one evening, when I happened upon a Film4 Thriller/Drama called 'Shinjuku Incident', starring none other then Jackie Chan. Although Jackie has done a handful of more serious films, he is most well known for his jaw dropping stunts, hectic and masterfully choreographed fight scenes and comic, light hearted style of acting. This film however made me reconsider my opinion of the actor, as I found both the story of the piece and Chan's acting engaging and impressive. Although there is a small amount of fighting and martial arts, the film is more about Jackie Chan's character and the physical and emotional toll he suffers, throughout the course of the narrative. So, you can imagine my excitement, when I first heard news that Chan was bringing out another film with him in a serious role. Having watched the Netflix film, I can gladly confirm that this is one of Chan's best performances. He brings a lot to the role and his gravitas in his performance is consistent throughout. In a nutshell, The Foreigner focuses on Quan (played by Chan), who after the fatal death of his daughter in a London bomb attack, seeks vengeance and goes in search of the people responsible. At first glance, it would seem like your typical revenge flick, following in the same vein as such payback classics as 'Commando' and 'Taken'. What sets it apart though, is the political backdrop it is set against. The bombing is by a rogue IRA group and with it's detonation, both England and Northern Ireland are plunged into political chaos with the threat of a British Civil War from it's backlash. The character of Hennessy, played aptly by Pierce Brosnan adds another layer to the film and his relationship with the prime minister of England and his former IRA associates, prevents this from becoming just another box standard revenge fesh. Despite their being that added layer of depth with the political angle, I did spend the first fifteen minutes of the film, contemplating that the death of the daughter and the father's decision for revenge, could be seen as glorification. At the end of the day, parents lose their children all the time but in reality, they wouldn't turn into Rambo and simply go on a killing spree. Life doesn't work like that and in a way to highlight that in film can be seen as a bit insensitive to anyone, who has actually experienced this sort of thing in real life. If there had been one scene where he was mourning the death of his daughter and then suddenly on the hunt for the killers, I would have very much felt it was glorification. In terms of story and Quan's character though, it is a little bit more thought out then that. Whilst he does eventually go rogue and take matters into his own hands, there is a decent amount of time where we see Chan mourning for the loss of his daughter. During this period of grievance, his action in regards to the people responsible, is more realistic to what someone would do. He visits the Metropolitan police every day, pleading with them to find the people responsible. When that fails, he appeals to Hennessy, again very politely and humbly asking for him to help. It is only when these avenues of aid fail to help resolve the matter, that he decides to take matters into his own hands. Although, this can be seen in some senses of glorification, the way Quan's character is written and the way Jackie performs it, plus the later revelations of his past and backstory, makes it less insensitive. Quan, although out for revenge feels like a real person, not just a trained fighter with his finger on the trigger. Martin Campbell has always been a director who has struck me as possessing that ability to deliver slick, smooth and stylish action, whilst at the same time having main characters that have much more going on, then their prowess at beating the crap out of anyone. He also has a good track record for implementing the ripple effect fictional events have on the political landscape of that world. 'Casino Royale' has all the classic traits of a bond film. Fast car chases, epic fight scenes, corny one liners but it was the first bond film, where I felt they tried to explore Bond's emotions. Yes, he is a cold blooded killer but he also has compassion and a sensitive side. Campbell has done the same here. Quan is a trained killer, taking down his enemies one by one but he is also a grieving father trying to deal with a tragic loss. One of the things I very much liked about this film was how clever Quan is, in terms of his tactical planning and execution. They could have avoided all of that and relied on Jackie's mastery of martial arts. To have scene after scene of him working his way through room after of room of brutes, to get to his objective. Instead, Quan's character is more methodical in his approach. He sets traps, plants false trails and makes sure he is one step ahead of his foes, so his chances of prevailing in his outcome are far more likely.  This makes sense, as both Jackie and his character are much older, meaning that to physically have to fight would be harder and waste precious energy and strength. On the handful of occasions Quan is forced to fight, the sequences are devastatingly brutal. They play to Jackie's strengths with him using the environment around him to best his opponents but the close combat fighting is harsh in its delivery. Combine these two together and you have fight scenes, which are both realistic and impacting, whilst at the same time with enough flair to be surprising and entertaining. What is interesting about Quan as a character is that he doesn't actually kill anyone apart from those responsible. Admittedly, he does rough up those that get in the way quite a lot but he refrains from killing on several occasions, when it would be easier too. As I have mentioned before, Quan is calculating and objectionable. His morale compass stops him from killing Hennessy's men but it is also a clever power play. By using other techniques such as the threat of death or blackmail, he can get the information he needs and secure his own safety better. Following on from this, it was a strong decision on the directing and writing front, to shake things up a little bit in the last act of the film. Instead of sending more men to be outwitted, disarmed and knocked out by Quan, Hennessy sends his nephew, an ex soldier, who fought in Iraq. This stops it becoming too easy for Quan and adding a sense of new threat and danger to the story. Hennessy is an interesting and very well developed character. At first I found him rather dislikeable and then warmed to him and then later in the film, grew to really hate him. But what is clever about how he is written, is that there is no straightforward answer. He is neither good or evil. Hennessy hovers between, in a murky grey area, making it hard to form an decisive opinion of the character. The ones that surround him, particularly his ex IRA colleagues further add to this character's complexity and by the end of the film, I was faced with a character I strangely pitied in a lot of ways. Again though, his actions would then contradict with this and I would find myself at odds with the character again. Brosnan plays it very well, never revealing too much but hinting at possible secrets his character is keeping tucked away. The tension and pace is achieved remarkably throughout, juggling both what is happening on a personal level with Quan and Hennessy and the larger political game that is happening with the Northern Irish and English governments. Finally you have the perspective of the bombers themselves. These three story arcs interspersed with one another, make for an exciting watch and when the three story lines come together at the end, the climax is exciting and dramatic. This goes to show how important editing is in a film's delivery, showcased in both the splicing and cutting together of events, as well as the skill of the edits during the fight sequences. 'The Foreigner' takes an overused and predictable revenge plot device and instills it with new life. It does this in a number of ways. Firstly, it takes a political topic that is still very fresh in terms of British history and executes it well, through both it's character writing and strong acting from a plethora of well regarded and praised Irish actors. Alongside that you have Jackie Chan bringing something completely new to the table. Probably one of his best performances, Chan presents a character who is broken emotionally and later on in the film physically. At the same time, he delivers just the right amount of stunts and martial arts, which at the age of 60, is pretty damn impressive. Although it is a revenge film at it's core, there are enough twists and turns to stop it from becoming too predictable. The fight scenes are well thought out, packing a punch but with enough of a tactical approach to not appear totally ridiculous. If you are looking for a revenge film that stands out from the endless copycats of 'Taken', then 'The Foreigner' is well worth your time. It still packs all the punches but isn't afraid to explore it's characters and the larger political world that surrounds them.

I would have shot you in the dick, if the target wasn’t so small. “Guns Akimbo” is simply too absurd for words. It’s absolute nonsense and you shouldn’t take it too seriously. It’s simply “over the top” pulp and looks as if it’s based on some Asian comic strip. But believe me. This film is simply top-notch entertainment. A roller coaster that slowly takes a very steep run-up and then crashes into the depth with a breakneck-speed, shaking you back and forth. And this crazy, hyperkinetic ride lasts until the end. The action scenes with Nix (Samara Weaving) are equivalent to those in “John Wick“. Flashy editing. Blood splattering when bullets rip apart human flesh in slow motion. And all this under the guidance of an energetic soundtrack where you will hear amongst other “The Ballroom Blitz” from The Sweet. In short, I greatly enjoyed this film for an hour and a half. Once again respect for the actor Radcliffe. I have infinite respect for the actor Daniel Radcliffe. This guy could have benefited all his life from the “Harry Potter” stamp that they have tattooed on his forehead. It would have been possible to come up with a few sequels without any problems and without hesitation they could have exploited the success formula of the book series and film versions. He could also have demanded to be part of the “Fantastic Beasts and where to find them” franchise. But no. Instead, Radcliffe opted for not so obvious projects such as “Kill your Darlings“, “Horns” and “Swiss Army Man“. A homosexual-tinted film, full of literary blabbering on the one hand. And on the other hand a film about a friendship between a castaway and a corpse. It’s hard to say that these were commercially safe films that suit the fantasy-loving Harry Potter fans. And to avoid any misunderstanding. I was also enchanted by the Potter films (at least the first four anyway). Where did these freaking guns come from? So no magic formulas, mythological creatures and a Radcliffe with a wizard hat showing a boyish, shy smile. Nope, he’s a nobody in this flick. A nobody with a futureless job, who empties one beer bottle after the other while playing violent video games at home. And as a notorious online troll hunter, Miles (Daniel Radcliffe) cannot resist posting derogatory comments on the “Skizm” website and provoking supporters of this obscure platform. “Skizm” is an illegal website that organizes duels in real life where opponents try to eliminate each other. And this is thrown on the internet and followed by hundreds of thousands of fanatic fans and bettors. Obviously, the first movie that came to mind was “Death Match“. The organizer of all this is an ugly tattooed guy called Riktor (Ned Dennehy) who’s obviously completely nuts and is accompanied by a gang of weirdos whose muscle mass is noticeably heavier than the weight of their brains. And Riktor isn’t happy with the muscular language Miles places on his forum. And before the latter realizes it, he lies in bed with two automatic guns bolted to both his hands. And furthermore, he himself is a candidate for a duel between him and Nix. Over-the-top action. With this film, Daniel Radcliffe leaves his comfort zone for the umpteenth time and tries to show that he’s more than just Harry Potter. A bushy beard, constantly covered in blood and using a portion of self-mockery and humor, ensure that. Not to mention his clothing: a checkered dressing gown, boxer shorts, and fluffy giant slippers in the shape of tiger claws. For Samara Weaving, this is a little bit an extension of her role in “Ready or Not“. The same bloody and over-the-top situations. But here she got more of a Harley Quinn attitude. A disturbed, fearless person who’s extremely effective in terms of eliminating opponents. That her insane behavior was caused by an incident in her youth is briefly mentioned, but in fact, has no impact or significance. This mindless action film has only one goal in mind and that’s to show chaotic and limitless action. And all this topped with a sauce of humor à la “Deadpool“. There are quite a few hilarious moments in this film. The hand-mounted guns that cause problems for Miles to accomplish daily routines. Like for instance opening a door. Or making a phone call. And peeing is even a hazardous thing to do. The Australian-sounding hobo (Rhys Darby) was simply hilarious with his advice on suicide techniques and his Cypress Hill imitation. How he got Miles in that coat, however, remains a mystery to me. Wtf is Akimbo? If you can’t stand a chaotic storyline and you get annoyed when it’s a movie that’s plain predictable and that looks more like an exaggerated comic, then I recommend you avoid this one. Or you don’t take a too critical attitude and you simply undergo the film. Perhaps then you can appreciate the vibrant pace, the screamy images, the creative camera techniques and the complete insane undertone of this movie with a limited budget. “Guns Akimbo” is certainly not a film for everyone because of the video game-like mood and the raw sense of humor. And for those who want to know what the film title actually means: Akimbo is a combat technique in which two weapons are used, with one in each hand. Well, I had to look it up myself. My rating 7/10 Links: IMDB

These people… they’re blasphemers… a cult, a disease. Be careful. Be smart. Bring her home. The first thing that came to my mind while watching “Apostle“, was the movie “The Witch“. It takes place in the same time period. Here, too, an old-fashioned sounding English is spoken. And it’s also a religion-tinted theme. The biggest difference with “The Witch” is that I thought that one was rather boring and not a horror at all. It was more a historical costume drama. “Apostle” is, on the other hand, simply sublime. A mysterious film about religious madness. Not only content wise but also visually it all looks perfect And the facet of horror was indeed present. And no, not only because of the bloody and gore scenes. There’s only one thing that puzzled me afterward. What was it that the people of Erisden worshiped? Bring her back home. It all starts when Thomas Richardson (Dan Stevens) is asked by his father to rescue his sister Jennifer (Elen Rhys) from the grasp of an obscure sect. She’s kidnapped. And a large ransom is demanded. Thomas himself was once a sort of missionary spreading God’s word in the land of the rising sun. His experiences there, however, made sure that he got an aversion to everything that has to do with religion. Without further delay, he takes on the assignment to save his sister from the gang of fanatics and bring her back home. Two hours are gone before you know it. The running time of “Apostle” is 2 hours. Perhaps this is too much of a good thing for a horror with religion as a central topic. But believe me. Those two hours are over before you know it. Every sense of time is absent when viewing this captivating film. And this because of the excellent way of build up. The first hour you’ll be carried away in the enigmatic life on the island of Erisden. Beautiful images are interspersed with scenes from the daily life of this primitive living commune. Soon it’s clear that this sect developed a peculiar kind of faith with their own rituals (and despotic rules). Just as in any religion, a limited number of individuals rule and decide how to behave in this community. They are also the only ones who know what’s going on there. Bad harvests mean starvation. The reason why they abducted the daughter of a rich man is that their provisions are drastically reduced due to bad harvests and they are gradually heading towards a shortage of food. Prophet Malcolm (Michael Sheen) tries to turn the tide in a certain way but finally, he has to realize that he’s helplessly watching how his patiently built community gradually crumbles. Despite the sometimes rather barbaric punishments that have been introduced to keep the community under control, Malcolm seems to be a peaceful man who’s worried about the welfare of the islanders. More peaceful than some of his confidants who show a certain hunger for power and who, if the opportunity presents itself, try to claim leadership without delay. A lot of interesting characters. The characters Thomas and Malcolm are played in a brilliant way by Dan Stevens and Michael Sheen. Malcolm isn’t really a cruel despot, though he’s the driving force behind the terrible process of cleansing. And even though Thomas has to be careful while tracking down his sister, he immediately disobeys imposed rules and expresses his doubts about Malcolm towards the prophet’s daughter. Michael Sheen (who played a more funny role in “Passengers” as the robotic butler Arthur) and Dan Stevens were perfectly cast. I especially liked Dan Stevens (“Kill Switch“, “The Ticket” and “Beauty and the Beast“). Even though his grim and furious look started to get boring at a certain moment. There are also a few other characters that are worth mentioning. First, there are Bill Milner and Kristine Froseth who take care of the idyllic part. Then there’s Lucy Boynton as Andrea, the daughter of the Prophet. It’s not the most important role, but her appearance is in sharp contrast with the rest of the film. A dazzling beauty with a refreshing look. She looks like a fragile porcelain doll. And finally Mark Lewis Jones as Quinn, co-founder of this sect and in hindsight also a fanatic. Each and every one was an interesting character. A bit of suspense and a tad horror. “Apostle” is certainly not for sensitive viewers. Not that it ‘s really frightening (except maybe for the sewer scene). But there are some distasteful scenes that can be quite shocking for some. Especially in the second part of the film. It’s filled with sadistic torture practices where the accompanying sounds cause chills. This in contrast to the first part that you can call atmospheric. It’s difficult to label this movie with a specific film genre. But do you like a bit of suspense? A tad of horror? And pagan religious scenes? Well then, this folk-horror movie is definitely your thing. At least one of the better Netflix productions so far. My rating 7/10 Links: IMDB More reviews here

(Release Info London schedule; August, 12th, 2018, Red Cinema, 12:20) "Beirut" Caught in the crossfires of civil war, 'CIA' operatives must send a former U.S. diplomat to Beirut to negotiate for the life of a friend he left behind. In 1972 Beirut, American diplomat Mason Skiles (Jon Hamm) hosts a cocktail party accompanied by his wife and Karim (Yoau Saian Rosenberg), the 13-year old Lebanese orphan whom they hope to adopt. The festivities are disrupted when Mason’s best friend, CIA Agent Cal Riley (Mark Pellegrino) arrives with startling information about Karim. Seconds later, terrorists attack the party with tragic results. Ten years later, Mason, now an alcoholic working as a mediator for labor disputes in Boston, gets approached by a stranger in a bar, who hands him a passport, cash and a plane ticket along with an urgent invitation from mutual friends that he travel to Beirut. Reluctantly, Mason arrives in Beirut only to find that the formerly picturesque city on the sea has become a violence-ridden warzone. Mason soon discovers the real reason he’s been called back. 'CIA' and 'Embassy' officials Donald Gaines (Dean Norris), Gary Ruzak (Shea Whigham) and Ambassador Frank Whalen (Larry Pine) explain that terrorists have kidnapped a CIA agent. Mason’s mission; negotiate a swap for the release of terrorist leader Abu Rajal (Hicham Ouraqa), believed to be imprisoned by Israeli secret police, in exchange for the American. Navigating the rubble-strewn city with the help of his Embassy-assigned handler, savvy cultural attaché Sandy Crowder (Rosamund Pike), Mason secretly meets with the kidnappers and uncovers clues that help him unravel competing agendas advanced by Israeli military boss Roni Niv (Alon Aboutboul), 'Palestinian Liberation Front' minister Bashir (Ahmed Said Arif) and corrupt bureaucrats. Confronting ghosts from his past, Mason faces a formidable question; who do you trust in a world where the truth emerges only when it’s convenient, or profitable? A taut action thriller from director Brad Anderson, Beirut takes an unflinching look at the cost of freedom. Mason Skiles is a communicator rather than just a terminator. He’s not some guy who solves everything by throwing a magic hammer or casting a spell or doing things that don’t really exist in life. As a negotiator, Mason’s gift is that he’s able to talk to people not in a backhanded or sneaky way but by basically saying, 'you've something I want and I've something you want'. We've to find that place where we both leave something on the table and ideally, each of us gets a little of what we want. When people live in a country not their own they need to have tremendous respect for local culture and local politics to understand what’s actually happening on the ground. He’s a facilitator. He wants both sides to win. He’s not there to undermine the other government at all. There’s a great deal of respect and intelligence that goes along with that approach. When we first meet Mason, he seems to have it all together, trying to do good things in the world. He's extroverted, almost like he’s showing off. That’s why the film puts him in party duds with the off-white suit. This cocktail party is his territory. He's in control. Then, in a few terrifying seconds, Mason’s life falls apart. It takes a while for Mason to pull himself out of this profound tragedy. Ten years later, Mason’s outfits signal his slide into alcoholism as a demoralized, backroom labor negotiator. It's important to create a disheveled, deconstructed type of mishmash of different things in order to communicate the fact that Mason’s life is falling apart. Then when he comes back to Beirut, the audience focuses on the character and plot more than his wardrobe. There’s one shot midway through the film where Mason’s dressed in an Oxford shirt and loafers while he walks through a deserted city square that’s just been completed destroyed. That’s the kind of contrast that's really exciting, as a way to show Mason’s alienated state of mind. When he goes back to the place where it all happened, that’s where Mason begins to find some happiness and his place in the world. When you think about the terrorism and fundamentalism and the political intractability in Beirut, which is all still sadly true today, it’s important to look at the reasons behind all that. How did we get here? In addition to Beirut’s politically charged themes, the film looks forward to exploring the personal trauma that lends depth to Mason’s journey. Sandy Crowder’s job description as a keeper of secrets impacts the character’s personal life in compelling ways. She can’t really trust anyone so Sandy doesn’t let people get too close. She’s sort of a proto-feminist who’s there for the adrenaline rush. It's a tough world for women in the agency in the ’80s. There were very few female agents. There are 14 pay grades within the CIA and most women hit the ceiling at around level seven. She’s defined by her actions. Sandy’s decisions under pressure eventually affect the outcome of the whole story and that6s pretty exciting. She comes in as this mystery person in the second act, so it's interesting to forge the relationship between Sandy and Mason. He doesn’t really know this person but he has to trust her. That dynamic dovetailed very nicely with the film’s political nature and intrigue as the film figures out where the story is leading and why. 'CIA' agent Gaines (Dean Norris) is a guy, who represents a hardball approach to international problem solving. You need both the carrot and stick. You hope Mason can make diplomacy work but you always need somebody like Gaines so you've the heavy hand of 'The CIA' backing it up. Shifty political operative Gary Ruzak (Shea Whigham) loyalties are to the president. He’s very much a company man who’s in Lebanon to fix this situation before it goes bad and he’ll make a deal with the devil if necessary. Big political themes don’t get addressed very often in movies anymore. This movie deals with something important rather than just having the action element or a comic-book element, which seems to be the tenor of most large-scale movies right now. At the time, Beirut is a hot topic because Tom Friedman’s book 'From Beirut To Jerusalem' has just come out. "Beirut" has a historical setting, it feels true to life without actually being a true story. The fictional script based around facts on the ground including the 1984 kidnapping of 'CIA Station' Chief William Buckley. It's all very garish and gothic, not too clean like an American movie but more European style. Against the backdrop of a politically dysfunctional Lebanon, the film strives to develop the interior psychology of his hero in the manner of master spy novelist John Le Carré. His books were extraordinary, although they didn’t always make for good movies because they're so hard to condense. And then the idea of a character like Mason, who’s faced with great disappointment; that’s very much a John Le Carré thing. Mason is a character in need of redemption, which is also true for Jason Bourne and Michael Clayton. "Beirut", is about people trapped inside a political situation, while at the same time Mason is forced to confront his past and his own weakness. But "Beirut's" fictionalized portrayal of U.S., Israeli and 'PLO' scheming in 1982 Lebanon ultimately proved too hot to handle. The problem is that the script is accurate. 'The PLO' didn’t have exemplary behavior. Israel did not have exemplary behavior. 'The U.S. State Department' did not have exemplary behavior. Nobody looked good at that moment in time except for the hero of this story. The script is still very intense but the political radioactivity has completely subsided. There’s not much argument anymore about what happened in Lebanon in the winter of 1982. It’s also an emotional journey about characters in this war-torn part of the world who are trying to find some goodness or something hopeful that they can hang onto. Thrillers today tend to be violent, over-the-top action movies or else they rely heavily on some kind of technological solution, whereas "Beirut" is very human. A period thriller loaded with resonance for contemporary audiences, "Beirut" revisits the roots of 'Middle Eastern' terrorism as a backdrop to a timeless story about one man’s quest for peace. Audiences who see "Beirut" will become interested in some of the history that the film touches on. It's about the idea that one person can make a difference, however small. In a bad situation, you've to suit up and try to make things better. "Beirut" also invites audiences to experience an exotic locale teeming with intrigue. The film creates this smoky, dirty, grimy, beautifully tattered world. In the end, if people walk away with questions about America’s involvement in Beirut in the ’80s, that’s great. The film leads people trying to learn more about this time frame, that’s fantastic. But it’s really more about the sensual experience of the movie and putting the audience into this world, in all it's screwed-up glory. The character’s willingness engages in dialogue stands in stark contrast to the current political climate. Everything’s so polarized now that you can’t say anything for fear of being a traitor to your party or a traitor to your country or a traitor to your religion. It seems like we only have the capacity to see things in black and white, but the world doesn’t exist in that color scheme. If we’re not talking, we’re fighting, and that doesn’t seem to be a very legitimate way to move anything forward. So honestly, that’s the message people take away from this movie; instead of fighting, maybe talking works a little better.

FRENCH FILM FESTIVAL UK 2017 Golden Years screening as part of the FRENCH FILM FESTIVAL 2017 London’s Regent Street Cinema to host nine film screenings as part of the French Film Festival UK 2017 and will take place between 4-10 December The biggest explosion of French and francophone cinema in the UK will hit cinemas in November as part of a major expansion of the French Film Festival UK, which is celebrating its 25th year. MONDAY 4TH DECEMBER ISMAEL’S GHOSTS Just before he is about to start shooting his new film, a filmmaker’s life is turned upside down when a woman he had loved and who had disappeared, reappears. Directed by Arnaud Desplechin and starring Mathieu Amalric, Marion Cotillard, Charlotte Gainsbourg and Louis Garrel. CORNICHE KENNEDY Sensual, edgy, relentlessly honest and tender, Corniche Kennedy, directed by Dominique Cabrera, focusses on young people, their lives, dreams, and relationships. Taken from the eponymous novel by Maylis de Kerangal, Cabrera’s film is set in Marseilles. The title refers to the Corniche du Président-John-Fitzgerald-Kennedy, a boulevard along the coast, and at its heart is a group of contemporary teens who defy the laws of gravity by plunging into the water from a height. WEDNESDAY 6 DECEMBER GOLDEN YEARS A deserter disguises himself as a woman to escape the fields of battle during the First World War in veteran André Techiné’s new film, adapted from Fabrice Virgili and Daniele Voldman’s non-fiction book The Flapper and the Killer / La garconne et l’assassin. It is the story of Paul and Louise Grappe, a young couple living their golden years before the Great War breaks out. THE FIREMAN With a summer heatwave raging in the south of France the fire brigade have their work out dealing with outbreaks of fires all over the terrain, some of them the deliberate work of criminal gangs. Pierre Jolivet examines how the firemen cope in the face of overwhelming odds, not least because of internal conflicts between two of the officers in charge. An uncanny prelude to the blazes that caused such devastation this year on the Côte d’Azur. FRIDAY 8 DECEMBER MERCENARY The odyssey of Soane, a young Polynesian, who leaves everything behind to try his luck in France as a rugby player. French, although not considered such, Soane has a thirst for freedom, but struggles to get the recognition that he deserves SATURDAY 9 DECEMBER BAY OF ANGELS A mild-mannered banker (Claude Mann) becoming obsessed with roulette. Along the way, he also becomes obsessed with an aloof platinum blonde (Jeanne Moreau) who seems to live at the roulette wheel. She returns his attentions until revealing that it was all a ruse, brought on simply because she thought he brought her good luck. It’s triumph of style, from Jean Rabier’s stunning camerawork amid sun-splashed Riviera locations  to Moreau, looking resplendently like Bette Davis, to her entrance flashing across a succession of mirrors in the penultimate shot. BEFORE SUMMER ENDS After five years in Paris, Arash has decided to return home to Iran, but his fellow Iranian natives Hossein and Ashkan convince him to take one last trip through the South of France. As the best friends drive, drink lots of beer, and meet a pair of female French musicians, the trio experiences the thrill of a road trip imbued with a wistful longing for home. This artfully photographed non-fiction comedy beautifully captures the expat experience SUNDAY 8 DECEMBER A WOMAN'S BACK A moving, beautifully modulated adaptation of Guy de Maupassant’s first novel, in which a young noblewoman copes with the loss of ideals. Stephane Brizé (The Measure of a Man) offers a dazzling mosaic of the trials and tribulations spanning 27 years in the life of Jeanne (Judith Chemla, Camille Rewinds). THIS IS OUR LAND This timely drama follows a young nurse and mother named Pauline (Émilie Dequenne), who is recruited by a right-wing politician resembling Marine Le Pen (Catherine Jacob) to be the approachable face of the National Front. Although Pauline is not particularly concerned with politics, she is seduced by the promise of an increased salary to support her family and the opportunity to make her country a safer place.

(Bad Luck Banging or Loony Porn, BFI London Film Festival, Friday 08 October 2021 18:00 Curzon Soho Cinema, Screen 1) https://whatson.bfi.org.uk/lff/Online/default.asp "Bad Luck Banging Or Loony Porn" Emilia (Katia Pascariu), a school teacher, finds her career and reputation under threat after a personal sex tape is leaked on 'The Internet'. Forced to meet the parents demanding her dismissal, Emilia refuses to surrender to their pressure. The first lockdown ended in Romania at the end of May. The second wave of 'Covid-19' comes at the beginning of July. The number of cases is rising. How to interact with people. When we were young, we really admired all the crazy shoots we read about; "Way Down East", "Aguirre", "Apocalypse Now". We still admire them, but we're too weak. We should not risk the life or health of anybody when it comes to shooting. No film in the world is worth someone contracting even a common cold. All characters wearing masks. Wearing a mask in severe heat for 12 hours a day can be horrible. So, it's quite disappointing to have a few people every day taking off the mask whenever they can. We see it as a lack of respect, a kind of 'Fuck You', We don’t care about anyone else, we want to feel good even if we can infect you. This sometimes make the atmosphere tense. The masks are part of our daily life and the film captures this moment, to find the anthropological aspect of the mask-wearing. If you go down on the street during this time, the signs that remained, posters for concerts, empty restaurants, and so on and so forth are already signs of a non-existent reality. Cinema has this possibility to capture things, to capture the signs of the time passing, to make a capsule of the moment in many ways. It's about real-life stories from Romania and other countries, of teachers being expelled from schools where they're teaching because of what they're doing in their private lives; live-cam sex chat or posting amateur porn recordings on 'The Internet'. The discussions is so heabted, it makes us think that although the topic seems trivial and shallow, there must be a lot more behind it if reactions to it are so powerful. The film has three parts which engage each other in poetic ways, understanding poetic according to Malraux’s definition. Without doubt all true poetry is irrational in that it substitutes, for the established relation of things, a new system of relations. While the film title is mostly self-explanatory, it's subtitle, a sketch for a popular film, can benefit from an explanation. Malraux once noted that Delacroix, though affirming the superiority of the finished painting over the sketch, kept many of his sketches, whose quality as works of art he considered equal to that of his best paintings. The film looks like if it's form is left open, unfinished, like a sketch. The film could be easy like a summer breeze and because of it's tabloid-like topic. But it's not a real popular film. Only a sketch of a possible. What's obscene and how do we define it? We're used to acts which are much more obscene, in a way, than small acts like the one that set off the uproar we see in the film. The film clashes these two types of obscenity, and to see that the one so-called obscenity in the porn video is nothing compared with what's around us, but that we don’t pay attention to. The film tells a contemporary story, a small one, a little story. If history and politics are part of the film, that's because the story itself has a deeper meaning if we see it in a historical, societal and political context. Obscenity is the theme of this film and the viewers are constantly invited to compare the so- called obscenity of a banal amateur porn video with the obscenity around us and the obscenity we can find in recent history, whose traces are all around. So, the viewers should make this montage operation. Montage will be precisely one of the fundamental responses to this problem of constructing historicity. Because it's not oriented towards simplicity, Montage escapes theologies, and has the power to make visible the legacies, anachronisms, contradictory intersections of temporalities that affect each object, each event, each person, each movement. Thus, the historian renounces telling a story, but in doing so, succeeds in showing that history cannot be, without all of the complexities of time, all the archaeological strata, all of the perforated fragments of destiny. "Bad Luck Banging Or Loony Porn" delivers an incendiary mix of unconventional form, irreverent humor and scathing commentary on hypocrisy and prejudice in our societies.

The main character Maria is drowning in her complicated and unfulfilled life.Prepared to escape it all, by drowning herself in the sea, she ends up saving a man from drawning. There is a sense of mysticism intertwined with an undeniable reality conveyed throughout this bewildering film.

(Release Info London schedule; August 6th, 2018, Landmark) "The Spy Who Dumped Me" "The Spy Who Dumped Me" tells the story of Audrey (Mila Kunis) and Morgan (Kate McKinnon), two best friends who unwittingly become entangled in an international conspiracy when one of the women discovers the boyfriend who dumped her was actually a spy. Audrey and Morgan, two thirty-year-old best friends in Los Angeles, are thrust unexpectedly into an international conspiracy when Audrey’s ex-boyfriend shows up at their apartment with a team of deadly assassins on his trail. Surprising even themselves, the duo jump into action, on the run throughout Europe from assassins and a suspicious-but-charming British agent, as they hatch a plan to save the world. They embark on an action-packed international adventure after they discover that Drew (Justin Theroux), who recently dumped Audrey via text, is actually a spy. Armed only with their wits, Audrey and Morgan race through several European capitals, hunted by a host of top-secret operatives who want to help them or kill them, or both. These include taciturn British agent Sebastian Henshaw (Sam Heughan), pretentious jerk Topher Duffer (Hasan Minhaj), calculating spy boss Wendy (Gillian Anderson), and cold- blooded teenage assassin Nadedja (Ivanna Sakhno). As they learn to navigate the high-octane world of gun battles, car chases and daring escapes, the two best buds quickly learn that they can trust no one, except each other. Audrey and Morgan are the best of friends, and stronger than they know. Audrey is a person who thinks a lot, she’s very clever and smart, but she’s also her own worst enemy because she thinks enough to doubt herself, and if she doesn’t think something’s going to go well, she’ll play it safe. Morgan is pure heart, emotion, impulsiveness, she’s always putting herself out there, she’s a born performer, she’s been to every acting camp, singing camp, acrobatics camp, she’s that person. It's the character's differences that make them a great team. They've complementary skill sets. Morgan’s always saying; we can do it, we got this; she’s really confident. Audrey’s the one who’s thinking five steps ahead. They end up having both the skills necessary to get them through by the skin of their teeth. It’s Audrey’s craftiness and Morgan’s complete fearlessness that leads to a lot of the comedy and makes them a good match as friends. They bring out the best in each other. Like many best friends, Audrey and Morgan have shared goals, but very different personalities. Audrey is very gun-shy, and doesn’t lie well, is nervous in life, is self-conscious at all times, and plays life very safe. Morgan is her counterpart who's a struggling actress, who views life as one giant audition, and is constantly doing voices and characters, takes risks and chances, and goes balls out. The two of them kind of collide and go on this adventure together. "The Spy Who Dumped Me" is built as a genre-bender, two women at the center of an action-packed spy caper. This is Bridesmaids meets Bond. Central to "The Spy Who Dumped Me" is the deep and true friendship between the two main characters, Audrey and Morgan. We've all these movies about male friends, and we don’t have as many movies about female friends. We've women in romantic comedies, but we don’t really see women with their friends and how ridiculous and relatable those relationships can be, and yet for many women that's the most important relationship in their life. Everyone has a best friend, and everyone loves and hates their best friend at different times in their life. As the story unspools, the two average girls start to build confidence, an important narrative arc. Two types of movies we like to see are movies that show people being funny, relatable and self-deprecating as they go through their very mundane problems, and then movies where you get the total transporting yourself to another world fulfillment. The idea is about two people who do not belong in an action movie. But they've to survive when they find themselves in this really, really aggressive testosterone-y Bourne Identity kind of world. The story is about discovering yourself, testing yourself and exceeding what other people’s expectations might be. The way female friendship is presented in the film is natural, smart, inspiring and exciting. It’s part road trip, part best-friend movie, part travel log, part spy movie, as the characters discover their inner bad-ass with their best friend. Sometimes some of the moments in a movie that feel the most authentic and the most improvised feel that way because they're the most authentic and the most improvised. The movie combines what draws people to see an action movie and what draws people to see a female friendship movie. And the wish fulfillment of just leaving your comfort zone and going into a crazy vacation with your best friend. You know, neck cracking and ball-kicking and snapping and shooting. That's always fun! It's a female driven action comedy that dispatches with the guys. You’re going to be smiling, laughing your ass off, and then you might shed a tear at one point. But it will be a good tear.

(London, BFI Southbank, 0 Belvedere Rd, London SE1 8XT, United Kingdom, Friday 12 August 2022 18:15, NFT1) "My Old School" In 1990s Scotland, Brandon Lee (Alan Cummings) enrolled at a well-heeled school in Glasgow. The events that followed became the stuff of legend. He seems a little different from the other 16-year-olds. A little wiser, a little more worldly perhaps and more in need of a shave. He eventually became one of the cool kids with a very promising future. Then people started to discover that Brandon was not who they thought he was. Brandon Lee said his mother had been an opera singer, and that she had traveled the world with him until she died in a car crash. The other school kids in the posh Glasgow suburb took a while to get used to him, but little by little, he won everyone over. He defended the weak, was music-savvy, astounded the teachers with his knowledge, and even starred in the school play(and kissed a girl. But then something about his story didn’t add up anymore, and his stunned teachers and fellow schoolboys could not understand how they had missed it. What followed over the next two years would become the stuff of legend. Brandon had been privately tutored in Canada while he accompanied his mother, an opera diva, on tour before her tragic death. The preternaturally bright scholar surprised teachers by blazing toward his goal of entering medical school, displaying a wealth of knowledge beyond his years. Brandon found friends despite his initial awkwardness. He took bullied school kids under his wing, introduced classmates to seminal retro bands, and even starred in the school's production of South Pacific. The documentary finally reveals the truth behind the story. Featuring interviews with old classmates and teachers, together the film tells how a 32-year-old man tricked his way into the school, and, for the first time, how Brandon Lee’s true identity was revealed. This is a Scottish tale, one that gripped the entire nation when it first broke back in the 1990s, and this documentary retells it from the point of view of the pupils and teachers it all happened to! The teaching staff includes Clare Grogan, and US Billboard chart-topping singer of ‘To Sir With Love’, Lulu. And just like in that movie classic of 1967, Lulu sings the title song, the Steely Dan hit ‘My Old School’. The film looks at one of the strangest and most notorious imposter cases of modern times, which becomes more sensational with every detail revealed. You can fool most of the people, most of the time. The wildly entertaining, jaw-dropping documentary hybrid tells the outrageous story of Scotland’s Great Pretender. Returning to his old school, the film captures the memories of fellow pupils who recall their time with Brandon and the impact he made. Even they didn’t realise the half of it. The film becomes a voyage of discovery through the stories of class 5C. Animated flashback scenes with cartoon characters evoke high school life from 25 years ago. The film also nods to the animation styles of the 1970’s. This is a story that will remind you of your schooldays, who lived through this extraordinary deception and have never forgotten it. written by Gregory Mann

(Release Info London schedule; October 25th, 2019, Cineworld West India Quay, 5 Hertsmere Rd, Canary Wharf, London E14 4AL, UK, 15:30 pm) https://www.google.de/search?oq=&aqs=mobile-gws-lite..&source=hp&q=Countdown+showtimes+London "Countdown" If you could know the exact moment of your death, would you want to know? In "Countdown", an ambitious, young nurse Quinn Harris (Elizabeth Lail) is pressured to download an app that claims to predict exactly when a person will die. As her friends and colleagues reveal the many decades left on their lives, including Dr. Sullivan (Peter Facinelli), Quinn is shocked to see her clock will run out in only three days. Initially, she dismisses the app as a passing internet hoax, but when she discovers people are violently killed at the exact second their clocks run out, she starts to fear the hype. To change her fate, Quinn cancels plans on the day the app says she will die, breaking the user agreements and unleashing something truly evil. With her clock ticking away and fearing a sinister figure is following her, she meets Matt Monroe (Jordan Calloway) whose time is also running out. As the two make increasingly desperate attempts to delete or alter the app, Quinn realizes something worse than death is fast approaching. To save her own life, she must find a way to confront the demons haunting her before time runs out. A pivotal part of the film is ensuring 'The Demon' summoned if we choose to cheat death is truly terrifying. You can learn your fate and you can die a natural death, but if you take that information and try to change your fate, you’ve broken the rules, and you’re his. He’s a hunter who enjoys the chase and wants every second until your last to be a nightmare. "Countdown" choses to slowly reveal 'The Demon' to create a sense of suspense, starting with a shadow until you see more features of an evil that feasts on souls. As part of the chase, the demon also feeds on the fears we never speak of the inner demons that eat away at us. While Quinn appears to have her life together, she has ghosts lurking under the surface. Quinn blames herself for the loss of her mother and the strain it has caused her family, especially with her younger sister Jordan (Talitha Bateman). Clearly, Quinn is expected to take on a motherly role within her family, but she’s focusing on creating a life for herself. We all have these demons inside that we bury, and for Quinn, this is inhibiting her from having a close relationship with her family. This is already haunting her by the time she downloads the app. Quinn takes her family for granted, rarely speaking with them. When she attempts to reconnect with those she loves after downloading the app, something worse than death is quickly coming for her and she realizes it might be too late. A central theme of the movie is you only have so much time with the ones you love. Cherish those moments because you never know when your time will run out; so put down the phone. The film also subverts certain horror tropes, for instance, when you're dealing with a demon you need a serious, stoic priest. Father John (P.J. Byrne) takes to the cloth as a fan of the Bible’s more morbid teachings. He has this enthusiasm for the Bible and it's demons. The concept of "Countdown" is inspired by a simple moment; setting a timer on a smartphone. What if this timer is ticking down to when you die? It’s probably not a normal thought, but something just clicked. It's about a demonic app that tells you when you will die. 'The Final Destination'  franchise meets 'The Ring', in app. With "Countdown", this timeless temptation of wanting to know when you will die is tied to a timely theme, the obsession with our phones, giving it the foundation for a high-concept horror film capable of pushing cultural buttons. We all have this relationship with our phones, so much so, that people are more connected to their phones than their families. The film strikes a nerve while also mixing fear with fun. This film is terrifying, and it needs to be, but there’s also an element of comedy. Moments of levity go hand and hand with great horror, and this film does that in an exceptional way. It's the premise for a fun horror movie rooted in a concept that sticks with audiences. It’s an exciting ride with great scares that poses a very primal question, which starts a lot of conversation. It also shines a light on how dependent we're on our devices in a highly original way by showing how they control our lives, and potentially our deaths. It’s a smart, scary movie that knows not to take itself too seriously, there will be nothing like it in theaters. Comedy and horror shared key beats. While comedy sets an expectation and subverts it, horror establishes patterns, then surprises the audience. They've so much in common. The way you set up a horror set piece and the way you set up a physical comedy set piece. The premise of the film doesn’t lend itself to a relentless, gothic tale of horror. Moments of intensity are followed by levity so the audience can breathe again. You’ll be scared, but you’ll also laughm Those who find scary movies too unnerving will enjoy this film because there’s a good balance of frightening to fun. You’ll jump, you’ll laugh, you’ll be scared. It’s a fun, fast, entertaining ride that grabs you in the first frame and doesn’t let you go; that's the goal.  

Actions speak louder than words is the tagline for Duncan Jones’ latest Sci Fi offering and ten minutes into the film and you can see why. Mute follows the story of Leo, an Amish man living in a near future, dystopian Berlin. Due to an accident when he was a child, Leo is unable to speak and so communicates through gestures, writing and drawings. Despite their being a handful of films, which centre on a moody, quiet protagonist exacting revenge, nothing has come along recently that has created an impact since 'Drive'. That is until now. Alexander Skarsgard gives a very impressive performance as Leo.  Like Gosling, Skarsgard manages to simultaneously appear vulnerable and sensitive, while at the same time being intense and intimidating. He balances these two traits perfectly, utilising each one at the right moment for the desired effect. His icy blue eyes can be cold and piercing one moment, then fragile and watery the next. In some ways the decision to have him mute adds more impact then 'Drive', as his silence makes all of his enemies nervous and awkward. The other aspect to his character is his Amish upbringing and belief. Although he isn’t as strict as most Amish followers, the lingering effect of his family’s influence is highlighted throughout. His traditional attitude and innocence is in stark contrast to the futuristic city that surrounds him. The image of this reserved and respectful man working behind a bar in a techno strip club is striking and adds to the already interesting visual style that is at play here. Religion is a theme that is explored from the start of the film and continues to be an important factor as the story unfolds. His muteness although not caused by his Amish lifestyle is affected by it, when his parents refuse treatment, leaving it in the hands of god. Then later, at various points in the film, Leo struggles to overcome difficulties, either due to his lack of voice or his inability to use technology. His choice to fall in love with a stripper, actually use a phone and drive a car is all fuelled by his repressed anger at religion. Leo is a character, who from the start always seems to be out of control of situations or worse prevented by others from doing what he wants. So, when he does finally snap, like Michael Douglas in 'Falling Down', in is truly satisfying to watch. Leo isn’t the only striking aspect of this film. The world itself is so vibrant and prominent it is almost a character itself. What I like about the film, is that even though there are flying cars and robots, there are still elements that are familiar with the current world. Like 'Blade Runner' it has a retro feel to it, opting for Tokyo style holographic billboards emblazoning the various buildings and speeding hover taxis, with 80s style lift up doors and bulky bumpers and hoods. These elements would hurl it further away into dystopia, if it wasn’t for the secondary characters that inhabit the world. Actors such as Noel Clarke and Dominic Monaghan give it cultural relevance with their down to earth and recognisable personalities. Even Paul Rudd, who brings something very different to his role, still has that zany, offbeat humour that grounds the film. The city itself is a great visual representation of the story’s tone. Near the start of the film, the bright lights, hypnotic music and colourful characters give it a glitzy allure. However, as the story unfolds, the city becomes colder, harsher and unsettling. There is a real sense of atmosphere to the piece and part of that is influenced by the strange and surreal world that Jones has created. It is hard to talk about one nemesis, as Leo seems to be surrounded by antagonists and it seems that he is constantly fighting to overcome evil. Paul Rudd is technically a bad guy in this outing, and although he doesn’t seem inherently evil, there is a definite dark presence lingering inside him. Rudd gives a notable performance, lulling viewers in with his aptitude for comedic timing and execution. However, it soon becomes apparent that there is a nasty, violent side to his personality. The fact that he has a young daughter makes for an even more conflicted viewing. The decision to explain his behaviour as being linked to him being a deserter from the armed forces is incorporated very well, despite it being a tad cliché. At the end of the day though, PTSD is a serious matter and it is both brave and commendable that Jones decided to tackle it. One scene sees a drunk Rudd flying off the handle at a security guard, after he is caught stealing peanuts. The inner demons spill out in this confrontation and it is written and performed fantastically. There are a few issues I had with the film. For one, despite the acting, world, style and concepts being incredibly strong, I did feel the choice to have the age-old story of a man falling in love with a stripper, who mysteriously disappears a tad cliche. There are a lot of films that feel the need to throw in mangst as the driving force behind the story. In this instance I can forgive it, as the characters, setting and style are so unique that it just about gets away with it. Although the romance element is a tad generic, the little nuances such as Leo’s secret project and the way they communicate with one another, keep it fresh and stop it from stagnating. It is always important to note that Leo’s love interest Naadirah is the only person bar one, he doesn’t have issues communicating with. After she disappears, Leo finds himself constantly struggling to understand other people or them not able to understand him. It serves as a good plot device, adding to the other conflicts he is already faced with at every turn. It is also saved by the fact that it suddenly turns from a film about love and loss to something a lot darker. There are technically two twists to this film. The first I suspected but the second was a surprise. Both these twists explore the darker and more sinister aspects of humans. Everyone has a limit to what they can deal with. For example, I do not get disturbed by murder as much as I probably should. Rape on the other hand, I find extremely disturbing. For those that are worried about this, there is no rape in the film. It has always been my opinion that there is no need for this in films. I can just about handle it being insinuated but there is no need to show it. Although this film doesn’t deal with that, it does deal with another very sensitive subject. So much so, that at points I was unsure whether I could carry on watching it. Although very well done, it is highly unsettling. Having watched the whole film, I would say that Jones did well. He did not go too far. More is implied than anything else and although stomach churning, the eventual outcome did have me sighing in relief, that the light overcame the dark. As well as Leo being an interesting protagonist due to his muteness and Amish upbringing, there are other traits that make him appealing. His relationship with water. His accident occurs in water at the start of the film and the concluding events of the story end in water. Throughout, he reveals that he has a curious ability to hold his breath for a very long time, as we witness him swim an entire length of a pool and down a whole glass of water. But this is not just a kooky quirk. By the end of the film, it becomes incredibly relevant and crucial that he has an ability to do this. The other aspect of his personality is his love of drawing, crafting and building. Underneath this insecure and unsure exterior, is a soul bursting with a confident voice, demonstrated through his art. Again, like with the water, it is actually crucial to the unfolding of the story and later becomes highly crucial in the eventual outcome. The small images and clues that are littered throughout are highly symbolic to the story and the world and Jones’ attention to detail is astounding. Mute is one of the most unusual and fascinating films of the year. It excels in its hybridity, presenting relevant and relatable themes in a futuristic world inhabited by weird and wonderful characters. The fact that Leo is mute, only reinforces the fact that everyone else around him who can talk, are less interesting and more dislikeable then he is. What almost is a love story, fuelled by mangst becomes something much more poignant and although the darker themes it explores are unflinching in their examination, they are explored in a tasteful and well-conceived way. The rhythm and pace are executed perfectly with slow building tension punctuated by hard hitting moments of impact. The characters are engaging, the word rich and vibrant and the narrative twists and turns at any available moment, making for an exhilarating nail biting watch. If you’re in the mood for something raw, exciting and which leaves a marked impression, then Mute is definitely worth your time.