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A re-watch was a very long time coming. I barely remember being that annoying kid at Age 3 constantly bothering my parents to put that VCR in the player. The video cassette got lost sometime in the 90s. A year ago, I 'discovered'' it once again. It was as good as I remembered. As a 26 year old, I appreciated the darker, more adult content I did not understand. 'Sorry, wrong pocket' as Carey accidentally whips out a used condom. The Mask was a light hearted, cartoonish view of what can happen when nobody, Ipkiss, gets his hands on a mask that transforms him into a man he always wished he was... confident, suave and popular. If only we could all find something similar! 1994 was definitely the year for Carey with Ace Ventura and Dumb and Dumber. Breakout star indeed. He plays Stanley Ipkiss and his 'alter ego' so well in The Mask. Fantastic film which will always remind me of my youth.

(Release Info London schedule; January 15th, 2020, Curzon Home Cinema) https://www.curzonhomecinema.com/film/watch-stardust-film-online "Stardust" Meet David before Bowie. One of the greatest icons in music history. But who was the young man behind the many faces? In 1971, a 24-year-old David Bowie (Johnny Flynn) embarks on his first road trip to America with 'Mercury Records' publicist Ron Oberman (Marc Maron), only to be met with a world not yet ready for him. "Stardust" offers a glimpse behind the curtain of the moments that inspired the creation of Bowie’s first and most memorable alter ego, 'Ziggy Stardust', capturing the turning point that cemented his career as one of the world’s greatest cultural icons. At the time the film is set in 1971, David Bowie is performing a lot of covers, including work by 'The Velvet Underground', 'Jacques Brel', 'Cream', 'The Who' and 'The Yardbirds'. In the film he performs work by 'Brel' and 'The Yardbirds', as well as 'Good Ol Jane'. The script centers on a particular moment in David’s life, as a young artist starting out before he’s really famous, before 'The Ziggy Stardust' years. That's always a really interesting time in Bowie’s life because he's trying really hard and kind of failing a lot. Looking at that point in somebody’s life who goes on to become such an iconic voice and personality in our times. As an artist who influences so many people, where's he before that moment when he brakes through? It’s really clever the way the story focuses on a few months in his life, on his trip to America, which is so important to him. It’s where you see him gather the references and influences that go into 'Ziggy Stardust' that's basically his breakthrough moment as an artist. The David Bowie who arrives in America for the first time in January 1971 is not a star. He's an ambitious but insecure young man, with just one hit under his belt that most of the music business had dismissed as a novelty record. And he also has a deep fear that he would soon suffer the same fate as the man who practically raised him; his half-brother, Terry Burns (Derek Moran). Born ten years before David, Terry gives his younger brother a musical education, takes him to his first ever gig, buy him his first record. David’s maternal aunts and grandmother had all suffered bouts of mental illness and in 1967, when David was just 20, Terry had a complete mental breakdown and was sent to an asylum. David’s fear that he too could be struck down by schizophrenia is very present on 'The Man Who Sold the World'. Singing about his fractured inner life probably helps him to stay in one piece. But it didn’t bring him the fame and recognition he craved. Very little has been written about that first trip he made to America. In some respects, it's a disaster, without a visa or musician’s union paperwork, he couldn’t even perform the songs he's there to promote. But instead he finds some of the ideas and influences that he would meld together to create his alter ego, 'Ziggy Stardust'. Ziggy is the culmination of David’s struggle to experience madness in a safe way. It's a means to develop multiple personalities without becoming a case of multiple personality disorder. It converts the potential delusion that he's to be a world famous rock star into a reality. But above all, it's born out of his family dynamic. The film is very much grounded in fact; but it’s also a work of speculative fiction. The film has a slightly heightened, playful tone, but it's true to the spirit of where David is at around that point in his life. Finding a musician who could connect with that experience of an artist starting out, figuring out his identity as a performer, is far more important than physical resemblance. To be a young guy in America, before the Internet and before that sort of constant commercial integration between 'European' culture and 'American' culture, it's such a separate universe. America is huge. The steam coming up from the subway and the yellow taxis. It’s just so intense. The first time you travel so far from home is so exciting and inspiring and that’s what we’re telling in this story. For David to go to America at this time, in 1971, when it’s even more American, not cross-pollinated with any other culture, is just so staunchly American. This is the era of 'The Vietnam War' and it’s an interesting time when Americans have just been through social change at the end of the '60s'. It’s probably quite a divided country where there’s a lot of what still looks like the '50s'. David goes there and he sees diner culture and all that, and he walks up wearing a dress. He goes to 'The Factory' and meet Andy Warhol; all these massive American cultural references kind of just seeps into him. He mixes 'French' chanson with 'American' garage rock. He really put on a character and slowly reinvents himself over the years. He's a sponge for different musical styles. There are pictures of him at these parties playing little sets in a dress and long hair, which the film replicates. It becomes something completely new and exciting through his own interpretation. How can you play Bowie in a sensitive way that doesn’t betray his legacy and him as an artist?” David Bowie had many different faces and almost looked completely different at various stages throughout his life. There probably are great David Bowie impersonators but that’s not what it’s about. Regardless of whether it’s David Bowie or not, it has to be a truthful character. It's a pretty real set of circumstances that we know he went through, so it feels good. It flows really beautifully and the relationships that are portrayed provide a kind of dynamism and intention. It's a film about what makes someone become an artist; what actually drives them to make their art. That someone is David Bowie, a man we’re used to thinking about as the star he became, or as one of his alter egos; 'Ziggy Stardust'; 'Aladdin Zane'; 'The Thin White Duke'. Someone we only ever saw at a great distance, behind a mask; a godlike, alien presence. Even in his perfectly choreographed death, he didn’t seem like a regular human being. Rather than make a biopic, or a spin through his greatest hits, the idea is a film about what we’ve not seen; the interior journey David Bowie might have taken to become that artist. We've been fascinated by Bowie ever since we'rema kid. We bought every record, read every interview, every biography. What surprised us is how little most people seemed to know about his family background, about his life before that first real flush of fame. Besides music from the period, the soundtrack also includes work from contemporaries like 'Marika Hackman' and 'The Wave Pictures', who are all life-long Bowie fans.  

(Glasgow Film Festival: Film At Home; Wed 24 Feb to Sat 27 Feb) https://glasgowfilm.org/glasgow-film-festival/shows/minari-n-c-15 "Minari" It’s 'The 1980s', and David (Alan S. Kim), a seven-year-old 'Korean American' boy, is faced with new surroundings and a different way of life when his father, Jacob (Steven Yeun), moves their family from 'The West Coast' to rural 'Arkansas' in search of their own 'American Dream'. David and his sister Anne (Noel Cho) have mixed feelings about this move; at first excited by their new mobile home, they soon grow bored being in a backwater. His wife, Monica (Yeri Han), is aghast that they live in a mobile home in the middle of nowhere, and naughty little David and Anne are bored and aimless. When his sly, equally mischievous grandmother Soonja (Youn Yuh-jung) arrives from 'Korea' to live with them, her unfamiliar ways arouse David’s curiosity. The arrival of their foul-mouthed, but incredibly loving grandmother brings new energy to the family dynamic, but Jacob’s determination to make it as a successful farmer throws the family’s finances, and it's relationships Meanwhile, Jacob, hell-bent on creating a farm on untapped soil, throws their finances, his marriage, and the stability of the family into jeopardy. Amidst the instability and challenges of this new life in the rugged 'Ozarks', "Minari" shows the undeniable resilience of family and what really makes a home. It all begins as recent 'Korean' arrival Jacob whisks his family from 'California' to 'Arkansas', determined to carve out the rugged independence of farm life, even if it's one on shaky ground in 'The US' of 'The 1980s'. While Jacob sees Arkansas as a land of opportunity, the rest of his clan is flummoxed by their unforeseen move to a new life on a pint-sized piece of land in the far-flung 'Ozarks'. But it's two unlikely family members at opposite ends of the spectrum, wide-eyed, unruly seven-year-old David; and his equally defiant, just-off- the-plane-from-'Korea' grandma Soonja, who start to forge the family’s new path. In the midst of profound change, they clash at first, but soon discover the imperfect but magical bonds that root the family to their past as they reach towards the future. Jacob takes deep pride in his self-reliance while his wife Monica pragmatically tries to keep family life intact amid the chaos Jacob has whipped up with the move. Oldest sister Anne rapidly gains savvy and responsibility as she's handed big, unasked-for responsibilities, while David mischievously tries to repel his newly arrived grandmother Soonja, who upends the fragile peace with her foul-mouthed but perceptive commentary. Then there’s the humor and humanity of Jacob’s employee Paul (Will Patton), a fervent 'Pentecostal' in a perpetual state of repentance. He has a more unusual vision for his life. You root for Jacob because he’s doing this terribly risky thing, taking his family to this crazy place without even consulting them and putting them on the edge of disaster. You could easily despise this guy and not trust him at all. We've to understand of what it’s like to be Jacob, to be thirtysomething and to have kids relying on you but also have this fire to pursue your own ideas of success and happiness. Jacob holds firm to the idea that ultimately David and Anne will benefit from his dream, once the dust settles. But while Jacob’s wife Monica admires his aspirations, that doesn’t mean she can easily embrace life in an 'Arkansas' trailer in the middle of nowhere. She’s anxious about the family’s isolation, and about where her own life and marriage goes from here; even as she transforms their trailer into a place that increasingly feels like home. As "Minari" builds, David witnesses his father’s dream waver on the edge of absurdity, then near catastrophe as it seems the family’s future might literally go up in smoke. David offers an impish, joyful way into complicated memories, but he also offered something else, that open, awed-by-it-all spirit that can illuminate the beautiful strangeness of life. With his lack of language for what it means to be an immigrant, David becomes a conduit for the feeling of an entire unmoored family trying to find their bearings. Conjuring David’s boyish exuberance, angst, and cheekiness is a particular revelation, merging the child and parent within him. There’s a dance going on where David is a creation of two opposing things; out inner memories of being scared, excited, and curious as a kid. An important part of Anne’s character is that she’s serious about caring for the people she loves, There are so many little moments, like when Jacob’s digging the well and David’s sits there looking bored. The film’s momentum completely opens up when Soonja arrives. She’s vulgar and has a wicked sense of humor, but what we find interesting is that quite often salvation comes from someone like that. Somehow, she might embody ideals of tolerance and love more than anyone. For all the tumultuous changes in David’s life, nothing sets off more sparks than the arrival of Soonja, who, much to David’s abject horror, moves into his bedroom, making them instant rivals. To David, Soonja can’t possibly be a real grandmother. She certainly doesn’t bake cookies or tenderly dote. She smells weird, gets a kick out of teasing him, and is as foul-mouthed as anyone he’s met. Nevertheless, in ways David cannot immediately see, he and Soonja share much in common; both are spirited rebels, both are physically vulnerable, and both are linchpins of the family, with Soonja connecting them to where they’ve come from just as David points to an unseen future. And when David pulls a boyish prank on Soonja, hoping that will make her go away, it instead binds them closer as David realizes Soonja understands him better than he could have known. Salvation is more directly sought by the family’s invaluable neighbor, who lends Jacob the help he needs to tend to his crops. This is Paul, a completely committed 'Pentecostal$ who speaks in tongues but doesn’t say much about the reasons he's driven to make so many amends. Even as the ferocity of Paul’s faith is a mystery and at times an affront to Jacob, no one in David’s family can quite shake the strange, poignant beauty of Paul’s kindness to them. The film uses the intensity of Paul’s belief as a means to reveal who he's as a person. Paul is always an important character. The companionship he finds with Jacob speaks to how two people can come from entirely different backgrounds, yet find a closeness rooted simply in shared work. Like Jacob, Paul’s a man living in the gaps. He's alone, misunderstood, and burdened. Jacob relates to that intrinsically, even if he sees himself as a man who believes only in science and hard work. They both have their beliefs, but at core, they’re just two lonely dudes trying to do their thing, which is their connection. Jacob and Paul discover they can simply be themselves. As 'The Arkansas Dream' threatens to dry up and upend each member of the family, the film explores how a family navigates not only the very specific dilemmas of assimilating into rural America but also broader questions of elemental humanity, the gaps we all wrestle with between family ties and independence, faith and skepticism, feeling like an outsider and yearning to belong. Though each character has their own comic plight, there's no judgement or satire. Too often you see people in American films speaking English who would not in their real lives. But the more authentically a film depicts the details of how people really live, the more meaningful it's. There’s a dissonance to speaking 'Korean' at home that you can’t get at any other way. Two human beings trying to exist together is difficult enough, but when you add the pressure that they’re under there are going to be cracks. Just as working his own patch of land is the lure for David’s father to head for Arkansas, so too is the power of the land woven throughout "Minari". This family might speak 'Korean', but their fates are as tied to the potential and peril in 'The American' soil as the characters in John Ford’s "Grapes Of Wrath", George Stevens’ "Giant", William Wyler’s "Big Country", or Terrence Malick’s "Days Of Heaven". There’s a constant level of risk in farming that so few movies let you feel. Named for a peppery 'Korean' herb that thrives best in it's second season, "Minari" is a tender, funny, evocative ode to how one generation of a family risks everything to plant the dreams of the next. The film unspools with all the vividness of a lived memory. While in it's basic outlines "Minari" might seem to be a story we know; a tale of immigrants making a go at their own vision of 'The American Dream; the film brings a fresh and illuminating take. For within the film’s at once playful, powerful, and candidly detailed family remembrances comes a larger story: the impact of the journey on a new generation of young 'Americans'. It's a deeply personal immersion into reconciling two worlds, with boundless affection for both. There’s so much more drawing us together as human beings than the superficial categories we have created. For some, "Minari" might be a chance to see a 'Korean American' finally telling the story, but we've find these characters mean just as much to people from 'Arkansas', or from 'New York', or anywhere. Loving people is a lot of work, and things will go awry at times, but at the end of the day you have that love and it’s real and so meaningful. All people have their masks, all people have their triumphs and their failings.

(Release Info London schedule: Saturday 27 April 11.00 am - Canterbury | Knutsford | Richmond | Ripon | Soho Sunday 28 April 11.00 am - Colchester | Mayfair | Oxford | Sheffield | Victoria | Wimbledon) "Vox Lux" "Vox Lux" follows the rise of Celeste (Natalie Portman) from the ashes of a major national tragedy to pop superstardom. The film spans 18 years and traces important cultural moments through her eyes, starting in 1999 and concluding in 2017. Beginning in 1999 with a violent mass tragedy, a teenaged Celeste (Raffey Cassidy) is rushed to the hospital, barely surviving a harrowing encounter. With her loyal sister Eleanor (Stacy Martin) by her side, she recovers. After singing at a memorial service, Celeste transforms into a burgeoning pop star with the help of her songwriter sister. The duo puts their grief to song, composing a memorable ballad sung by Celeste that becomes an anthem to an ailing nation. Her parents hire a scrupulous manager (Jude Law) to take her under his wing. Under his tutelage, her career skyrockets to superstardom, with all the vice that comes along. Celeste's meteoric rise to fame and concurrent loss of innocence dovetails with a shattering terrorist attack on the nation, elevating the young powerhouse to a new kind of celebrity; American icon, secular deity, global superstar. As the film enters it's second phase set in 2017, Celeste has grown into her early 30s. She's mounting a comeback after a scandalous incident that derailed her career. Though praised by legions of fans, her private life has been plagued by scandals and addiction, a strained relationship with her sister, and a teenage daughter of her own that she neglected to raise. As the launch of her grand opus looms, she must confront another act of violence. Touring in support of her sixth album, a compendium of sci-fi anthems entitled 'Vox Lux', the indomitable, foul-mouthed pop savior must overcome her personal and familial struggles to navigate motherhood, madness and monolithic fame in 'The Age Of Terror'. The film incisives a character study with a mature sense of style all his own. It's protagonist is a pop star called Celeste and it chronicles key events and cultural patterns that have so far defined the early '21st century' via her gaze. Celeste becomes a symbol of 'The Cult Of Celebrity' and 'The Media Machine' in all it's guts, grit and glory. Her music is a great luxury. But there's a difference in the sort of eco-system that comes, that grows around a pop star. Or if they had been present, in the case of a memoir, has her memory of past experiences not betrayed her? The character feels attacked. So, she lashes out at absolutely everybody. In the scene with her and 'The Journalist' (Christopher Abbott) both have extremely valid perspectives and points of view and she’s mostly in the wrong, in fact. In that moment, the most important thing is not when she says to the journalist, 'You’ve got nothing to be proud of. I don’t share that sentiment remotely'. The most important thing is when she goes, 'You’re right, you’re right', and that’s the reason that moment appears in the film, because she’s consoling herself by basking in a lie, to try to comfort herself. The character of course has a few of those moments where she’s a bit 'Trumpy’ and that’s one of them. And also, this character is suffering with 'PDST'. She’s not really designed to be a monster at all. She’s as much a victim of the era as she's a leader of the era. The film is very much about the fact that 'The 20th Century' was marked by the turn of the banality of people and 'The 21st century' will be defined by the pageantry of people. The film’s themes and the character are intrinsically linked, and so, she’s not a monster. It's about the questions around the psychology of what violence does to individuals and to mass psychology, to group psychology; certainly because of being from a place where people have encountered it for so long. But, unfortunately, it’s been a phenomenon now that, in 'The United States', we experience regularly with the school shootings, which are a type of civil war that we've in 'The US', and of terror in 'The US'. And the psychological impact of what that means for every kid going to school every day, of every parent dropping their kid off every day, and how small acts of violence can create wide-spread psychological torment. There’s a great moment in the film where she says, 'Let’s make it we'. So, her trauma becomes a collective trauma. "Vox Lux" is based on Robert Musil’s book 'The Man Without Qualities', which is about a character whose sort of on the periphery of major events, during the fall of 'The Astro-Hungarian Empire'. There’s an omniscient narrator (William Dafoe) that’s sort of sardonic and the film applies this Robert Musil-style and tone to something contemporary. The film is the continuation of "The Childhood Af A Leader", but on the other side of the century; an historical melodrama set in America between 1999 and 2017. The film connects the life of the protagonist to some major historic events. 1999 was 'Columbine', then we see 'The Twin Towers' in 2001. But this film definitely represents a more corporate brand of fascism. But yeah, we've to see them as being linked in a way for structural reasons and the fact that they're both fables that are sort of defining moments of an era. One in the early part of 'The 20th Century' and this one in the early part of 'The 21st century'. "Vox Lux" demonstrates a more transparent contract with the reader than the traditional historical biography because one is able to access the past without questioning the author about how they could provide such a detailed account of an event without having been present for the event themselves. Featuring original songs by Sia, "Vox Lux" is an origin story about the forces that shape us, as individuals, nations, and gods. The film guides into fearless places in the name of art, finding beauty in the ugliness of the world and daring us to pay attention. It’s a piece of art that's really more of a portrait, and more of a reflection of our society; the intersection of pop culture and violence, and the spectacle that we equate between the two. It's a statement or send an important message to 'The US' about their gun control policies. It makes people feel things that they recognise and that they can see some of things that we’re facing in our society right now. "Vox Lux" chronicles moments that defined 'The 20th century', the last twenty years. We’re all been through a lot. But the truth is, it’s quite a difficult film to speak about because it isn't an attempt to create.anything which is too didactic. It's something that's supposed to be a sort of fable or a poetic rumination of what we’ve all been through for the last twenty years. We live in an age of anxiety. We feel like we’re having more sleepless nights than ever. The film is sort of born of that. It's designed to be where we could all come together and think about it together collectively.

(Release Info U.K. schedule; February 26th, 2019, Everyman Mailbox Birmingham, 116 Wharfside Street, The Mailbox, Birmingham, West Midlands, B1 1RF, 19:00 PM) "Serenity" The tranquil cerulean waters of a tropical island are known as a vacationer’s paradise, but not to Baker Dill (Matthew McConaughey), a scarred fishing boat captain who earns a living by taking obnoxious tourists game-fishing aboard his twin-engine boat christened ‘Serenity'. To make it worse, 'Serenity' docks in a beachside village called 'Plymouth' whose residents relish a little too much in staying on top of everyone else’s business; an annoyance to someone like Dill who makes it a habit to keep to himself. Dill’s only true companion is his first-mate Duke (Djimon Hounsou), an islander with an ingrained sense of responsibility that's only cultivated with age and hard-work. The two men could make a profitable living if it wasn’t for Dill neglecting his customers due to his obsession with catching a blue fin tuna that continuously eludes his grasp. After another vacationer’s excursion goes awry, Duke reminds Dill that if he intends to salvage their business, he has to give up on his blind obsession of capturing an elusive tuna and give the customers what they want; an escape from the realities and stresses of life. Dill refuses to listen to his friend’s wise advice and instead drowns his sorrows in booze at the local bar or in the arms of Constance (Diane Lane), who offers him solace as well as cash when he can’t quite make ends meet. One day, out of the blue, Dill’s ex-wife Karen Zariakas (Anne Hathaway), who abandoned him years earlier for a wealthy man with suspicious business practices, appears on the island. She reveals that her life has not been idyllic and that their teenage son Patrick (Rafael Sayegh) has become withdrawn, spending all his time playing video games. On top of that, her husband Frank (Jason Clarke) physically abuses her, and she's worried about Patrick’s safety. She wants Dill to take Frank fishing, get him drunk, and push him overboard for the sharks to feed on his corpse. In return, she will pay him ten million dollars. Dill balks at her proposition and refuses to agree. But as visions of his son begin to haunt him and Frank displays his true colors to Dill, Dill starts to re-think Karen’s proposal, despite Duke pressing him not to give in to temptation. What complicates things even more is the appearance of an odd traveling salesman named Reid Miller (Jeremy Strong) and the eerie feeling that the locals know more about Karen and her scheme than they should. While Dill weighs Karen’s unseemly proposal, he slowly begins to realize that things are not all they seem; and uncovering the mystery will determine what he decides to do next. 'Fishermen' are quite obsessive about catching fish, and this film is about someone who’s obsessed about catching a particular fish. Baker Dill is slightly heightened, larger than life, he's a sort of character that doesn’t give off himself too readily, someone who’s closed in. Dill is a guy who has had a life, he was in the army, and he’s washed up on this amazing paradise island, but we need to feel that this is a guy who has really lived a life. He’s not trying to hide from what has gone on in his life, but he certainly wants to protect other people from what was within him. Dill believes that he’s making the choices, and then slowly begins to wonder, ‘Am I actually making these choices or are these choices being imposed upon me'? On the surface it’s about a man who's obsessed with catching a fish, but underneath this storyline are themes of how our realities are created and the power we've in the choices we make. For the character of Dill, the film is inspired by ideas of classic masculinity going all the way back to Bogart or Brando. It's really about playing with the level of truth and grit and masculinity and a refined sensibility. But as the story progresses you realize might be a very truthful reflection of the life that he’s living. Karen is a mother who on the surface seems very gentle and meek, but who underneath is very much a warrior. She's defined by the love for her child and that every decision she makes is for his wellbeing. She presents a lot of questions in how she presents herself, always elegantly, always meticulously. There's a very serious question throughout the movie as to who Karen is. With that audiences would be looking towards Karen’s clothes for answers as to who she really is and what her motives really are. One of the most fun parts of the job is figuring out when to provide clues and figuring out when to make sure that there were no clues. Frank is a character that we hear a lot about before meeting him, so the audience’s expectations are going to be pretty high. By the time we meet him, as a designer, get to sort of play into the audience's expectations of who this man is, and it turns out that he’s quite a snappy dresser. Frank is always impeccably put together, and his costumes are essential to helping audience understand him as a character, the world that he comes from, and the world that he expects to always play around him. The character of Duke is actually based on a real person. He's the first mate on the boat. Duke is the emotional, spiritual core of the movie. He's a man whose entire appearance has to convey his humility and his simplicity, but also to play with color in a way that makes Duke one of more vibrant figures in "Serenity". He's really saturated. Duke is an incredibly important counterbalance to the kind of washed out world that the movie creates. "Serenity" is set somewhere in the tropics on a fictional island called 'Plymouth'. 'Mauritius' is sort of undiscovered in terms of movie making because it has only recently opened up it's doors. In other words, 'Mauritius' could be 'India', 'The Caribbean', 'Africa', or it could be 'France' depending on where you're and in terms of the ethnic make up of the people. Everyone is here, everyone is mixed and everyone seems to rub along together nicely. Being in 'Mauritius' is a huge factor in understanding the looks of 'Plymouth'. The characters are on a tropical island in the middle of 'The Indian Ocean'. It’s incredibly beautiful, the ocean is crystal blue, the weather is heavenly and the sand is powdery white sand. The people of 'Mauritius' are very specific. They're incredibly generous and peaceful. In seeing the way they dress, living a true island life, has definitely informed my understanding of how life might be on 'Plymouth'. The film incorporates 'Mauritius' and the understanding of some of the character’s attitudes, relaxing things a little bit and dialing back any contemporary references. When you’re here, you realize that on an island you’re living in your own world. Shooting on a boat is very difficult, as it's very slow and expensive, and there are issues with weather and inconsistencies in the light as well as the water. The unique advantage of shooting in 'Mauritius' is that it’s a volcanic island surrounded by a reef. However, because Mauritius reef gives a lagoon effect that's only two meters deep, it almost entirely mimics the physical characteristics of a tank Effectively, you've this gigantic tank and the reef acts as the line between the still water and the ocean water, which is exactly how you shoot in a tank. We're in a fictitious tropical location, and we don’t know where that place is narratively, but the film uses 'Mauritius' and all it's physical attributes to build that world. It’s an intriguing mélange of the actual appearance, what you can see on the screen. There's the real level and there's the subconscious level and there the deep level. Mauritius offered up a lot of opportunities because of the isolation of the island. It means that it has got a lot of intensity, from the mountains you see behind the rivers, to the coastline, and then the beautiful cities and shorelines, and the fishing. The film works with bold colors, but to control it so it isn't garish. The sunlight is very strong and the film deals with a lot of primary colors. Overall, it’s about retaining some of the beautiful primary aspect to the island, but just taking the edge off that so it’s not an oversaturation. While not a traditional noir thriller, "Serenity" certainly pays homage to classic films of the genre as well as literature. In terms of dialogue and setting and mood, it's a conscious nod to Ernest Hemingway and Graham Greene, absolutely. It also references to some of the classic movies of the ‘40s and ‘50s. What's really fun about designing consumes for "Serenity" is that there's a duality to all the characters, to their stories, to their world and their understanding of their predicaments. The film approaches it from the truth that the characters found themselves in and also the archetypes that would have informed the way the characters like these may have been seen in movies of the past, including especially the classic noir movies. It's really using the classic noir movies, Humphrey Bogart and Lauren Bacall, and asking how they might be translated into a contemporary esthetic. At first glance "Serenity" is the story of a fisherman’s obsession with catching a fish, but the film wants audiences to see it on a deeper level; people can choose to view it as a conventional thriller or they can choose to view it as something else. The film is interested, on various levels, in good people doing bad things for a good reason, which is what happens in this film. It's also about the idea of choice and free will, it’s impossible to resolve whether we've them. Because once you’ve made a choice, that’s it and that choice, is it always going to be there or did you choose it? You know, a fable has a moral to the end of the tale and the film deals with the game of life, and the long-term view of what it's to win and connections that go beyond life and death, love and the end of love.

(Release Info London schedule; September 26th, 2018, Gate Theatre, 18:30) "The Wife" After nearly forty years of marriage, Joan Castleman (Glenn Close) and Joe Castleman (Jonathan Pryce) are complements. Where Joe is brash, Joan is shy. Where Joe is casual, Joan is elegant. Where Joe is vain, Joan is self-effacing. And where Joe enjoys his very public role as 'Great American Novelist', Joan pours her considerable intellect, grace, charm, and diplomacy into the private role of 'Great Man’s Wife', keeping the household running smoothly, the adult children in close contact, and Joe’s pills dispensed on schedule. At times, a restless discontentment can be glimpsed beneath Joan’s smoothly decorous surface, but her natural dignity and keen sense of humor carry her through the rough spots. It’s 1993, and Joe is about to be awarded 'The Nobel Prize' for his acclaimed and prolific body of work. Joe’s literary star has blazed since he and Joan first met in the late 1950s, when she was a demure Smith student and he, her married creative writing teacher. From 1960 to 1993 to our present vantage point of 2018, we observe Joan and Joe Castleman in the context of their times, and ours. En route to Stockholm for 'The Nobel Prize' ceremonies, Joan and Joe are accompanied by their son David (Max Irons), an aspiring writer in his twenties who feels that Joe belittles his work. Sulky and resentful, David wears his wounded heart on his sleeve. There’s another man on board who also wants something from Joe; Nathaniel Bone (Christian Slater), a journalist who plans to write the definitive biography of Joseph Castleman, authorized or not. To crusty, arrogant Joe, Nathaniel’s just a pest to be brushed off, but to Joan, making an enemy of Nathaniel is a risky matter. As always, she’s the conciliator between Joe and David, Joe and Nathaniel. Amid the nonstop round of ceremonial festivities in Stockholm, Joan and Joe are swept into familiar, long-worn roles; Joe is flattered and schmoozed, while Joan stands by his side wearing her quiet smile and flinching only slightly at 'no, Joan’s not a writer. As we see in flashback to Joan and Joe’s early days in the late ‘50s, Joan not only had her own writing aspirations, she had the talent and the looks to capture the attention of her teacher, Joe. A caustic encounter with Elaine Mozell (Elizabeth McGovern), an embittered novelist, gives Joan a warning preview of the obscurity awaiting the lady writer, no matter how talented. As Joan and Joe embark on a love affair, it fits a certain literary template of the time; she’s the well- bred WASP-y daughter of bland privilege, he’s the scrappy Jewish striver with the Brooklyn accent and the edgy stories to tell. With Joe’s first marriage busted up, they live the bohemian life in a 'Greenwich Village' walk-up. Joan gets a job at a publishing house, encountering enough casual sexism to squelch her own ambitions but spotting a chance to forward Joe’s career as the next hot young discovery. Thus is established the self-sacrificing partnership that continues right up to the Nobel gathering decades later. Another familiar, long-worn dynamic plays out in Stockholm as Joe is trailed by an attractive young woman photographer assigned to document Joe’s every public moment. Joan recognizes the predictable progression of flirtation and indiscretion that she has stoically overlooked through so many years of Joe’s serial infidelities. This time, Joan’s had enough. Serving Joe notice that she wants no place on a pedestal as his passive muse; matching wits with a prying Nathaniel Bone; letting her own grievances flare, for once, instead of smoothing over everyone else’s problems; Joan finally reaches for self-determination. The Castleman marriage and literary legend will never be the same. What are the compromises that we make in a marriage and a great partnership? Are there secrets that we keep as a couple that are legitimate? As a husband, how do you respect and love your wife? "The Wife" examines forty years of give and take between literary lion Joe Castleman, and the person who knows him best, supports him steadfastly, resents him deeply, and possibly loves him anyway; his wife Joan. The character of Joan Castleman is a deeply contained, elegant and shy woman who has taken the back seat to her brilliant husband. Joe’s anger and narcissism and infidelities are driven by inadequacy and insecurity and feeling emasculated. Through different times and different mores; from the 1950s and ‘60s of the Castlemans’ youth, to the 1990s of their mature relationship and it's high-profile crisis moment at 'The Nobel Prize' award ceremony, and up to our current-day perspective, we observe two talented and ambitious lifelong partners reckoning with power dynamics between men and women that continue to bedevil us today. It’s a timeless but also very timely subject. Could we possibly sustain the kind of bargain that Joe and Joan Castleman sustained for forty years? Whatever our contemporary take may be on the sexual politics at work in the Castleman marriage, it’s all about the grey areas. This isn’t an easy black-and-white story. Ultimately, it’s about power, the power that Joan gives up and finally reclaims. It's hard for us to imagine what it's like to be in that world where women weren't expected to achieve high things the way men were. Joan may be part of the generation of our mothers and grandmothers, but her struggles with creativity, motherhood, and fulfillment ring out clearly to us today. She has the soul of an artist, the curiosity, the focus, the wildly fertile imagination. But her lack of confidence is part of the cultural climate. "The Wife" is adapted by Jane Anderson from the Meg Wolitzer novel of the same name. Meg’s novel tells a story that's so subversive about what it means to be a female writer. Our industry is now willing to embrace films that are driven by a female protagonist. "The Wife" interweaves the midcentury story of the couple’s youthful passion and ambition with a portrait of a marriage, thirty-plus years later, a lifetime’s shared compromises, secrets, betrayals, and genuine, mutual love. It's the story of a long, complicated marriage affords great actors the chance to reflect all the knots and nuances of their brainy, funny, perplexing, deeply compromised, but deeply compelling characters. This film is like music; two instruments playing a duet. The story unfolds in various timelines, often in flashback, and in three different locales. You've a puzzle to solve, how much are you influenced by reality and the recreation of a period, and how much can you explore it, and then make it your own. At times we’ve tried to absolutely replicate certain things, and other times we’ve just taken it as a guide, then we've gone off and done what we want. So much talent marshalled to tell a story about so much talent has yielded a film to admire. The film conveys the dance of marriage, the compromises made, the agonies lived through, and the familiarity of two people who've known each other intimately for a very long time, but they also address some fundamental, pressing questions about men, women and power.

(London Film Festival, October 11th, 2019, Vue West End, 3 Cranbourn St, Leicester Square, London WC2H 7AL, United Kingdom, 18:00 pm) https://whatson.bfi.org.uk/lff/Online/default.asp?BOparam::WScontent::loadArticle::permalink=givemeliberty&BOparam::WScontent::loadArticle::context_id= "Give Me Liberty" Victor (Chris Galust), a hapless young 'Russian American', drives a handicapped transport in Milwaukee. He shares an appartement with his grandfather Steve (Steve Wolski). Already late on a day when street protests break out, Vic reluctantly agrees to ferry his grandfather and a dozen elderly Russians to a funeral, but they’re distressed when he stops first in a predominantly 'African American' neighborhood to pick up Tracy (Lauren Spencer), a black woman with 'ALS'. On the verge of being fired, Vic’s day goes from bad to worse. The central character is a driver in Milwaukee who would be driving around a number of people with disabilities or people from just different walks of life. The medical transport driver job has a lot of hilarious, touching, wonderful, moving stories. And that's the starting point of the story. A wild slew of hilarious characters, combining comedy and investigation; almost like a detective story and love story and road movie with the main character driving the van, but some revisions later it became a day-in-the-life of this character Vic. He possesses this animal charisma that translates into any culture. He's formidable physically. Dima (Max Stoianov) is basically a fighter with a one-million-dollar smile, who walks into the room and just charms everyone. He has the physique of a boxer, boxer charisma, all the qualities of a person who would charm every member of the audience within five minutes. And being from a Russian, or 'Soviet', background. We just didn’t know where to turn. All of a sudden, we're receiving headshots of metrosexuals from New York who just want to look tough with a three-day stubble but nothing else to show for themselves other than clearly going to the gym every day and mixing it with yoga. We just didn’t imagine at the time how we would gather the right professional talent from all over the nation, given our resources and given our task. It’s probably easier to write characters than to find them sometimes. Set in Milwaukee, with locally cast non-actors, the film creates a genuine atmosphere of chaos without having the entire production fall apart. A group of non-English-speaking octogenarians, people with disabilities, a multi-ethnic local non-professional cast, and a few Russian-based actors. Let’s top that off with a 'VAN', the film’s main location, crammed with cast and crew location that doesn’t stop cruising at 40-75mph through America’s most-segregated city. To sum it up, in order to create the right sense of chaos in film, a form of controlled chaos needed to be invented; the kind that would allow us to be blessed with the spontaneous and the sublime. It’s refreshing to set a movie in an American city that isn’t Atlanta or Louisiana, or whichever state is currently offering the best tax incentives. The city of Milwaukee is very inspiring. People outside of Milwaukee can't wrap their heads around Milwaukee either. But it's an interesting city in many respects. It’s the backbone of America. It’s a historical American city. It’s a segregated city with a lot of ethnic history that retains it's authenticity in 2018, which can’t be said for a lot of cities in America. It has it's own character, it's own mood. It's seasonal changes. There’s a quiet beauty to it, which is not as obvious as, say, New York, for instance. A raw, inventive 'Day In The Life Story' about marginalized characters encountering literal and figurative roadblocks. A charming, comedic look at ordinary people and a rigged system, "Give Me Liberty" has a flavor of 'The Czech New Wave', using a supremely light touch, wry dissent, nonprofessional actors, and unscripted moments. It's heart and soul rests in wonderful moments of impromptu interaction that are so genuine and contain a universe of compassion and understanding. "Give Me Liberty" deals with the concept of 'The American Dream". Those who are really happy to announce the death of 'The American Dream' fundamentally don’t care about it and do not understand it. Certain political issues are touched upon without being touched upon. We're talking about things without talking about them. And this is great that this question is there. 'The American Dream' is not something that's here waiting for you. 'The American Dream' is something that people who come to America must bring with them. 'That’s 'The American Dream'. So if you come here and say 'The American Dream' is gone, well then you didn’t bring it with you. Because 'The American Dream' is only dead if it’s dead within you. It’s not out there, it’s not sitting there waiting to be grabbed. In this sense, we're all idealists. We really believe in this country, as imperfect as it may be, as every country is. Certain things we strongly dislike, certain things we admire. It’s a wonderful place. 'The American Dream' is a big part of the foundation upon which the house of 'Give Me Liberty' is built. It's this concern for the idealism, the fading of which we lament in America. And it comes through in a subtle way, that this is part of the palette of America today; we've people from different walks of life, of different colors, of different ages, of different desires, in this small van, shuttling through one of the most segregated places in America, through a turbulent time of an extreme liberal and conservative divide, and yet none of it's there on that shuttle. What we've on that shuttle is just a motley crew of humanity! A motley crew of humanity who finds their common denominator. Whether it’s at the cemetery, you know, they’ve gotta go to the cemetery, they’ve gotta go to 'The Eisenhower Center', they’ve gotta go to all these places, but they end up sitting at the same table celebrating life and embracing it as it's. Because at the end of the day, as pathetic as it may seem, as infused with pathos as it may sound, it’s about honoring people in the frame, people who are trying to the best of their ability to live their lives with dignity. But what we've today is nothing short of destiny. We need to be practical, but we also cannot negate the spiritual side of this profession. We respect it a lot. We understand that things like inspiration, the metaphysical tissue of the matter, they’re important! To deny it, to not acknowledge that, would be foolish.

(Release Info London schedule; Februar 5th, 2021, Curzon Home Cinema) https://www.curzonhomecinema.com/film/watch-simple-passion-film-online "Simple Passion" The story of a 'simple passion', that of Hélène August's (Laetitia Dosch) passion for Alexandre Svitsin (Sergei Poluniv), a young Russian diplomat, whom she barely knows, whom she nevertheless sees with the same intensity each time they meet. Since last September she waits for him to call her and come to her place. Everything about him is so precious to her, his eyes, his mouth, his childhood memories, his voice. The character of Hélène seems to be astonished by this state of siege, at once sweet and insidious. Pure dopamine. A drug, really. Hélène is an unfettered, free-spirited, woman. A mature, self-assured woman. Ultimately, she's a woman who submits herself out of love. But it's her decision. This is how we've to see the story of 'Passion Simple'; from a voluntary, not a victim’s viewpoint. Alexandre represents a free man, with a complex and elusive personality. He's the objectified man in the film. It's a complex vision of woman, the character is not a model of independence, because she's completely addicted to this man. And she's a bright woman, on top of that, who raises her son alone, who teaches literature at 'The Sorbonne', and yet she says that for a whole year, the only thing that mattered to her is this man. The protagonist waits for her lover anywhere, not only at home, thanks to today’s new technologies, to cell phones. So that she can wait for him anywhere in the world, even though the world is shrinking around her because all she ever does is wait for him. Yet she's always active and wanting, even if she submits herself to that man’s desire. To be an object of desire, to desire, to wait, to fantasise, isn't it the antithesis of an independent woman? It's a sexual film. Filming bodies is a way to glamorize characters. Characters who are comfortable with their own bodies. In the film, the evolution of their passion follows that of the choreography of their bodies. The film is based on Annie Ernaux’s 90s' bookseller 'Passion Simple'. It established a perfect and precise picture of passionate love. It inspires you with a lot of courage. Her words make you want to be honest without being ashamed. They give you the energy to be precise, sincere, not sappy. You've to dig really deep into your own neuroses to understand Annie Ernaux to the full extent. And when these neuroses are looked by a filmmaker who infuses passion with some radiant energy, then it's pure bliss. The ultimate power of the book is that it doesn’t try to explain things. Passion probably involves a will to submit yourself to the other person, either a man or a woman, and to put your whole self into it. Moral judgement has nothing to do with it. It's really brave to explore so meticulously female desire, passion, that place where there's freedom but at the same time a total dependence on the other person. It's scary. We've to understand where it’s coming from. We don’t judge her. It's a story about how lucky you're when you fall in love. About the emotional rollercoaster it actually is. The absolute loss of control when you meet someone, when you idealize that person. The film sparks off a debate around the issue of feminism. With today’s 'MeToo' climate, of course, But it's a precious thing that there are so many different visions of woman in films, that some might arouse controversy, or bring out tensions. The worse thing would be to have women who are all similar, to have everybody agreeing, it would mean that we've left a norm only to confine ourselves to another. We do not want to see only models of flawless independent women. The situation is interesting because it's vertiginous. Beyond morality, neither black nor white.

(Release Info London schedule; March 25th, 2018, Picturehouse Central, 30 Orange Street, 17:00) "Isle Of Dogs" "Isle Of Dogs",tells the story of Atari Kobayashi (Koyu Rankin), 12-year-old ward to corrupt Mayor Kobayashi (Kunichi Nomura). When, by 'Executive Decree', all the canine pets of 'Megasaki City' are exiled to a vast garbage-dump, Atari sets off alone in a miniature Junior-Turbo Prop and flies to 'Trash Island' in search of his bodyguard-dog, Spots. There, with the assistance of a pack of newly-found mongrel friends, he begins an epic journey that will decide the fate and future of 'The Entire Prefecture'.   'Canine-Saturation' has reached epidemic proportions. An outbreak of 'Snout-Fever' rips through the city of Megasaki. 'Dog-Flu' threatens to cross the species threshold and enter the human disease pool. Mayor Kobayashi of 'Uni Prefecture' calls for a hasty quarantine; the expulsion and containment of all breeds, both stray and domesticated. By official decree, 'Trash Island' becomes an exile colony, 'The Isle Of Dogs'. Six months later, a tiny, single-engine, miniature airplane crash-lands onto the teeming waste-land. A pack of five starving but fierce abandoned dogs scrambles to the wreckage and discovers a twelve-year-old pilot staggering from the burning fuselage. Atari, orphan-ward to Mayor Kobayashi. With the assistance of his new canine friends, Atari begins a search for his lost dog, Spots (Liev Schreiber), and, in the process, exposes a conspiracy that threatens to destroy all the dogs of 'Megasaki City' forever.   Atari is a heartbroken Japanese boy who makes a heroic flight to search for his lost dog. Mayor Kobayashi is the authoritarian who outlaws dogs from 'Megasaki City', though the consequences hit closer to home than he ever imagined. His greatest nemesis proves to be Tracy Walker (Greta Gerwig), a feisty young foreign exchange student and editor of 'The Megasaki Senior High Daily Manifesto'. It's a paper that stands for transparency and truth. And Tracy believes that’s what all newspapers and news outlets should stand for. Even though it’s a student publication, they hold themselves to a very high, rigorous standard. That standard pushes her to discover the truth about the dog virus and Atari’s trip to 'Trash Island', and perhaps also the first hints of a crush. Tracy just admires Atari’s bravery. And she thinks he has a nice face. He’s the only person standing up to the madness that’s going on in 'Megasaki City'. And he’s doing it on his own for the love of his dog, which she thinks is noble. Each member of the conversationally gifted 'Trash Island" pack has a well-worn canine name suggesting they're once beloved as top dogs, which only serves to remind them of how much they miss their former human homes. Rex (Edward Norton) is a wiry, wire-haired mutt with spiky, mottled coat and the eyes of an Arctic sled-dog. His ribs stick out like a cast-iron radiator. He's a sleeping on a lamb’s wool beanbag next to an electric space heater. So, he’s not some rich man’s dog. He was probably comfortably middle-class, maybe upper middle-class. But he has a work ethic. He’s scrappy, willing to be resourceful and to fight for what he needs. At the same time, he has had a certain baseline of comfort and so psychologically 'Trash Island' is difficult for him. He can only take so much. King (Bob Balanon) is a graceful, red-haired mutt with a sable snout and a handlebar moustache. He's dappled with scabs, scars, scuffs, and scratches. Boss (Bill Murray) is a stout, liver-spotted mutt with black paws and a tail like a stubbed-out cigar. He wears a soiled, grimy, unraveling, striped, woolen dog-sweater with embroidered baseballs and the word Dragons scrolled across it in cursive. When there's the chance of a great success, you need a mascot, someone that’s going to be with you when things get tough, but someone that you’re really going to want to be there when things go well.  That’s Boss.   Duke (Jeff Goldblum) is a bohemian mountain-dog. Slender face, sleek ears, and a ballet-dancer’s overly-nimble gait. He has seven missing teeth and a consumptive dry-cough. Chief (Bryan Cranston) is a coal-black hound with long legs, black nose, a boxer’s jaw, and floppy, black ears with white spots all over them. He has the sturdy frame of a middleweight, but the starved mass of a long distance-runner. Chief is the odd one out, but he also has a great nobility. He represents the idea that with hope can come second chances. Spots is a 'Short-Haired Oceanic Speckle-Eared Sport Hound', who was once the beloved assigned bodyguard to the Mayoral ward Atari, but is now lost to the winds on 'Trash Island'.  He's highly trained, highly sophisticated animal who's not only the constant companion to Atari but also protects him.  In many ways Spots embodies the ideals of loyalty, duty and honor. Spots also finds romance amid the ruins with the steadfast survivor Peppermint (Kara Hayward). Peppermint has been terribly mistreated and Spots goes from feeling bad for her to falling in love with her. He’s really a dog who cares about other dogs.   Among the most enigmatic of 'Trash Island’s' dogs is Nutmeg (Scarlett Johansson), the coquettish show dog with her femme fatale persona and curiously spotless coat of fur. Nutmeg is incredibly resourceful. She keeps her fur clean by collecting garbage ash in an old coffee bean can. The she works the ash through her fur from root to tip. That’s a very important part of the process. You've to work the ash through from root to tip. And then she shakes off the remaining ash and collects it in the found coffee bean can. Which she then stores for next time. She knows what it’s like to lose something and come back stronger. She might be more civilized than Chief, but she recognizes in him a fighting spirit and a leadership quality she admires.  Plus, he has just the right amount of bite; and who doesn’t like a guy with bite? Jupiter (F. Murray Abraham) has chosen to live his life as though he’s given himself over to a Zen existence. He has a barrel of spirits around his neck. It's very wise because you never know when you might need a little shot, or when you’ll run into someone who could use one. And it’s a communal, convivial thing; we’re all going to drink from the same barrel; we’re all going to enjoy this together; and we’re going to find a way out of this mess. We would sure use Jupiter right about now in this poor old world of ours. "Isle Of Dogs" is a grand adventure set in a near-future Japan in the grips of a canine crisis and mass anti-dog hysteria. Here, in a far-flung floating junktopia known only as 'Trash Island', a scrappy pack of exiled dogs who’ve banded together to survive makes an amazing discovery, the crash-landing of a little human pilot who will take them on a life-changing journey. The resulting journey is packed with humor, action and friendship. But on it's trek, it also pays homage to the epic scope and beauty of Japanese cinema, to the noble loyalty of canine companions, to the hopeful heroism of the small and the overlooked, to the rejection of intolerance and most of all to the unbreakable boy-dog bond that has launched countless escapades. The film is inspired by Japanese movies. It's a story with chatty canines, furred femmes fatales, a boy aviator, an intrepid school reporter, mutant viruses, mythical isle and step-by-step unraveling of a big human mistake. In fact, "Isle Of Dogs" may owe as much to the storytelling legacy of Akira Kurosawa as the history of stop-motion animation. The story’s invention expanded from a dreamlike spark to the spectacularly detailed creation of 'Megasaki City', the rubbish-geography of 'Trash Island', and a cast of misfit but hopeful characters, both fur-bearing and human. An outsider (the little pilot) arriving in a new land (Trash Island), and an analogue of the timeless tale of, well, in this case literal underdogs striving against blinded oppressors. But the magic of it all sprang out of the details, from the charm and texture of each dog’s story, from the cluttered but artful architecture of 'Trash Island', from the idea that a child searching for his faithful pet might set off a world-altering chain of events. It just seemed the matching form for emotionally fluent, if down-and-out, dogs and a Japanese island lined with society’s strange, funny and downright calamitous discards. It’s a movie about talking dogs. Yet, it’s not a cartoon, it’s a movie. It pushes the boundary in terms of what people think can be done in this medium. In fact, stop motion animation’s century-long evolution has long been more creative than technical. Little has changed in the fundamentals. Though digital cameras and computers have smoothed the process, it’s still a matter of shooting the infinitesimally small movements of 3D objects frame-by-frame, in a painstaking process that nevertheless generates palpable life. So the biggest changes in the form have come in the content, in the kinds of stories one might tell, in pressing the limits of imagination.   "Isle Of Dogs" is a worldbuilding story that by it's very nature breaks animation norms and brings together all the themes, shots, emotional intricacy and adventures. From the intricate puppets and micro-sets arises this living, breathing realm of cold-nosed questers whose plight is intimately relatable.  The feel is of a whimsical legend but the grounding is in the real concerns, big and small, of modern life; friendship, family, humanity’s future and coming together to clean up our messes. It's a story of disenfranchised dogs, but that's also a very real experience for human beings in every country and walk of life. The main characters might be dogs, but they exist in a zone between animals and humans. They've all the dog behaviors we know and recognize but we connect to them through their very human emotions, through their excitement, sadness, anger, hope and their love for one another and their friends. There are disenfranchised people, the throwaways. And the demagoguery of fear, the kind that leads all the dogs of 'Megasaki City' to be put on an island to fend for themselves, is something humans are dealing with as well. It's a very timely theme. The music becomes another layer of a film that, not unlike 'Trash Island', is piled high with bits and pieces that, when combined, seem to alchemically forge a world that feels lived-in and alive in it's fantasia. If any single word seems to define the movie that word might be scale, both for the tiny scale of the intricate stop-motion work and the enormous scale of the story of how the 'Trash Island' pack unites in their trek towards freedom and to discover the potential in themselves. While the sheer number of individual moving pieces, physical and thematic, that make up "Isle Of Dogs" might be staggering, the paradox is that the prevailing core of the film is one of the most timelessly simple relationships on earth.   The animation is wild and the amount of detail packed into every frame is astonishing. It's a beautiful fable that takes you into a world of it's own, a world no one else could have imagined. With it's semi-fictional Japanese setting, it's construction out of comic book-like chapters and it's intercut themes of nature, heroism, technology, rescue and honor, perhaps it's only natural that the film is also reverberate with echoes of Japanese pop culture and some of Japan’s greatest film directors, from Yasujiro Ozu to Kurosawa to Seijun Suzuki, as well as the Japanese monster films of the 50s and 60s, with their climactic disasters. It's as referring to a whole range of Japanese filmmakers and Japanese culture, but Kurosawa is the main movie influence. It’s hard to even quantify Kurosawa’s impact on cinema because he arced so gracefully through a huge pendulum of genres from noir, to Samurai, to Shakespeare, to melodrama. Each seems to transcend the dark side of the modern world with characters of the utmost honesty and humanity. And seen in each is the legendary Toshiro Mifune, whose expressive countenance inspires the look of Mayor Kobayashi. Another branch of inspiration came from two 19th Century, Edo-period woodblock print masters; Hiroshige and Hokusai, whose emphasis on color and line deeply influenced European Impressionists. Their ukyio- artworks capture fleeting moments of pleasure focusing on natural landscapes, far-flung travels, flora and fauna, geishas and kabuki actors. The film collects a wide swath of woodblock print images and the storyboard artists trawled through the extensive collections at 'The Victoria And Albert Museum' in London. Then, by osmosis, the folkloric Japanese style began to merge with the tactile, handmade feel of stop-motion. The world of "Isle Of Dogs" is kind of an alternative reality. It looks and feels like Japan, but it's a slightly dreamier version. That's the beauty of setting the film in a make-up city, in a make-up time; you get a certain amount of artistic license. The blending of old and new is very common in Japan. There are scenes in the film that are very minimalist and wabi-sabi; but then you switch over to the city, which is maximalist and very intense. The film is a scope of Samurai movies and adventure. It's a big movie in every way, but with simple basic themes that anyone can relate to. 

(Release Info London schedule; July 6th, 2018, Curzon Cinemas) "Mary Shelley" "Mary Shelley" tells the story of Mary Wollstonecraft Godwin (Elle Fanning), author of one of the world’s most famous Gothic novels ‘Frankenstein’, and her fiery, tempestuous relationship with renowned romantic poet Percy Bysshe Shelley (Douglas Booth.) The pair are two outsiders constrained by polite society but bound together by a natural chemistry and progressive ideas that are beyond the boundaries of their age and time. Mary and Percy declare their love for each other and much to her family's horror they run away together, joined by Mary's half-sister Claire (Bel Powley.) In the midst of growing tension within their relationship during their stay at Lord Byron's (Tom Sturridge) house at Lake Geneva, the idea of 'Frankenstein' is conceived when a challenge is put to all houseguests to write a ghost story. An incredible character is created, which will loom large in popular culture for centuries to come, but society at the time puts little value in female authors. At the tender age of 18, Mary is forced to challenge these preconceptions, to protect her work and to forge her own identity. This film is about the arc of Mary’s journey transitioning from a young girl into an adult and a creator in her own right, saying; it’s a story of a girl growing up and finding her voice and stepping out of the shadows of her family. She's a free spirit, powerful and very attentive, she picks up on all things, she's curious and very observant. It goes from Mary being essentially a teenager to stepping into womanhood and standing for something that she has created, bucking the conventional norms of her society. Mary is not perfect, and makes questionable choices and mistakes throughout her journey. But she does not give in to disappointment or the agony of loss, she just pushes forward. She's an example of someone who takes the weight of misery and transforms it into a personal and profound work of art. It would have been very easy for her to give up at any point along the way, or to defer to her accomplished parents or brilliant husband, but she decided ultimately to find her own voice.     Percy Shelley is a complex character, a strange blend of charismatic genius, romantic poet, scandalous rebel and wildly irresponsible maverick. Percy Shelley is an anarchist; he wants to be a revolutionary. He’s much more than just this lover, this romantic poet, he's a flawed character. He has so many traits that are wonderful but there are so many that are just devastating for the people around him. He's constantly pursued by his demons and his desire to live a life that's so unconventional in those days. Percy is a man who walks into a room and women swooned. There's a scene between Mary and Percy when first she confronts him about his potential infidelity, it’s the moment in the story where Mary grows up. Lord Byron is broke and brave, unpredictable and passionate. He's an astonishing historical figure. These women, Claire and Mary, are incredibly forward thinking for their age and their time. They're like hippies in the sixties, they're ahead of their time. Relationships are the foundation of "Mary Shelley", providing a framework within which Mary craves out her own identity, pushing back against the expectations of society, the legacy of her parents and the overshadowing prowess of her partner. The various relationships that exist throughout this film, between Mary and her father William Godwin (Stephen Dillane), Mary and her sister Claire, the relationship between Mary and Percy, Claire and Lord Byron, Lord Byron and Percy, Lord Byron and John Polidori (Ben Hardy), Polidori and Mary and finally the interconnecting relationships between all the main characters Mary, Claire, Percy and Byron, underpin this film. Claire’s relationship with Mary is complicated. Perhaps Claire wants to be Mary. She's not jealous of her but she tried to emulate her. If Mary gets Shelley, then Claire will get Byron! But they love each other unconditionally even though they're half-sisters. She's in awe of Mary but she loves and adores her. They're ying and yang. In life and the reality of them is that one is a bit more elegant and erudite and educated and the other is more wild and frivolous but together they created a specific energy. Claire is not as formidable as Mary but without a doubt there's real love between these two half-sisters, they protect one another. The only parental figure in Mary’s life is her father, so when he dismisses all her writing it’s like a dagger to her heart. A man who's so respected in his field not believing in his daughter is so hard for her to take. All she wants is recognition from him. Percy is the one for her. With him she feels that they can take on the world and all that it throws at them, and they will be okay because they've each other. There are times she certainly questions her beliefs. But ultimately, she knows their love, this mad, huge crazy love story, is strong enough to withstand what's thrown at them. Being with Mary is for Percy a challenge, he challenges her to live this life with him. She's incredibly smart, had this fresh sexuality, she has a cheekiness to her and so he fell in love with this vision. Percy looks up to Byron; he's in awe of him. Byron is a star and at the time Percy really respected him and the way he's and what he stands for. Their relationship, if indeed you can call it that, is relatively complicated and quite unbalanced. Claire’s perceptions of it are potentially very different to Byron’s. Claire is a very determined woman, she doesn’t take no for an answer, she knows what she wants and it's Byron and even though it ends badly for her she believes in herself. Claire is not the bimbo of the trio; she's not a dumb little sister, she's very smart and she's fighting to make her mark in this trio. Their's an unconventional relationship, they live as a unit and there's clearly a close-ness between all three of them. Polidori’s relationship with Mary is kind of the antithesis of her relationship with Percy. He's the bad guy.     "Mary Shelley" is an English period film about the story of a young girl growing up who's trying to find her voice, surrounded by superstition that she wants to break free of. Mary was only 18 when she created and wrote 'Frankenstein'. The story essentially subverts everything that we think we know about the early 1800’s in England. We're blown away by the strength and fight that this extremely young woman found within her, and that the life of "Mary Shelley" is a powerful story that feels very relevant right now. Although set in the 1800’s, her journey is so modern and relevant to today’s world. Mary has a story to tell but society is not letting her tell it. Mary is the center of the piece and she's such a strong feminine force within a community. heavily dominated by men. It's split into two facets, Mary and 'The Monster'. Within Mary there's the love story with Percy, her strengths, her disappointments her huge loss and her inspiration. 'The Monster' theme is more about the ghost stories Mary herself is obsessed with, the otherworldliness and ultimately the darkness that 'The Monster' in-habits within her. She grows up in this very conservative culture, where women’s roles were much more rigid and opportunities were extremely limited. But she rose above it, and wrote a story that continues to capture the imagination of readers to this day. She chose to write a book that's so outside of the acceptable realms of literature for women, and created a genre that continues to be dominated by male voices. She writes a book that challenged religious doctrine and raised new ethical questions about the impact of uninhibited scientific experimentation would have on a society. Although they're set in two different times and worlds, Mary’s story does have some very interesting parallels to "Wadjda’s". Both young women were struggling against conservative social structures in order to pursue the lives they wanted to live. They're both women who unapologetically follow their hearts, against the norms and expectations of their societies, without compromise to achieve a personal triumph. What's interesting about this film is that you’re dealing with people who very much rebelled against and revolted against the kind of conformity of the period; these guys were free. Although the film is a period drama set in the 1800’s "Mary Shelley" has a very modern message. It’s about the emancipation of a young girl’s soul and that whatever period you're in you can recognize that desire for freedom. It’s a coming of age story about a girl who through her own life experience is able to express through her writing how the various conflicts and de-mons that she has to deal with comes to the fore. A young woman trying to find and own her voice, and that’s massively universal whether it takes place 200 years ago or two weeks ago. And you know 'Frankenstein' is also the precursor to all of science fiction and was written by a woman. The film is in a period of time of a couple of hundred years ago but you can relate to it now. They're pushing boundaries, take away the costumes and there's something in the film that every 18 or 19- year-old will relate to. Her life story is an important aspect of 'The Frankenstein' legacy, and it's a beloved work to so many people for so many different reasons. The film focuses on aspects of her personal journey that may not be that well known but are key to truly understanding everything that went into her writing. The journey of Frankenstein’s monster reflects many of the tragic events of her own life.     "Mary Shelley" is the remarkable true story of a woman who railed against the constraints of her society to create a story that would outlive the work of her contemporaries, including her brilliant parents and husband, to influence generations of writers and dreamers with an entirely new genre; science fiction. Her own story feels so strangely familiar because so much of it ended up allegorically in 'Frankenstein'. We all know the basic story, but her journey reveals so many layers and deeper philosophical elements that help explain the work’s appeal. A modern-day example is J.K. Rowling. Many of the problem’s that Mary Shelley faced continue to challenge women today. Philosophically the way in which Mary went after what she wanted in her life, without regard to moral or societal limitations, was extremely shocking to the public in her time. Whereas the same behavior would perhaps be more acceptable for a man, public pressure to be chaste and morally pure is still something that women struggle with today. Sadly, even her struggles to publish her book under her own name show a societal reluctance to embrace works of science, horror, or other traditionally ‘masculine’ themes from a female writer that continue to this day. Look at a book like 'The Outsiders'. Sarah Hinton had to abbreviate her name to S.E. Hinton so readers wouldn't know her gender just by looking at the cover. Whenever women write something out-side of the realm of acceptable topics for the gender-romance, cook books, children’s books, we see that there's still a long way to go in unrestricting the potential of the female voice in our society.    

(Release Info UK schedule; Leeds International Film Festival, November 10th, 2019, Hyde Park Picture House, 73 Brudenell Rd, Leeds LS6 1JD, UK, 3:45 pm) https://hydeparkpicturehouse.co.uk/film/greener-grass?screeningID=1924 "Greener Grass" Jill (Jocelyn DeBoer) and Lisa (Dawn Luebbe) live in their perfect homes in their idyllic suburban community with their happy families. Their days are spent in the grocery store exchanging fashion tips and at birthday parties complimenting their neighbor's potluck dips. In this dark comedy of manners, soccer moms Jill and Lisa seek the approval of their friends; at all costs. This surreal world is just on the edge of consciousness; suburbia through the looking glass. Every adult wears painful braces on their straight teeth, couples coordinate meticulously pressed outfits, and coveted family members become pawns in this competition for acceptance. In a day-glo-colored, bizarro version of suburbia where adults wear braces on their already-straight teeth, everyone drives golf carts, and children magically turn into golden retrievers, Jill and Lisa are locked in a passive aggressive battle-of-the-wills that takes a turn into the sinister when Lisa systematically taking over every aspect of Jill’s life. As the women desperately vie for validation, they struggle to maintain pleasantry and normalcy, even when things get weird. And they do get weird. When Jill gifts Lisa her newborn baby in an altruistic gesture, paranoia overwhelms Jill while her fears and anxieties quickly unravel. Meanwhile, The Ref (Londale Theus Jr.), a psycho yoga teacher killer, is on the loose and Jill’s husband Nick (Beck Bennett) has developed a curious taste for pool water. That’s just the tip of the gloriously weird iceberg, a hilariously demented, 'Stepford Wives'-on-acid satire destined to be an instant cult classic. These girls are idiots! They might not have seemed like your typical baseball-cap-wearing, video-village-lurking characters. Jill, in head-to-toe pink with her son Dan (Sutton Johnston) by her side, a golden-retriever wearing khakis and a 'Purple Heart' pinned to his polo. Lisa, with a soccer ball pregnancy tucked up under lavender tulle, both of them wearing braces on their teeth. Years ago, they're put on a house team together at 'The Upright Citizens Brigade Theatre' in New York. They bonded one chilly night when all 'The East' coasters had left early and the two girls are putting the chairs away. There was one piece of a black-and-white cookie left and, like an overplayed 'My Fair Lady' CD skipping, they entered a loop of 'No, please, you've it' and so on. Neither of them ate that piece of cookie that night. And after only a few short half-hours, they threw it away together. And it was at that moment the girls would be incredibly productive working together. Now, Earth to Little Helen (Dot Marie Jones). Would a couple of idiots choose to triple-threat their future? A movie that stars children, a baby, and a seven-month-old puppy. A movie where we chose not to show any vehicles other than golf carts. A movie that co-stars a soccer ball with half a dozen costume changes. And most importantly, a movie featuring so many of our aging friends that we've to make a 'Hail Mary' decision to give every adult in the damn thing braces to look younger. But, alas. Dot Jones can say whatever she wants because she’s a 15-time world arm wrestling champion and we've delicate elbows. But just like non-idiots George R.R. Martin, JK Rowling, and Rand McNally before, they've created a world with it's own logic, hand-drawn maps, and board games based off it. This world is a demented version of suburbia. And who better to satirize oh-so idyllic, polite America than these two Midwestern middle girls? Suburbia has never been so hilariously absurd as it's in "Greener Grass", where two eccentric housewifes are driven by her eagerness to please. In a residential suburb with a killer on the loose, the two housewives compete to have the best children, the best husband and, above all, the most beautiful teeth. In this stinging satire on 'The WASP Community', a baby is given away like a piece of clothing and a child morphs into a dog without anyone being shocked. Politeness is taken to extremes and the realm of appearances reaches the point of lunacy. An overly colorful, deliciously warped version of suburban America that feels like 'The Stepford Wives' at a lawn party and then snuck off to do acid, the film plays soccer-mom frenemies in deranged competition with one another. Golf carts, braces, golden retrievers, soccer balls, and yoga teachers all play way bigger roles than you’d expect. This 'Desperate Housewives' on acid throws a nasty blow at the clichéd image of American suburbia. "Greener Grass" fully commits to a demented version of suburbia as the film scrutinizes the willingness to endure extreme discomfort in exchange for conformity. A deliciously twisted comedy set in a demented, timeless suburbia where every adult wears braces on their straight teeth, couples coordinate meticulously pressed outfits, and coveted family members are swapped in more ways than one in this competition for acceptance. "Greener Grass" explores one’s willingness to endure present pain in exchange for future validation; or at least a perfect smile. The film confirms a gift for outrageous absurdity in this impressive dark comedy full of unsettling behavior.

(Release Info London schedule; August 25th, 2019, Cineworld Leicester Square, 5-6 Leicester Square, London WC2H 7NA, United Kingdom, 6:30 pm) http://www.frightfest.co.uk/2019films/index.html#sunday "Ready Or Not" "Ready Or Not" follows Grace (Samara Weaving), a young bride, as she joins her new husband’s Alex Le Domas (Mark O’Brien) rich, eccentric family in a time-honored tradition that turns into a lethal game with everyone fighting for their survival.   In "Ready Or Not", the stakes are high as a newlywed literally fights for her life, trying to survive her in-laws in a deadly game of hide and seek on her wedding night. Grace is a spirited young woman from modest beginnings who has been wooed by wealthy Alex. Their 18-month courtship is culminating in a marriage ceremony at his family estate, where the mansion is imposing and so is 'The Le Domas Clan', headed by Alex’s parents Tony (Henry Czerny) and Becky (Andie MacDowell). With a fortune built on board games, this eccentric family is bound by time-honored traditions. The rich really are different, Alex’s brother Daniel (Adam Brody) cautions Grace before she heads down the aisle. The wedding goes off without a hitch, but the carefully planned celebration has a detour mapped out for the bride. Grace, still in her wedding dress, unsuspectingly joins her new husband and in-laws for a midnight gathering to play what they describe as a traditional family game. As a new member of the family, she must draw a card from a deck to determine which game they will all play, as danger lingers in the air, Grace unsuspectingly chooses the rare 'Hide And Seek' card. With only a few moments head start, Grace is to leave Alex behind and stay hidden and quiet somewhere on the premises. The others fan out to find her before sunrise. Soon Grace makes the terrifying discovery that she's being hunted in lethal blood sport. Pushed to her limits physically and emotionally, Grace becomes hellbent on not only staying alive, but attempts to change the game forever by fighting back in any way she can. 'The Le Domas Family' is dysfunctional and deadly. On day one, with a bow-and-arrow being pointed at you, followed by a face being bashed in. Nice to meet you! The film places a young woman into next-level conflict with her new in-laws, a nocturnal fight for survival. Grace is the bride whose shocking discoveries about her new in-laws galvanize her into action. The weapon of choice for Grace in this scenario is, whatever she can get her hands on; yielding some nasty and funny surprises. The audience’s entry into the family’s bizarre backroom rituals comes through the story’s fish out of water heroine, Grace, whose unfortunate destiny is to play the family game to determine her fate. You pick the card and that's your fate, but the card also picks you. There’s a little underlying message that the devil is seeking out people who are pure of heart, and Grace is just that. He can’t wait to get rid of her. But the devil didn’t count on Grace fighting back. There's a fearlessness to the way that she approaches all of her performances, and this movie is going to live or die. With Grace we're turning on it's head the horror genre trope of the final girl; where in many horror films, you've a cast of innocents stalked by one psycho and one final girl remaining to challenge the killer. But in "Ready Or Not" Grace is the only intended victim, one whom several people are hunting. In a lot of horror films women in danger are crying or screaming. This film turns that on it's head and make Grace a bad-ass. What drives her to fight back to survive until the sun rises isn’t fear, although that definitely enters into it. Her fighting back has to be part of her personality as well as her actions. Even when Grace is in her most vulnerable and scared moments, there’s a confidence in the way that she approaches it which maintains believability. She has a choice to make. Is she going to be able to rise to the occasion? Is she going to be able to survive? The journey that Grace goes on pulls you in. Filthy rich and fully loaded, Becky is the matriarch of 'The Le Domas Clan' dominant and willing to pack a punch. She has a cool head and is able to keep things on track as things horribly spiral out of control. She’s very determined to see this through and also try to reestablish a relationship with her son, Alex. She's devoted to her family 100 percent, and they're who they're. She’s very protective of her family and wants things to work out; there's a deep love that she has for her son Alex, which grounds the story. Becky has a dark wit, but she's also the responsible one. No one plays dirtier than the ridiculously rich, and Tony Le Domas is no exception. He's the patriarch of 'The Le Domas Family'. Tony and Becky’s relationship is, he’s a little bit of a hothead and she’s constantly trying to keep him on track. There are things he will not let go. The camera might not be on Tony, and we might not have conversations with him, but he brings things to Tony in the background of a scene; it's so clear to him what the character called for. While 'The Le Domas' parents are reasonably secure in their perches, the next generation has to be a more conflicted group. Daniel is a dark and twisted son, who still carries with him childhood traumas from a previous family game gathering. Daniel brings a sense of humor to the story, so it isn't just darkness; he's very aware of not being one-note. The question within Daniel is there a good person in there? In "Ready Or Not", there’s a nice blend of what’s said and what’s not said. Alex is Grace’s newly minted husband. He's a prodigal son. He’s torn between his love for his family, his love for Grace and this horrible deal with the devil his family has made. Alex is the most complicated character in the story. He’s a man who thinks he can have everything without sacrificing anything. Alex definitely has his own moral compass. He's already conflicted when we meet him because he doesn’t really know how to broach the subject of his family’s traditions to Grace. Also, he’s used to the lifestyle that his family has provided for him even though at the same time he shuns it. There are moments where you see him fighting what’s underneath what he’s presenting. Emilie (Melanie Scrofano) is Daniel's over-energetic and deadly sister. Her character is a combination of clenched jaw and wide-eyed drug-fueled hyperactivity who has the heart of a sparrow. She's sort of the black sheep of the family. She tries her best and fails spectacularly; that’s why she’s turned to drugs. She’s married to Fitch Bradley and they've two children who are little brats. But she still wants to do right by her family. Charity (Elyse Levesque) is Daniel's wife. In this family game, tradition calls the shots, and Charity doesn’t fit into any one genre. Fitch (Kristian Bruun) is Emilie’s husband. He's a former frat boy, a little bit past his prime, who's very happy to be part of a very, very rich family. But he's not necessarily willing to make sacrifices. When he’s assigned an old-fashioned crossbow as his weapon, it’s, who’s supposed to be able to do anything with this? Proving that some family traditions are deadlier than others, Aunt Helene (Nicky Guadagni) is bloodthirsty and vengeful. She's a very bitter older woman; Aunt Helene is frustrated because she feels she could have been head honcho of the family. But when she was a young woman, she was led by her heart instead of by loyalty to her family. It’s not every movie you get to have a battle axe on set. Stevens (John Ralston) is the sinister head butler. He's an expert cleaner; in more ways than one. Stevens runs the show and is well aware of 'The Le Domas Family’s' idiosyncrasies. Once the wedding night doesn’t go as planned, he will go to any length to protect the household. Every character has a very fun death. Everyone getting bloody and there’s blood everywhere. All the deaths are devilishly put together. It’s absolutely disgusting. The kills encapsulate the tone of "Ready Or Not". They’re brutal and violent; yet at the same time you can’t help but giggle a little bit. Another iconic character is Grace's wedding dress. More than any other costume in the film, Grace’s wedding dress externalizes and expresses all that she fights through on this night of fright. The dress represents the course of the movie as a whole; we've always discuss how "Ready Or Not" starts grand and classical before it degrades and degrades. The camera moves get quicker and the music gets crazier. The dress is gorgeous at the start, but by the end? In watching the dress devolve and break down with Grace, audiences will see the garment mimic other memorable, and malleable costumes for genre movie heroines such as Carrie White’s prom dress in "Carrie; Tree Gelbman’s long-sleeved T-shirt in "Happy Death Day"; and 'The Bride' track suit and violently disrupted wedding dress in "Kill Bill". When you see Grace for the first time, you see the dress, and in it she ends up going to extremes. In the movie, there are 15-17 different looks all with the same dress in various stages of disrepair for Grace. Since Grace is, as she readily admits, a woman from humble beginnings marrying into a wealthy family, she has grown up idolizing someone like Kate Middleton, and now dresses as who she thinks the family would want to see. The dress needs to have a rich undertone and not be the classic off-white movie white. It's a warm cream color, almost yellow. The dress is a road map of what transpires with Grace. Grace sneaker shoes area sort of reference to her past life, and to show how down-to-earth and casual she's. It's also the color of optimism, which Grace must keep within her. As the night darkens and Grace is plunged into kill-or-be-killed violence, the dress itself takes on darker hues. She's got the same thing on, but it’s gotten tattered and bloody and so has the corset she wears underneath. Grounding this fantastical story of a devil-worshipping family can only be done with perfectly ominous and creepy locations. To cement an authenticity to the film,"Ready Or Not" uses practical locations and physical effects. By not relying on typical visual effects. A lot of what you’ll see in the movie is done practically, which is fun to kind of roll up your sleeves and get your hands dirty, literally, on this movie. The requirements of the action-packed and highly physicalized script necessitated that not one, but three locations be pressed into service to embody 'The Le Domas Estate'. Oshawa, 'Ontario’s Parkwood Estates' is one of Canada’s last remaining grand estates and was once the private residence of 'General Motors Of Canada' founder R.S. McLaughlin. The film uses 'Parkwood’s' surrounding lands for the wedding ceremony sequences, and a number of it's 55 rooms are given over for filming "Ready Or Not" interior scenes. The historic 'Casa Loma'; the only full-sized castle within range of 'North America', was built in 1911 at a cost of some $3.5 million and remains a top destination for visitors to the city. 'Casa Loma' afforded the "Ready Or Not" troupe winding and ornate interiors for deadly pursuits; and the family’s board games ethos can be seen as further manifesting in the form of 'The Clue-Style' trappings. The camera moves around and follow characters, fast!, through hallways and into rooms. So even though you don’t have the comfort and the control of being on a soundstage, there’s a lot of creativity that results. “Ready Or Not" is a little bit outside the box. This film has an unique blending of comedy, adventure, and horror, with an eye for original screenplays that are comparably distinctive. It's about the idea of taking a conventional story to the extreme. You take something that’s as familiar and relatable as marrying into a family and give it a genre bend in a playful way, but also in a dangerous and extreme way. The stakes are deadly in "Ready Or Not". It's very character-driven. The movie is terrifying but there’s also a hint of mischief in it and a hint of the absurd. It's a female-driven thriller, both contemporary and timeless. It's difficult to understand the tone of this movie and know to balance the irony and comedy with horror. Crafting a good scare is actually similar to crafting a good joke. You set it up and there's a punchline. The look and feel of the family’s classic board games, and the sinister backstory of 'The Le Domas Dynasty' is the extra touch the film needs. The film responds to the classic games feel dating back to carnivals, with a sense of history. There are secret passageways. The rumor is that there’s a ghost. It’s beyond opulent. Many body bags and many blood bags. Keeping the physical element of props and stunts raises the stakes a bit more, when you actually have the blood there. It puts you more into the world you’re playing. There's a light version make of rubber, and a much heavier version make out of metal. You can use mop oil, shaving cream, your own saliva; that’s the magic trifecta. But she cautions that when making a genre movie. Don't send things to dry cleaners. It never goes over well; they will get freaked out, no matter how well you know them. This movie is such a mix of gags, and great character stuff and that’s what makes the movie so exciting.