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My name is Nick Psinakis and I'm independent filmmaker that recently made a $10K indie feature film comedy which is now streaming on AMAZON PRIME. In addition, we had a limited theatrical release in LA.     We were fortunate enough to have appearances by Oscar Nominee RYAN O'NEAL (Love Story) as well as MINDY STERLING (Austin Powers, The Goldbergs).    Below is a link to our trailer.  http://bit.ly/MyBestFriendsFamous_Trailer_on_YouTube We are a micro-budget operation and are reaching out to the film community for help in spreading the word about our little movie. I hope you enjoy it!

There are two things I love in life. Films. Football. To be precise, West Ham United. So when I saw a FILM that was set a FOOTBALL stadium, to be precise, WEST HAM UNITED’S old stadium I was so excited. My life was made. The only thing that could go wrong was how bad the film was. And fuck me, it went downhill as soon as the film started to play. A right pile of shite.  (for context with the rest of this review, West Ham are a terrible football team, just awful. So when I say, the film was as bad as the football that is normally played there you’ll get the joke) There’s a Russian revolution gone on. Two brothers are the leaders. One of the brothers realises its gone too far and leaves with the help of the British government and gets a new identity. Pierce Brosnan, he turns into Pierce Brosnan. We’ll come back to that. Dave Bautista is an ex army who is visiting his niece in London, he’s got tickets for the West Ham game, the last game to be played at the stadium. They go to the game together. Now remember the other brother, the one who isn’t Pierce Brosnan, well he is London to capture his brother. For some reason, instead of just getting him at his house, he decides to capture him at the football game. I know right, makes no sense. So he takes over the control room and tries to locate where he is sitting using some special face-recognition technology. At the same time, Drax’s niece goes missing so he goes up to the control to try and find her (the terrorists have killed the phone lines) and comes face to face and ends up killing them to save his niece.  📷Originally posted by gamorasnebula Now there’s a few stupid problems with the film that I can clarify as a football fan: 1) No way would Dave just be able to buy tickets to the last game at the stadium if he wasn’t a season ticket holder, or had a membership. Seeing as he hates England and football, its highly unlikely he would have one.  2) Erm, why are the away fans sitting in the old chicken run? We all know that they sat in the Trevor Brooking lower stand.  3) Honestly when I go to football stadiums I can’t even take the cap of my water bottle into the stadium. Seriously I have to take that off. Christ knows how them Russians got them flares into the stadium. 4) There is no way West Ham fans would let that massive flag block their view from the match. Any fans bring one of them into the stadium, they’d be bottled. 📷Originally posted by ultragooner89 This is the CAPTAIN. He’s like 5ft 4. Trying to take on a 6ft 4 bloke. What do you think the fans would do? Anyway. The film had a budget of £20 million, apparently. Which, for a Sky original film is a big budget. But I’m not too sure where that money was spent because the special effects were awful. It was so badly done. The shots were shaky, the green screen was obvious, the colour grading was horrible. It was so messy, more messy than West Ham’s defence. Ayo. The whole plot doesn’t really make sense. I have no idea why the Russians don’t grab the guy when he is at his home. If they know he will be attending the football game, they surely must know where he lives. But instead they do this where they are easily going to attract police attention. Which in the end they do. God its awful.  They acting is pretty woeful too, although I think this mostly comes down to the shoddy characters than the actors themselves. Dave Bautista neither has the charm of a Bruce Willis, nor the cold wit that Arnold Schwarzenegger so effortlessly oozes into his action roles. His niece, played by Lara Peake, who to be fair is pretty decent, but she isn’t from London and her accent is awful. You’re telling me the casting directors couldn’t find one East London actress? I think Pierce Brosnan lost a bet, or the director has got some dirty secret about him because I don’t know why he is in the film. It’s quite obvious he is the brother because we see him for one shot at the start of the movie and then not again until the final act of the film. And poor Amit Shah, who whilst likeable, falls foul of the racist abuse that comes from the white working class. It’s a classic trope that always pops up in football films. And whilst the writing uses his character to make fun of his religion, it also creates a barrier between the white working class as the film pokes fun out the far-right stereotypes that we are so use to seeing. White people running scared when a Muslim shouts ‘Allahu Akbar’.  Are there any good things about this film I hear you cry? Well, it was nice seeing the old stadium again. But thats purely from a West Ham point of view. It was good that the old bill punched that guy who called football, soccer. But thats purely from a football point of view. Oh there was a good scene when Dave is having a fight with a Russian and sticks his head in the boiling fat fryer and his face burns off. But thats purely from a sadistic point of view. 0/5  You know when I first started doing this I had a code for what rating a film should be. 1 to 5. 5 being to the best. 1, being the worst. I didn’t even account for 0. I didn’t think it possible for a film to not even score at least a 1 rating. All I can say is well done for creating a big pile of rubbish. Final Score 1 vs How many hours I’ve lost watching this, 1 and a half. 

(London Film Festival, October 13th, 2018, Prince Charles Cinema, 18:15) "Bad Reputation" A look at the life of Joan Jett, from her early years as the founder of 'The Runaways' and first meeting collaborator Kenny Laguna in 1980 to her enduring presence in pop culture as a rock ‘n’ roll pioneer. When a precocious 13 -year-old girl in a sleepy suburban town put a 'Sears Electric Guitar' at the top of her Christmas list in 1971, no one could have predicted how the gift would change the course of history. Joan Jett wants to make some noise. She wants to start a band. An all-girl band. Never mind that the only viable path forward for aspiring female artists in the male-dominated music industry was as a singer-songwriter on an acoustic guitar. Jett wants to plug in, and nothing is going to stop her. Following the break- up of 'The Runaways', Jett met songwriting partner and producer Kenny Laguna, and formed 'Joan Jett & The Blackhearts'. After being rejected by twenty three labels, Laguna and Jett formed 'Blackhearts Records', selling records out of the trunk of Kenny’s Cadillac. Then, 'I Love Rock n Roll' went number one all over the world. The friendship and tenacity exhibited between Jett and Laguna proves to be both entertaining and inspiring. Jett ’s relentless passion for music and her revolutionary spirit has allowed her to defy great odds and find success, credibility and respect among her peers. Joan Jett is an originator, an innovator, and a visionary. As the leader of the hard- rocking 'Blackhearts', with whom she has become a 'Rock And Roll Hall Of Fame' inductee, she's had eight platinum and gold albums and nine Top 40 singles, including the classics 'Bad Reputation", 'I Love Rock 'N' Roll', 'I Hate Myself For Loving You', and 'Crimson and Clove'. Her independent record label, 'Blackheart Records', was founded in 1980 after she was rejected by no less than 23 labels. 'Blackheart' is one of the longest running indie labels and continues to give voice to new bands. Jett has acted in movies and television, including 1987's "Light Of Day", and in a Broadway musical, 'The Rocky Horror Show'. She has appeared on such television shows as 'Oprah' and 'Law and Order'. As a producer, she has overseen albums by 'Bikini Kill', 'Circus Lupus', as well as 'The Germs'. Her music has become a permanent force in mainstream culture. A version of 'I Hate Myself For Loving You' was reworked for 'NBC's Sunday Night Football' theme song. Her music is heard in countless films and TV shows including 'Easy-A', 'The Runaways', 'Shrek' and 'Baby Mama'. Since co-founding 'The Runaways', the pioneering all-girl punk quintet, at age 15, Jett's determination and drive have kept her in the public eye. Jett and 'The Blackhearts' released their latest record, 'Unvarnished', in 2013 and continue touring the globe to throngs of adoring fans. Joan Jett has spent her lifetime breaking barriers and challenging expectations, this is, after all, a woman who's both a spokesperson for 'PETA' and a devoted supporter of 'The US Military'. She's fought hard for all of her historic accomplishments, yet she remains humble and appreciative.   Kenny Laguna has been in the music industry as a musician, songwriter, singer, and producer, for nearly five decades. His resume is as diverse as his talents, including 'Bubblegum', 'Punk Rock', 'Indie Rock', and 'Blue-Eyed Soul'. He has produced the soundtrack to 'The Andy Warhol' movie "Lonesome Cowboys". He's Joan Jett's longtime producer, songwriting partner and partner in their label, 'Blackheart Records'. Starting at the tender age of 12 years old, Kenny was playing keyboards for New York radio high school hops, for twenty dollars a day, when he was recognized by an industry bigwig. This led to other doors that Kenny kicked open, and eventually he found himself producing and playing in 'Bubblegum' bands like 'The Ohio Express'. By 1972, Kenny had played and sung on over '50 Billboard Top 40' hits. After the demise of 'Bubblegum', he was given the opportunity to produce for 'The Who's' label in London, which would prime him for the next phase, 'Punk Rock'. Soon after that, Kenny was asked to help write and produce six songs in 8 days with a young singer named Joan Jett. Her former band, 'The Runaways', had broken up, but they're still contracted to do a project that was yet unfinished. Kenny and Joan immediately found they're kindred spirits, and have collaborated on every Joan Jett album and hit ever since. Kenny wanted to help Joan get a record deal, so they submitted 'I Love Rock N' Roll' and 'Bad Reputation'. They're turned down by every  one. Despite this, they didn't give up; Kenny and Joan manufactured the record, 'Bad Reputation' and sold the album from the trunk of 'Kenny's Cadillac'. This was the beginning of 'Blackheart Records'. 35 years later, 'Blackheart' is still the home to Joan Jett and 'The Blackhearts'. Kenny served as 'Executive Producer' of 2010's, 'The Runaways', bringing the story of the band to life on screen. After 35 years of creating music together, he and Jett are still touring the world, writing and recording new music. Kenny Laguna's vast career is a testament to his talents and tenacity. His body of work is as diverse as his talents. His lengthy career has been driven by passion for what he loves to do best; create music.   Carianne Brinkman spent her first 5 years traveling all over the world with rock n roll bands and then retired from the tour life to start kindergarten. Having grown up in the music industry, she was destined to follow in the formidable footsteps of her father, Kenny Laguna, a music business legend, and her adopted aunt, Joan Jett. After attending college, she joined the family business, 'Blackheart Records', and began to plot how to bring the label into a new era. 'Blackheart' was started after 23 labels rejected Jett and Laguna, before they found success with 'I Love Rock n Roll'. Brinkman rebranded 'Blackheart'' to reflect Jett's authenticity and rock n roll spirit. The label has become one of the longest running and most respected indies. By bringing Jett's catalog into the digital space, and focusing on Jett's unique brand and influence, Brinkman helped propel Jett from rock star to icon. In addition to infusing new life into the over 35 year old label, by signing and championing unique and diverse artists, she has been an integral part of Joan Jett's management team and was key in ushering in a new era for Jett. Jett credits Brinkman as the secret to her current success. After 13 years as 'SVP Of Blackheart', Brinkman began to expand into film. She was an associate producer of the 2010 film, 'The Runaways'. "Bad Reputation" chronicles the life of Joan Jett, from her early teenage years as founding member of The Runaways to her enduring presence over four decades later as a rock ‘n’ roll icon. Joan is so much more than "I Love Rock 'n' Roll." It's true, she became mega-famous from the number-one hit, and that fame intensified with the music video's endless play on 'MTV'. But that staple of popularity can't properly define a musician. Jett put her hard work in long before the fame, ripping it up onstage as the backbone of the hard-rock legends 'The Runaways', influencing many musicians-both her cohort of punk rockers and generations of younger bands-with her no-bullshit style. The film gives you a wild ride as Jett and her close friends tell you how it really was in the burgeoning '70s punk scene, and their interviews are laced with amazing archival footage. The theme is clear, even though people tried to define Jett and keep her stuck to one hit, she never compromised. She will kick your ass, and you'll love her all the more for it. The film shows the evolution of a young girl with a radical notion that girls could play electric guitars into a woman whose place in history will be marked by perseverance, authenticity and incredible rock n roll. Jett’s activism and commitment to all living beings are captured in her work on behalf of animals rights, travels to warzones to entertain the troops. Her humanity and candid reflections reveal a side seldom seen of the seminal rock star. Joan Jett is the essence of rock and roll. A dark and dingy club filled with the hormonal roar of longing and desperation and fuck yes. A stadium filled with hundreds of thousands of fans with their fists in the air. A dyed in the wool musician working on a song alone in her bedroom who won't let a lick or lyric rest till it's just fucking right. A machine who has such perfect timing that she don't need no stinking click track. An alley cat whose iconic howl is either mother's milk or a call to arms or both for millions of people all across the world. An atomic, three chord burst of guitar that's a thousand punches in the gut. A poet who speaks screams whispers of things that go bump in the night with such insight and finesse that the pain somehow just goes away. The highest of all hi-priests and priestesses who preside over a ritual that's still the gold standard for all art forms when it comes to moving masses. A fight against injustice of every stripe. A voice for the voiceless. A champion of champions and defender of the underdog. A feminist manifesto in the flesh. A paver of ways for little girls all acrothink pink was their color and even for those who did. A defiant, never-say-die general and foot soldier who tore down the old world patriarchy so that little girls could plug in and play it loud.

Hounds of Love (2016) Starring Emma Booth, Susie Porter, Ashleigh Cummings and Stephen Curry. Written and Directed by Ben Young. What a dark horse Australia is proving to be when it comes to filmmaking. I first discovered this when I was introduced to The Babadook a few years ago after complaining to my brother I hadn’t seen a decent horror in a while. Now, I have found this little gem and was surprised to find Australia is giving us a whole other dimension to abduction based thrillers. Hounds of Love tells the story of teen Vicki (Ashleigh Cummings), struggling to come to terms with her mum leaving her dad to ‘find herself’. As a result, she plays out her inner rebel and sneaks out at night to a party one evening. After a moment of naivety though, she is abducted by serial rapists/killers Evelyn (Emma Booth) and John White (Stephen Curry) after foolishly accepting a lift and a promise of drugs. Don’t get me wrong, it still has all the typical elements of an abduction movie - an escape attempt that is thwarted as it comes too early in the film to pay off, agony that is further prolonged by the hard-to-watch ordeal (very tactfully shot), chains and blood, local law-enforcement who don’t care, the inevitable scenarios of sexual abuse, which became over-familiar (and therefore devalued) in the Hostel heyday of torture porn. However, this film is different from the rest. In many other ways, it plays against expectations, which of course keeps you gripped. Rather than the basement cage in a remote house of most abduction movies, Vicki is very loosely chained in a back bedroom, in a bungalow, on a regular street, and the racket she raises often alerts nosey neighbours. Accustomed to cracks in relationships from her parents’ break-up, she realises that the needy Evelyn, who has children that don’t live with her and dotes on a child-substitute dog, is exploited by her perverse, domineering, inadequate partner. A monstrous master in his own home, John is a little fish in a bigger crime pond (people are chasing him for money), taking frustrations out on his victims and his wife alike. Vicki sees an opening and plays on Evelyn’s insecurities with the moody teenager skill she has developed pushing her own mother’s buttons. As a result, very quickly as a viewer you begin to ask all the questions the Director hopes you will – will Vicki’s plan work? Will she actually be able to negotiate? Oh god, is she actually going to make it out? The fact she is so painfully close to the perfectly populated street (excellent storytelling) makes it all the more enthralling. In my past posts, I have spoken about true horrors having a huge element of psychological trauma. What works in this film is that John’s victims know exactly who he is and what he wants, but his wife lies to herself about it until he crosses a line, which makes Evelyn waver in her loyalties. Again, this makes us question does Evelyn even have the mental capacity to believe Vicki’s plea? Abduction narratives are always tough to watch and this one is no different. However, Young’s storytelling is proof he cares about audience satisfaction and how realistic we believe it to be. After all, the minute it becomes too farfetched we switch off. Vicki’s abduction has plenty of uncomfortable scenes, but it isn’t just blood, gore and chains. Most of the harrowing scenes take place behind closed doors, leaving it to us to use our imagination. That alone is enough discomfort for any reasonable person. It doesn’t surprise me to see this film is based on fact, relating to similar abductions that happened across Perth in the ‘80s. Emma Booth and Ashleigh Cummings are outstanding. In most films like this, female characters have to be foolish and irrational for the narratives to work, but here we see why these intelligent women (Evelyn is unnervingly good at luring victims into the car) ignore their own best instincts to get into a position where John can exploit them. I think what was missing for me was the motive. I wasn’t sure why this deranged couple did this to young girls, but my first thought was something to do with using them to reproduce, because of the storyline of Evelyn not having her children with her. However looking back, a couple capable of committing such crimes probably don’t need a reason. The most thrilling scene for me was right at the end, when Vicki is a matter of feet away from her own mother, but being kept quiet under a knife to the throat. Conveniently, Vicki and her boyfriend have code breaking skills, whereby simple spelling errors in letters can reveal a message. Earlier in the film, Evelyn had forced Vicki to write a letter to her mum to throw her off the scent but this handily led her to her best chance of survival. Does she get out??? Watch it!!! You won’t be disappointed.

(London Film Festival, October 7th, 2019, Odeon, Tottenham Court Road, Central Cross, 30 Tottenham Court Rd, London W1T 1BX, UK, 15:10 pm) https://whatson.bfi.org.uk/lff/Online/default.asp?BOparam::WScontent::loadArticle::permalink=jojorabbit&BOparam::WScontent::loadArticle::context_id= "Jojo Rabbit" "Jojo Rabbit" is a 'World War II' satire that follows a lonely German boy Jojo Betzler (Roman Griffin Davis) as whose world view is turned upside down when he discovers his single mother Rosie (Scarlett Johansson) is hiding Elsa (Thomasin McKenzie), a young Jewish girl, in their attic. Aided only by his idiotic imaginary friend, Adolf Hitler (Taika Waititi), Jojo must confront his blind 'Nationalism'. Based on Christine Leunens novel 'Caging Skies', first published in 2004, the story begins in fictional 'Falkenheim'. In this quaint town under 'Nazi' rule, the end of the war is rapidly approaching. However, in 10-year-old Jojo’s bedroom, anticipation is mounting. For today, he finally has the chance he’s been waiting all his 10 years for, to join The Hitler Youth'. To Jojo, so credulously gullible and susceptible to the pervasive propaganda that surrounds him, it feels like his first opportunity to do something big and important, to help protect his single mother he loves beyond anything, and maybe even to feel like he belongs. To sooth his insecurities, Jojo brings along an outsized imaginary friend; a clownish, hare-brained apparition of Hitler, who with all the emotions of a child dispenses advice Jojo might have sought from his absent father. With Adolf in his head, Jojo feels invincible. But in fact, Jojo’s troubles are just beginning. Humiliated and nearly decapitated in 'The Hitler Youth' camp, his frustration only grows deeper. Then, Jojo makes a discovery that slowly, yet radically, transforms how he sees the world. Chasing what he believes to be some kind of phantasm, he finds instead that his mother has been hiding a 'Jewish' girl in the wall at terrible risk to them all. The shock nearly undoes him, here's the danger he’s been warned about living in his own home, under his own nose, mere feet from where he regularly confides in his imaginary friend Hitler. But as Jojo endeavors to keep tabs on the mysterious Elsa, his fear and vigilance grow into something even Adolf cannot seem to fathom. For the more he gets to know Elsa as a person, the more she becomes someone Jojo can’t imagine allowing anyone, including his 'Nazi' idols, to harm. While "Jojo Rabbit" is very much a comic allegory about the costs of letting bigotry take hold, whether in your bedroom or a nation, Jojo also takes a very real journey as a child coming-of-age. For in finding the courage to open his mind, he discovers the power of love to change your path.   Jojo is a very, very conflicted boy, so that's a big challenge. When you first meet him, he truly believes all the propaganda he’s seen. All Jojo knows about 'Jews' is from propaganda and the teachings at school which says they've got horns and devil tails and they're monstrous creatures. But you also see that he’s just a sweet kid who doesn't really know what he's talking about! He’s looking for something in 'The Nazis' that's missing in his life. His father is gone, and his mum is busy with things she doesn’t talk about, so he has no one except his imaginary friend, and he imagines that the only one who can really help him is Hitler. Jojo is a mix of blind gusto and untamed emotions in stride. He has that sparkle in his eye and the extreme enthusiasm for life. He mixes anger, anxiety, discovery and other subtle emotions into the humor. He reminds people of the harrowing history of bigotry, and how deeply it can affect not only entire societies, but especially children. Jojo’s awakening seemed to mirror how the world reacted after 'WWII'; stunned by a collective human loss of innocence, then uniting to affirm that hateful ideas would never again be allowed to take hold like that. As bizarre and unexpected as it's to interact with Hitler, some of the most demanding scenes come as Jojo wrestles with how to react to Elsa, who he truly believes has devilish powers. Yet, even Jojo cannot keep up his suspicion of Elsa for very long. While at first, he merely keeps her secret for fear of his mother getting arrested, the more he gets to know Elsa, the more he can’t resist what starts to feel like an authentic, eye-opening friendship that's rocking his world. In many ways, Elsa has all the bravery and sense of dignity Jojo only dreams of having. In spite of everything he thinks he’s supposed to think, Jojo really starts to like her. It’s quite confusing for him; how can he have such affection for Elsa despite his strong beliefs? It makes him question everything, even Hitler.  Elsa is basically living in a cave, almost starving and all alone, so it's difficult to find such strong feelings and go on pro-'Nazi' rants at her. At first, you don't really know if she's a monster or a ghost. You don't know who she's or what her intentions are.  You’re in Jojo’s point of view, so you start off with a fear of Elsa. But then, like Jojo, you see more and more of who she's and all that she's going through. As Elsa and Jojo start to see each other more clearly, outside of all the propaganda that surrounds them, they develop a relationship almost like a brother and sister. She's mysterious to entice Jojo to want to know more, but with a humanity that strips away Jojo’s illusions and confronts him with the discomfiting fact that everything he’s been led to believe about 'Jews' is all a terrible lie. Elsa’s situation is so vulnerable the whole way through, trapped in this small crawlspace, but the film wants to counter that by showing that Elsa is actually stronger and fiercer than anyone. She's a girl who isn’t a victim at all and definitely doesn’t see herself that way. The character of Elsa represents nothing less than the hope and resilience of humanity when confronted with unbridled hate and evil. She doesn't want pity, she just wants to be able to live her life without all this crap happening. Elsa transforms Jojo in spite of himself. The film likes the dynamic where, contrary to what Jojo expects, Elsa holds most of the cards and calls the shots. But also, they're in a 'Catch-22' that binds them together because both face terrible stakes if their secret gets out. Also vital is creating all 'The Nazis' in the film to be ridiculous and mockable, full of all the same flaws and quirks as the rest of us, which makes their participation in the fascist realm that much more of a chilling warning of how easily malevolent ideologies can take root on a large scale. This is especially true of Jojo, who initially reveres what he sees as Hitler’s might, until he sees in Elsa and his mother a principled strength that's so much greater. It's important that Jojo be clearly seen as a 10-year-old-boy who really doesn’t know anything. He just basically loves the idea of dressing in a uniform and being accepted. That's how 'The Nazis' indoctrinated kids, really, by making them feel part of this really cool gang. It's about the idea of seeing the madness of war and hate, something grown-ups very much manifest, through the eyes of a child. Adults are supposed to be the people who guide children and raise them to be better versions of ourselves.  Yet when children look at us in times of war, adults seem ridiculous and out of their minds.   You’ll go to Morocco, take up lovers and make them suffer, look a tiger in the eye and learn to trust without fear. That’s what it's to be a woman, or at least what it could be. You don’t get to see the full extent of their relationship, but Rosie Betzler is someone that’s saving her life and putting a lot on the line just to have Elsa in her house. Elsa feels admiration and a longing to establish a relationship, a longing to have a mother and someone to speak to. The film turns Rosie not only into a single mother, but also a defiant woman who decides that so long as ideals of empathy and tolerance are being pushed to the margins, she will work fearlessly to uphold them. Contrary to Jojo, she sees all too clearly the poisonous world Hitler is forging, so her natural response is to help, as she says, by doing what she can, which in her passionately practical way is a lot. But that also means hiding the truth of her life from Jojo to keep him safe, while hoping her little boy comes to his senses. She's really strong solo mom who's trying to save her son and others from this horrible situation, but at the same time trying to retain Jojo’s innocence. She's trying to balance her need to live boldly and be true to herself while doing all she can to keep Jojo safe through loss and peril. Being a mother is a big part of her identity but it's just one part. She also is full of fervor and ideas and the film wants her to have all those different shades so that she might feel really full of life. Rosie is unabashedly imaginative, poetic and romantic and at the same time, she's this very grounding force for Jojo. She's fighting for 'The Resistance' and is really a very modern woman. She's such a bright light in this very dark time. Even though Rosie is a dreamer and a bit of a comedian, she's also very pragmatic. Very much part of being a parent is that constant balancing between your practical, responsible, adult side and the side who can create a magical world for your kids. She's truly the strongest character in the film. Adolf Hitler (Taika Waititi) is really recent in terms of human history and we’ve got to keep talking about it, because the dynamics that caused it aren’t going away. He’s a figment of Jojo's imagination so his knowledge of the world is limited to what a 10-year-old understands. He’s the little devil on Jojo’s shoulder, basically. He’s also a bit of a projection of Jojo’s heroes all combined, including his father. Jojo’s fantasy version of Hitler is hardly the historical figure. Instead, he’s a loony, larger-than-life mashup of Jojo’s own impulses, desires, things he’s read or overheard and his yearning for a father figure. Jojo’s version of Adolf can actually sometimes be quite nice, which might seem a bit weird because he's Hitler, but at other times he's properly scary. He’s very light in the beginning, like Jojo, but by the end of the film he's just this sad, sad despot. Captain Klenzendorf (Sam Rockwell) is the cheekily imperious trainer of 'Hitler Youth Troops' who's at various times Jojo’s idol, nemesis and confidante. He has one eye, zero faith in the military command and a growing number of secrets. Captain Klenzendorf lives in a world of his own. He has all this flamboyant creativity that we want to give expression to at the end, when he explodes onto the scene.   Providing deadpan comic relief throughout "Jojo Rabbit" is Fraulein Rahm (Rebel Wilson), the instructor who teaches the girls how to perform their womanly duties in war time but dreams of joining the frontlines herself. Fraulein Rahm follows in this tradition, ever-willing to believe every absurd 'Nazi' myth that makes the rounds. Despite her satiric portrait of a woman who questions absolutely nothing she hears, Fraulein Rahm is representative of many German women who took lead roles in the war. She serves in every way she can; teaching girls their womanly duties, giving Jojo physical therapy, then manning a machine gun. Perhaps the most hilariously dark and frightening character of all in Jojo Rabbit is Captain Herman Deertz (Stephen Merchant) of 'The Falkenheim Gestapo', who meticulously investigates reports of hidden 'Jews' and resistors. The character reminds people of just how outrageous cults of personality can become. There's something laughable about the worship of this little man with his little moustache who looks like an angry accountant and that’s one of the things that the film plays with. There’s a sense of how people can be swept up by, for lack of a better word, bullshit. It’s something still resonating right now. We still see people all over the world being up in these things, especially when there’s a uniform and an identity involved, so it seems well worth satirizing.   'The Hitler Youth' was first created in 1922 to indoctrinate kids and teens into 'Nazi Ideology' and train them to ultimately be tools of war. This gives us a sense of just how dark the reality of Jojo’s world is, no matter how much he just wants it to be a glorious adventure, as any 10-year-old would. What 'The Nazis' did to children was really awful. They wanted to have an army of fanatics to help them take over the world. Nazis' were parodied on screen as early as the 1940s when they're still very much a global threat, with the key being that the last laugh was always on them. Both during and after the war, Hitler was routinely mocked because it was a way of people dealing with the horror they're seeing. If you can reduce Hitler to something laughable, you win. The book is more of a drama, though it has comic moments. The film has more fantastical elements and obviously more humor, creating a kind of dance between drama and satire. The film creates something like a jazz riff on Leunens book, whipping up the structure of her story into an antic allegory of how fear mongering can take root in naïve mind, and how love can come out of left field to topple down the walls we put up against other people. If the book is a classical, panel painting, the film is more like Picasso’s 'Guernica'.   Like the story, the design of "Jojo Rabbit" presents the world through a 10-year-old’s confined but vivid lens, full of bright colors and bucolic beauty even amid the oppression and destruction of 'Nazi Germany'. At that age, you remember everything but with a kind of brightness to it all. Everything looks like a Spring morning. The film has all those 'Neorealist' qualities where there are sunny and charming moments but also very dramatic moments, and the mood can go from funny to tragic in a snap. That era between 1930 and 1945 was actually a revolutionary one for style in Europe, despite the war. In a lot of 'WWII'-era films, everyone dresses in brown and gray and it just feels kind of sad and dated. But if you look at the fashions of the time, though, there's really lots of bright color and high style. It's an era that in most people’s minds unspools in black-and-white. To see that world in color, the way Jojo, Rosie and Elsa would have experienced it, gives it a whole new dimension and aliveness. We've seen so many muted period films from 'WWII', whether in black & white or in more somber colors, that we're shocked to see such a vibrant spectrum of color.  But that's the reality and once the film decides to reflect this, it's an idea that circulated through the set design and the costumes and helps to set the tone for the story. At Jojo’s age things are a little more rosy-tinted and the world seems bigger and more amazing. So, the film recreates this feeling, the feeling we all have in childhood, but within 1940s Germany. For most of the film, we’ve been in Jojo’s imagination, with his playful view of war, but when the battle hits the town, we’re suddenly struck with the reality of what war really is. The frightening atmosphere and noise of it feels very real. In some ways it feels very visceral and real, but the film also creates something that becomes a kind of magical and surreal moment in the film. As the events in the film grow darker, so too do the colors. For the happier, more playful moments in the film, we've a diverse palette of oversaturated colors.  Then, the film tapes those off as more drama comes into play. Most of the film takes place in 'The Autumn" so we've lush greens sprinkled with gorgeous reds, oranges and pinks into the street scenes. However, hidden deep within the lightness of the house is Elsa’s dark, cramped space behind the wall, which forges an opposite feeling, mirroring the nearly unbearable tension under which she's forced to live. Rosie’s look has to be so distinctive that the audience recognizes her, in a flash, in the scene that's a devastating emotional turning point of the story. The butterfly seemed to express who she's, and the film uses a very distinctive pair of shoes, which stand out for a lady in that era. It's more powerful when you just see the shoes and make the connection to the butterfly in this moment. The camera always tries to make sure the audience is aware of Rosie’s shoes. For example, you really notice them when she’s dancing by the river in that light moment. The best comedy has always come out of the hardest human situations and 'Nazi Germany' is one of the hardest situations in history. "Jojo Rabbit" offers a sharply funny, yet profoundly stirring, child’s-eye view of a society gone mad with intolerance. The film makes a powerful statement against hate with this pitch-black satire of 'The Nazi Culture' that gripped 'The German Psyche' at the height of 'WWII'. It's a story almost too appalling to approach with sober solemnity, that of a boy who, like many at that time, has been brainwashed into absolutely gung-ho devotion to Hitler. He then mines from it a dark, mesmerizing comedy that ultimately unravels the toxic ideas of 'Anti-Semitism' and persecution of the other. Balancing on a comedic high-wire, the film mixes the fury of satire with an insistent sense of hope that fanaticism and hate can be overcome. The film follows very much in the footsteps of Mel Brooks, Charlie Chaplin, Ernst Lubitsch and Stanley Kubrick to name a few. The script has a charged, satirical edge in the vein of say "Dr. Strangelove" and other black comedies that confront heavy subject matters by making them very funny. "Jojo Rabbit" is a fresh way to re-visit the most unsettling of topics through the paradoxically moral force of out-and-out parody. But much as the film owes to its bold forbearers, The film feels very much of our times, with it's deeply human characters whose blinded foibles might amuse but whose inner predicaments are deadly real and pointedly relevant right now.     The film opens a comfort zone but also any notion that stories about 'The Nazi Era' have been played out, especially when the lessons of those times are so urgent right now. With 'Nationalism', 'Anti-Semitism' and other forms of religious and racial intolerance on the rise, the stakes of grabbing people’s attention felt sky-high. The film brings the audience in with laughter, and once they’ve dropped their guard, then start delivering these little payloads of drama that have serious weight to them. Even if you don’t see them right away, you’ll feel them. It’s after the laugh that the strings start to be felt, drawing one’s consciousness to things that aren’t quite right, aren’t entirely funny, into deeper, more complex emotions, amongst these, the realization of the absurdity of the situation, and the tragedy and pain. In the end, as much as "Jojo Rabbit" showcases the tragically absurd realities of authoritarianism and nationalistic fervor, as well as the personal wages of prejudice and hate, the film equally reminds us of our human connection and the simple responsibility we all have to do what we can, including simply trying to be good to one another. This feels like exactly the right time to tell this story, because this is a case where you don’t want it to be too late to tell it.

Our newest film critic gives his verdict on IT GIRL in this Vlog film review. Check it out and SHARE with the world. If you are interested in doing a Vlog film review, feel free to use the community forum to post your own. It can be of any film you like, simply upload to your YouTube channel and use the video link option in the post to enter. UK Film Review.

All right, I need you to loosen the guy up. He’s old, all right? Do not kill him. The only thing I wondered afterward was “Why for God sake was this movie made?“. I’m not saying that this was the most horrible film of the year. Or the most superfluous release ever. There were some positive things in it. And in a certain way, it was sometimes far from bad even. But in the end, it was only a simplistic storyline and little to nothing innovative. The only thing that stayed with me is that you got an unpleasant feeling while watching. The way Rainy (Guillermo Diaz) addressed and dealt with the kidnapped persons was rather intimidating. An agitated character who’s completely out of control after consuming some kind of soft drugs. You just felt that it was a difficult situation for Audrey (Tammy Blanchard) and her daughter Cheyenne (Onata Aprile). But that’s the only thing in this film that can be called exciting. For the rest, it’s quite weak. It’s all about water. Everything revolves around the claiming of water rights by Bobby (David Spade). Something his ancient grandfather failed in doing. And apparently, he can only achieve this by sending two vicious-looking characters to the elderly owner. To exert a little pressure. What Bobby didn’t know was that the latter had already died. The only ones they find in the old man’s house are the daughter Audrey and granddaughter Cheyenne. And the only plan that those two bums can come up with is to kidnap these two people who happen to be present. What follows is a precarious situation where one kidnapper (Dwight Henry as Jawari) tries to keep the other in line (clearly that these two bunglers don’t really know each other). And when someone unexpectedly shows up at the door, Ryan gets even more agitated. Some familiar faces. Apart from the lesser known actors, you will notice a number of familiar faces. The most well-known person is, of course, the comedian David Spade as the go-getter Bobby who apparently has to prove himself towards his grandfather Calvin (Bruce Dern, known face number two). Personally, I don’t think David Spade belongs to the crème de la crème when it comes to comedy. Usually, these are forgettable, nonsense comedies that are far from funny. I thought he’d make a funny comment at any moment. His contribution was reasonably mediocre. Bruce Dern’s acting was also fairly limited. Certainly compared to his part in “The Hateful Eight” as General Sandy Smithers. And finally, you’ll also recognize James Earl Jones in a tiny role as a sort of notary. Also an insignificant role for such a well-known star. A movie to forget about. What remains are the leads. Their acting is nevertheless of a reasonable level. For example, I found the interaction between Tammy Blanchard and Onata Aprile very convincing. Maybe at times, it was a bit overly sentimental and Cheyenne came across as inexperienced. But that didn’t really bother me. Also, the acting of Guillermo Diaz was generally good. He managed to picture Ryan as an unstable character. Although his frantic attempt to sound like an accomplished psychiatrist was a bit absurd. Unfortunately, this wasn’t enough to make it an interesting film. The motive itself was already far-fetched. The final denouement sounded even more nonsensical. Nope, “Warning Shot” certainly isn’t a great film. So, you don’t want to waste time? Better you skip it then. My rating 3/10 Links: IMDB More reviews here

(Release Info London schedule; June 19th, 2020, Curzon Home Cinema) https://www.curzonhomecinema.com/film/watch-on-a-magical-night-film-online "On A Magical Night" We meet Maria Mortemart (Chiara Mastroianni), a woman who's dissatisfied with her marriage after a heated argument with her husband Pierre (Anthony Devaux). After 20 years of marriage, Maria decides to leave her husband. She moves out for the night to stay in a hotel across the street from their home and settles in room 212 from which she watches her husband and reflects upon their life together. While mulling over her decision, various people from her past appear, offering their opinions. She's visited by her late mother (Marie-Christine Adam), her dead grandmother (Claire Johnston), Richard Warrimer (Vincent Lacoste), a younger, 25-year-old version of her husband, her husband’s first love Irene Haffner (Camille Cottin) and her many lovers, to berate her for a string of infidelities. In room 212, she reflects upon her marriage, gifted with the ability to see it all at once. There, she has a bird’s eye view of her apartment, her husband, and her marriage. In this comic romp, she confronts her past lovers and relationships on one magical night, fantasizing about the lives she could’ve lived and wondering if she’s made the right decisions. Inspired by Leo McCarey’s 'The Awful Truth', this is a playful, witty fantasy, served by stunning cinematography. From the very beginning, the story looks like a conjugal tale more than a report on couples. The film takes a familiar topic, a couple in crisis after many years of marriage, and revives it with abundant creativity and cinematic strokes of genius. 'Thus play I in one person many people, and none contented'. We believe that this 'Shakespeare' verse, that John Irving borrowed for the title of one of his novels, defines quite well the initial mystery in that story. Let’s pretend a woman, Maria, one night has the revelation that she has the gift of seeing how there are always more people around her than it seems. Her husband is also her young fiancé, and the teenager she did not know. Her rival Irene is also Irene the role model of her future life. Her lover Asdrubal Électorat (Harrison Arevelo) is all of her lovers in one person. Maria would be like a fixed star that would attract satellites around her that keep multiplying. The story follows the poisonous steps of this invasion and simultaneously builds with Maria the antidote to escape them. Let’s pretend that woman, Maria, experienced finding her voice among all the voices that block her. The more Maria would like to think about her life, the more her life turns out to be filled with protagonists who want to speak for her. Maria crosses a street, hoping for some perspective, to see herself from the outside, to see her apartment, her husband, her marriage from above. Yet now she's not facing loneliness, but the noisy group of people who claim they've suffered from her, her freedom, her desires. Among them, Maria is like a prisoner of more or less aggressive signs that she must interpret. And we don’t have much of an explanation for it except that they're shamefully sweet and exhaustingly kind; these four characters liked one another. In our great ideas about films and how cinema happens, we forget this essential, precious and rare element; the love that the characters feel for one another. The trust, the humor, the affection, the friendship between them. This film owes everything to the health, kindness, tenderness, wildness and delicate and benevolent warmth of the characters. As often, “On A Magical Night” proceeds from "Les Fleurs", which has not been shot, barely been written, but which is it's secret source. The story is set during 'The Occupation', then in 'The 50’s'. There's an imaginary painter, a piano, 'The Picardie' region, 'The Opéra Garnier' and two female characters who are keeping a secret that they could not access themselves. We find ourselves watching Leo McCarey’s “The Awful Truth”; Irene Dunne and Cary Grant as an infallible married couple after their divorce. It takes us to an overly solemn level. How many filmmakers have taken an interest in the subject of conjugal conversation? We're more and more distrustful of this importance, this sort of domination that some films command to cinema itself. "On A Magical Night” expresses in a sentimental and stubborn way, the attachment to fiction cinema where let’s pretend has more value than the let’s do it as it's. Here, fiction in the sense of enchantment. We've let ourselves been swept along it in a dance with forgotten steps, charmed by it's spells. And little by little, it appeared to us that it's not nothing, in this day and age, to claim the precious tools of acting, of metaphor, to favor the magic of backstage, of tricks, in a work that aims to make life happen during a film. We should not forget that we've been twenty-five and that we loved us madly when we was that age! For years, we've gotten our bearings in life from the love stories that punctuated it. It was back in the days of 'X' or in the days of 'Y', month-long or night-long romances seemed to be the highest points of our existence. As if romantic faithfulness allowed us to multiply projects. We're aware that it's arbitrary, and maybe irrelevant to bring up these two words, truthfulness and films. We're quite tempted to claim that loving lengthily has certainly allowed us to shoot often.

(Release Info London schedule; July 23rd, 2019, Curzon Soho, 99 Shaftesbury Ave, Soho, London W1D 5DY, United Kingdom, 9:00 PM) https://www.curzoncinemas.com/soho/film-info/marianne-and-leonard-words-of-love "Marianne & Leonard: Words Of Love" "Marianne & Leonard: Words of Love" is about the beautiful, enduring love story between legendary folk singer Leonard Cohen and his Norwegian muse Marianne Ihlen. The story begins on 'The Greek island of Hydra' in 1960, where Leonard, then a struggling and unknown fiction writer, and Marianne, a single mother with a young son Axel, become part of a community of expat artists, writers and musicians. The film follows their relationship from the early days on 'Hydra', a humble time of free love and open marriage, to how their love evolved when Leonard becomes a successful musician. She's an enormous influence on him. Marianne and Leonard’s is a love story that would continue for the rest of their lives. Along the way we learn of the tragedy that befell those that could not survive the beauty of 'Hydra', the highs and lows of Leonard’s career, and the inspirational power that Marianne possessed. This are magical moments of life. Never-before-seen footage shot by legendary documentarian D.A. Pennebaker make for a unique portrait of an idyllic 1960’s bohemia. Marianne had been visited the year before by D.A. Pennebaker, who had filmed her with her young son, and very much impressed her with the joys of documentary filmmaking. It's D.A. Pennebaker’s footage of Marianne, shot all those years ago, that's used in the film. D.A. Pennebaker, Marianne, and Leonard have remained the greatest of influences. It's on 'Hydra' in 1968 that director Nick Broomfield, then aged 20, first himself meet Marianne. Under 'The Greek' moon and stars she introduces him to Leonard Cohen’s music and encouraged Nick to make his first film. As she's with so many artists, Marianne is an enormous influence on Broomfield, who direct many documentaries about iconic music legends including Whitney Houston, Tupac Shakur, Kurt Cobain and Courtney Love. It's a time that left a lasting imprint on both Marianne and Leonard, whose friendship would last another fifty years. Marianne and Leonard went through many highs and lows. Bonded for life, even though drifting apart, they died three months apart in 2016. This touching documentary illuminates tender aspects of the enduring love between the Canadian musician and his Norwegian muse, who gained immortality through his songs 'So Long Marianne' and 'Bird On The Wire'. This Marianne is Norwegian Marianne Ihlen, his lifelong muse with whom he started an intense relationship in a time of free love. Nick Broomfield, director of documentaries such as 'Whitney: Can I Be Me', 'Biggie & Tupac' and 'Kurt & Courtney', follows their unconventional relationship from the early days in idyllic Greece. Along the way we learn of the tragedy that befell those that could not survive the beauty of 'Hydra', the highs and lows of Leonard’s career, and the inspirational power that Marianne possessed. In later life when Marianne lay dying, Leonard himself old and sick wrote to Marianne. 'Know that I am so close behind you that if you stretch out your hand, I think you can reach mine, I've always loved you for your beauty and for your wisdom, but I don't need to say anything more about that. Endless love, see you down the road'. Does love have to be conventional? "Marianne & Leonard" is a beautiful illustration of the twists and turns of a complicated relationship that has produced some of Cohen's most famous songs. Archive material and some recent interviews tell the story of the interrupted yet never ending love that began on the island of 'Hydra'. Cohen was mostly a writer at the time, the songs came later, when the melancholy poet evolved into a prominent musician. When Cohen became famous, and Ihlen became known as his muse, their relationship suffered and they lived apart more than they lived together. Still, their connection remained strong, even after Ihlen returned to Norway. A love story that defies conventional structure and slides back and forth in time within a rough chronology.

https://youtu.be/tSX3_jKR53s

Before I delve into the bowels of this movie's storyline; I have to state for the record that before watching it, I was relaxed. After watching Hereditary, I was so uptight, that I squeaked when I moved. Once in a while, a movie comes along which can mess with your head that much that by the time you have watched it on several occasions, you still can't decide whether or not you love it or hate it; Hereditary for me is one of those movies. In saying that; after much deliberation, I believe that I neither hate it or love it but respect it immensely for its extraordinary atmosphere of tension, edginess and graphic detail. And now for the movie's narrative. Hereditary gives us the story of the Graham Family's slow descent into hell after the death of Annie Graham's mother Ellen. From this point onwards, the dysfunctional family setup between Annie, Steve, Peter and Charlie becomes frightenly obvious as each family member seem to be uncomfortable whilst in the presence of each other and therefore spend most of their time in separate rooms. What starts out as a tense psychologically broken family story, ends with a very nasty vicious horror climax. Toni Collette is absolutely disturbing in it; her portrayal of Annie kept me on edge throughout the entire film with only two other movie moments that I can remember whereby you feel as if something is going to happen more and more as the tension builds in movies like The Hurt Locker while they are trying to disarm a bomb or in Foxcatcher when Steve Carell's performance as John Du Pont has you at bursting point with anxiety. Hereditary is a whole different monster with the pressure cooker starting to boil at the beginning and going supernova at the end. Gabriel Byrne, Milly Shapiro, Alex Wolff and Ann Dowd are all brilliant in their parts, proving that casting really did get it right this time. The soundtrack to the film is so sinister and unsettling, that it would over time disturb your mind and therefore wouldn't be recommended for relaxation. The director, Ari Aster has done quite a job with this movie, his vision both perverse and visually gothic; in my opinion, the first of many great movies in what could be a very promising career providing he doesn't sell out by making countless sequels that seem to get worse as each one passes by. In the end, what everyone wants to know is should you watch it and will you like it. My answer is yes you should watch it and as for the liking it part, that will be entirely up to you. If you're expecting a straight forward Horror film which falls neatly into the Horror Genre, this is not the movie for you. On the other hand, if you avoid the trailers, and keep an open mind which will allow you to watch this movie and rate it by its own merit, chances are, you'll enjoy it. Pleasant Dreams Richard Green

To say I was expecting a little more from this movie is to say nothing. If you’re on the lookout for a compelling horror-tale with a well-constructed plot that will keep you on the edge of your seat the entire time, you definitely shouldn’t bother with this flick. I first acquainted myself with the art of Svyatoslav Podgaevsky, the director of The Mermaid, through his second movie “Queen of Spades: The Dark Rite.” I was pleasantly surprised and satisfied with his modern take on the infamous legend of Russian folklore. The movie was a breath of fresh air in the dying -or perhaps already dead- Russian cinema. And though a story about kids who accidentally summon a demon while playing a game is painfully familiar to all of us, it’s the first Russian horror movie I can remember, that does justice to its multiple American analogues. Then came last year’s “The Bride” which also left a vivid, lasting impression on me. Noticing Podgaevsky’s professional growth spurt within the past three years, I had no hesitation in buying the ticket for his next upcoming film. The Mermaid, however, with its action-packed trailer and tastefully designed poster, much to my regret, turned out to be a disappointment. The only element in the movie that accomplishes a desired result, in my opinion, is the atmosphere. What truly sets the mood of the film right from the start is the color pallete. The director sticks to minimalism and is selective about the colors in order to enhance their effect. Most scenes are shot in dark blue, green and grey under-lit tones which are constantly present in the everyday life of the protagonists, suggesting that the supernatural world and ours have overlapped. It may also show the power the paranormal forces have over feeble human nature and indicate that the main characters are doomed. The opening scene is particularly gripping and atmospheric with a lantern illuminating the mist over the lake and a man failing to hold onto his wife as she’s being dragged down into the lake by an unseen force. The scene promises a bone-chilling, mystery-driven film. But it never happens. After that scene we are transported into the present where, right off the bat, we are struck by a flat unconvincing performance of the lead actress Viktoria Agalakova, who plays Marina and who also starred in the previous film of the director “The Bride.” And if in “The Bride” the cast is bigger, and the lead actress’ stiff portrayal is compensated by other more engaging performances which makes the miscasting forgivable and the movie watchable, in this one the spotlight is fully on her. Looking totally unaffected by the fact that her fiancée Roma (Efim Petrunin) is under the maddening spell of an evil spirit, we watch her mechanically act as the script dictates, accompanying her actions with forced facial expressions and movements. Naturally, we feel uninterested in what is going to happen to her before something ever does. More than that, there isn’t a moment in the film when she looks troubled, let alone frightened, and thus all visibly massive efforts put into the creation of an uncanny villain are shattered. For when the leading lady isn’t terrified of the antagonist, the entire situation strikes the audience as fake. All characters are badly-written, lack depth and unique traits that would make them memorable. And even though there’s a hint at a character arc in the film, it is so badly executed that it only evokes confusion. Marina is scared of water and doesn’t know how to swim. So, in order to save her boyfriend, she has to confront her fear of the water. Instead of slowly building her way up to overcoming it – like it would happen in a decent horror movie - she just willingly plunges into the lake without expressing fear or any conflicted emotions whatsoever. That certainly leaves the audience feeling cheated and disappointed once again. To make matters even more disastrous, the plot unfolds at an unnaturally fast and smooth pace giving the film an obvious touch of cheesy phoniness. The intended twist is spoiled before it ever gets a chance to occur: in the scene where Marina gives a haircut to Roma’s sister (Sesil Plezhe) they discuss an old slavic ritual which involves hair cutting. An attentive viewer will promptly put the pieces together and deduce that the ritual is the key to destroying the Mermaid, and that it is due to be performed at the climax. The movie overflows with jump scares, but instead of seamlessly fusing them with the plot, the director falls into the habit of cutting off an important scene and ‘freezing’ all the action in attempt to keep the audience focused on the looming screamer. It only reduces the boo effect though, for he might as well have been announcing on the loudspeaker “Brace yourself! There’s about to be a jump scare!” When watching “The Mermaid: The Lake of The Dead” a feeling of déjà-vu grows stronger by the minute as the identical elements and techniques from other movies of Svyatoslav Podgaevsky rush to mind. Again, we are faced with a vicious female demon that “won’t leave you alone once she’s set her eyes upon you”. And again, we witness an otherwise promising idea being so shallowly and lazily carried out on screen that it starts to resemble an annoying broken record.