★★★ Directed by: #JustinSimien Written by: #JustinSimien Starring: #ElleLorraine #YaaniKingMondschein #VanessaWilliams Film review by: Max White Writer/director Justin Simien makes his foray into horror with this initially promising but ultimately flawed film about an evil weave. In the last five years we’ve seen a wave of films centred on the lives of black characters become instant classics, but Bad Hair doesn’t match the wit or tension of Jordan Peele’s Us and Get Out, nor does it go as deep on race as Boots Riley’s Sorry to Bother You. There’s an element of R. L. Stine’s Goosebumps books at play, particularly in the bodily possession of one of the American author’s most famous stories, The Haunted Mask. In Bad Hair, ambitious executive assistant Anna Bludso (Elle Lorraine) is encouraged to get a weave to secure a hosting role at hit music channel Culture (later rebranded to Cult), but the weave soon takes over her, not dissimilar to how a mask controls young Carley Beth. The cast has plenty of recognisable faces, from James Van Der Beek (Dawson’s Creek) to Laverne Cox (Promising Young Woman, Orange is the New Black) to Kelly Rowland to Usher. None of which play central roles, but the last two in that list feel like real missteps. It’s impossible to see stars like that and not be taken out of the film, particularly when their characters could have easily been played by lesser celebrities. Credit must go to the sound team for its incredibly uncomfortable work in the yanking and threading of hair in the scene where the evil weave’s applied. As well as in the opening scene, where a young Anna is getting a do-it-at-home hair treatment; the fizzing and burning of her scalp is as painful to endure as any Saw sequence, despite the fact that what you’re seeing and hearing isn’t an elaborate death trap. It’s a shame that’s all we get of the body horror stuff because the film quickly coasts into predictable set pieces where characters meet uninteresting ends. The hair becomes less of a rooted, visceral evil and more of a Venom-like set of tentacles doing increasingly silly things. Julia Ducournau’s hairball scene in cannibal flick Raw and the long, wet locks seen in Ringu and The Ring franchise all use hair in a more sinister way. The main problem with Bad Hair is that it doesn’t make good on its promise to the audience. It’s clearly a horror – the low, eerie strings à la Us and demonic possession make that difficult to argue. But it isn't the "satirical horror love letter" that Simien wants it to be, or that the trailer might lead you to believe. The themes of political and social commentary, and racial injustices, aren't explored anywhere near deeply enough to earn that label. Not when other films have done it so expertly and so recently. By trying to do a little bit of this and a little bit of that it fails to do anything particularly well. What showed promise in the first half then made way for something more Scary Movie than scary movie.

★★★ Directed by: #LouisJack Written by: #KennyEmson Starring: #PaulKaye and #CliveRussell Short Film Review by: Alex Crisp Seven-time world champion Stephen Hendry once said that snooker is all between the ears, so there’s a logic to approaching a short film about the sport from a psychological perspective. Paul Kaye stars as Liam Daniels, a washed-up snooker player embattled with mental health problems, and haunted by memories of his former greatness. Opening with Daniels alone in his dressing room before a qualifier, sound design comes to the fore. Harsh scrapes and rustles render the uncomfortable tactility of his pre-match routine; combing through his greased, thinning hair; trying to feel at-ease in his clothes. As a musical motif, the use of Franz Schubert’s ‘Der Leiermann’ (The Hurdy-Gurdy Man) is arch and formal, but Schubert’s translated lyrics reveal its significance: “There, beyond the village / stands a hurdy-gurdy player / with numb fingers / he plays as best he can”. The hurdy-gurdy is a mechanical string instrument dating back to the Middle Ages, and it’s an easy inference to replace it in the song’s title and lyrics with “snooker”. As important as the audio is Clive Russell’s role as sometime snooker coach Vic, who alongside Paul Kaye has the only other notable performance in the film. It’s apparent from the way Vic is filmed—introduced as a reflection in a mirror, disappearing like a phantom—that he’s a hallucination, or an extension of Daniels’ consciousness. The coach is incessant, berating his former charge that he “used to give a damn” about snooker, a reference to a match-fixing implication that’s underdeveloped considering its motivational relevance. But Vic’s jibes are driven by genuine affection, and they stimulate a pivotal plot development. He implores Daniels to move on from the sport, but not before he’s given fans one last moment to remember him by. So begins the final act. Daniels starts potting balls left right and centre, rekindling his old form. The music starts soaring towards the sporting-film cliché of triumph over adversity. But once he gets to the colours, the crescendo gives way to silence, and Louis-Jack’s direction takes centre stage. The full baize is in shot, while everything else is kept cloaked in shadow. Wintry particles float in the air. As Daniels pots each ball, the camera pulls slowly further and further away, until by the time Daniels reaches the final black, the 12x6 has all but disappeared from view. Suddenly, at the moment he reaches the black, a stage door opens, flooding the auditorium with a brilliant white light, and leaving him with a choice. Instead of completing his maximum break, he decides to place his cue on the table and walk out into the light. It’s an artful set-piece weighted with mortality, and concluded just as the film was opened—by Schubert. Though comical without context, there is a reason why his lyrics were so bleak. ‘Der Leiermann’ concluded ‘Winterreise’ (Winter Journey), a song cycle written while the composer was grappling with terminal illness. Snooker great Liam Daniels may have been leaving more than just his cue behind when he walked out that door.

★★ Directed by: #NickydelaVega Written by: Nicky de la Vega Starring: #KariPeltola, #JustinJames Short Film Review by: Corey Bulloch We’ve all heard something go bump in the night, stories of boogeymen and monsters hiding under the bed. Rational thought shall deduce that the noise you heard at 2:00 am is the wind, maybe an animal but perhaps there’s a chance it’s a creature from beyond, stalking you as prey. Faceless Mary from writer-director Nicky de la Vega attempts to invoke that common fear we all have of noises in the dark but fails to bring the terror as poor editing and sound mixing sucks the atmosphere right out of the picture. Nicky de la Vega’s direction initially is promising, with attempts to build a foreboding atmosphere as a father slowly inspects his house at night, trying to find the origin of a hideous sound. Shot composition relies on darkness, only fragments of the home or father visible in the frame while hard to see at times; I appreciated how hostile it made the environment. Places we’re familiar with seemingly transform in the night, and the camera work reflects how alone the father appears in his own home. Bathed in shadows, the few areas that are seen by moonlight become sinister; curtains in the living room, a clock at the top of the staircase. These visuals, however, are undermined at every turn by the obnoxious and near comical sound design. The sound work of Faceless Mary mostly consists of effects (mostly an irritating ticking clock sound effect) that lack any realism and ruin’s the film’s atmosphere. It really is a tension killer as it makes everything about the film’s verisimilitude feel artificial, so when de la Vega is ready to begin her jump scares, nothing is grounded. The flawed soundscape along with peculiar cutaways to a television set featuring a blurred out figure speaking about the ‘myth’ of Faceless Mary adds only confusion to the film. I assume that these cutaways are of the main character’s son, perhaps in a counselling session talking about Faceless Mary haunting him. It allows de la Vega to mythologise her movie monster similarly to its obvious inspirations. When revealed, Faceless Mary is unsettling to look at, with its clear similarities to Sadako Yamamura from the Ring series (famous for crawling out a television set) and internet horror sensation Slenderman (also faceless), characters that are known for relentlessly stalking their victims. These cutaways to try and build lore for this monster are where de la Vega’s direction and the film's editing again undermine what’s actually working. Whether these cutaways are from a nightmare or a visual trick played by Faceless Mary remain unclear. These television bits may be critical for the film’s grim ending but none of it feels harmonious for an engaging payoff. It’s off-putting and confusing to the detriment of de la Vega’s vision, for me, at least it seems less is more would definitely work here. The practice of less is more would probably benefit Faceless Mary. There are small kernels of interest and some creepy imagery though it's mostly undone by the unfortunate overcompensation of ill-conceived elements. #CoreyBulloch #shortfilm

★★★★ Directed by: Mona Fastvold Written by: Ron Hansen, Jim Shepard Starring: Katherine Waterston, Vanessa Kirby, Casey Affleck Film Review by: Chris Olson The World to Come (2021) Film Review Being only her second feature film in the director’s chair, filmmaker Mona Fastvold shows exquisite poise with The World to Come, penned by Ron Hansen and Jim Shepard. Katherine Waterston is Abigail, a frontiersman's wife in the 1850s American East, whose disillusionment is rife. Her days are filled with chores and a creeping abandonment of the limited social interaction offered in the small settlement until Vanessa Kirby and her husband move onto the farm next door. All of a sudden, adventure, exploration and a poetic desire to live revive Abigail but not without dangerous risks. A rich tapestry to unpick, The World to Come is not only simmering with palpable tension throughout, it offers audiences a collection of heartbreaking subthemes to be consumed by. Abigail utters “My life has surprised me by being far more ordinary.” when lamenting on her childhood dreams of using her intellect to help the world. Her quest for knowledge is remarked as an attempt to overcome her misery, yet her soulful notes in the journal she keeps (which provides the moving narration) reveal how little solace this brings her. It is indeed only the riveting excitement of Kirby’s Tallie that lights a fire underneath her. And whilst the harsh landscape and living conditions are a constant test, it’s the small tangle of her personal relationships which threaten oblivion. Another thread of the film is legacy. Whilst the men keep a painfully detailed account of all of the goings-on around the farms, very little is recorded of the women. Abigail comments the ledgers contain “no record of our emotions or fears, our greatest joys or most piercing sorrows”. The role of women being a central theme leads to the contemporary arguments surrounding the rights of women, in particular over their bodies. It’s a harrowing revelation that our own society faces such similar frontiers to that of these characters. Beautifully filmed with an attention to the tenderness of the scenes, Fastvold ensures the delicate struggles being explored in the film are never threatened with exploitative drama. We witness the fallout at a more heart-rending pace, allowing the emotion of the script to soak us and leave us chillier than the scene before, which only warms us more to Abigail’s story. Casey Affleck is a brilliant and unassuming presence as her husband, and Kirby is a tremendous force on screen but this show is completely stolen by Katherine Waterston with what very well may be a career-defining performance. Aside from a slightly irksome soundscape, this is brutally beautiful storytelling that is as poetic as it is quietly thrilling. A stirring central romance, perfectly played by Waterston and Kirby, that breaks no barriers but simply puts them out for display, in all their abject misery. #ChrisOlson Watch the Film Trailer

★★★★ Directed by: David Charbonier, Justin Powell Written by: David Charbonier, Justin Powell Starring: Lonnie Chavis, Ezra Dewey, Micah Hauptman Shudder Film Review by: Chris Olson The Boy Behind the Door (2020) Film Review David Charbonier and Justin Powell’s powerful tale of friendship within a hostage thriller setting is a refreshing take on a heavy genre (Room, Prisoners etc). Placing all their confidence on two child actors (Lonnie Chavis and Ezra Dewey), The Boy Behind the Door is a simple but highly effective horror, playing with strong fundamentals. After a game of catch in the woods finds them snatched, conked, and stuffed in the boot of a car, best friends Bobby (Chavis) and Kevin (Dewey) are the victims of a despicable child sex outfit where the latter becomes the titular boy behind the locked door - where patrons pay for their time in the room with him. Still in the boot, Bobby manages to bash his way out and goes in search of freedom. However, after hearing his friend’s cries for help in the isolated room, Bobby returns to try and save him from this house of horrors despite his obvious terror. Leaning on a minor to do so much of the heavy lifting was a gamble, but one that pays off for the filmmakers in The Boy Behind the Door. Lonnie Chavis is able to convey the powerful range of emotions required of his character with impressive skill, and tackles the physical demands excellently too. His struggle is kind of a Home Alone reversal (without the laughs and Christmas cheer) but with bucket loads of tension. He tiptoes around the house attempting to find a key that will open the darn door but to little avail. Expertly paced, vamping into a gut-churning final third, The Boy Behind the Door is smartly tuned horror. The central exploration around the fight or flight reaction is the heart of the story and one that beautifully captures the heroism of Bobby and keeps the viewer emotionally invested in the story throughout. His actions on a grownup may have seemed insincere and unbelievable, but on a young lad they seem genuine and heartbreaking. The filmmakers utilise limited locations well, keeping the audience as prisoners as well as the characters. This sense of being in the middle of nowhere heightens the peril and enhances the vulnerability of the boys - who don’t have phones. By playing on a classic theme of being snatched whilst out playing, the story is able to hark back to genre films whereby the victims couldn’t just rely on modern technology. There is a wonderful moment where the friends try to work out how to use a rotary dial phone, “There’s no plug!”. Aside from some questionable dialogue from the villain and some repetitive sequences, The Boy Behind the Door unlocks an impressive amount of horror stylings and classic storytelling, rooting the viewer in a state of inertia and breathtaking tension. The Boy Behind The Door is available on Shudder from July 29th. #ChrisOlson

★★ Directed by: Jon Keeyes Written by: Mickey Solis Starring: Tyrese Gibson, Chris Backus, John Malkovich, Luna Lauren Velez, Holly Taylor, Carlos Sanchez, Zani Jones Mbayise Film Review by: Jason Knight Rogue Hostage (2021) Film Review A group of heavily armed men take several people hostage inside a large store and it is up to former soldier Kyle Snowden (Gibson) to stop them. Having gone through a harrowing experience during combat, while serving in the army as a marine, Kyle is now a single father to Angel (Mbayise) and works in child protection services. His stepfather is Congressman Sam Nelson (Malkovich), who is attending an event at a store that he owns. During the crowded event, masked people armed with guns and bombs capture Nelson and several others. They accuse the politician of wrongdoing and demand that his actions are disclosed to the public or else they will detonate the explosives they have set up in the building. Meanwhile, Kyle finds himself caught in the middle of everything and he (along with the help of others) must fight back and rescue the hostages. This action thriller has a plot that has been seen many times before: bad guys take over a location, take hostages and the tough hero must save the day. This is a narrative seen in great action films such as Die Hard, however, Rogue Hostage lacks originality and is rather predictable. There are elements often seen in movies like this one such as a main character who has a troubled past. There are several silly parts, such as characters acting foolishly in life-threatening situations and the villains act rather stupidly, even for an action film. As far as the acting goes, it is generally not very convincing by most of the protagonists, particularly as they act cool while their lives are being threatened and tell silly jokes. Gibson does an OK job as a good man who has suffered a lot, however, it is Backus who steals the show as the dangerous, psychotic leader of the bad guys. The feature does have its flaws but it does offer enjoyment. A hostage-taking story is often interesting and there is plenty of hand-to-hand fighting, shooting and nail-biting moments. It is also amusing watching the good guys gaining the upper hand over their captors. The tense score by Benjamin Weinman supports the scenes well and adds value to the film. This movie is by no means a must-see and it feels too short. However, if one feels like spending an hour and a half watching something that does not require a great deal of thought and allows them to just sit back and enjoy, then Rogue Hostage might be worth their while. #JasonKnight Rogue Hostage is on Digital and DVD 26 July

★★★★ Directed by: #GabrielGaurano Written by: #GabrielGaurano Starring: #MerylandGonzalez, #AraceliGonzalez, #JorgeGonzalez Film Review by: Patrick Foley Whilst most of us in England may not even want to think about sport after last Sunday, the eyes of the world will soon turn to Tokyo and the start of the 2020 Olympic Games. Athletes dream for years of competing at the games and face enormous challenges just to qualify. You won’t see Meryland Gonzalez, star of documentary short Team Meryland this year; her eyes are set on 2024. But you’d be hard pressed to find any athlete who has had a tougher journey. Team Meryland follows 12-year-old boxer Meryland Gonzalez and her family, as she trains to become 2019 Junior Olympics champion. Meryland’s journey leads her through intense competition against the best young boxers in the US, and made all the more incredible by her overcoming a life-threatening illness in her youth. Her family, having themselves overcome challenges to reach the US from Mexico, support her in her burgeoning career – making her success a true family affair. There’s a little bit of everything in Team Meryland. The emotional and moving journey of Meryland herself is made instantly relatable and heart-wrenching – with her mother’s assertion that she is a miracle child one that viewers will find hard to disagree. Yet the film still takes care to tell Meryland’s full story, with her illness just one part of it. Her journey in boxing is given equal significance, as is the lives of her family and the importance of heart and perseverance. The result is an engaging and gripping sporting documentary short. Director Gabriel Gaurano uses footage of Meryland boxing to drive the story forward. The scenes are shot with an incredible intensity – the punches of 12-year-old girls resonating on screen like earth-shaking haymakers. The fights are visceral and enthralling, and the tension viewers will feel as the judges make their final decision at the film’s conclusion rivals even that of pivotal title fights. Meryland’s life is anything but a foregone conclusion, and the film makes sure to put that drama at its forefront. The rest of the film is beautifully shot, with intimate close-ups of the documentary’s stars deployed to bring audiences into their world, juxtaposed with long-shot sunsets over Meryland’s home of Watts, California. The greyish hue over the camera and freehand style of filming echoes Netflix’s seminal series Last Chance U – a documentary that also covers young athletes fighting adversity to achieve their dreams. If there is ever a ‘Last Chance High’, Meryland would be a star pupil. As the title suggests, this is not just Meryland’s story. Her Mother and Father have fought out of relative poverty in Mexico just to get to the US, and to provide the care and support she needed just to find her feet (very literally). Their lives are worthy of their own documentary, and the director gives them plenty of time and focus to tell their tale. Meryland’s inspiring story is also the perfect tonic to the Trumpian-nonsense surrounding Mexican/American immigration – (and given recent events, a tonic that the UK seems to need as well). She proudly fights to represent the United States, her country of birth but the land her parents journeyed to. No-one can question the heart she shows to fight for and represent her country – and that is a far greater display of pride than any flag waving can ever reach. No matter where you are in the world, you’ll feel part of Team Meryland having watched her tale.

★★★ Directed by: #MaziyarKhatam Written by: #MaziyarKhatam Starring: #MaziyarKhatam & #DylanRayHatton Short Film Review by Julian Gaskell Written and directed by Maziyar Khatam this short film is a humorous sketch played out on the sidewalk of a Toronto street where two people bump into each other and end up having a ridiculous verbal confrontation. It starts as we hear a guy talking on the phone with a strong Canadian accent, having a somewhat profane Tarrintinoesque exchange over the phone, off camera. The first frame then reveals a street corner and the quite innocuous coming together of two guys as they bump into each other. One of the guys demands an apology, telling the other to be careful and there then ensues an uncomfortable confrontation between them as they slip into some verbal jousting full of chest puffing attitude and jibing street slang that threatens to boil over into something else. Maziyar Khatam plays one of the actors alongside Dylan Ray Hatton and the two guys have good chemistry together despite the confrontational situation as they switch between being the aggressive alpha male and the more submissive one. Like a school yard fracas, they exchange verbal insults, with one having the more physically intimidating edge over the other. The camera stays fixed throughout from across the street giving an eyewitness account of the altercation from a safe distance and with the background noise there is a cacophony of quite excellent street sounds bringing a vibrancy to a quite ordinary but colourful street setting. A steady stream of passing traffic continually breaks up the shot along with groups of passers-by which captures the energy of the hustle and bustle of a neighbourhood street and effortlessly immerses the audience into this awkward street standoff. Captured on a sunny day it’s an everyday kind of situation where something as simple as bumping into someone can easily get overheated when one or the other fails to show the other any manners. They play out the kind of youthful exchange that could happen anywhere and here in Toronto we get the energy from the accents and street slang as the two guys indulge each other with some petty insults that would be common in a heated mic battle. There is some awkward tension building as to what will happen next as the intensity fluctuates with the levels of aggression. The short is quite unusual in giving just one camera angle as an observation point and the dialogue zips along using some slightly choice language and despite the aggressive outpourings maintains a lighthearted air. It packs in plenty of mixed up youthful cussing to enjoy that will amuse a young audience.

★★★★ Directed by: #DavidOyelowo Written by: #EmmaNeedell Starring: #LonnieChavis, #AmiahMiller, #RosarioDawson, #DavidOyelowo Netflix Film Review by: Emily Davison Desperate to save his ill mother, eleven year-old Gunner (Chavis) runs away from home on a quest to find a mythic figure, rumoured to possess the power to cheat death – the Water Man. The Water Man (2020) is the directorial debut feature of David Oyelowo, who also stars as Gunner’s father. This adventure/drama movie had its world premiere at the Toronto International Film Festival on September 13, 2020 and Netflix distributed the film internationally on July 13. The film is a strong debut feature, presenting an intriguing premise and lovely visuals, with the naturalistic aesthetic of the Wild Horse forest creating a calming, immersive colour palette of greens, blues and warm colours of red and orange. There is nothing flashy that stands out about the cinematography, but the cinematic enhancement comes from its vibrant scenery and mystery narrative. The film does have a nice charm to it, where an exposition scene explaining the legend of the Water Man could have been dull is made up for with a hand drawn animated segment, to keep younger viewers engaged. Gunner makes for an interesting young protagonist, a comic book artist and a bit of a dreamer, tainted by a strained relationship with his father and a special, open relationship with his mother, Mary (Dawson). Mother and son do not share many scenes together before Gunner embarks on his quest, but the times they do interact are very sweet and believable; it is clear they share a strong bond. Gunner’s relationship (or lack thereof) with his father is established well and the exploration of their dynamic throughout offers a strong hook for the family drama to unfold, resulting in a heartfelt and tender resolution by the end. However, the mysterious local girl Jo (Miller), who accompanies Gunner through the forest, could have benefitted from more development as her characterisation does feel quite generic and bland, despite some attempts to gain audience sympathy. The film can sometimes feel a little underwhelming and the pacing does drop a few times during the middle act when Amos is trying to find Gunner and the kids are wandering about the forest, but the strong acting and enigma surrounding the Water Man do maintain investment. The film picks up the pace during its final act, with a clever and poignant twist to help young viewers think about the mature concepts of the avoidance and acceptance of death. It offers a harmless and safe watch for families, whilst gently exploring darker themes of domestic abuse and loss just enough to not scare kids away. There are very mature performances from the young cast, especially by standout star Lonnie Chavis, who displays incredible, authentic emotional range from such a young actor. He is definitely one to keep an eye on! The whole cast also deliver great, supportive performances all around. The ethereal soundtrack, produced by Peter Baert and orchestrated by Matt Dunkley, provides multiple magical and adventurous tracks which emphasis the mystical elements of the screenplay. There is a wonderful sense of childlike wonder to the score, alongside thrilling action pieces, which make for fine listening on their own. Overall, The Water Man succeeds as an admirable directorial debut from Oyelowo and as an all around entertaining family flick. Although the film could have perhaps improved with more character development, the enticing charm of its visuals, music and performances cannot be overlooked. If your family is looking for a good watch, The Water Man has a nice balance of everything – there should be something for everyone! #EmilyDavison The Water Man (2020) trailer:

★★★★ Directed by: Daniel John Peters Written by: Daniel John Peters Starring: Eve Gordon, Adam Bennett, Mike Sengelow, Catherine Hayes Film Review by: Jason Knight After experiencing unbearable tragedies, a woman's life rapidly falls apart. Jane (Gordon) and Rob (Bennett) are a couple and they are expecting their first child. One night, they rush to the hospital as Jane is about to give birth. Once there, Rob has to drive back to the house to get her overnight bag. On his way back to the hospital he is involved in a collision. Meanwhile, Jane gives birth and is informed that her baby did not survive and that Rob was killed in the car crash. She is devastated and her life proceeds to deteriorate. Torn apart by her devastating losses, she appears to care about nothing and sinks deeper and deeper into a dark place. This dark, poignant drama explores how tragedy can change a person's life forever very quickly and the psychological effects that person goes through as a result. After the two losses, everything stops for Jane. The happy future she envisioned disappears and she is left with nothing, no hope or will to do anything apart from mourn. She distances herself from everyone, refuses any sort of help and becomes depressed, suicidal, aggressive and an alcoholic. There are no signs that she will find the strength to overcome her emotional wounds. As the title character, Gordon delivers a brilliant performance as a woman whose life is turned upside down so tragically and rapidly and it is heartbreaking watching her become a completely different individual, one filled with grief, anger and sadness. Gordon brings to life the negative emotions that her character goes through very vividly. Bennett is convincing in his supporting role The film includes flashbacks that depict the couple's past joy, showing various moving stages of their time together, including Rob learning about the pregnancy, the two of them preparing for the baby's arrival and how they met. All these scenes become painful to watch, as it is already known that their dreams of a life together will not come true. Peters is also the composer and the soundtrack consists of intense electronic music, grim electronic music and sad guitar music, all of which provide a downbeat feeling. The cinematography looks great and is also by Peters and so is the sound design, which includes well constructed sounds of rain and heartbeats. There are also sequences where slow motion is utilized effectively. Save Jane is a distressing story about a woman's journey of self-destruction. It presents in detail how a person's life can be destroyed by tragic events. It is not an easy watch, but it is a watch worth experiencing. #JasonKnight

★★★ Directed by: #GabrielaCowperthwaite Written by: #BradIngelsby and #MatthewTeague Starring: #JasonSegel, #DakotaJohnson and #Casey Affleck Film review by: Brian Penn Our Friend is a touching and unusual story tracing the friendship between a couple and their best friend over a thirteen year period. It tackles a variety of life issues including failing relationships, parenthood and terminal illness. Although the underlying tone can occasionally be draining there’s more than enough here to hold the interest. An intelligent script constantly asks questions of the characters, and how we ourselves would handle the most difficult of situations. The story begins with Nicole (Dakota Johnson) deep in discussion with husband Matt (Casey Affleck). They are discussing how to tell their daughters that she has terminal cancer. I suspect that many would stop reading at this point because of the film’s subject matter. However, the story flips back 13 years to flesh out a complex relationship that engages the audience. The couple’s best friend Dane (Jason Segel) forms a particularly close attachment and becomes a mainstay to them when Nicole is diagnosed. Dane remains supportive even at the expense of his own relationships and personal happiness. The regular flashbacks help to flesh out the characters’ back stories. Matt’s focus on his career as a top flight journalist; Nicole’s ambitions as an actor and Dane’s general lack of direction in life. The acting is pretty much faultless as we see the narrative gently unfolding with heartbreaking sadness. The characters gradually make more sense, although Dane’s motivation is puzzling it becomes oddly compelling as a result. Like many films Our Friend is just too long; and becomes onerous when distressing scenes are more frequent and the inevitable end takes too long to arrive. That said, it’s a sharp reminder of what people go through when dealing with terminal illness. The scenes where they compile a bucket list are sad, funny and extremely well observed. If you have the stomach to stick with it this film can be a rewarding experience.

★★★★★ Directed by: #QuestloveJawn Starring: #ReverendAlSharpton, #ReverendJessieJackson, #StevieWonder, #MavisStaples #GladysKnight, #MarilynMcCoo, #BillyDavisJr, #ShielaE, #GregErrico, #EricLeeds and #CharlayneHunterGault Documentary film review by: Brian Penn I was always dubious of films with long sub-titles; what exactly were they trying to say. Why complicate the headline with pointless detail and create pretension where none should exist? After watching this magnificent documentary I understood why Summer of Soul needed the additional context. The 1960s represented a period of social change and political turbulence. A burgeoning media was knee deep in era defining events, but how could they have missed the Harlem Cultural Festival staged between June and August 1969. Aside from local TV coverage, film of the festival has been largely forgotten and unused until now. Producer Hal Tulchin recorded the full concert series but struggled to sell the product. The Woodstock music festival happened in August 1969, and Harlem’s equivalent was fighting for column inches and airtime. This new film by Questlove Jawn brilliantly encapsulates the spirit and mood of a unique era. As a documentary it’s beautifully constructed and allows the event to tell its own story. Super sharp editing quickly puts the festival in historical context; the Kennedys, Malcolm X and Martin Luther King had all been assassinated in the last six years; and the Vietnam War was at its brutal height. Festival footage is mixed with interviews featuring the participants and those who actually attended. Marilyn McCoo of the Fifth Dimension spoke movingly of the acceptance they gained as an R & B act purely by performing at the event. Festival goers marvelled at the thought of a free concert in Mt Morris Park just a few blocks from home. The festival coincided with the Apollo XI moon landing in July and TV reporters gauged the opinion of attendees. Their response was scathing but searingly honest. Why spend millions of dollars sending men to the moon when so many are starving in crime ridden cities? Even with the benefit of hindsight it’s difficult to resist the logic of a well-rehearsed argument. It was undoubtedly a celebration of blackness and presence of the Black Panthers as security was a reminder of the political imperative. The music was nevertheless, front and centre as some of the greatest R & B acts took their turn. B.B. King, Nina Simone and the Staple Singers are captured in their prime; while the emerging genius of 18-year-old Stevie Wonder is a joy to behold. Gladys Knight & The Pips also delivered a storming version of ‘I heard it through the grapevine’. But the tour de force belonged to Sly & the Family Stone who had the rare distinction of playing at both Woodstock and the Harlem Cultural Festival. The Summer of Soul provides the perfect showcase for a sadly neglected event, and plugs a yawning gap in the lexicon of popular culture. Its timing with Woodstock was unfortunate but no less meaningful and influential. We should be grateful that Questlove Jawn has brought this festival to the big screen. Historical events should be properly recorded and the summer of 1969 now has a sparkling new entry.