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The German doctor, he believes the tar in the ground has some kind of a power. He calls it his science. But it’s just an excuse to kill us. When I watched the movie “Trench 11” at the end of last year, I already said this might be the cheaper version of “Overlord“. The starting point was identical. In “Trench 11” it’s a group of soldiers who had to search an abandoned bunker of the Germans. There were rumors the Germans conducted experiments there. The Germans tried to fabricate a chemical product so they could create invincible storm troops and thus conquer the rest of the non-German-Friendly world. The biggest difference between “Overlord” and “Trench 11” is the choice of world war. In “Trench 11” they were wallowing in the trenches during World War I. “Overlord” takes place during the 2nd World War. That means a lot of raised hands and loud clacking of heels. But the rest is actually similar. A film that shows the madness of a filthy war and mixes this with non-human creatures with the madness flowing through their veins. It’s D-Day all over again. Operation Overlord was the code name for the invasion by the Allies in German-occupied Western Europe. Obviously, that’s where the film got its title from. And that’s also where this film begins. A swarm of flying fortresses on their way to France to drop a load of paratroopers. It seemed as if I was watching “The Longest Day” back again. Even the ritual with the agreed code words “Flash” and “Thunder” is used in this movie (I missed the clicking though). The opening scene is still impressive and reminds you of legendary WWII films such as “Saving Privat Ryan” (although the first 15 minutes of the latter were obviously more impressive). First, it’s a genuine war-movie The first part is therefore entirely devoted to the mission of a few American paratroopers. The task they need to complete is disabling a radio tower somewhere in a French village. An extremely important assignment, it seems, It sounds far-fetched but the success of the entire invasion depends on it apparently. From the group of soldiers Boyce (Jovan Adepo), Ford (Wyatt Russell, son of) and Tibbet (John Magaro) take center stage. Boyce is the wimp. An inexperienced soldier who’s regarded by the others as useless. Ford is the leading officer who has to make sure the operation succeeds. A gut-eater avant la lettre. And Tibbet is the bigmouth of them all who brags about his sniper qualities. Something that he wants to put into practice in Berlin. He’ll put a bullet through Hitler’s head and thus end this world war rapidly. And then the horror kicks in. Their path crosses that of Chloe (Mathilde Olivier), a French resistance fighter who wants to take revenge on the German occupiers of her village. Understandable, since those Germans systematically use the inhabitants of the village as test animals. Including Chloe’s parents. From here, the film gradually transforms into a horror/zombie film. Not that it’s all so scary or nerve-racking. In my opinion “Overlord” is nothing more than a typical war film in which a commando, with a specific mission, not only battles German troops but also non-human opponents. So be prepared for lots of veined bloodthirsty creatures, blown away or crushed body parts and gallons of blood. Pulp War/Horror Movie. I wasn’t really impressed by this film. For me, it’s just a more expensive, slick version of “Trench 11“. Maybe I was misled by the trailer. The trailer suggested it would be a blood-curdling zombie movie. Ultimately, the film shows the horror of this world war in a proper way. And there are also a bunch of crazy Nazi doctors who try to create an Übermensch. Something similar as when General Ludendorff sniffs some kind of chemical stuff in “Wonder Woman“, after which he suddenly has superhuman powers. In short, “Overlord” is a pulp war/horror movie. It’s great material to create some kind of videogame from. It isn’t very original and certainly disappointing for the seasoned horror fanatic. But this much I can say. It isn’t boring. On the contrary. It’s entertaining enough. And it’s been expertly put together. It’s worth a look for sure. My rating 6/10 Links: IMDB

The Light of the Moon (Newcastle Film Festival) This gritty, grounded, true to life account of the rape of a woman (Bonnie, played fantastically by Stephanie Beatriz, better known as Agent Diaz from Brooklyn 99) was my top film of the Newcastle Film Festival. The plot takes place over about a month, and we see Bonnie trying to reintegrate herself back into her world of work, meeting friends, having an intimate relationship again with her boyfriend. She jumps from not wanting to talk about, to wanting her boyfriend to talk to her about it, who in turn doesn't know how to react to any of this. He tries to follow the guidelines but that only seems to make things worse. The story is nothing over the top. Nothing that leads her to decide to campaign or go on a revenge mission. Just a woman trying to get her life back to how it was before some unknown bastard decided to take advantage of her. There were only a few stylistic cinematography shots but I felt that that was with a purpose as being too pretty a film would have downplayed the hard hitting context. I doubt that this will ever be a mainstream movie, but I felt it excellently conveyed how easily such an occurrence could happen to someone, and the magnitude of the fall out.

Scott Pilgram Vs The World is a Edgar Wright cult classic starring Michael Cera as Scott Pilgrim, a loser who plays base for a band started in a living room with some friends. Now off the cuff nothing really special about what I’ve just described right? Wrong, upon first view, the opening credits hints at exactly what type of movie you are about to watch. We are introduced to Scott (24 yrs) via a highly inappropriate romantic relationship with 17 year old school girl Knives Chau (Ellen Wong). She seems to adore Scott and his friends comment of his decision to date a high school girl following his previous failed relationship, we’ll speak on that later. As the opening scene introduces us to his band (Sex Bob-omb) we witness the stylistic choice Edgar Wright chooses to use for this film. Based off a comic of the same name by Bryan Lee O’Malley, Wright emphasises on comic style imagery, scene transitions and character direction to make it feel as if you were reading a comic book rather than watching a film. As mentioned earlier, the opening opening scene transitions from sex bob-omg simply rehearsing one of their songs into it being the theme song for the opening credits. I am a big fan of Wright’s direction style with his filmography including some of my all time favourite movies (Cornetto Trilogy, Attack the Block), but on this occasion I truly believe he was able to find a perfect balance of comedy with total insanity. The premise of this movie is Scott who is currently in a relationship with Knives meets Ramona Flowers, a delivery girl with a weird taste in hair dye, he becomes infatuated with her and ultimately woo’s her with his strange ways. Unbeknown to him, Ramona has 7 exes, and in order for Scott to truly be with her, he must overcome them, via combat. As Scott encounters all 7 exes, he is faced with having to dig deep and find something within himself to overcome each obstacle. The film follows the narrative in from the comics, with Scott having to fight both male and female exes, and the fight scenes are styled as if you were playing a fighting game like Tekken or Street Fighter, with Scott earning points for combos, there being a consistent trend of someone shouting ‘Fight’ prior to the beginning off every bout and Scott earning a reward if when he defeats each opponent. Wright is able to fuse the comical elements, expertly delivered by Cera, with the dramatic plot of Scott’s fascinations with Ramona, the first fight includes a sing and dance number, something that would seem preposterous on paper but turned out great and fitted with the narrative of the insane world Scott has been thrown into. At first all that is happening seems to confuse Scott and he shows no seriousness towards what is happening, but as he begins to understand that in order for him to get his girl, this is what he must do, we begin to see a shift in Scott from a goofy character to one determined to win at all costs. The film starts to slow a little bit towards the middle of the second act , in which Scott has to fight a movie star, a lesbian ex lover, a super hero vegan, twins who happen to be DJ’s and the final ex Gideon Graves (Jason Schwartzman). Some would ask what exactly it is about Ramona that makes Scott willing to go so far to get her, and from their on screen chemistry, it doesn’t exactly scream comparable. Ramona is often very introverted, mild mannered and quiet, the contrast of Knives, not Scott’s ex, who is outspoken, animated and naive to say the least. This decision to have both women in Scott’s life be the antithesis of each other is a ploy used by the screenwriter to explore Scott’s mental state, dos he want to stay a child, living a stone’s throw away from his childhood home, sharing a mattress with his best friend or does he want to ‘grow up’ an repeated rhetoric lambasted at him by his sister and close friends? This film examines at what point we all must develop an inner monologue about who we are and set standards for ourselves as we look to grow and develop as individuals. By the end of the movie, Scott is tasked with facing the final ex and the ‘Boss Villian’ in gaming terms, Gideon Graves. Graves has somehow been able to manipulate Ramona into dumping Scott and and returning to him, along with signing Sex Bob-Omb (minus Scott) to play for him. It seems like Scott is lower than ever, but the third act delivers Scott’s redemption as he able to harness not the power of ‘Love’ (He tried that and had to restart the level, another game reference), but the power of ‘Self respect’. At the end of the movie and comics Scott ends up with none other than Knives, as he comes to understand that although their relationship may have seemed inappropriate on first glance (Age difference), Scott was enjoyed being with her, he enjoyed quoting obscure facts nobody cared about, he enjoyed playing video games with her and he loved the fact she cared so much about his ambitions to be part of a great band. Whereas, with Ramona it was just an obsession with a girl he had no real connection or compatibility with. Scott Pilgram Vs The World poses that same question to the viewer, are you someone willing to stick with something that might seem inconvenient to you at the time or are you willing to sacrifice your happiness for what you would perceive as a more overtly satisfying relationship in which compatibility is out of the question? The witty dialogue and comedic moments shine at the hands of Edgar Wright and for me its no surprise this film in the last 7 years has build a massive cult following. Although not a smash in the domestic box office, racking in just over $31M from a $85M budget, it has since garnered the acclaim it rightly deserves with many praising Wright for his forward thinking and stylistic decisions. I would suggest giving this movie a watch with some friends and can guarantee a laugh, if not a cheer for our nerdy protagonist. Check out the trailer for Scott Pilgrim Vs the World below.

Go ahead and take her. She’s all yours. But I’ll tell you this. She got a dark side… Darker than hell. I admire the phenomenon called Nicolas Cage enormously. Every film with him (and nowadays it’s a lot every year) is a mandatory watch for me. I really can’t let a single Cage movie pass by. Even though I know that more than half of them are of a dubious level. And some downright bad. And yet there are sometimes gems in between. Now, “Grand Isle” certainly isn’t the pinnacle of his film oeuvre. It’s rather mediocre. The run-up is promising. The concept had potential. And Cage is having a blast with his role that fits him like a glove. Add to that a bitter Milf, a young handyman whose hormones are going berzerk and “Frasier” as a biased, god-fearing detective who would prefer to put the suspect on a stake, and you still have enough material to make something out of it. It all looks reasonable. Until halfway somewhere. And then the movie transforms to the level of an average C film. Unfortunately, the presence of such a cult figure as Cage couldn’t change that. Alcohol and a Nam past. Bad combination. And to think that a white fence is the beginning of all the misery for Buddy (Luke Benward). Such an innocent item with far-reaching consequences. The way in which this fence was damaged, on the other hand, is not so innocent. Not difficult when the owner of the house is an ex-marine with a serious drinking problem. Walter (Nicolas Cage) is a bitter, fatalistic persona. A bit of a crazy person who still can’t get over the fact that he got wounded in Vietnam in a ridiculous way and returned home while his platoon went on a mission the next day. The disappointment was immense. Even knowing that the entire platoon got eliminated completely a few weeks later, the disappointment about a missed opportunity remains. This pent-up anger in combination with excessive alcohol consumption makes him an unguided projectile. His mood, grumpy reactions, and downright aggressive attitude make him an unpleasant person. Let’s seduce the handyman. Walter also doesn’t treat his other half kindly. She’s a mature diva whose body shapes are extremely well preserved and whose libido clearly hasn’t disappeared yet. And let that be exactly what Walter fails to deliver. He won’t even budge when she shows up in a transparent nightgown with erotic underwear underneath it. A disinterested look and another sip of a glass of whiskey are the only reactions. It’s not without reason that this hot woman sets her sights on the young, muscular handyman. A handyman with a sex life on the back burner since his lovely wife gave birth to a cuddly daughter. And just when you think it’s going to be about a dangerous triangular relationship where the psychopathic-looking husband wants to initiate a lynch party, the young handyman sits at the police station, face bloodied, trying to prove his innocence in a murder case. Perfect part for Cage. Indeed, Walter is really the kind of character that has Nicolas Cage written all over it. The manic mood. Maniacal laughter. Medium length, greasy hair, and a rough stubble beard. The constant drinking and the half-awake state he’s in practically all the time. And it’s not the first time Cage played such a person. In short, it feels familiar to see him that way. The most interesting interpretation, however, is that of Kadee Strickland as the voluptuous Fancy. Every time she’s in the shot, you simply feel the erotic tension increase. Her sultry voice and sensuous appearance ensure she demands all the attention. Unfortunately, Luke Benward could not compete with these two heavyweights. And although he actually plays the main character, it felt like his part was less important. A half-decent, half-finished flick. As I said before, the format of the film is only half successful. It seemed to be heading in the direction of a “Basic Instinct” -like, erotic thriller. Only the eroticism and the thriller section remains below par. And you get a rather absurd conclusion. Also, the dark secret of this demonic couple is presented so casually that its impact is negligible. And let’s not forget about the intervention of the police. You really can call this part quite ridiculous. Furthermore, the movie is peppered with improbabilities. Such as that small detail from the testimony that cannot even be verified immediately. But still, it ensures that the biased inspector makes a 180-degree turn immediately. It’s amazing how someone’s beliefs can change so quickly. And the end of the film is simply terrible. Apparently even the marine uniform Cage was wearing, was also completely wrong. Again proof that quantity and quality aren’t related. If you are an immense Cage fan, you should watch it of course. Unfortunately, “Grand Isle” isn’t really grand after all. My rating 4/10 Links: IMDB

(Release Info London schedule; July 24th, 2020, Curzon Home Cinema) https://www.curzonhomecinema.com/film/watch-the-traitor-film-online "The Traitor" In the early 1980’s, an all out war rages between 'Sicilian' mafia bosses over the heroin trade. Tommaso Buscetta (Pierfrancesco Favino), a made man, flees to hide out in Brazil. Back home, scores are being settled and Buscetta watches from afar as his sons and brother are killed in Palermo, knowing he may be next. Arrested and extradited to Italy by 'The Brazilian' police, Buscetta makes a decision that will change everything for 'The Mafia'. He decides to meet with Judge Giovanni Falcone (Fausto Russo Alesi) and betray the eternal vow he made to 'The Cosa Nostra'. Tommaso Buscetta is fickle and constantly on the move, both in his life and in personal relationships. He’s out of the ordinary, intelligent, charming, effective and endowed with natural authority. A mafioso loyal to 'The Cosa Nostra', but also to his own personal principles, he’s not afraid of challenging authority. From the end of 'The 1970s' to the start of 'The 1980s', he faces the growing strength of 'The Corleonesi', headed by the uncompromising Totò Riina (Nicola Calì). This new small group has no mercy and flouts the basic principles of 'The Cosa Nostra'; they kill women and children and eliminate whatever gets in their way. This group holds no place for Tommaso Buscetta. When in 1982 he moves to Rio de Janeiro with his beloved wife and children, he aims to end his involvement with 'The Mafia'. But there’s no such thing as leaving 'The Mafia', the organization hunts him down. However, 'The Brazilian' police beat them to it and extradite him to Italy. Buscetta then proposes a deal to 'The Italian' judiciary. He’ll cooperate and dismantle 'The Mafia' in exchange for his own protection and survival. He’s soon confronted with the imposing, inflexible and tenacious Judge Giovanni Falcone, and we’re plunged into the depths of 'The Sicilian' organization; murders, shoot-outs and scams. All this provides the backdrop to Buscetta’s account, who turns out to be 'The Cosa Nostra’s' biggest mystery; no one knows why he’s collaborating. He seems motivated by revenge and the desire to dismantle a mafia no longer in line with his values. Buscetta is a traitor for deserting to the enemy, but he doesn’t see himself that way. In the course of his confessions, he highlights the gulf that exists between his mafia and that of 'The Corleonesi'. He intends to do justice to the true 'Cosa Nostra' in this way. Tommaso Buscetta, also known as 'Don Masino', is a fascinating character who left an indelible mark on the history of the fight against 'The Mafia'. Born in Palermo in 1921, the youngest of a poor family with 17 children, he marries early and has two sons by the age of 16. He embarks on a career of crime in 1945 and soon demonstrated his skills, rapidly climbing the hierarchy of 'The Cosa Nostra'. In 1963, pursued by 'The Italian' judiciary, he flees first to 'The United States', then to Brazil. This earns him the nickname 'The Boss Of Two Worlds'. But Buscetta’s empire is to collapse. He's arrested by 'The Brazilian' police, then imprisoned and tortured in Italy. In 1980, he manages to escape from prison and returns to Brazil in order to flee from 'The Mafia War'. After marrying his third wife, Cristina (Maria Fernanda Candido), a young Brazilian with whom he has two children, Buscetta is again arrested by 'The Brazilian' police. Deeply affected by the executions of those close to him, and in particular by the brutal murder of his two eldest sons, he tries to commit suicide by poisoning himself. But his life is narrowly saved and he's extradited to Italy. Once back in Italy, he makes a decision that would change both his life and 'The Mafia". He meets Judge Falcone and collaborates with the judiciary. The information which Buscetta provides 'The Italian' authorities is the most important ever obtained. For the first time, it's possible to weaken 'The Cosa Nostra'. 475 people are charged and 'The Maxi Trial' takes place in Palermo. Buscetta is the key witness and takes the stand at considerable risk. He makes 'The Cosa Nostra' his enemy and, despite the danger, held firm to his course of action. The criminal organization murdered two of his children, further members of his family and friends. The trial ends with 360 convictions. Buscetta then goes further and denounces the links between 'The Mafia' and Italian politicians. Don Masino’s revelations incriminated powerful men like Giulio Andreotti (Bruno Cariello), a former prime minister. To secure his own peace and anonymity, he moves first to Brazil, then to 'The United States', where he spent the rest of his life under 'The US Witness Protection Program'. Buscetta’s greatest victory, however, lay in his demise: after a life full of murder and the settling of scores, he's able to live his final days in peace, finally dying of cancer in 2000. Maria Cristina De Almeida Guimaraes is Buscetta’s third and final wife, as well as the mother of his youngest children. She's Brazilian and much younger than him. Passionate, strong, clear-headed and always present, she's very different from the regular mafiosi wives who lived in their husband's shadows. Cristina is active, intelligent and autonomous, she's a keystone in Buscetta’s life and played a crucial role in his decision to betray 'The Mafia'. Salvatore Riina, born on November 16th, 1930, in Corleone, also known as 'Totò Riina', is nicknamed 'Totò u Curtu' in 'Sicilian' dialect because of his shortness (158 cm) and 'La Belva' ('The Beast') due to his ferocity. Totò is one of the most influential members of 'The Sicilian Mafia'. In the course of his criminal career, he personally murdered approximately 40 people and is suspected of having ordered the killing of 110 others. During 'The 1980s' and in the early 1990s, Riina and his mafioso family, 'The Corleonesi', led a merciless campaign of violence against both rival mobsters and 'The Italian State'. 'The Mafia’s' terror spread within the population and caused the authorities to introduce strict measures, which led to the arrest and imprisonment of Riina and several of his associates in 1993. Sentenced to life in prison, he dies of cancer in 2017 after word of his possible release on health grounds provoked public outrage. Salvatore Contorno (Luigi London Cascio), known as 'Totuccio Contorno' is a former mafia soldier under the command of Stefano Bontade (Goffredo Bruno). He later becomes a witness in 'The Maxi Trial'. Contorno is initiated into 'The Cosa Nostra' in 1975. He's one of Bontade’s favorite hitmen and is also associated with Tommaso Buscetta. During 'The Mafia War', 'The Corleonesi' want to eliminate Contorno, but he's able to escape and protect his family. He decides to collaborate with 'The Italian' authorities, following Buscetta’s example. 'Pippo Calò' (Fabrizio Ferracane), whose real name is Giuseppe Calò, is born on September 30th, 1931, in Palermo, Sicily. He's a very influential member of 'The Cosa Nostra' and is nicknamed 'The Mafia’s Cashier' because of his involvement in a number of money laundering cases. A very close friend of Tommaso Buscetta, he nevertheless chose to support the latter’s principle rival Totò Riina at the start of 'The 1980s'. After several years on the run, he's arrested on March 30th, 1985, and tries in 'Palermo’s Maxi Trial' for money laundering, associating with 'The Mafia', murder and racketeering. He receives two life sentences. He remains an active member of 'The Cosa Nostra' even in jail, where he lives a life of luxury and less influential inmates are his servants. Pippo Calò’s crimes include the bombing of 'The Naples-Milan' train in 1984, which killed 15 people and injured 116. Giovanni Salvatore Augusto Falcone, born in Palermo May 18th, 1939, and murdered May 23rd, 1992, in Capaci, is an Italian judge committed to fighting 'The Mafia'. His assassination is ordered by Totò Riina, head of 'The Corleonesi' clan. Falcone comes to prominence in 1984 when he takes the testimony of one of 'The Cosa Nostra’s' most important informers, Tommaso Buscetta, known as 'Don Masino'. On the basis of this testimony, Falcone opens 'The Maxi Trial' in Palermo in 1986. Palermo’s criminal court isn’t large enough to accommodate the 475 accused who are to stand trial, so a courtroom known as 'The bunker' is created. Falcone asks for additional resources to pursue the fight against 'The Mafia', but decisions aren't immediately forthcoming. Giovanni Falcone becomes a hero and an icon throughout Italy. He also becomes the number one enemy and main target of 'The Cosa Nostra'. The police escort provision isn’t enough to protect Giovanni Falcone. On May 23rd, 1992, he's murdered by 'The Cosa Nostra' in what's known as 'The Capaci Massacre'. "The Traitor" is more the story of Tommaso Buscetta than of 'The Cosa Nostra". Betrayal is a recurrent theme tirelessly explored in film, precisely because it makes us reflect on change. Can a man truly and profoundly change in the course of his life or is it just a pretense? Is change a way of healing, of repenting? Did Buscetta, who refuses the label of informer all his life, embark on this process of healing, of redemption, to become a new man? Or did he create his own justice? In the past, 'The Cosa Nostra' had nothing to do with the perverse entity that it's today. Buscetta collaborates with 'The State' to prevent others from believing in the dignity and honor of 'Fhe Cosa Nostra'. These values have been buried under a mountain of innocent victims.

Unlike previous Cartoon Saloon films – which have mixed the fantastical folk-tales with the modern, more grounded elements – The Breadwinner, very purposefully keeps them separate. That's what I'd like to talk about in this post: How the movie uses these vastly contrasting narratives that dance between reality and fiction to explore grief and courage; creating one of the most heart-breaking, uplifting, and powerful film endings I've seen for years. Be warned, this post will contain spoilers; I'd advise you not to read before you've seen the film. The Breadwinner is a movie of two parts: The visually lavish sequences of digitally recreated cutout animation; reserved for Parvana's tale of the "brave boy" and his struggle against the elephant king. In contrast, we have the grittier, dirtier, more grounded style of Parvana's existence. Intercut with Parvana's, the story of the boy is, at first, a form of escapism; for the audience as well as Parvana: A simple plot device to take the edge off some of the more uncomfortable subject matters. In fact, it's far more meaningful, and, as the film progresses, the story becomes an avenue for Parvana to overcome her fears and address grief. During the second act, Shauzia – another girl in disguise, a childhood friend of Parvana's – asks Parvana about her older brother: "But you have an older brother don't you? He used to bring you to school on his shoulders, what's his name?" "Sulayman" - Comes the reply. Parvana is reluctant to talk about him; saying merely he died some years ago, and that her mother won't talk about it. Sulayman's death is clearly still affecting the family deeply, and Fattima – Parvana's mother – has clearly not dealt with it well and seemed to me, to be suffering from depression; explaining Parvana's disinclination to address it directly. When Parvana leaves her house to earn money and buy food for her family, it's Sulayman's clothes she wears; reinvigorating her brother's spirit and memory. Fattima regularly, and unknowingly refers to Parvana by her brother's name; providing us more evidence to suggest she's not fully come to terms with his death. However, after this awkward exchange, Parvana does begin to open up more; bestowing the "brave boy" the name, Sulayman. This seemingly fantastical tale becomes a medium Parvana uses to express herself, conquer her fears, and acts as an insight into the state of her mind. During the more joyous times, Parvana spends with Shauzia; the tale of Sulayman is jovial and humorous. As she recites the story to her younger brother or mother, it's calmer, safer, but also more melancholic. And, as she faces down the horrors of her situation, the story is dark and menacing but full of the strength of courage. As the film reaches the final act, and amidst a bombing raid, Parvana races to the prison in a last, desperate attempt to save her father. Running in parallel, is the "brave boy" (Sulayman), who is struggling up the elephant king's mountain in what appears to be, a vicious and loud storm; perfectly echoing the bombing raid. Parvana begins shouting the story aloud to herself as a means of finding her courage. After arriving at the prison, Parvana witnesses the Taliban lining up prisoners and executing them. Placing her hands over her ears, she calls out for her brother and the movie cuts to Sulayman; fending off several of the elephant king's jaguar minions, and finally coming face-to-face with the elephant king himself. "I have not come to kill you!" - Shouts Sulayman: The elephant king rears up and bellows in provocation. "Sulayman! Soothe him with your story, the one that Mama-jan can't speak of. Tell him!" - Insists Parvana, who has now summoned the strength to confront the truth of her brother's story. "Tell him what happened. Tell him your story!" "My name is Sulayman!" - He begins. "My mother is a writer. My father is a teacher. And my sisters always fight each other." Then, comes the truth of it all: "One day I found a toy on the street. I picked it up. It exploded. I don't remember what happened after that because it was the end." The elephant king roars again and charges down the mountain towards Sulayman who repeats his words. "My name is Sulayman. My mother is a writer. My father is a teacher. And my sisters always fight each other. One day I found a toy on the street. I picked it up. It exploded. I don't remember what happened after that because it was the end." Stopping dead in his tracks, the elephant king stands in front of Sulayman: Reciting his words once again, this time, in a noticeably more melancholic manner. Sulayman has conquered the elephant king, and Parvana has conquered her fears, and rescued her father. The Breadwinner left me awestruck; almost breathless. I've seen it several times now, but the effect from those last few scenes has never abated. To me, everything about this film is as close to perfection as is possible to come. Jeff and Mychael Danna's soundtrack is superb and melancholic. The casting is flawless, as are the direction and screenplay. The stunningly hand drawn and lovingly recreated, digital cutout animation works perfectly together; particularly within the narrative of this movie. In my eyes, The Breadwinner is a must-see film; a testament to the power of animated film, and is arguably one of the best films of the year so far.

"Anatomy Of A Fall"     For the past year, Sandra Voyter (Sandra Hüller), her husband Samuel Maleski (Samuel Theis), and their eleven-year-old son Daniel (Milo Machado Graner) have lived a secluded life in a remote town in the French Alps. When Samuel is found dead in the snow below their chalet, the police question whether he was murdered or committed suicide. Samuel's suspicious death is presumed murder, and Sandra becomes the main suspect. Little by little, the trial becomes not just an investigation into the circumstances of Samuel's death but an unsettling psychological journey into the depths of Sandra and Samuel's conflicted relationship.   "Anatomy Of A Fall" portrays the downfall of a couple's relationship. The concept is to depict the physical and emotional descent of a body in a technical manner, symbolizing the decline of their love story. This couple has a son who discovers their tumultuous relationship during a trial that scrutinizes every aspect of their past. As the trial unfolds, the boy transitions from a state of complete trust in his mother to one of doubt, marking a crucial turning point in his life. The film follows this transformation closely. The film wants to incorporate the child's perspective into the narrative and juxtapose it with Sandra's, the main character, for a more balanced portrayal of the events. The film takes on the form of an extended interrogation, with scenes shifting from the couple's home to the courtroom, where characters are incessantly questioned. But there's no sense of realism, it's more a documentary style both in the writing and the cinematography. The film begins with a disorienting shot of a ball rolling down a flight of stairs. This obsession with falling is a recurring motif throughout the film, initially in a literal sense. We're are fascinated with the sensation of body weight and what it feels like to fall, which was sparked by the opening credits of Mad Men, where a man keeps falling.   The film constantly ascend and descend stairs, observing the fall from various angles to unravel how it happened. The film introduces the ball as a symbol of the fall, caught by a dog who looks at Sandra, the central character, and sets the stage for the two and a half hour exploration of her story. It's the battle between a couple with a child, delving into the complexities of time-sharing in a relationship. It's a theme that isn't often explored in cinema and raises important questions about reciprocity, trust, and the dynamics of a partnership. The characters challenge the traditional couple schema by reversing their roles. Sandra's pursuit of her freedom and will creates an imbalance, leading to an exploration of equality in a relationship that is both powerful and questionable. The film invites us to question our preconceived notions of democracy in a relationship and how it can be derailed by dictatorial impulses and a dimension of rivalry. Despite their struggles, the couple's idealism and refusal to resign themselves to a less-than-perfect situation is admirable. Even in their arguments, which are actually negotiations, they continue to be honest with each other, revealing a deep love that persists despite their challenges.   The use of different languages, French, English, and German adds a layer of complexity to Sandra's character and creates a sense of opacity. It also maintains a distance between her and the audience as a foreigner on trial in France, who must navigate her way through the languages of her husband and son. Sandra is a complex character with many layers, which the trial will explore. They do not speak the same language. This makes their negotiation even more concrete, with the idea of a third language serving as neutral ground. It's clear that there's a real love of language and verbal sparring in the courtroom scenes, and Advocat général (Antoine Reinartz) has a lot to do with that. He adds an otherness to the film and brings the contemporary world into it, which breaks the dusty solemnity of the trial. Although he plays the villain, he portrays a very seductive, devious, and flamboyant character. He speaks on behalf of the deceased, whom we hardly ever see, and must make him endearing to both the jurors and the audience. Advocat brings an arena dimension to the court and portrays the civilized violence of the prosecution. On the contrary Maitre Vincent Renzi (Swann Arlaud) plays a rather fragile character, sensitive, on the defensive. He's good but not idealized. It's clear that Sandra and knew each other years ago, and that there's still something between them that's not entirely extinguished.   The film has no flashbacks, the focus is on the spoken word. In a trial, truth is elusive, and there's a void that needs to be filled by the spoken word. And in reality, these exceptions are not flashbacks: in the scene of the argument, it is a sound recording that suddenly materializes on screen, creating a sense of presence. There's also the scene where Daniel reenacts his dead father's words, but it belongs to a different category. This time we've the image, but it's an account of a memory, an invention, or at best, a testimony without proof, as pointed out by the public prosecutor. The courtroom is essentially where our history no longer belongs to us, where it's judged by others who have to piece it together from scattered and ambiguous elements.   Written by Gregory Mann

(Release Info London schedule; August 2nd, 2018, Silver City, 19:00) "The Darkest Minds" When Ruby Daly (Lidya Jewett)) woke up on her tenth birthday, something about her had changed. Something alarming enough to make her parents lock her in the garage and call the police. Something that gets her sent to Thurmond, a brutal government rehabilitation camp. She might have survived the mysterious disease that’s killed most of America’s children, but she and the others have emerged with something far worse; frightening abilities they cannot control. Now sixteen, Ruby (Amandla Stenberg) is one of the dangerous ones. When the truth comes out, Ruby barely escapes Thurmond with her life. Now she’s on the run, desperate to find the one safe haven left for kids like her; East River. She joins a group of kids who escaped their own camp. Liam Stewart (Harris Dickinson), their brave leader, is falling hard for Ruby. But no matter how much she aches for him, Ruby can’t risk getting close. Not after what happened to her parents. When they arrive at East River, nothing is as it seems, least of all its mysterious leader. But there are other forces at work, people who will stop at nothing to use Ruby in their fight against the government. Ruby will be faced with a terrible choice, one that may mean giving up her only chance at a life worth living. Ruby has been imprisoned for six years, and ultimately she meets up with a group of kids who are the closest thing to family that she's got. When Ruby escapes from the camp, it’s very free and youthful and happy spirited. The character of Ruby is pretty tough. She's really passionate. She stands her ground.  She knows what she wants. Orange is the color classification for those who developed telepathic abilities. Ruby is classified as an orange and develops the ability to read minds, influence people's actions and thoughts, alter or erase memories, and change the feelings of others. It's a fantastic and critical component in a movie that's about difference and the embracing the championing of difference. Ruby is a kind of the make-or-break decision on this film. She's kind of profound in the way she thinks about things and feels things and she really responded to this material and had the right depth, the right ability to hold some things back and to not kind of give it all up and reveal all of who she's in every frame, which is very important to this movie. The whole movie is a quest for this ‘slip kids’ camp. And for this camp where supposedly kids live free, the character of Clancy Clay (Patrick Gibson) is pretty critical because he runs this utopian kind of what could be a ‘Lord Of The Flies’, ‘Maze Runner’, kid-only civilization or outpost, with order, with kindness, with charisma. There's even the possibility of a love triangle between Clancy, Ruby and Liam. Clancy is also classified as an orange and develops telepathic abilities. The character of Liam led an uprising and is on the run. He’s fiercely protective of this young girl named Zu (Miya Cech), who escaped with him. The character doesn’t talk for ninety-five percent of the movie and that’s not easy. The character of Zu, who we learn, over the course of the movie, has been through real trauma; way more trauma than someone that age should ever have to go through. Blue is the color classification for those who developed telekinetic powers. Liam is classified as a blue and he develops the ability to move objects with his mind. Gold is the color classification for those who developed electrokinetic powers. Zu is classified as a gold and develops the ability to create and control electricity. Travelling on the quest to the slip kids camp with Ruby and Liam is Chubs (Skylan Brooks). Chubs is not only a dimensional and authentic character the way all of our characters are, but he brings a certain levity. He kind of calls it like it's. When he sees something brewing between Ruby and Liam, he’s going to name it even if it makes people uncomfortable. And that you need that levity in a world, and in a film, that has some heavy themes and some intense scenes and sequences. And the tone of the Chubs character is that really, kind of winning, comedic aspect in the midst of this virtual family that’s making their way through the landscape. Green is the color classification for individuals who developed enhanced mental and intellectual powers. Chubs is classified as a Green (telekinetic). Chubs develops heightened problem solving abilities and a photographic memory. Cate (Mandy Moore) is a doctor who tries to help Ruby. She's basically a savior of sorts. Lady Jane (Gwendoline Christie) is a bounty hunter who hunts the children down. She's this kind of road warrior/bounty hunter, traversing the landscape looking for escaped kids, trying to collect a bounty, trying to take them out. She needs to be scary, but the film wants her to be kind of scary and a threat in an interesting and different kind of way.   "The Darkest Minds" is an adaptation of the best-selling book by Alexandra Bracken, the first in a YA trilogy ('The Darkest Minds', 'Never Fade', and 'In The Afterlight'). There’s a reason why there are fans of this particular series of books. They resonate with the characters. They resonate with the message, and they resonate with the concept of it. 'The Darkest Minds' starts in a turbulent America where 98% of the children’s population has died of a mysteries disease, deeming the 2% of the surviving children enemies of the state and forcing them on the run. So it's kind of a journey for all the characters do build in the fact that they have to meet each other, find out what each person does. Then they find that they're a little scared of each other because they don't know if each one of them is going turn them in. And so it becomes their part of their trust each other. Once they trust each other, now they can go out and help each other to try and get to where they need to get in the end. But bad guys are always after them and that's the bad part about it is they never know who's their friend and who's their foe. This movie shows that in the end, that what people see as a liability or a difference is actually a power. The movie is about kids being able to use these powers in order to survive, it’s a lot of action, but it’s also a lot of heart. “The Darkest Minds” hinges on audiences identifying with the character's struggles and being able to see themselves in this nightmare. The film feels like a reality that we live in today and recognize. It’s what makes the powers unique, they contrast with our otherwise normal reality. You should be able to imagine being able to go out right now and see someone doing these amazing things. More than ever in the world we're aware of our own mortality. We live in turbulent times, and as a consequence these dystopian stories have greater relevance to our lives than ever because the potential for it to become a reality is great. And it’s so universal, in that it’s about kids growing up into teenagers and discovering that they they’re different, which people don’t understand, especially adults and the government. So they’re thrown into camps. And the story follows these children becoming young adults and learning to stand up for themselves and protect themselves. The fear of fitting in and the search for acceptance often follows us into adulthood. This story is about a world that's not very different from ours. The majority of the population of children has died. And the kids who are left have developed these mental abilities that are inexplicable. And so, because of these abilities, the adults are afraid of them and they put them into camps. And so, this particular story focuses on this girl who escapes from one of these camps and what happens when she finds a family of her own on the outside. Anyone who's been a teenager can relate to this story. And that's really something we feel that set us apart, that when people see this trailer and when people get to go see the film, they're going to realize, this is a film about now and about something that feels very real and that could happen tomorrow, despite the sort of fantasy and the power element of it. It feels to us much more grounded and real and it takes place tomorrow as opposed to some dystopian future with a new world order. There are number themes that kind of run through the spine of the movie. It’s very much a film about belonging and in that regard, this movie happens to be about kids with some powers, but there’s no one who’s ever lived who hasn’t wrestled with that search for identity. It’s a search that's often at it's most heightened in adolescence, and so that’s the focus of the film. It's ultimately about a small group of kids with powers, super-human powers, that they don’t yet fully understand, who find each other by being collectively on the run from the authorities. And it’s about the way in which they rely on and connect with each other as they search for others like them. It might be dealing with intense themes and events, but the movie is fundamentally really hopeful. It’s hopeful about the possibility of connection and the possibility of acceptance. This movie transcends all ages. It’s not just about being a teenager. Everyone has been in that place when they're not completely comfortable with who they're. It’s about facing the things about you that you aren’t happy with, that you consider a flaw, and being able to grow into this place of being able to embrace those things. Being able to access what makes you unique and use it as a strength. This story follows a character that, in the beginning, is powerless and essentially frightened and ashamed of what she's. And by the end, you watch her grow. You watch her become this empowered strong character being able to do things she never thought she could do. Everyone can identify with that journey. The film connects very strongly to our times, to our political situation, severe and deeply upsetting and awful refugee situations around the world, and that in terms of our media, we’re starting to, connect more with human beings that are seemingly different from us, and recognize that those differences aren’t so great after all. And that we can recognize, the humanity in each other, and what it's to need comfort, to need shelter, to need liberty, It’s very much a landscape that is the natural world that, although it's now devoid of young people, is still beautiful and lush and filled with hope. The whole point of the book is showing the hope of people triumphing through these prejudices and using their abilities and surrogate families and being accepted by others who understand what it takes to be free. "The Darkest Minds" is going to give audiences a hell of a ride. It’s going to be a ride that will be thrilling in that it has action, it has adventure, it has super-visual set pieces, battle scenes, powers being used; all of that. Audiences can also expect a deeply emotional experience with this movie because although it’s filled with spectacle and just cool visceral sequences, at it's core it’s also really about characters looking for where they belong and discovering ultimately that where they belong is with each other.  

Jesus Christ. It’s Rob Zombie’s house. They came up with the following slogans for “Hereditary“: “The scariest film ever” and “A highlight in horror in the last 50 years“. Well, I wonder what they would say about “Incident in a Ghostland“? I won’t say this is the most masterful horror of all time. And no, it’s not as frightening as “The Exorcist“. That one scared me to death in those days. “Incident in a Ghostland” uses the same concept as in “The seasoning house” and “I spit on your grave“. The sexual abuse of innocent girls and the psychological damage these desperate victims suffer from. It’s not trembling and shaking all the time, but the whole movie you’ll have that uncomfortable feeling. An eye for an eye. Now, the concept of such movies is actually quite simple. In the first instance, they try to shock you with confrontational images so you’ll feel sick with disgust and anger. In such a way that the second part feels like a relief. Just like Jean-Claude Van Damme in his old movies where he fights back and wins, after being beaten up real bad. Or when an almost defeated underdog in a football match can turn the tide. That’s how the second part feels. You are a member of a fan club for the victims who fight back and avenge the injustice done to them. As in “I spit on your grave” where I couldn’t suppress a heartfelt, loud “Yes” with every execution of one of the perpetrators. And the way the victims take revenge should be ruthless and merciless. The more pain, the better. In short, a film that contrasts two opposing feelings frontally. The feeling of destruction, despair and physical pain, versus relief, liberation and a victory. The twist was a surprise. In a way, “Incident in a Ghostland” tries to break this pattern. Yes, there’s that moment of extreme violence and that moment the situation looks desperate. And just when you think it’s going smooth, the film takes a completely new path and the struggle for survival begins again. Further revealing only leads to spoiling the fun for those who haven’t seen the film yet. But the twist in the story also surprised me. To be honest, it’s not often that a film does this to me. Usually, I see it coming a mile away. But not now. Is it something like “Martyrs”? The film was directed by Pascal Laugier who’s best known for his controversial film “Martyrs“. A film that was proclaimed as the mother of all “torture-porn” and apparently rolls over you like a steamroller. An extremely brutal film many found disgusting. I never watched it myself. Deep inside I would like to see this movie but something tells me that the extreme violence will hit me too deeply. That’s why I avoid it. Had I known that Laugier directed this movie as well, I might have ignored it too. And now I’m on the horns of a dilemma. Is this a film where Laugier went soft? Or should I try to watch “Martyrs” anyway? Thumbs-up for the make-up department. Is it worth to watch this movie? Actually yes. And that because it’s beyond simply a brutal “home-invasion movie” with the torture, abuse, and humiliation of young girls. Here Laugier also brings the psychological impact of such a traumatic experience in the picture. He shows how the human psyche works from an individual who experiences something such as this barbaric invasion by two murderous maniacs. It’s not a film for sensitive souls even though the violence isn’t explicitly shown. However, the consequences of these brutal assaults are clearly visible. That’s why I give a thumbs-up for the make-up department. Dark and oppressive. The set-up as a whole is very successful. The house where Pauline (Mylène Farmer) and her two daughters Beth (Emilia Jones \ Crystal Reed) and Vera (Taylor Hickson \ Anastasia Phillips) move in, is a real junk house full of rarities and old dolls. Not that it plays a prominent role in the film, but it contributes to the entire oppressive and dark atmosphere. The acting of the two girls is mainly limited to screaming and anxiously waiting for the two halfwits to show up again. Except for Beth who became a successful writer of horror stories. Until she returns to the hell-house and is being confronted with the suffering. Mother Pauline behaves as a soothing and encouraging character. And then finally you have the two assailants. One crazier than the other, in terms of appearance. One is a goth-like person who you’ll only get to see briefly most of the time. The second a colossal, moronic monster who’s inhumanly strong. A drooling and groaning primate who prefers to play with dolls. And he likes it even better when those dolls are alive. More frightening because of the realism. All in all, “Incident in a Ghostland” is fascinating in a way. Even though the level of sadism is quite high and you can’t shake off the feeling of fear and panic during the whole movie. The entire film is an avalanche of hysteria with that constant sense of helplessness. It’s not a horror movie about possessed houses or paranormal phenomena with the familiar jump scares and creepy moments. This is a frightening film about something that can happen in reality and that we see on the news on a regular basis. The story itself seems rather simple, but Beth’s condition creates an extra dimension. In any case, it’s a lot more frightening than “Hereditary“, THE horror from 2018 (sarcastic tone). My rating 7/10 Links: IMDB

The first film review I ever posted on YouTube was of Francis Lawrence's Red Sparrow, starring Jennifer Lawrence as Dominika Egorova, a ballerina turned spy. However, in said review, I discuss how the 15-certificate may not be the appropriate rating for this slightly NSFW film. P.S. I am terribly nervous in this video, but we all have to start somewhere.

On Monday 29th January 2018, I saw Darkest Hour at the Vue Cinema with my Mum and sister. The Darkest Hour is about the period of time in May 1940 when Britain needed a new Prime minister to guide our country through World War II. That Prime minister being Winston Churchill. The film shows the audience the struggle Churchill went through to be accepted as a 'victory' Prime minister and how his stubbornness and care for British people managed to get 300,000 men home from Dunkirk safely and through 6 years of war. I don't know if this is because I am English or if I just love our culture and feel good movies, but I absolutely LOVE British films. We have some incredible actors and that makes me feel incredibly proud. Gary Oldman was no exception, he was absolutely incredible as Winston Churchill, from the makeup to the stutter and articulate voice he was simply perfect. After the recent Academy Award nominations for Darkest Hour I expected a showstopper and it exceeded my expectations entirely. British films win in mise-en-scene as the film was perfectly shot with costumes and sets that fit the 1940's era and how London would have looked at the time. Along with how aesthetically pleasing the film is the historical aspects and learning about what Winston Churchill had to do to please the public and parliament and save soldiers in Dunkirk and still with a positive attitude was very inspiring. In the time of complete and utter fear he stayed humorous and confident that we'd win the war with resilience when others were willing to give up. I personally loved the scene when Churchill visited the public in the Underground when he wasn't supposed to, although he may have not done that specifically it was interesting to learn that he would often wonder off and ask the public how they want to respond to the war and that's why he was so well respected and got us through the war. Along with it being very serious with the situation at Dunkirk and Calais (which was interesting to see after watching Dunkirk in the summer) it was also funny and showed that Churchill didn't really care and was his own individual self. The film brought some comedy to it, some of it was quite obviously funny but as the film is a Drama and is supposed to be serious there weren’t too many moments of humour. The other audience members didn’t really laugh but there were some quite funny parts where Churchill wouldn’t take situations all too seriously and parts where he’d just walk around naked. Overall, I really thoroughly enjoyed the film and I’d recommend it to anyone who wants to see a (hopefully, most likely) Academy Award winning performance as Churchill. It’s very light hearted and not too intense to watch. Definitely watch the film if you can while it’s out in the cinema, you’ll get a different experience then watching it at home.