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If you’re unusually fascinated with the psychological and characteristic fundamentals of serial killers as much as me, you’ll be able to recognize Jeffrey Dahmer without hesitation. Born on May 21st, 1960 in Milwaukee, Wisconsin, U.S. Dahmer committed various malicious crimes such as rape, murder and mutilation of 17 men and boys. Frequently indulging in necrophilia, cannibalism and preserving the body parts of his victims as a declaration of accomplishment. I’ve observed countless articles, books, movies and interviews surrounding Jeffrey Dahmer. So, why on earth was I sympathizing with Dahmer in Marc Meyers latest film, My Friend Dahmer? My Friend Dahmer directed by Marc Meyers is a biographical drama movie that surrounds the childhood of perhaps America’s most notorious serial killer. The film successfully encapsulates the essence and fundamental core of John “Derf” Backderf’s graphic novel of the same name. Derf went to Revere High School, Ohio, the same high school as Dahmer. He and his friends would observe Dahmer’s eccentric behavior as he would fake epileptic fits and impersonate the characteristics of someone enduring cerebral palsy. With this newly found fascination, Derf and his friends would invite Dahmer to socialise and the inaugural meeting of the “Dahmer Fan Club” initiated. Within this “fan club”, Derf and his friends would request Dahmer to use his unique impersonation skills in various environments such as the library or the local mall. Often paying him for his performances. Perhaps this was Dahmer trying to fit in socially or was he just impersonating the interior decorator who visited his mother the previous day as it made him laugh? Ross Lynch portrays Jeffrey Dahmer realistically, resembling an eerie comparison. Lynch even stated that he took extended showers to escape and evacuate the Jeffrey Dahmer character from his consciousness. Jeffrey Dahmer inhabited numerous issues throughout his childhood. His morbid obsession with dismembering dead animals and dissolving their remains in acid. Overcoming the harsh realities of high school. Battling his frustration and understanding his sexual orientation by stalking the jogger consistently. Comprehending the inevitable disintegration of his family. Combating his inescapable alcoholism to subdue his mentality. Ross Lynch encapsulates Jeffrey Dahmer’s childhood with his performance. Incubating his suppressed resentments, his introvert characteristic, his zombie-esque movement and the way he struggles to convey his emotions. Lynch studied Dahmer’s stature and his mentality effectively. Marc Meyers took the initiative to shoot My Friend Dahmer in the Dahmer childhood household in Ohio to enrich the realism. The film follows Derf’s graphic novel religiously, however, it heightens specific scenes to incorporate a feeling of tension. One scene in particular which is so bizarre to comprehend was when they had a field trip to Washington, D.C. Dahmer’s friends were conversing, joking about meeting President Carter when Dahmer takes the initiative to phone his office from a nearby payphone. He successfully got through to Vince President Walter Mondale’s office and arranged a private tour. Let me explain myself. My Friend Dahmer is a fascinating character driven story that provokes a sympathetic sentiment towards Dahmer. However, the movie does not justify Dahmer but rather illuminate his serial killer tendencies. Obviously, I’m not a serial killer fanatic that worships and praises these people. I just find the whole psychological and mentality extremely fascinating. It’s funny that I’m justifying myself here. My Friend Dahmer is an exceptional insight into the mind and upbringing of Jeffrey Dahmer. It’s not a gore fest whatsoever, it’s an unnerving study. There is a feeling of sympathy as you watch him trying to fit into high school and the only way he can do is by being a “performance act”. However, Dahmer has recalled his high school days fondly, stating that he did have a good time. Then there’s the problematic family issues surrounding Dahmer too. Drifting away each day as his mother and father undergo a divorce, ultimately leaving Dahmer alone to finally embrace his concealed thoughts.

(Release Info London schedule; December 23rd, 2019, Hackney Picturehouse, 270 Mare St, London E8 1HE, United Kingdom, 20:30) https://www.picturehouses.com/movie-details/000/HO00010390/ip-man-4-the-finale-plus-q-a "IP MAN 4" Mixed martial arts superstar 'Ip Man' (Donnie Yen) is back for the final installment of 'The Ip Man Universe Franchise' in "Ip Man 4: The Finale". 'Ip Man' reprises his role as the legendary 'Wing Chun' master in the grand finale of the revolutionary martial arts series. Following the death of his wife, 'Ip Man' travels to San Francisco to ease tensions between the local 'Kung Fu' masters and his star student, Bruce Lee (Danny Chan), while searching for a better future for his son Ming (Jim Liu). From the action visionary behind "Kill Bill" and "The Matrix", witness the heroic sendoff to the saga that inspired a new wave of martial arts movie fans. Donnie Yen ignites the screen in a return to his iconic role of 'Ip Man', the real-life 'Wing Chun Kung Fu Master' who mentored Bruce Lee. A kind father, a gentle and caring husband, a just and involved citizen. 'Wing Chung' legend 'Ip Man' is a brave and righteous national hero and martial arts master who has impacted an entire generation. A 'Grandmaster Of Wing Chun' from 'Foshan', 'Ip Man' spent his heydays in Hong Kong. He survived 'The Japanese' invasion of China and endured the injustice of colonial Hong Kong but still managed to defend Chinese dignity through martial arts. Not only is he a highly respected martial artist but also a family man devoted to his wife and children. After his wife’s death, he and his son gradually grew apart. While looking for a school in America for his son, he encounters racial discrimination. The injustice faced by overseas Chinese prompted him to take on the responsibility of a martial artist once again. A 'Tai-Chi' expert who emigrated to San Francisco with his father as a young man, Wan Zong Hua (Wu Yue) has started a new life abroad and has put up with years of racial discrimination and injustice. He set up 'The CCBA' in Chinatown to unite and help fellow overseas Chinese. But when Bruce Lee defies the rules of Chinatown and starts teaching martial arts to foreigners, enmity developed between Wan Zong Hua and 'Ip Man'. The grandmasters also failed to see eye to eye on the issue of national spirit. When 'The U.S.' Immigration gives him undue trouble, he decides to fight back. Deeply influenced and inspired by 'Ip Man', Bruce Lee is an arrogant and gifted boy, a practitioner pursuing perfectionism and a rising star. In addition to 'Wing Chun', he also practiced other martial arts styles and is actively promoting Chinese martial arts. He invites 'Ip Man' to watch him perform at 'The International Karate Championship' in America. He starts teaching martial arts to foreigners and published manuals on Chinese martial arts in English. In doing so, he offenders 'The CCBA' but he receives endorsement from 'Ip Man' regarding his martial arts philosophy. The film uses 'CG' techniques to revive Bruce Lee on the big screen. All rights are generally divided between his surviving brother, Robert Lee, for the work Bruce Lee completed before his marriage; and the late Linda Lee Cadwell, Bruce Lee’s widow, for the work that Bruce Lee completed after his marriage. Bruce Lee remains to be 'Master Ip Man’s' most accomplished disciple, and the film presents the best visual representation of Bruce Lee for this installment of 'The Ip Man' films. Hartman Wu (Van Ness) is a 'Chinese-American' officer of 'The U.S. Marine Corps'. He takes an interest in Chinese martial arts after reading Bruce Lee’s book. He becomes Bruce Lee’s protégé and wants to incorporate Chinese martial arts into the hand combat training of 'The Marine Corps'. But his white supremacist commanding officer Barton Geddes (Scott Adkins) is repulsed by the idea and caused a series of conflicts between east and west cultures. He arranges for 'Ip Man' to fight Barton to prove that different cultures have their own merits. As hand combat instructor of 'The U.S. Marine Corps', Barton is a white supremacist who subscribes to 'American Imperialism'. He vehemently stopps Hartman from bringing Chinese martial arts into 'The Corps' and orders Collins to defeat the representatives of different martial arts sects and mercilessly beat up Wan Zong Hua as a manifestation of white supremacy. When he personally takes on 'Ip Man', he finally got a taste of his own medicine. Outsourced 'Karate' instructor for 'The U.S. Marine Corps', Collins Frater (Chtis Collins) is a firm believer that karate is invincible and sneers at Chinese martial arts. On Barton’s order, Collins shows up in 'Chinatown' on 'Mid-Autumn Festival' and defeats the representatives of different sects. He’s ultimately defeated by 'Ip Man'. Practiced by 'Ip Man' in the film and in real life, 'Wing Chun' is initially derided as only being suitable for girls. They change their tune quickly, however, after seeing the ferociousness with which 'Ip Man' effortlessly defeats opponents. Accounts on the origin of 'Wing Chun' differ, but the most common version names southern 'Shaolin' nun 'Ng Mui' as it's founder. While visiting 'Foshan' in 'Guangdong' in the late 'Qing Dynasty', 'Ng Mui' came across 'Yim Wing-Chun', the beautiful daughter of a tofu vender who was often harassed by local gangsters. To help her defend herself, 'Ng Mui' then taught her select moves that were suitable for girls. Being a talented learner, 'Yim Wing-Chun' soon gained a grasp on the essence of the moves. She developed a series of moves for practice and named them 'Wing Chun'. Developed as a method of self-defense for women, 'Wing Chun' is a practical school of boxing characterized by it's tall and narrow stance, relaxed softness, and directness of action in contrast with the low and wide stance and high-impact moves of other schools. Toward the end of the reign of 'Emperor Jiaquin', 'Master Yim' married 'Leung Bok-Sau' and taught him all she had learned. Leung eventually taught 'Wing Chun' to 'Wong Wah-Bo' and 'Leung Yi-Tai' on a boat in exchange for the manual of the six and a half point pole, which has since become an essential weapon used by 'Wing Chun' practitioners. 'Wong Wah-Bo' passed his 'Wing Chun' skills to 'Leung Chun', a respected local doctor with a very good reputation, extensive social network, and a passion for martial arts. Despite his wide exposure in martial arts, he was hardly satisfied with his skills until he learned 'Wing Chun' from 'Wong'. Recognizing the superb tactics and mastery of power and stance in 'Wing Chun', 'Leung' put his heart into it and mastered 'The Siu Nim Tau', 'Chum Kiu' ('Seeking Bridge') and 'Bil Jee' ('Darting Fingers') forms, as well as wooden dummy boxing, the six and a half point pole, and eight slashing knives. He also put 'Wing Chun' to practical use and gave local bullies and gangsters a hard time. 'Wing Chun' became well-known in 'Lingnan' as a result, while 'Leung' acquired fame as 'The King Of Wing Chun'. However, being a philanthropist, 'Leung' spent most of his time on his medical practice instead of 'Wing Chun' teaching, and only 'Chan' and 'Leung Bik' learned 'Wing Chun' from him. Although the legend was known by many, it was only practiced by a few and was therefore regarded as a mystery. Living in 'Chan' village in 'Foshan', 'Chan Wah-Shun' worked as a money changer in his youth and was known as 'Money Changer Wah'. He frequently visited Leung’s clinic for work and eventually became 'Leung’s' pupil and learned the essence of his art. After the death of 'Leung', more and more people approached 'Wah' for guidance on 'Wing Chun'. 'Wah' then quit his work as a money changer and concentrated on 'Wing Chun' teaching. He was the first 'Wing Chun Master' to establish his own wushu school. Apart from boxing sequences and individual moves, 'Chi Sau' ('hand-sticking') is another important element of 'Wing Chun' that requires extensive training to master. One-on-one coaching is required and 'Wah' was obliged to keep only a few pupils and charge expensive rates. Therefore, most of his pupils were boys from rich families and 'Wing Chun' acquired a reputation as boxing for rich boys. Among 'Wah's' pupils were 'Ng Chung-Sok', 'Ho Hon-Lui', 'Lui Yu-Chai', his own son 'Chan Yu-Gum', and 'Ip Man', his last pupil, who would eventually turn 'Wing Chun' into one of the most popular Chinese martial arts. 'Ip' joined 'Wah’s' wushu school at the age of seven. Then an old man, 'Wah' was very fond of the boy and taught him with great devotion. After the death of 'Wah', 'Ng Chung-Sok', his first pupil, took very good care of 'Ip' and continued to guide him in his practice. After three years of hard work, 'Ip' had learned the essence of 'Wah's' skills. Relocating to Hong Kong to pursue his studies, 'Ip', then 16 years old, met 'Leung Bik', the second son of 'Leung Chun'. 'Ip' then studied under 'Leung Bik' for three years. It proved a great opportunity for him, and Ip saw great advancement in his skills. Upon his return to 'Foshan', 'Ip' supported the cause of justice with his expertise in martial arts and once again brought great fame to the art of 'Wing Chun'. However, with the invasion of 'The Japanese', 'Ip' fled with his family and did not have a chance to teach. After 'The Sino-Japanese War', 'Ip' revisited Hong Kong and settled down to teach 'Wing Chun'. After painstaking scouting, he found a teaching job at a restaurant employees union on 'Tai Nam' street in 'Sham Shui Po' with the recommendation of his friend 'Li Man', and took up a career in teaching. Well-educated in western science and reason, 'Ip' taught 'Wing Chun' in a scientific manner, stressing the importance of logic, line, and angle of attack, control of force, and psychology, among other things. He also abandoned the traditional way of teaching and encouraged learners to look further than specific moves and instead try to grasp the essence, and strike as their hearts pleased. Ip taught differently according to the abilities of each pupil, ensuring each of them learned efficiently and developed their own talents. The art of 'Wing Chun' flourished with 'Ip’s' new way of teaching. Unlike many other teachers, 'Ip' encouraged his pupils to engage in combat with outsiders in order to understand their own weaknesses. This helped spread the name of 'Wing Chun' throughout the city and attracted many talented young people to 'Ip’s' school. The late kung fu superstar, Bruce Lee, who introduced Chinese martial arts to the world, was one of them. 'Ip' spent a lifetime teaching 'Wing Chun' and many of his pupils enjoyed great success, gaining enormous fame for the art of 'Wing Chun' in Hong Kong, Taiwan, and 'Southeast Asia'. With his invaluable contribution to the development of 'Wing Chun', 'Ip" came to be regarded as one of the greatest masters by 'Wing Chun' practitioners. From a method of self-defense for women, 'Wing Chun' developed into a powerful practical combat martial art over several decades, and from it's origin in 'Foshan', it has established fame and a keen following in different corners of the world. Highly regarded around the world, it's now the most popular form of 'Chinese Wushu' among foreigners. There's an agreed account on it's origin and development; founded by 'Yim Wing-Chun', the art took roots in the hands of 'Leung Chun' and blossomed under 'Ip Man'.

Yardie, based upon the book of the same name, is James Bond’s…sorry Idris Elba’s directional debut. It focuses on a young man who tries to escape his troubled past on the streets of Kingston, Jamaica, to London; only to remain on the same path that led him there in the first place. When he was a young boy, his peaceful older brother was gunned down by a ‘supposed’ member of a rival crew. It led D (Aml Ameen) to want revenge against the killer, only to find him on the streets of the East End where his old flame, and mother to his current child currently lives, in peace, away from the bloodshed.  I love Idris. He’s a brilliant actor and his performance as Stringer Bell in The Wire is the only reason I carried on watching it. I know, controversial, but christ that show is slow and tedious. As a director, well Yardie didn’t cut it for me. There were a lot of good things about it. The mise-en-scene was brilliant, in every scene I felt like I was in Jamaica in the 70′s, or Hackney in the 80′s. The music, the sets, the costumes were brilliant. King Fox, for example, just oozed class throughout the film. I was convinced by that. I just wasn’t convinced by the story. I wasn’t gripped. There seemed like a lot of ideas that put together, just created a complete jumble of nothing. At certain points in the film I thought to myself ‘ooo this is like City of God’ ‘oooo this could be Scarface’ ‘ooo this could be 8 mile’ ‘oooo this is could be This Is England’. But it didn’t pack a punch like these films did. I was disappointed that it felt like this, and this could be due to the trailer. A trailer that featured music that was prominent at the time the film was set, about a young man trying to find his way in the world, set in England and with action scenes. You tell me that isn’t a City-Of-God-8-Mile-This-Is-England-Scarface mash up and I shouldn’t get my hopes up about that.  📷Originally posted by dancebang The two lead actors were wonderfully chosen for the film. D (Aml Ameen) was very charismatic and lead the film superbly. Whilst the narrative was full of exposition, the acting was brilliant. Yvonne (Shantol Jackson) as the mother of his child and girlfriend was beautifully cast. She drove her scenes with the passion and emotion that she produced. She is a wonderful actress and she deserves to be in much more because in Yardie she was sublime. The worst thing for me about this whole thing though was the casting of Stephen Graham as Rico, one of the villains in the film and the drug dealer based in London. Stephen Graham is one of my favourite actors. As a character actor there aren’t many who come close to him. He deserves to be A-List. But my god what was going on here. I’m not annoyed that he was in the film. I’d cast him as anything. Working class hero. But throughout the film he put on a Jamaican accent, it wasn’t a bad accent but he kept flicking between this and the cockney accent because of Hackney. Now I was confused as to why the Jamaican accent was needed. I didn’t know if it was because he was trying to fit into the Jamaican community in London so he could get their respect and trust. He had Jamaicans working for him, who respected him, who at no point looked pissed off with him. Or if the character was culturally appropriating their lifestyle. By flicking between the two he is undermining them. But again, they were never any scenes where the other Jamaican characters looked pissed with him. I think it ruined the whole scene. He was much more menacing just doing the cockney accent. I cringed whenever the Jamaican accent was used. 2/5 Unfortunately as much as I was looking forward to it, and as much as I was hoping it would be amazing, it wasn’t. This could be down to the story not being originally written by Idris. There’s always a conflict when using an adapted screenplay. I hope and I’m sure we will see more of Elba in the director’s chair. There are far too many white, university educated film directors churning out the same pile of Hollywood crap. I want stories by a director from a working class background, I want stories from the Nigerian family, I want stories from the Muslim community. We need stories like Yardie to entertain, and more importantly, educate us. Just hopefully the next film from Idris is more entertaining than his first. p.s I really hope Idris doesn’t become the next 007. And not because I’m a right-wing gammon. But because he’s too good of an actor to be tied down to such a dead franchise. For sure he’d make it exciting. He’d bring it to life and bring the charm back to it. But he’s too good to be stuck as Bond. I wouldn’t complain if he was, I’d rather it be him than Tom Hiddleston or Henry Cavill or *insert another generic middle class name here*

"When Evil Lurks" /10/07/23/Prince Charles Cinema/13:45/     The residents of a small rural town discover that a demon is about to be born among them. They desperately try to escape before the evil is born, but it may be too late.   When brothers Pedro (Ezequiel Rodríguez) and Jimmy (Demián Salomón) discover that a demonic infection has been festering in a nearby farmhouse, its very proximity poisoning the local livestock, they attempt to evict the victim from their land. Failing to adhere to the proper rites of exorcism, their reckless actions inadvertently trigger an epidemic of possessions across their rural community. Now they must outrun an encroaching evil as it corrupts and mutilates everyone it is exposed to, and enlist the aid of a wizened cleaner, who holds the only tools that can stop this supernatural plague.   The film wants to create an own universe and something unique in the genre. It's a sequel to "Terrified" (Aterrados). To make the audience experience disturbing situations in the context of everyday life. It's about a new way into the demonic possession subgenre, without falling into the expected or generic places. Unlike "Terrified", where the protagonists were based in a couple of houses and going to look for 'evil' until they collided with it, here we propose the complete opposite, evil would be looking for the characters, who would have to cross a whole region to avoid that confrontation. The idea is always to create a horror road movie of characters with family ties that are in a state of decay, which makes everything that happens more brutal and disturbing. The film also wants to present striking scenes and images within the horror and fantasy genre set in Latin America. A wildly original take on the possession film, "When Evil Lurks" is a shocking supernatural thriller.   Written by Gregory Mann

(Minyan • 2020 ‧ Drama ‧ 1h 58m • Showtimes London • Tue 18 Jan, Genesis Cinema, 5,6 km·Whitechapel, 93-95 Mile End Road, LONDON E1 4UJ, United Kingdom, 21:00) https://genesiscinema.co.uk/GenesisCinema.dll/WhatsOn?Film=25625632 "Minyan" David (Samuel H. Levine), a young 'Russian Jewish' immigrant in Brighton Beach at the height of the 1980s, caught up in the tight constraints of his community. While helping his grandfather Josef (Ron Rifkin) settle into a retirement facility in the tight-knit 'Russian Jewish' enclave he calls home, he develops a close friendship with his new neighbors, Itzik (Mark Mogalis) and Herschel (Christopher McCann), two elderly closeted gay men, who open his imagination to the possibilities of love and the realities of loss; and explores 'The East Village' where he finds solace in like-minded souls. A world teeming with the energy of youth, desire and risk. He finds and quietly blossoms. When Itzik dies and the neighbors want to throw Herschel out, David must stand up to defend his discoveries about himself and where he belongs. The film is based on David Bezmozgis book. The short story is about a young man whose grandfather is struggling to find a place to live, and the only reason he gets an apartment in this building is because he's a pious 'Jew' and will show up to make a minyan for prayers. The protagonist of the short story is not gay, but there are pieces of 'DNA' from Bezmozgis's writing that feels foundational to who David is; the immigrant who doesn't fit into his community, and who doesn't have access to language. The elements pertaining to the yeshiva school David attends in the movie appear as a set of observations in parts of other stories from the same collection. The notion of wanting to be able to live a physical life, and to experience sex, David in the movie wants that, because lust and desire are things were supposed to feel as young people. Coincidentally, his neighbors are two closeted gay men, and one of them dies. A question emerges of will they throw the surviving partner out or not, because his name isn't on the lease. The movie contains a scene of unprotected sex that adds a layer gravitas to the story, considering it's time period. It would be naive and false to claim that the only sex gay men have after the discovery of the virus is safe sex. Gays and straights continue to have unprotected sex because passion and sexuality often overrule our better judgments. How we deal with uncertainty is an energy that all the characters in this movie feel in different ways. They all feel threatened. David has little or no idea at first what's going on in the world just a few subway stops away. But once he knows, he can never really shake that fear off. The movie is in some way about those moments, trying to be who you're in the most authentic and vulnerable way, even if it ends up being a threat to your survival. In the '80s 'Brighton Beach' is also more heavily religious than it's now, something David would have wanted to get away from. It feels like 'Old Country Jews'. It's a story about the tests of freedom, or the tests of empathy, in the free world. NYC in the 1980s as 'AIDS' took such a terrifying and decimating hold on the community, "Minyan" is a powerful story of rebellion and self-discovery, sexual and spiritual awakening, and survival. A story of strength in numbers, as one young man wakes up to the realities of a new life, where youth, desire and risk collide with the indelible specters of the past. There's a particular way that strangers move through strange lands. 'Immigrants', 'Jews', 'Homosexuals', in order to survive, they've learned to be keen observers, listeners more than talkers, always on the lookout for danger and openings. They carry history under the skin, and make do with less to fulfill a promise in the future. This is the 'DNA' and the ethos for "Minyan"; and very much the way we've moved through our own life. Trying to figure out who's required navigating grief and sexual exploration. What's shadow and what's light. We're comforted by and fascinated with the stories our grandparents told, their secretive crying and mysterious 'Yiddish' whispers. There's a strong connection in "Minyan" to this idea of 'The Jews' being the people of the book, reading the Torah, saying the prayers, the story of 'King David', which is an incredible story itself. On one hand, a minyan refers to the simple rules of prayer, you need ten men to make a quorum to say certain prayers. As a pious Jew you say prayers alone from the moment you wake up and wash your hands, but those are private prayers. These big signpost prayers like the Kaddish have to be told in a group, and with 10 people it takes on a different dimension. We believe that with the group, prayer is changed into belief. We're attracted to the edges of things, moments held in mesmerizing balance, the surface tension, here between fear and freedom, between seen and closeted, between newness and inexperience of youth and the gravity of old age. Go back to where you started, or as far back as you can, examine all of it, travel your road again and tell the truth about it. Sing or shout or testify or keep it to yourself. It's about what people feels on the inside versus how they come across on the outside, and that in many ways all of us share a certain set of feelings; loss, despair, impossibility. The main one is the looming sense of existential dread, the idea that just living your life authentically, being who you're might be the cause of your own death is a staggering heaviness to deal with, not knowing who's going to live or die, this is part and parcel of being a 'Jew', an immigrant, or a homosexual. We don’t like to equate the 'Holocaust' with anything, it’s sui genesis in terms of the brutal, cruelty and terror and mass killing, there are parallels to what 'AIDS' did to the gay community, the wiping out of almost an entire population; and we feel like survivors share an emotional landscape with other survivors.

/05/23/23/ Picturehouse Central, 6:15 pm Fulham Road Picturehouse, 8:00 pm "Master Gardener" "Master Gardener" follows Narvel Roth (Joel Edgerton), the meticulous horticulturist of Gracewood Gardens. He's as much devoted to tending the grounds of this beautiful and historic estate, to pandering to his employer, the wealthy dowager Mrs. Haverhill (Sigourney Weaver). When Mrs. Haverhill demands that he take on her wayward and troubled great-niece Maya (Quintessa Swindell) as a new apprentice, chaos enters Narvel’s spartan existence, unlocking dark secrets from a buried violent past that threaten them all. "Master Gardener" is a potent tale of a man tormented by his past as a white supremacist gun-for-hire, which captures the racial tensions of contemporary America. Although not initially envisaged as a trilogy, "Master Gardener" marks the culmination of a tryptic of films that began in 2017 with "First Reformed". Like "The Card Counter" (2021) before it, "Master Gardener" is a bold new take on a man in a room narratives, where a lonely figure, wrestling with his past and hiding behind his day job, waits for something to change. The character first evolved with "Taxi Driver" (1976), which was an outgrowth of the existential hero of European Fiction. Each chapter of the trilogy concerns men who are facing existential crises, living lonely lives, hiding behind their day jobs, whether as a reverend, a card player or, as in the case of "Master Gardener", a horticulturist. At the heart of "Master Gardener" is Narvel Roth. He's someone who has a bit of Robert Mitchum about them, who you wouldn’t want to get into a fight with at a bar. It looks like that 1950s American physique, we've seen before with "Warrior" (2011). Narvel, like so many leading men, is a loner. He’s meticulous in his duties, carefully tending the grounds of Gracewood Gardens, a grand house owned by the wealthy dowager, Mrs. Haverhill. When Haverhill’s much-troubled niece, Maya arrives at Gracewood, Narvel finds himself caught between these two women, as his past, present and future collide with dramatic force. Whether it’s being a gigolo ("American Gigolo", 1980), or a drug dealer ("Light Sleeper", 1992), or a gambler ("The Card Counter", 2021) or a gardener, it’s about finding a metaphor. Gardening is a particularly metaphor, both positively and negatively. The films is alluring to a flashback Narvel has when he remembers a white supremacist saying it’s their job to rip out the weeds. But it's equally through gardening that Narvel finds redemption. It all comes back to that man in the room. It starts out with gardening, much like how "The Card Counter" started out with gambling. But this is only the start of the creative process. Why is this gardener such a recluse? From there we remember about the Witness Protection Programme, and again you ask the question, why is he in the programme? This mutes to the idea that he's a gun-for-hire for white supremacists. The story must follow a logic. Asking these questions, means his isolation becomes completely understandable. As his handler tells him, you’ll never be free from this shadow, which is echoed when he says that he wears it on his skin every day in the form of tattoos. Whilst bearing some similar narrative techniques to previous films, "Master Gardener" detours from what has come before. You must create a different social ambience with the film, and then start moving the characters around slightly. Here you not find new wine for your skins. Whilst the framework of the story is akin to previous man in the room narratives, the way the film manipulates and puts a spin on ideas is what leads to such stories. With "Master Gardener", there's the central notion of the triad, whether it's sex, race, and gender, or the character triad of Mrs. Haverhill, Narvel, and Maya. Here you've a man caught between two women, one old enough to be his mother, the other young enough to be his daughter. This is the first time since "Taxi Driver" that we see two women in one of these stories. What was once deemed acceptable on screen has changed dramatically. With this in mind the film wants to tell the story in a way that reflects contemporary society. We no longer accept the idea that a 55- year-old man and a 25-year-old woman is a perfectly normal arrangement. In the film, Maya is in her mid-20s, and Narvel is in his late 40s, whilst Mrs. Haverhill is older than them both. These age gaps to lean into the unease of the film. The age gaps of the characters to add to the unease of the situation. Rather than avoid these complex moral issues the film wants to explore these themes in the narrative. Age, race, and gender make for a good narrative triad, where all the corners of the triangle meet in different ways as they explore the subject matter. "Master Gardener" is a film where age, gender and race collide. This final chapter in the trilogy echoes the message of redemption through love. Across the course of the three films, the man in the room character does not offering new, intriguing perspectives on his tales. All three men find redemption, but often at a price. The intentionally ambiguous ending of "First Reformed" left audiences questioning whether Toller is alive or dead by the film’s end. In "The Card Counter", William Tell finds redemption, but his brutal acts lead him to be incarcerated. "Master Gardener" offers a different, more hopeful perspective, reinforcing the idea that the only hope these existential antiheroes have, is to be found in love. Written by Gregory Mann

All that time with Anton, the practice, the performances, the pressure to be perfect. Whenever I read newsflashes about films that make people suffer from migraine attacks and even make them sick, my curiosity is immediately awakened. The final verdict can go two ways. Or the film indeed has an ingeniously elaborated story and is provided with images the average stomach can’t bear. Or it’s the umpteenth overrated movie of which you ask yourself afterward “Who on earth made such statements?“. Are those people who’ve never seen a similar film as “The Perfection“? Are they film lovers who limit themselves to innocent rom-coms? Or supporters of superficial films such as “The Sound of Music“? No idea. In any case, I couldn’t find any nauseating fragments or rancid footage in this Netflix Original. But that doesn’t mean I thought it was a terrible movie. On the contrary. “The Perfection” contains a cleverly put together story, some successful acting, and a surprising denouement. So, highly recommended. A bit suspense. A bit erotism. I myself thought that “The Perfection” was nothing more than a psychological thriller with a bit of erotism and a few lurid events. Admittedly, the denouement will look pretty disturbing for some. But I assure you that this film will mislead you from the start. The goal that Charlotte (Allison “Get out” Williams) has in mind and the reasons for this are of a very different nature than you would expect. If you realize what a dark secret the Bachoff Institute is hiding, where Charlotte has taken lessons for years as a gifted cellist, it will give you more chills than the bus ride through rural China. The film fits in perfectly with our modern zeitgeist where there’s a “Me too” movement that explicitly tries to draw attention to sexual harassment and sexual assault. How the renowned academy Bachoff can be associated with this is something that you have to discover for yourself in this original film. A mixed bag of different genres. It’s quite clear that this film is difficult to catalog when it comes to the genre. It’s actually a mixed bag of different genres. It’s a light-erotic thriller with a dash of horror. For experienced horror enthusiasts, the horror part will be slightly disappointing. You could describe it as an ultra-light version of “I spit on your grave“. But without explicit visual material and a wide variety of horrifying revenge actions. And from the beginning of the film till roughly halfway, it’s a mild drama where you are introduced to the most important protagonists. Charlotte, a talented cellist who, after years of absence (taking care of her sick mother), seeks contact again with her former music teacher Anton (Steven Weber) and his wife Paloma (Alaina Huffman). But especially the meeting with the new star of the academy, cellist Lizzie (Logan Browning), is causing some stir. First of all, you can feel the competition between the two cellists whose finger-fastness and sensitive handling of the fiddlestick create magical sounds the moment they squeeze a cello between their knees. As these two, not bad-looking classical musicians spend more time together, the sexual tension between them increases. And before they know it, they make use of the skills they use while playing the cello, when they are all over each other when lying naked under the sheets. It’s not perfect but still. Once this introduction took place and the two lovebirds are sitting on a local bus on their way to some small town in China, the film goes in a higher gear. The frivolous atmosphere makes way for exciting situations and horror elements. It feels rather mysterious. Even the rewind moments won’t really clarify it. On the one hand, I thought this technique was kind of an original approach. On the other hand, it seemed rather pedantic. Let’s say something about acting. There’s actually nothing negative to announce. You can safely state that the two main characters almost reach perfection when it’s about that. The chemistry between the two girls is realistic. The different moods that they struggle through are convincing. Steven Weber and Alaina Huffman also fit perfectly into their role. An illustrious couple consisting of dark personalities. Perhaps it seems as if they have mixed a number of different genres and it feels as if they didn’t know which direction to go. But it never gets boring. No, “The Perfection” is certainly not perfect. But it wasn’t very far from perfection. You can watch “The Perfection” on Netflix now. My rating 7/10 Links: IMDB

Director: Brad Peyton With: Dwayne Johnson, Naomie Harris, Malin Akerman, Jeffrey Dean Morgan Release Date: Apr 13, 2018 Based on the mid-’80s Bally Midway arcade game that unofficially influenced Disney’s “Wreck-It Ralph,” Brad Peyton “Rampage” doesn’t seem to understand its own appeal. Reuniting disaster driven star Dwayne Johnson with his “San Andreas” director, this brainless big-screen monster-smash movie assumes that audiences want to see the Rock stop three enormous mutant creatures from destroying America. I left the film feeling unsatisfied and confused, the whole film was not consistent through out, at the start it starts of at the ISS (International Space Station) which shows all members being eaten/killed by a huge rat. As the film continues it the shows Davis (Dwayne Johnson) relationship with a gorilla who inhales this gene modifying substances and then goes crazy with a wolf and what i can only think is a crocodile. Rampage is not a film that i would happily say to people go and watch, unless your a huge Dwayne Johnson fan there is no other reason to see this movie. Once again Bred Peyton has failed, with his 2015 'San Andreas' the cast was amazing the actual message of the film has been lost again and the film being over dramatic, The same feeling i felt after watching San Andreas i felt after watching Rampage, it is a shame because i loved the cast, scenery, the characters and graphics in the movies but it just deliver the wow factor.

It’s a satellite phone. How did this get in my purse? While looking at the film poster, the first thing I thought was: “Wow, Halle Berry has a thing for films about kidnapping”. First, there was “The Call“. And then at the beginning of the year, I saw “Kidnap“. And now it’s a film about human trafficking. In particular, the kidnapping of young women who then end up in a network of prostitution and terrible abuse. But soon I realized I was completely wrong. The woman in question wasn’t Halle Berry. But damn, she looks disturbingly a lot like Halle. Now, I didn’t like “Kidnap” very much. To be honest I thought it was outright irritating at times. This film is, despite another protagonist (Paula Patton), of the same level. That surprise weekend will become a fiasco. The acting in itself wasn’t that bad at all. Perhaps a bit simplistic and predictable, but certainly not annoying. Only some stupid decisions were made again. But that’s typical for these kinds of films, I suppose. Lovebirds Brea (Paula Patton) and John (Omar Epps) are both nice looking persons and form a beautiful couple. When John arrives one day with a classic car as a birthday present and takes Brea on a surprise weekend, you already know this very peaceful scene is doomed to turn into a fiasco. Where’s this phone coming from?. First, they are being harassed by a motor gang in a gas station. Next, their fantastic weekend full of love and eroticism is ruined the moment super-jerk Darren (Laz Alonso), someone with an ego problem and an agent for sports stars, shows up. And as icing on the cake, there’s a satellite phone, with a series of disturbing pictures of abused young women, inexplicably ending up in Brea’s handbag. I’m not impressed. If only they’d stuck to the idea of making a disconcerting film about sex trafficking, it might have been interesting. But turning it into some kind of Hollywood spectacle, with story twists you could see coming from half a world away and an improbable denouement, wasn’t such a hot idea. Human trafficking is a deadly serious subject and a despicable type of crime that needs to be tackled seriously. The fact they try to make people aware of this widespread problem, I can accept. But in the end, this was nothing more than a cheap B-movie about the abuse and exploitation of women in networks. “You were not really here” also brings up this issue, but there it concerns networks with minors. And that message was loud and clear. “Traffik” just uses the cheap solution of showing statistics about the number of women abducted in the US. In other words, I wasn’t really impressed by this film. My rating 4/10 Links: IMDB More reviews here

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

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.

It’s intense. The infinite horizon. After a few days, I feel reborn. You know, just you, the wind and the sound of the boat cutting through the ocean. When you compare “Adrift” with the movie “All is lost“, where Robert Redford sailed across the ocean on board of a huge sailboat, you’ll notice some similarities. First of all, you can expect some idyllic footage once again. The words horizon, the setting sun, and sails that blow in the wind can be used to compose a corresponding sentence. In both films, it’s an upcoming storm that ensures that the spotless sailboat is reduced to floating wreckage. And then you see an admirable struggle for survival. These being the similarities, isn’t surprising. What else did you expect in a film about a shipwreck? Similarities and differences. However, there are also some significant differences. Differences which make “Adrift” a more interesting film. First, let’s talk about the conversations. In “All is lost” there are as many dialogue lines as you encounter traffic lights on the ocean. None! But then again, Robert Redford was drifting all alone while Tami (Shailene Woodley) and Richard (Sam Claflin) had each other. If there would be no conversation at all, you could say those two Globetrotters weren’t really meant for each other. And the trip across the Pacific would have been boring as hell for both of them in that case. The most obvious difference is the gender of the person who does everything to survive. And finally, there’s the psychological aspect that reminds you immediately of “47 Meters down“. Before you know it, the storm is over. The film can be divided into two chapters. One part before and one after the storm of course. Don’t expect an apocalyptic drawn-out part with a ferocious ocean that throws the boat around like a walnut after which it finally crushes it like a coconut by a heavy stone. Otherwise, you’ll be disappointed. The devastating storm itself is extremely short. The part that was given a lot of attention, is about Tami and Richard meeting each other. And on the other hand, the terrible period on a destroyed boat with a limited supply of food and something to drink. And as a vegetarian, it’s even more difficult For Tami. Because catching a fish causes her to gag instead of being happy. If I’d be in a similar situation, I would throw away my morals instantly. Lots of flashbacks. In terms of content, both parts were interesting enough. Only the romantic stuff was a bit too much of a good thing. I understand they tried to show the contrast between the pleasant and the difficult moments. And then there’s the least successful part for me. The alternation of fragments from the two different time lines with the help of recurring flashbacks. Just when you are empathizing with the dramatic part of the story, in which Tami tries to cope with the situation and does the impossible to cheer up the badly wounded Richard, they jump back to a romantic scene with those two lovebirds watching a beautiful sunset while drinking a Cuba Libre. Even though these are sometimes scenes with beautiful images, I thought it slowed down the pace and decreased the tension. After every flashback, I thought to myself “Show up, you damn storm. Where are you?“. But once this terrible event is over, it’s still a fascinating film with a well-thought-out twist. Don’t watch when you’re about to go on a boat trip. “Adrift” isn’t a bad movie. Or you hate romantic issues. Or you instantly get seasick when you look at a sailboat. What impressed me the most was the interaction between Shailene Woodley (who effortlessly transcends her acting level from “Divergent“) and Sam Claflin. Their love relationship felt convincing and realistic. No fake moments. They were two wandering souls who met each other by chance and together undertook this adventurous trip. They aren’t married yet and already they experience what it means to be together for better or for worse. The film is based on true facts. Mostly the result is a mocking chuckle when I read this. But for me the result was an enormous respect for that young girl who experienced this disaster. Tami Oldham is living proof that one should not talk about the weakness of women. She proves that women can stand their ground in certain circumstances. “Adrift” shows that the term “Girlpower” is not an empty concept. Only one advise. Best not watch this movie when you’re planning to take a boat trip in the near future. I’m sure you’ll start that well-deserved holiday with trembling knees. My rating 7/10 Links: IMDB More reviews here