Author: festreviews

Interview with Festival Director Ann Cabano (The Just Be Love Project)

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The JUST BE LOVE Project is dedicated to education, awareness, and inspiring action for social justice and human rights issues through educational events and socially conscious films. Change begins with education and it is their hope to start the difficult conversations and to inspire action in the hearts of those attending this event.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Ann Cabano: The JUST BE LOVE Project is dedicated to education, awareness, and inspiring action for social justice and human rights issues through educational events and socially conscious films. It is my hope that this event inspires filmmakers to use their platform to bring awareness to social issues, to give a voice to the tough conversations, to advocate for the injustices humanity faces.

What would you expect to experience if you attend the festival this year (2017)?

Attendees can expect to have the opportunity to acquire a new lens of perception. Beyond that, it is my hope awareness, change and healing can be a lasting result.

What are the qualifications for the selected films?

Official selections will have any social justice theme or sub-theme that can become a educational discussion.

We hope to have the filmmakers present to answer questions and when not possible we hope to have subject matter experts offer some insight.

We accept any genre of film.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

Art in any form is personal and therefore subjective and surely the impetus behind the intention of the different festivals.

And I can only speak for my festival where every entry gets screened and judged equally.

What motivates you and your team to do this festival?

I was personally motivated to create this event because I am an advocate for humanity at heart. My background in non-profit, my personal life experiences and my passion as an educator naturally forged a path to this very moment in my life. I imagine my team is motivated by similar reasons.

How has your Film Freeway submission process been?

The process has been smooth and steady an right in line with my vision and projected pace.

Where do you see the festival by 2020?

As a new venture, I have decided to let The Just Be Love Project organically shape and grow.

We are focused on social justice and education awareness and already had the honor of being asked to work with a group of 56 high school youth that wanted to learn about human trafficking. Our partner Shanna Parker, trafficking survivor and founder of AngelsGoToWork.com helped us educate the young adults at a three hour gathering where the participants also helped us make three powerful videos by lending their voice to the topics of homelessness, trafficking and bullying.

This fall we are mentoring and collaborating with another youth group that will be making a film we will screen at a future event.

We will also be launching a non-profit leg that will do educational outreach around social justice and human rights issues.

What film have you seen the most times in your life?

I will admit that it is a tie between ‘While You Were Sleeping’, ‘Dirty Dancing’, ‘My Cousin Vinny’ and ‘Braveheart’.

In one sentence, what makes a great film?

Human connection, emotional intelligence, a quirky protagonist and a slight sense of the unreal.

How is the film scene in your city?

I would love to the film community in my city expand and grow.

We just acquired a film commissioner and hope to see an impact on our community.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director Joe Sanchez (Catch & Release Showcase Festival)

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The showcase is a meeting point among artists, innovators and media consumers. We aim to spark creativity for both beginners and professionals. Grab your phone and create. Together we can make this world more beautiful with our artistry.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Joe Sanchez: We are all about distribution. Right now our focus is for the filmmakers to find a way to stream their films to a wider audience and be able to make revenue.

What would you expect to experience if you attend the festival this year (2017)?

Our goal is a traditional one given this is our first year, just aiming for a good time and that people find us memorable. And for the content to be good.

What are the qualifications for the selected films?

As long as the material is shot on an cellphone and under 20 minutes, we will consider it.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

I’m not sure how to answer this question. I believe in general film festivals are always looking to showcase some of the best and finest in the market to be. I do believe the bigger ones; TRIBECA, SUNDANCE, SOUTH BY SOUTHWEST have monopolize. No longer about what’s next, more so what’s going to bring more celebrities. I remember when CLERKS was the biggest thing at SUNDANCE. Now, that’s not so much the case. This is why smaller festivals are needed. People forget that even film festivals have their roots.

What motivates you and your team to do this festival?

For me, personally, it has always been about helping filmmakers spread their voice. As a writer / producer myself I know that most filmmakers, if not all of them, are simply wanting to be heard. This is why creating is an outlet / a way to coop with the world. And right now that outlet is needed the most. Our festival is just another way for them to speak.

And, on a personal mission, I’m aiming to bring more social awareness about a greater cause, human trafficking. This is why we teamed up with A21. As a fighter against this global monstrosity, it’s my way to give back while implementing change.

How has your Film Freeway submission process been?

It’s been fair, first year festival have a lot to overcome. So just getting people to submit is an accomplishment on its own. And having the FilmFreeway brand behind us does give us some type of credibility.

Where do you see the festival by 2020?

By 2020 I anticipate for us to be globally recognizable and a higher attendance, just kidding. But seriously isn’t the goal always the same, it’s all about longevity. Whether this festival is still around, that’s without question. Ultimately the goal for us is to be trusted. To be one of the go to festivals where you, a. get some validity and b. be handed a distribution deal. We plan to expand to feature film submissions, at some point.

What film have you seen the most times in your life?

El Mariachi, is one of my all time favorite flicks, as Robert Rodriguez likes to refer them as. I can watch it over and over again. From a filmmakers perspective I can appreciate it for what it is, a film that visually accomplish what it set out to do with it’s minimal budget. As a writer, it’s mind blowing how he took a simple story and gave it a creative spin. And now that I’m a film festival director, I can see it’s charm. But then again, I probably always saw that, ha.

In one sentence, what makes a great film?

Simply the story. A good story can go along way.

How is the film scene in your city?

I’m in Los Angeles, so my scene is thee scene. I’m joking but I will say this though, I’ve lived in a few cities and an each one there are pockets of people doing film. And even L.A. has it’s own local scene but regardless it’s all part of the same spectrum. The struggle is very real but as long as you do your part, you take solace in knowing that you’re partaking in making your dreams come true.

 

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
Voted #1 TV Contest in North America.		 Screenplay CONTESTSUBMIT your Short Screenplay or FEATURE Script
FULL FEEDBACK on all entries. Get your script performed

Interview with Festival Director Omar McClinton (Various Artists independent Film Festival)

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The VAiFF (Various Artists independent Film Festival) has succeeded in joining two 21st century opportunities together for filmmakers to get their films released and screened by as many people as possible.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Omar McClinton: First, we have eliminated the 2-year expiration policy. In most festivals if your project is older than 2 years from its completion, it is no longer eligible for the festival circuit. This is not the case with VAiFF. Blood, sweat, tears and talent don’t expire. If your film was good 10 years ago, it’s still good today. Matter of fact, we received a submission in the winter submission season that had to be transferred from VHS tape. It was submitted, and actually won its nomination in its category. It is one of the finalists this year!

The other way we succeed in creating accomplishments for filmmakers, both novice and experienced, is by giving them an opportunity to raise their fan base and social following by allowing their projects to be screened and voted for on social media, ‘liked’ and shared with a global audience that may not otherwise be able to attend the festival in person, but could eventually become a fan for life.

What would you expect to experience if you attend the festival this year (2017)?

A filmmaker would expect to experience ‘opportunity’. There are no excuses as to why you shouldn’t take one more shot at getting your project out there. We’ve removed any rule hindering a filmmaker and they should take this opportunity and run with it.

We’re a first year festival. It will take time to earn the trust of other filmmakers and it will take time for us to gain the following of many of the other festivals. But we are confident that when someone, filmmaker or audience member, attends our festival they will appreciate our PROFESSIONALISM, identify with our ENTREPRENURIAL SPIRIT and respect our TENACITY in making sure we help nurture the next generation of successful filmmakers while concurrently raising our own bar each and every quarter to provide the best festival and competition experience for all involved. Those whose projects are on the screen, those who will eventually be sitting in theater seats and those working behind the scenes. We’re all lovers of film. We have to respect the art and the artists. VAiFF will do just that.

What are the qualifications for the selected films?

√ Films should be no longer than 45 minutes long (not including end credits)
√ Should fit in either category: Animation (Short), Children / Family (Short), Comedy (Short), Documentary (Short), Drama (Short), Foreign Film (Short), Horror / Thriller (Short), Music Video and TV/ Web Series Pilot.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

If you’re asking if I’ve heard horror stories and claims of people being cheated out of their time and money when entering other festivals, yes I’ve heard of it. If you’re asking if I’ve personally been a victim of this myself as a filmmaker when I tried to enter a film festival years ago, yes, I have been. But honestly, that’s not enough to warrant a blanket statement over the entire film festival community. A few bad apples shouldn’t spoil the whole bunch. I’m not qualified to judge what does or does not happen at other festivals. I am qualified to speak to what I know. VAiFF will WATCH EVERY SUBMISSION. The board members will vote as honestly and truthfully for every submission. VAiFF will post EVERY SUBMISSION FOR ONLINE VOTING BY THE PUBLIC and provide FAIR and ACCURATE RECORDING OF VOTES. Our INDUSTRY PROFESSIONAL JUDGES will vote for who they feel is the best picture in their categories and VAIFF will honor that decision.

So many people work hard on their projects. It’s terrible to not give them the fair chance they deserve to either fail or succeed.

What motivates you and your team to do this festival?

I’ve been in the film / television industry for over 20 years. I’ve had scripts stolen from me, opportunities that should have been afforded to me based on my knowledge, hard work and effort given to someone else. I’ve learned a lot about the industry and about life. I want to share this knowledge with the next generation in the hopes that they can learn from my mistakes and shortcomings.

As one of the organizers and program directors I can’t join the festival, but I know that there are people out there like me that wish they had a ‘mentor’ or advisor. I, with the Various Artists Board members, Zernul Shackelford Jr., Zohra Hasta and Robert Parsons II, have given every opportunity we can to artists out there so the ones my age can turn back the clock, and the filmmakers of this younger generation can speed pass my missteps, and experience the career they were born to have, make movies.

How has your Film Freeway submission process been?

Film freeway has been nothing but great. I’ve had absolutely no problems with them. I hope our artists submitting feel the same. I’ve heard of no complaints. VAiFF will be using them again and for as long as we can.

Where do you see the festival by 2020?

By 2020 VAiFF will be one of the top festivals in the country. Having earned the respect of the global film community, both independent and otherwise, we will have not only afforded the opportunity to many filmmakers that had once given up hope, but we will have introduced the world to the next great filmmakers and artists and the world will be a better place because of it.

2020 will be great, but VAiFF will make sure we enjoy the journey of 2017, 2018, and 2019 just as much. We have a lot of work to do, and we’re doing it with everything we’ve got.

What film have you seen the most times in your life?

Omar’s Reply: ‘Superman, The Movie’ (1978). This is the film that made me become a filmmaker. After seeing it I had no doubt in my mind that a man could fly. When I found out that it was just ‘movie magic’. I knew I’d have to be one of the ‘magicians’ for the rest of my life.

In one sentence, what makes a great film?

A great film must be great from start to finish, not total running time, but from concept and development to sound mixing and color correction to theatrical sound systems and the smell of popcorn and comfortable seats.

How is the film scene in your city?

Chicago has dipped its toe in the film community for many years. It comes and goes in waves. Right now things are going very well in Chicago and the very talented and special crew and actors continue to make me very proud. Things are great in Chicago and I hope it stays that way for a long time.
 

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
Voted #1 TV Contest in North America.		 Screenplay CONTESTSUBMIT your Short Screenplay or FEATURE Script
FULL FEEDBACK on all entries. Get your script performed

Film Review: THE BIG SICK (USA 2017) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

the big sickA couple deals with their cultural differences as their relationship grows.

Director: Michael Showalter
Writers: Emily V. Gordon, Kumail Nanjiani
Stars: Kumail Nanjiani, Zoe Kazan, Holly Hunter

Review by Gilbert Seah
 
When Kumail sees the girl he is dating, Emily in a coma in the hospital, he tells himself that if she ever gets out of this, he would marry her. It would be difficult for one not to feel for this romantic affair, especially when the incident is true. This is what differentiates THE BIG SICK from most romantic comedies. THE BIG SICK is based on the real-life courtship between Kumail Nanjiani and his now-wife, Emily V. Gordon. Nanjiani plays himself using the same first name in the film while Emily is played by Zoe Kazan. Hi real wife co-wrote the screenplay with her husband for the film.
The film project began when producer Judd Apatow (KNOCKED UP) met Nanjiani after he did his stand-up comic routine. So, there are a lot of stand-up routines in the film. In fact, a lot of the dialogue spoken during the film would be typical of what comes out of the mouths of a stand-up comic. This is here a good thing, as the film is pleasantly funny from start to end – dialogue-wise.

Despite the film based on true events and a real life Kumail, the romantic comedy falls into the same trap that most fall into. THE BIG STICK is a predictable Harlequin romance paperback type story complete with awkward first meeting, the necessary obstacles, in this case Emily finding out about Kumail’s other dates from the photographs in his box, not to mention her coma and his objecting parents. These obstacles are conveniently overcome for the couple to live happily ever after.

The film’s story is simple enough. While Kumail is performing stand-up comedy on stage, he is heckled (though she insists is a good heckle) by Emily, there as a spectator. An affair slowly develops. Meanwhile Kumail’s mother keeps setting him up for a Muslim bride. Kumail keeps this from Emily, though she finds out. Emily goes into a coma due to a rare decease and Kumail meets her parents forming a bond with them. It does not take a genius to figure out what happens in the end.

The film’s funniest parts come from Kumail’s Muslim parents. The mother is constantly trying to matchmake her son to marry a Muslim girl. The father is more tolerant but no less funny. Emil’s parents are funny too but they bring a more serious side to the film. The unexpected bonding between Emily’s parents and Kumail add a nice unexpected twist to the story.

The film’s humour is also heightened by having several other standup comics deliver their stand-up acts during throughout the film.

The film ends with shots of the real couple Kumail and the real Emily during the closing credits. THE BIG SICK is one of the better romantic comedies, credit to producer Apatow who seems to have the knack of discovering new comedy talent.

Trailer: https://www.youtube.com/watch?v=jcD0Daqc3Yw
 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

 

 

 

 

 

FILM PREVIEW OF COCO (Opening November 2017)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

cocoCoco follows a 12-year-old boy named Miguel who sets off a chain of events relating to a century-old mystery, leading to an extraordinary family reunion.

Directors: Lee Unkrich, Adrian Molina
Writers: Adrian Molina, Lee Unkrich (based on an original idea by)
Stars: Alanna Ubach, Benjamin Bratt, Gael García Bernal

Review by Gilbert Seah

This morning (Friday 23rd June, 2017) at the TIFF Bell Lightbox, film critics were treated to a delicious breakfast and presentation preview of Disney Pixar’s latest animated feature COCO to open coming November.

Coco is a 3D computer-animated fantasy adventure film based on an original idea by Lee Unkrich. The film is directed by Unkrich, and co-directed and written by Adrian Molina.

The plot involves a 12-year old Miguel (voiced by newcomer Anthony Gonzalez) whose family has banned music as his great, great grandfather had left his family to become a great musician. Despite his family’s generation-old ban on music, Miguel dreams of becoming an accomplished musician like his idol Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the Land of the Dead. The Festival of the Dead is celebrated in Mexico for the time when the dead crosses the border to be with the living. Along the way, he meets charming trickster Hector (Gael Garcia Bernal) and together they set off on an extraordinary journey to unlock the real story behind Miguel’s family history.

The presentation was supposed to be presented by the film’s two directors and Academy Award-winning producer Darla K. Anderson. But Lee Unkrich had to stay behind to finish the film, so co-director Molina and Anderson were left, but they did deliver an awesome presentation.

The presentation began by showing the first 10 minutes of COCO’s opening, where the history of his family and the ban of music originated. The last part of the piece is still not coloured and shown in storyboard form. But one cannot mistake the magic of Disney, present throughout the 10 minutes. The finished product will undoubtedly be something unforgettable.

Other clips include Coco at the singing competition and another with Coco and his pal, Hector in the Land of the Dead. The common thread in all of these is the magnificent colour palette that makes COCO standout among other Pixar features.

Besides clips from the film, there is a clip that showed Disney staff surprising Anthony Gonzalez that he got the part for voicing Miguel. This clip shows the family atmosphere of Disney that makes the Studio great.

Co-director Molina’s mother is Mexican, so he bring a lot of his own heritage into the film. A troupe of COCO’s filmmakers also travelled and stayed in Mexico for a time, according to what was said during he presentation.

The presentation concluded with a Question and Answer section with the critics – nothing to write home about, since us critics are not the most imaginative people alive, questions or what not.

COCO opens in November and is certainly going to be an event to watch out for. Do click on the link below to watch the trailer for COCO.

Trailer: https://www.youtube.com/watch?v=xlnPHQ3TLX8

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: BABY DRIVER (USA 2017) *** 1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

baby driver.jpgAfter being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.

Director: Edgar Wright
Writer: Edgar Wright
Stars: Ansel Elgort, Kevin Spacey, Lily James

Review by Gilbert Seah
 
The most ambitious and most expensive of the Edgar Wright movies (SHAUN OF THE DEAD, HOT FUZZ) , BABY DRIVER sees the Brit director working in a big budget Hollywood movie for the first time. The film is a car chase comedy crime caper with romance tied in for good measure.

The title derives from the name of the getaway car driver – Baby. A young and talented getaway driver named Baby (Ansel Elgort) relies on the personal beat of his preferred soundtrack, to be the best in the world of crime, as music heightens his…

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Film Review: BABY DRIVER (USA 2017) *** 1/2

festreviews 2017 movies, movie, Movie Review, Uncategorized , , , , ,

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

baby driver.jpgAfter being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.

Director: Edgar Wright
Writer: Edgar Wright
Stars: Ansel Elgort, Kevin Spacey, Lily James

Review by Gilbert Seah
 
The most ambitious and most expensive of the Edgar Wright movies (SHAUN OF THE DEAD, HOT FUZZ) , BABY DRIVER sees the Brit director working in a big budget Hollywood movie for the first time. The film is a car chase comedy crime caper with romance tied in for good measure.

The title derives from the name of the getaway car driver – Baby. A young and talented getaway driver named Baby (Ansel Elgort) relies on the personal beat of his preferred soundtrack, to be the best in the world of crime, as music heightens his focus and reflexes to extreme levels. A car accident as a child killed both his parents, and left him with permanent tinnitus, which he blocks out using music. He is preferred as a getaway driver by Doc (Kevin Spacey), a mastermind organizer of bank robberies and other high-earning heists.

Baby’s love interest is Debora (Lily James). Baby’s foster father is black and wheel chair ridden. These two people in Baby’s life are targets when Baby refuses in any way to comply with Doc or his crime partners. His main crime partners are Buddy (Jon Hamm), his girlfriend, Darling (Eiza Gonzalez) and Bats (Jamie Foxx). Baby has no problem performing the heists unless a killing is involved.

The car chases have to be good in a film about a getaway car driver. The audience is shown a sample of these in the opening scene. There are a total of three main car chases and these are expertly edited by Jonathan Amos and Paul Machliss. One of the most important components of a car chase on screen is its continuity. This is what made Peter Yates’ BULLITT (with Steve McQueen) and William Friedkin’s THE FRENCH CONNECTION two films best remembered for their car chases. Thankfully, Wright’s film falls into this category, him relying less on computer graphics than the real thing.

Ansel Elgort, young and looking fresh for this movie is good as the dancing driver. Kevin Spacey delivers a straight-face performance reminiscent of his Oscar winning performance in AMERICAN BEAUTY. Of the cast. Joe Hamm is also memorable, being cast against type as a hardened criminal ready to kill for revenge.

As Baby relies on listening to is preferred songs on his iPod, the film also requires a good soundtrack of equivalent songs that should drive the audience. Surprisingly, Wright only offers the audience samples. The audiences is for example, told of Baby’s song by Queen when driving for the final heist, but they never get to listen to the full song. Similarly for the segments when Baby is dancing to music, the music is silent and baby is shown with his dance moves to no music. It can be argued as a case of less leading the audience to wanting more.

I am not a true Edgar Wright fan. Though I have enjoyed his films, I think SHAUN OF THE DEAD and HOT FUZZ, are over-rated and I did not like THE WORLD’S END that had sloppy writing with inaccuracy in details. This makes BABY DRIVER Wright’s best movie.

Trailer: https://www.youtube.com/watch?v=z2z857RSfhk

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: 47 METRES DOWN (UK 2017) ***1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

47 meters downTwo sisters vacationing in Mexico are trapped in a shark cage at the bottom of the ocean. With less than an hour of oxygen left and great white sharks circling nearby, they must fight to survive.

Director: Johannes Roberts
Writers: Johannes Roberts, Ernest Riera
Stars: Mandy Moore, Claire Holt, Matthew Modine

Review by Gilbert Seah

47 METRES DOWN, directed by Johannes Roberts and written by Roberts and Ernest Riera is a British horror thriller adventure about two sisters stuck in a shark cage 47 metres under the sea. There is nothing British about the film that can be noticed. The lead actor, Mandy Moore is American and her sister is played by Australian Claire Holt losing her Aussie accent. The only hint at British is the film’s title or it would be called 47 (or the equivalent in conversion) Feet Down.

The story follows sisters Lisa (Moore) and Kate (Holt) on vacation in Mexico. Lisa’s boyfriend has broken up with her because “she made the relationship boring”. While drinking and dancing at 1:00 a.m, they meet up with some local men who tell them about cage diving with sharks. Lisa is reluctant but Kate convinces her to come along. The men arrive and talk to Captain Taylor (Matthew Modine). The girls follow and both lie about being experienced divers even though only Kate knows how to dive. While under water, the winch breaks and the cage plummets below. Their oxygen slowly runs out while they fight against time and the sharks to be rescued with a spare winch.

Moore and Holt keep their characters in focus – balancing humour and terror. Matthew Modine, now in his fifties, still looks charming as Captain Taylor.
Roberts keeps his film exciting from start to finish with a solid pace that never lets up. The first time the full body of a shark is seen is when it suddenly appears a third through the film, swallowing the camera the girl dropped from the cage. The ending contains a twist that will surprise. The film is never short of scary set-ups. After the broken winch is fixed, the rope breaks. Roberts also knows how scary it can be in a dark scary sea where one cannot see the light from the surface or the ocean floor. Being lost underwater is much scarier than being lost in space. The film’s best and scariest scene is Kate swimming with a flashlight in the dark waters with nothing in sight but darkness.

The lean script omits details. Nothing is known of the sisters’ background, where they work or which American city they come from, except for mention of Lisa’s never seen boyfriend.

Why would two girls want to under extreme danger in a shark cage? The script spends time explaining the reason. One is that Lisa needs to prove to herself that she is not as boring as her boyfriend. The second is Kate insisting that they have a good time together and the third is the attraction of seeing sharks up close. The fascination is heightened in a scene where sharks go on a feeding frenzy devouring a bucket full of bloody fish parts.

The film is sufficiently cheesy to be fun. The skimpy costumes, the stereotyped locals and the clear ocean waters and white beaches are what can be expected
On the business side, the $5 million lean production has already grossed more than $13 million after the first week of release.

Trailer: https://www.youtube.com/watch?v=ddYSGGJAKOk
 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: NOWHERE TO HIDE (Sweden/Norway/Iraq 2016) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

nowhere to hide.jpg“Nowhere to Hide” follows a man – the medic and father Nori Sharif – through 5 years of dramatic change in the war-torn Diyala-province.

Director: Zaradasht Ahmed
Writer: Zaradasht Ahmed
Stars: Abu Fallah, Hans Husum, Mudhafar

Review by Gilbert Seah

At the start of the film the director films Nori Sharif, a 13-year veteran male nurse working at the Central Iraqi hospital. Nori is offered a camera to shoot what life among his people are like after the Americans have left Iraq (in 2011), and the people left to rule themselves.

Despite Nori Sharif’s first time behind the camera, what unfolds is a very disturbing yet true picture of the sufferings of his people.

NOWHERE TO HIDE follows the medic and father Nori Sharif – through 5 years of dramatic change in the war-torn Diyala-province; one of the most dangerous provinces in the middle of Iraq. From the time of the American retreat to the fall of Nori’s home town, the audience learn stories of survivors. In a world trapped between ISIS and the different Iraqi Militias, his integrity and humanitarian vision is the only thing that drives him to continue against all odds. All this occur in one of the worlds most dangerous and inaccessible areas – the “triangle of death” in Central Iraq. The triangle of death was made famous in the Jonah Hill film WAR DOGS.

The Americans have invaded Iraq. The Americans have left Iraq. Yet there is always a war going on and people blown up and injured. The big question being asked as the film rolls on is what the war or wars are all about – who is fighting whom and how did it all get started. It is obvious from the film that the people, especially the ones featured here in Central Iraq suffer much more since the Americans have left. The question is finally posed one third through the film with Nori and a white medic talking about it. The answer is clearly that no one knows. All they can say is that it is always one tribe fighting another and the fighting tribes change very year or so. Without finding the source of the fighting, no solution can be easily sought.

One disturbing scene is the aftermath of a car bomb. The car is burnt to bits with the camera showing every burnt section it. This is done by a sticky bomb, the audience learns, the size of a cell phone that was placed behind the driver’s seat. Fortunately the driver saw it thus saving his own and children’s lives. Another scene has a surviving suicide bomber brought to the hospital without limbs, after blown away by the bomb.

NOWHERE TO HIDE is as the title implies, the dilemma of the Iraqis as they have nowhere to go. It only underlines the fact of how fortunate most of are to be living in a peaceful country like Canada, while making us wonder what we can do to help the situation of these people.

The film has so far a good number of awards around the world like the – Best Feature Documentary at IDFA and the Best Documentary at One World Human Rights Film Festival.

Trailer: https://vimeo.com/190076830

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Film Review: THE BEGUILED (USA 2017) ***1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

the beguiled.jpgAt a girls’ school in Virginia during the Civil War, where the young women have been sheltered from the outside world, a wounded Union soldier is taken in. Soon, the house is taken over with sexual tension, rivalries, and an unexpected turn of events.

Director: Sofia Coppola
Writers: Sofia Coppola (written for the screen by), Thomas Cullinan (novel)
Stars: Nicole Kidman, Kirsten Dunst, Elle Fanning

Review by Gilbert Seah

THE BEGUILED is the new 2017 American period drama remake of the well-known 1971 Clint Eastwood Don Siegel collaboration. Written and directed now by a woman Sofia Coppola (daughter of Francis Ford Coppola) famous for her strong female films like THE VIRGIN SUICIDES and LOST IN TRANSLATION, the film arrives with lots of accolades since winning her the Best Director Prize at Cannes this year, making her the second woman director ever to win the prestigious award.

Cineastes and film critics would definitely be very eager to watch this film. Three main reasons for can be sited. The first is that THE BEGUILED is a new film by Sofia Coppola who is a definite presence in current film. Her new work is always something to look forward to. As the Don Siegel directed original was very all received critically, it would be very interesting to compare the differences between the two films, differences attributed to one film made with a strong feminine value and the original directed by a top action director with his top actions star (Eastwood). The new version also updates the political correctness. Thirdly, the new film boasts an impressive cast that includes Elle Fanning, Nicole Kidman, Kirsten Dunst and Colin Farrell, the latter complete with full Irish accent in the Eastwood role.

THE BEGUILED is based on the novel The Beguiled (originally published as A Painted Devil) by Thomas P. Cullinan. Coppola’s film holds the same story though it removes the character of Haille, present in the 1971 version. Haille is a black slave that was taken to the soldier’s fascination. Set during the middle of the American Civil War 1860’s, injured Union soldier John McBurney (Colin Farrell) is rescued from the verge of death by 12 year-old Amy (Oona Lawrence), a student at an all-girl boarding school in the south, the Miss Martha Farnsworth Seminary for Young Ladies. Martha (Nicole Kidman) reluctantly agrees to take him in until he has built up his health, under the condition that he is locked in the music room and kept under watch. Both Edwina (Dunst), the schoolteacher, takes an immediate liking to John, as does Carol (Fanning), a teenage student. Female jealousies are aroused leading to a terrible climax.

Siegel was an action director and his film is more violent than Coppola’s. When McBurney’s leg is amputated, he is given wine in Siegel’s film while given chloroform in Coppola’s. The former is almost brutally unwatachable. Also in Siegel’s film, McBurney is hit by a candlestick before falling down the stairs while McBurney is pushed down the stairs in the latter.

In Coppola’s film, the soldier is not the main character trying to survive but now become the object of the females fantasies while the females become the main characters in the story. The outcome of the soldier remains the same.
THE BEGUILED is rich in period atmosphere with an authentic feel of the confusion of the civil war. Coppola’s updated version is absorbing, terrifying and well-directed piece of work deserving her of the Best Director’s prize at Cannes.

Trailer: https://www.youtube.com/watch?v=iBoLK5z_FHo
 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

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