2017 movies

MOVIE REVIEW: ECSTASY BOULEVARD (USA, Fantasy/Sci-Fi)

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ECSTASY BOULEVARD played to rave reviews at the July 2017 FANTASY FEEDBACK Film Festival.

by Kierston Drier

 What happens when you give an alien Ecstasy and turn it loose in the night club? YOU ARE ABOUT TO FIND OUT!

In this five minute American short, our hero takes an unlikely journey into a metropolis, his curious appearance misunderstood as urban eccentricity and gets caught up in a rave scene. He is not alone, however, and his illegal trespassing upon Earth alerts an assassin to track him down. What follows is a smoky cinematic chase through the world of a city after dark.

What makes this piece stand out, despite it’s highly effective visuals and minimal dialogue, is its use of mixed media. Throughout the work, scenes of importance are replaced with powerful animated visuals, giving an otherworldly, fantastical spin on the piece.

A fantastic, futuristic and gripping story, ECSTASY BOULEVARD will have you on the edge of your seat.

 

ECSTASY BOULEVARD, 5min, USA, Fantasy/Sci-Fi
Directed by Benjamin Allen

When an illegal alien lands his spacecraft on Earth, the assassin known as Kn1ght powers up to hunt the reptile down.

CLICK HERE – and see full info and more pics of the film!

MOVIE REVIEW: PLEASE LOVE ME FOREVER, (France, Fantasy/Romance)

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PLEASE LOVE ME FOREVER played to rave reviews at the July 2017 FANTASY FEEDBACK Film Festival.

It was the winner of BEST FILM at the festival!

by Kierston Drier

PLEASE LOVE ME FOREVER is a highly colorful and richly detailed world of fantasy, love and horror is brought sharply into focus with exceptional casting and vivid imagination. Our piece follows a delicate and sheltered teen, Lili, cloistered in her home with her bitter, reclusive and beauty obsessed mother, Claudie. While Claudie seeks the help of a mystical gardener with a talent for growing beautiful replacement parts for her aging body, Lili falls hard for the boy next door. Lili’s crush soon takes control of her and she manages to seduce the young boy into her home- against her mother’s’ wishes.

Once there, however, she realizes she has loved in vain, and her heartbreak spurns her to seek an answer to her problems- by going to the gardener.
PLEASE LOVE ME FOREVER shares the same sort of vivid, lush colors of famous films like Amelie but it’s tone is somewhere between the whimsy of a Wes Anderson film and a comical horror akin to Drew Goddard’s Cabin In The Woods.

Gorgeously composed, offering comedy, horror, irony, drama, passion and tension, this is a piece that packs an emotional punch, sends a shiver down your spin, and gives you a sharp pang of longing all at once.

A masterful emotional cocktail of a short film, it boasts spectacular performances all around, and a fantastically efficient and meaningful script. Bravo, PLEASE LOVE ME FOREVER, Bravo!

 

PLEASE LOVE ME FOREVER, 27min, France, Fantasy/Romance
Directed by Holy Fatma

In a surreal world, Lili, a 14-year-old albino, lives alone with her mother Claudie (50) who over-protects her from the outside world. Obsessed with her own appearance; Claudie regularly replaces aging parts of her face, alone in her operating lab, while Lili dreams of Lyesse, her 16 year-old handsome neighbor. But scared by so much love, Lyesse gently pushes her away. Devastated, she decides to operate his heart to understand why he doesn’t love her…

CLICK HERE – and see full info and more pics of the film!

TIFF 2017 Movie Review: PORCUPINE LAKE (Canada 2017) ***1/2

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Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

PORCUPINE LAKE-1.jpgPorcupine Lake is a story of bravery and the secret life of girls set in Northern Ontario during a hot and hazy summertime when adulthood has not yet arrived, but childhood is quickly vanishing.

Director: Ingrid Veninger
Writer: Ingrid Veninger
Stars: Delphine Roussel, Christopher Bolton, Lucinda Armstrong Hall

Review by Gilbert Seah

Canada’s darling Ingrid Veninger has always been a director of films with strong female content. Who then best to write and direct PORCUPINE LAKE, a story of bravery and the secret life of girls set in Georgian Bay, Northern Ontario during a hot and hazy summertime when adulthood has not yet arrived, but childhood is quickly vanishing?

Ally (Delphine Roussel) arrives with 13-year old daughter, Bea (Charlotte Salisbury) in tow from Toronto to meet up with her husband, Scotty (Christopher Bolton). Bea learns through a local, Kate (Australian Lucinda Armstrong Hall) independence, as well as the facts of life about boys and growing up. Kate is the companionship Bea’s mother is unable to offer, and the two bond a strong friendship.

PORCUPINE LAKE is the most ambitious and strongest of Veninger’s films (also beautifully shot by Benjamin Lichty), her popular film ONLY being screened at a local cinema that Bea and Kate attend at one point in the film. Veninger proves once again, she is always in control of her material and meticulously drives her film to its emotional climax and coming-of-age mesage.

Trailer: https://www.youtube.com/watch?v=S0Lm-EC3e5s

Film Review: INGRID GOES WEST (USA 2017) ***1/2

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INGRID GOES WESTAn unhinged social media stalker moves to LA and insinuates herself into the life of an Instagram star.

Director: Matt Spicer
Writers: David Branson Smith, Matt Spicer
Stars: Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr.

Review by Gilbert Seah
 
Actress Aubrey Plaza has been busy in the production chair lately with her recent THE LITTLE HOURS, a naughty little comedy about misbehaving nuns and now with INGRID GOES WEST, again a naughty little comedy but with more drama about a misbehaving Ingrid. Plaza stars in both films, creating a niche for herself as in DIRTY GRANDPA always playing a misbehaving youth.

INGRID GOES WEST (great title, by the way), is a more ambitious project with a stronger narrative this making way for a better picture. INGRID GOES WEST is the most accomplished of all the Aubrey Plaza films so that fans of hers are aware. She play a psycho habitual stalker desperate to make friends at all costs, including causing grievous bodily harm to her targets and herself.

When the film begins, she has already stalked Charlotte who has got a restraining oder on her. Yet Ingrid (Plaza) shows up at Charlotte’s wedding and pepper sprays her during the wedding dance. Ingrid is then institutionalized. The sudden passing away of her mother leaving her a large sum of money, $60,000 in cash allows her to carry on her stalking comfortably till all hell breaks lose. The coming across of the money is an excuse for the story to have its character continue her exploits.

Plaza’s character reminds one immediately of Anna Faris, the lead in Gregg Araki’s SMILEY FACE, in which the f***ed up lead goes around the entire film causing drama and damage to herself and every person around her. In this story, Ingrid’s new target in Instagram celebrity Taylor (Elizabeth Olsen) and her artist husband (Wyatt Russell). Taylor and Ingrid initially hit it along, with Ingrid stalking her half the time photographing everything without her knowledge. Ingrid also has an admirer, her black landlord (O’Shea Jackson Jr.), who she eventually has a relationship with. His obsession with everything Batman proves a lot of laugh-out loud jokes. But things get tough with the appearance of Taylor’s obnoxious but good-looking buffed up drug taking drunken brother, Nicky (Billy Magnussen) who finds out the truth about Ingrid’s motives. He blackmails her and things get out of control.

The film rarely contains a dull moment. When things start to smoothen out, one can always count on Ingrid to f*** things up again.

The film also contains a soundtrack of popular 80’s and 90’s tunes that keep the spirit of the film going.

One of the rare achievements of the film, courtesy of both actress Plaza and writer/director Spicer is the creation of a character that is such an alpha female loser that the audience wishes the worst on her and that all her plots be foiled. Yet the character created is one to sympathized.

The film’s one flaw is the tacked on unhappy ending. The ending is predictable for a film with a story centring on social media. Apart from that, this is one totally entertaining f***ed up movie about a f***ed up person doing f***ed up things. The film debuted at Sundance 2017, where it won the Waldo Salt Screenwriting Award for co-writers Spicer and David Branson Smith.

Trailer: https://www.youtube.com/watch?v=xP4vD1tWbPU
 

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Film Review: MENASHE (USA 2017) **1/2

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menasheWithin Brooklyn’s ultra-orthodox Jewish community, a widower battles for custody of his son. A tender drama performed entirely in Yiddish, the film intimately explores the nature of faith and the price of parenthood.

Director: Joshua Z Weinstein
Writers: Alex Lipschultz, Musa Syeed
Stars: Menashe Lustig, Yoel Falkowitz, Ruben Niborski

Review by Gilbert Seah

 
Performed entirely in Yiddish – a language not used in cinema for many decades – Joshua Z. Weinstein’s Menashe is a tender drama that burrows into Brooklyn’s Hasidic community and tells the story of an Ultra-Orthodox Jewish widower who risks losing custody of his son due to tradition. If a film in Yiddish and one about a Hasidic community are not enough to put an audience off, director Weinstein makes a lot of effort to make his story a universal one. Here in MENASHE, which is based on a true story, actually loosely based on the life of lead actor Menashe Lustig, the story is an endearing one, based on character that is of good moral fibre and well-intentioned and an underdog at that. His only sin appears to be his well-meaning intentions going at logger heads to the religious beliefs of his elders and contemporaries.

The film opens with a scene in Brooklyn’s Hasidic Community. Those walking around sport beards and don Jewish apparel. The cameral cuts to a grocery store where the audience is introduced to the lead character, a chubby cashier called Menashe (Lustig). Director Weinstein makes sure Menashe is likeable. His first good deed as grocery cashier is to exchange an unwashed lettuce for a customer.
The film immediately reminds one of the Dustin Hoffman KRAMER VS. KRAMER characters where Kramer (Hoffman) has to prove that he is a father capable of looking after his son alone, while working a full-time job. Although his wife died a year ago, Meneshe (Lustig) refuses to remarry just for convenience. He does try, going on a date as set up by a matchmaker. But his young son (Ruben Niborski) is now living with Menashe’s strict brother-in-law’s family, because the rabbi says the boy won’t be allowed to stay in school unless he’s in a two-parent home. The film is about trying to do what is right but are unable to do so because of laws. It is true that these laws are surely there to protect the majority but what about the special minority? Weinstein, as observed from his film, is pro-Hasidic but does not shy away from the faults of being too religious for religion’s sake. It is also noted that Menashe, at one point in the film, hangs out with other groups, the Latinos of his work, to forget his troubles.

But the film does not tackle the fact that Menashe is actually not a good example of being a father. He is always out of money, always late for appointments and gets drunk once too often.

The film benefits from the cast of mainly non-professionals. Many are from the Hasidic community, many of whom had never seen a film before.

Weinstein’s film provides a simple yet insightful look into a society many are unfamiliar with. His film is likeable and entertaining, but that is about all it has to offer. The film premiered at at the 2017 Sundance and Berlin festivals.

Trailer: https://www.youtube.com/watch?v=83UoZcdX__Y

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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1987 Movie Review: HELLRAISER, 1987

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HELLRAISER, MOVIE POSTERHELLRAISER, 1987
Movie Reviews

Directed by Clive Barker
Starring: Andrew Robinson, Clare Higgins, Ashley Laurence, Oliver Smith, Robert Hines, Sean Chapman, Frank Baker
Review by Melanie Tighe

SYNOPSIS:

A man finds he is given more than he bargains for when he solves the puzzle of the Lament Configuration – a doorway to hell. But his ex-lover has found a way of bringing him back, and his niece, Kirsty Lawrence, finds herself bargaining with the Cenobites, angels to some, demons to others, whose greatest pleasure is the greatest pain.

REVIEW:

Clive Barker’s first feature-length film is a visually stunning exercise in visceral horror.

Kirsty, her father Larry and his partner, Julia, move into an old house previously owned by Larry’s mother.

The house is jointly owned by Larry’s estranged brother Larry, who’s pureed remains fester beneath the floorboards in the attic.

Frank and Julia were once lovers.

Julia finds evidence in the attic that Frank had been engaging in sex acts and reminisces about their passionate affair.

Sex was not enough for Frank and he went to great lengths to track down a mysterious puzzle box in search of the ultimate thrill.

Sadly for him, he is torn to pieces and his soul dragged to hell by S&M deities, The Cenobites.

The Cenobites are highly skilled in the art of administering a mixture of pleasure and pain (evidently more of the latter), incorporating chains, hooks and skewers. Their own bodies’ are testament to the journeys they themselves once took.

A rusty nail, a few drops of Larry’s blood later and Franks glistening, skinless corpse is talking Julia into murdering strangers in order to restore his body and the lover she once knew.

Kirsty finds Frank and the puzzle box and accidentally summons the Cenobites but they spare her from hell when she explains that Frank has escaped them and promises to show them where he is.

Frank is reclaimed (not before stealing his brother’s skin) and the Cenobites come after Kirsty.

Like all typically resourceful Final Girls, Kirsty sends them packing and the puzzle box finds a new owner.

Andrew Robinson’s role as serial killer, Scorpio, in Dirty Harry (1971) is a great contrast to that of drippy Larry. Our expectations are challenged and we are invited to anticipate the progression of his character. We are rewarded when Frank claims Larry’s skin; creepy Frank is also briefly played by Robinson.

The Cenobites were instant horror icons, with stunning costumes and make-up showing much skill and imagination, they are appalling and charismatic works of art, decorated with lacerations and mutilations.

The odd camera angles (born out of necessity due to the film being shot in a real house) and the eerie atmosphere that Barker creates succeed in isolating the family from the world outside of the house.

Added to this accomplished make-up, special effects and solid performances from the cast (save perhaps Kirsty and her boyfriend); Hellraiser raised the bar for future horror films.

It is entirely possible that the premise of a woman led to murder by remnants of her ex-lover, and the Cenobites pleasure and pain doctrines could have seemed too bizarre. The themes are so well-executed; however, that not only do these revolting things seem plausible, they make Kirsty’s “normal” relationship with her boyfriend seem positively boring.

Groundbreaking.

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HELLRAISER, 1987

Film Review: ANNABELLE: CREATION

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 ANNABELLE CREATION.jpgSeveral years after the tragic death of their little girl, a dollmaker and his wife welcome a nun and several girls from a shuttered orphanage into their home, soon becoming the target of the dollmaker’s possessed creation, Annabelle.

Director: David F. Sandberg
Writer: Gary Dauberman
Stars: Stephanie Sigman, Miranda Otto, Lulu Wilson

Review by Gilbert Seah 

 The ANNABELLE, CONJURING prequels, sequels are already so many that it is difficult to keep track what is going on. The truth is, it does not real matter. ANNABELLE CREATION is advertised as the prequel to ANNABELLE which is connected to the four CONJURING films. ANNABELLE CREATION can stand on its own, that is all that matters. The connecting object in all the film is the possessed white Annabelle doll.

The film suffers from a weak narrative. The simple story involves a couple losing their daughter in an accident. They allow orphans to make use of their big home but the spirit of their dead daughter who possesses a doll is not happy with the orphans. On the plus side, the scary set-ups are meticulously crafted, which should provide horror fans lots of jump out of the seat scares. But it does matter that the film is less the sum of its whole, as it does not hold well together at all. It also suffers from a proper ending with the doll appearing halfway through the closing credits for no real reason. One member of the audiences remarked that she expected the doll to at least blink. Still, all these bad continuity segments do not add up cohesively. One moment one member of the orphans is chased by the killer doll, the next has the film intercutting to another in trouble. Why the demon does not kill off the parents earlier on before the arrival of the orphans is also a point to question. And when the demon finally gets the soul of the crippled Janice, why doesn’t the demon stay satisfied. Of course, logic is never a strong point in horror films as in this one.

The film assembles a series of shock effects, false alarms and real ones. False alarms include for example, the father, Samuel Mullins suddenly scaring his daughter or the sudden appearance of a character and a real scare being the running over of a child by a car. The other scary effects like the moving doll, the repeated playing of the song: “You are my Sunshine” et al. are all old stuff already done in other horror films. But director Sandberg seems to have picked the best of these from past movies and included them here. But one horror set-up after another still gets monotonous after a while.

The orphans are played by a cast of relative unknowns cutting production costs for the film. However, Samuel Mullins and wife Esther are played by well-known Australian actors Anthony LaPaglia and Miranda Otto.

The first ANNABELLE film cost $6.5 million to make and grossed Warner Brothers close to $256 million. This sequel cost double to make at around $15 million, but should make the studio a handsome bundle, aided by the fact that the only main big opening this weekend is the animated NUT JOB sequel.

People love to be scared. People love to pay big bucks to be scared. Films like ANNABELLE CREATION will always do well at the box-office despite reviews good or bad, so go figure!

Trailer: https://www.youtube.com/watch?v=KisPhy7T__Q

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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Film Review: THE HITMAN’S BODYGUARD (USA 2017) ****

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 THE HITMAN_S BODYGUARDThe world’s top bodyguard gets a new client, a hit man who must testify at the International Court of Justice. They must put their differences aside and work together to make it to the trial on time.

Director: Patrick Hughes
Writer: Tom O’Connor
Stars: Ryan Reynolds, Samuel L. Jackson, Gary Oldman, Elodie Yung

Review by Gilbert Seah
 
Actor Samuel L. Jackson is one bad ass mother f***er. When ever he appears in a film, even when playing the President of the United States, he has never failed to use his favourite catch phrase ‘mother f***er’, which he gets to use multiple times in this movie. Jackson is one of my favourite actors in films currently as he can always be counted on to deliver a solid, spirited performance, no matter what. In THE HITMAN’S BODYGUARD, he also gets to utter the film’s best joke: “If life deals you shit, you go out and make kool-aid.” to which Ryan Reynolds remarks: “That is not how the saying goes.” Jackson also gets a lot of laughs doing his HOME ALONE expression. Another good joke (though this one belongs to Reynolds) is the one regarding the pen-knife. But the best thing in the film, is a segment where the two leads discuss the usage of the ‘mother f***er’ phrase. Priceless!

The story involves a bodyguard, Michael Bryce (Reynolds) assigned to keep a previous Hitman, Darius Kincaid (Jackson) alive so that he can be transported to Hague, to testify against a corrupt Russian warlord Vladislav Dukhovich (Gary Oldman). The film plays the two against each other. The chemistry works, the laughs come fast and furious and the action segments are expertly executed.

The climax of the film includes a spectacular car chase that appear to take on the recent BABY DRIVER. Jackson takes off in a speedboat on the canals around Amsterdam pursued by the bad guys speeding on the streets around the canals. The sequence is well shot with good continuity that also includes another boat contains merrymakers split right into two. The camp factor is increased several notches with screaming prostitutes running around the streets. There is also n funny window-eye view of the chase as if seen by one of them through the glass.

As if this was not exciting enough, the car/boat chase is intercut with a foot case with Reynolds under pursuit. The two chases are brilliantly brought together with the fire of an exploding vehicle from which the camera pulls back now only to show the fire now from the grill in the kitchen in a restaurant which Reynolds breaks into.

Though the script is occasionally lazily written, with details left out, for example why Jackson landed in a Manchester prison, the jokes and punch lines are perfectly timed.
The camera placement is also excellent throughout the film, often with images to show Jackson’s expressions through the car front window or to see Reynolds somersault through the front windscreen to land standing up in front of the car after.

The main plus of THE HITMAN’S BODYGUARD is that the absolute unexpected can and actually always occurs at any time. The two for example, end up at one point, hitching a ride in a van full of nuns with Jackson joining them in a singalong.
The film’s speed and spirit matches its message on life, that things happen but you got to do your ‘thang’. They just do not make enough films like this one.

Trailer: https://www.youtube.com/watch?v=F4Afusxc2SM
 

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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Film Review: LE RIDE (USA/France/ New Zealand 2016) ***1/2

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LE RIDE.jpgIn 1928 an under-resourced and untested team from New Zealand and Australia competed in what is considered to be the toughest sporting event in the world.

Director: Phil Keoghan
Writers: Louise Keoghan, Phil Keoghan
Star: Philip Keoghan

Review by Gilbert Seah
 
With the increasing number of cyclists in Toronto and around the world today, this inspirational film about biking should be of immense interest.

LE RIDE is a film, as the voiceover is quick to emphasize, about people with a big heart and determination. As the saying goes, it is not the size of the dog in a fight but the fight in the dog that matters.

The history: In 1928 an under-resourced and untested team from New Zealand (one Harry Watson) and Australia (3 Australians) competed in what is considered to be the toughest sporting event in the world. Many considered the entry of these courageous underdogs, racing as a team of 4 against teams of 10, a joke. One French journalist called their attempt nothing short of murder. 168 riders started the more than 3,500-mile race, only 41 finished. Surprisingly this remarkable story about the achievements of these brave athletes has never been told on film, until now. The present: What has fascinated the filmmaker is the original 1928 Tour de France. Phil Keoghan – television personality, adventurer and cycling enthusiast, with his mate, Ben retraces the 1928 Tour de France route, bringing history to life. Following the original course and schedule, riding a vintage bike, Phil and his team will average 150 miles a day for 22 stages. This is their documentary.

A plus of the documentary are the breathtaking sights observed during the Tour de France. These include the mountains of the Pyrenees, the little villagers and small towns all the way from Paris to Cherbourg to Bordeaux down to the south and back to Paris. The aerial shots ands camera work enhance the scenery to entice the audience to visit France, if they have not already done so.
Phil and Ben, can come across as quite annoying tourists from the film, but their spirit and love for cycling is catching. They must be doing something right, as they manage to convince a lot of French bike enthusiast to help them in their quest.

The quest is no easy task. Phil is not shy to show the grilling and arduous work and pain that goes into completing the race. They ride from nightfall to nightfall with insufficient rest for their bodies to recover. As Ben and Phil race, the film is intercut with archive footage and commentary of the 4 Aussies and Kiwi who themselves suffered great difficulties in 1928. Watson, the New Zealander came down with influenza during the race and still struggled to pull through.

The film also answers the ultimate question of why people go to extreme dangers in sports. Phil jokingly says it is to show off his good looking bike legs. Seriously, he admits that only when one puts himself to the limit does one learn about oneself.

LE RIDE reveals the other side of the glamour of the Tour de France – the gruelling pain and challenging passion that people are unaware of. A film centring on the triumph of the human spirit over great difficulties is always an interesting watch. LE RIDE proves that and much more!

Trailer: https://www.youtube.com/watch?v=dX7Z_ZT_baE
 

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

Movie Review: A SPACE GOD APPEARS (USA, Experimental)

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Played at the July 2017 Experimental Short Film Festival

A SPACE GOD APPEARS, 10min, USA, Experimental
Directed by Grayson ConverseCareening through the universe, pistols blazing, neutron drive pulsing, Spooky Mansion and Tino Drima spread their Space Rock. Follow these bands in this short film about Space, God, Hope and Music. One of the most important stories ever told.

CLICK HERE – and see full info and more pics of the film!

This unique and original work unlike many films- experimental or not- it showcases two different real-life bands facing off musically within the confines of a larger-the-life short film. In the depths of space Spooky Mansion and Tino Drima are on two rival space ships- about to board and fight one another.

Laced with vintage pop-culture references and famous sci-fi callbacks to well loved shows, A SPACE GOD APPEARS lovingly satirized science fiction classics while revitalizing the tropes. Our rival bands compose their film with a colleague of cultural icons including visual references to various 1980’s music and media.

The film may be read as over-the-top by some viewers, but what is admirable about A SPACE GOD APPEARS is its bravery and unflinching choice to own it’s genre. Perhaps most unique, and authentic about this cinematic piece is its originality. The two bands that act as rivals on their space voyage are real life musical bands that have played together in real life.

A fresh twist on media favorites, and revitalizing way to reclaim the classics, A SPACE GOD APPEARS is a adventure for your cinematic sense and a true joy to watch.

Watch the Audience FEEDBACK Video:

a_space_god_appears_movie_poster