Film Review: LE LIVRE D’IMAGE (THE IMAGE BOOK) (Switzerland/France 2018) ***

The Image Book Poster
Trailer

Nothing but silence. Nothing but a revolutionary song. A story in five chapters like the five fingers of a hand.

Director:

Jean-Luc Godard

It is what it is.  LE LIVRE D’IMAGE (THE IMAGE BOOK) is a Godard film.  So, one would know what to expect.

When Godard was speaking at the Q & A after the screening of his film LE COLEUR DE LANGUE at the Toronto International Film Festival, he described the transition of one scene in the film to another.  The description made no sense at all and no one would, in his or her right sense of  mind even guess the intention of the director. The same can be said for Godard’s LE LIVRE D’IMAGE.  Nothing much makes sense in the film and there it is pointless to try even to make some sense of the images.

The film can be described as a Swiss avant-garde horror essay film. Initially titled Tentative de bleu and Image et parole, Godard had started shooting the film for almost two years “in various Arab countries, including Tunisia”.  It is supposedly an examination of the modern Arabic world.  Godard told Séance magazine that he was shooting without actors but the film would have a storyteller. The Image Book is composed of a series of films, paintings and pieces of music tied together with narration and additional original footage by Godard and his partner, Anne-Marie Miéville

Godard’s film contains plenty of clips from films through the decades with a clip even from Pier Paolo Pasolini’s THE LAST DAYS OF SODOM.  How these films are connectedly to for example the Joan Crawford classic, JOHNNY GUITAR is anybody’s guess.  There is a spill of a complaint  on human’s lies being told when the JOHNNY GUITAR clip was played, so one can guess at Godard’s dissatisfaction on human’s and likely politician’s speeches.

Still, there are pleasures derived from a Godard film.  Godard is inventive and has disregard for the rules of the cinema (his jump cuts in  A BOUT DE SOUFFLE or BREATLESS, the film’s English title, put him instantly in filmmaking Nouvelle Vague fame).  So best thing is to sit back and to enjoy the collage of images (many in over-saturated colours, which appear to be his favourite from his past two films; cinematography is by Fabric Aragno) that flash on the screen, the assemblage of classic films over the decades of filmmaking and his own philosophical sayings.  It does not matter if much sense or continuity can be made.

THE IMAGE BOOK was selected to compete for the Palme d’Or at the 2018 Cannes Film Festival.   Although it did not win the official prize, the jury awarded it the first “Special Palme d’Or” in the festival’s history.

LE LIVRE D’IMAGE has a special engagement run at the Bell Lightbox.  Venture to see Godard’s latest film if you dare.  Remember it is a avant-garde horror essay – the best words (taken from Wikipedia) that best describes the film.

According to Godard, the film is intended to be shown on TV screen with speakers at a distance in small spaces rather than in regular cinemas.  It was shown in this way during its first run at the Théâtre Vidy-Lausanne in November 2018.

Trailer: https://www.youtube.com/watch?v=YcXn1LRyNq8

Film Review: NAPPILY EVER AFTER (USA 2018)

Nappily Ever After Poster
Trailer

Violet Jones tired of waiting for her longtime boyfriend to propose, breaks up with him. But old feelings, and heaps of jealousy, no doubt, arise when he promptly begins dating another woman.

NAPPILY EVER AFTER is a romantic comedy involving  hair.  The titles that divide the film tell the different stages of the main character life as she changes her hair – for example from straight to weave to blonde and even to bald when the female protagonist hysterically shaves her head in despair on being ditched by her man.

There are good and bad things about this Netflix original romantic comedy.  The writers are quick to have hair as a niche in the story.  Anything and everything that concern hair is in. 

When Violet was a little girl, Violet was always hair-perfect, as dictated by her mother.  Where other kids could get dirty and not comb their hair, Violet had to get her hair done by her mother and kept that way throughout the rest of the day or till mother grooms her hair again.  When Violet grows up, she is still 100% concerned that she must look good with her hair.  She insists that she has her hair done just right for her birthday when she expects to be proposed to by her boyfriend, Clint of two years.  Violet depicts that kind of girl (black or any other race for that matter).  The story therefore can connect with a large part of the audience, the target audience obviously being female between the ages of 20 and 40), who are largely concerned about getting married and bear children (unless they are too career oriented or non-breeders).  The bad thing about the rom-com is that it is full of cliches. 

There is one contradicting scene set at a sports bar in the middle of the film when Violet sits with her two friends and discuss beer commercials.  They complain that beer commercials are so sexist as they are always geared towards men.  Yet when they see the men cheer a game on the TV screen drinking beer, they claim it to be latent homosexuality.  This is clearly selected minority prejudice.

The one annoying thing about this film is its insistence on making hair an all important factor into the story.  Hair, here used as a metaphor for vanity is too obvious.  The climatic scene ends with a song about hair.

It is midway through the film that Violet encounters group therapy.  She tells the group that she shaved off her hair to be bald after her boyfriend failed to propose to her.  This problem  is minuscule compared to the other problems of the group who suffer worst of life’s problems like cancer.  The film also puts a great deal about its subject shaving off their hair.  It is quite commonplace right now with many celebrities like Grace Jones sporting the look.  In fact, I would say I would see at least two ladies sporting that look at my gym, on average.

Violet comes across as a character, spoilt, not getting what she wants, then getting really annoying when doing what she can.  As a result, not everyone in the audience might be rooting for this annoying character which might pose a problem for the film.

As is what would be expected, director Al-mansour steers her film towards an overdone Hollywood rom-com ending – cliched as the film already is.  But what is unforgivable is the film’s preaching at the end about women of colour embracing their natural beauty. Ugh!

Trailer: https://www.youtube.com/watch?v=3xh9XFxo2Hg

Film Review: SERENITY (USA 2018) ***

Serenity Poster
Trailer

The mysterious past of a fishing boat captain comes back to haunt him, when his ex-wife tracks him down with a desperate plea for help, ensnaring his life in a new reality that may not be all that it seems.

Director:

Steven Knight

Writer:

Steven Knight

The film’s opening offers a hint of what is to be expected of the new psychological noir thriller called SERENITY.  The eyes of a woman fill the screen as the camera enters the eyes as if the eyes are the entrance to the soul.  The audience is taken under water and gradually to the surface where a fishing boat named SERENITY is seen and the radio is heard.  The radio is broadcast from Radio Plymouth of Plymouth Island.  The audience will surely ask themselves where the hell on earth is Plymouth Island.  The closest link is the port of Plymouth in the south coast of England.  But is there a such a place called Plymouth Island?

The film could be described as FATAL ATTRACTION meets OLD MAN AND THE SEA, Hemmingway style, in a sort of screwed up David Lynch world.  Whether the film succeeds is dependent on the audience but SERENITY offers trashy fun with Matthew McConaughey in what is a typical Nicholas Cage role.

The subject of the story of Baker Dill (Matthew McConaughey), an out on his luck boatman who earns a living by taking tourists fishing at Plymouth Island.  He works with a caring hand (Djimon Hounsou), who he has an often fond/hate relationship with.  Baker appears obsessed with  capturing an elusive tuna he nicknames ‘Justice’.  He has never come close to catching Justice though he has caught many sharks instead.  Enters one obnoxious tourist (Jason Clarke) whose wife (Anne Hathaway) is willing to pay $10 million to Baker to see her husband dead.  Apparently, the husband’s son wishes the same.  The husband tells Baker: “My son is in his basement all day and when I finally find out what he was doing – playing a video game, his reply was: “Would you rather me be doing something else like killing you?”  This line is a clue as to where the story is leading.  It is all very intriguing at this point in this strange but absorbing mystery movie.

The script, also written by director Steven Knight, keeps the audience guessing as to what is really happening.  The dialogue often has two meanings. Strange characters like Reid Miller (Jeremy Strong), always in a suit, appeal out of nowhere.  Reid says he is the rules of the game and does not care whether he lives or dies or who he is.

The film is enlivened by McConaughey’s crazed performance.  But it is Jason Clarke, the mean obnoxious tourist who steals the show.  Knight includes some very hot sex senes with McConaughey.

The film works before the audience is clued as to what is happening.  After what has been made clear, expectations seem to dwindle.  A sort of ah-ha, so this is what the film is all about.  Nothing more can be that interesting and the film then ends with a disappointing Hollywood ending.  For all that is worth, SERENITY is trashy fun while it works, and fortunately, it works for a majority of its running time.

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

Full Review: COLD WAR (ZIMNA WOJNA) (Poland 2018) ****

Cold War Poster
Trailer

A passionate love story between two people of different backgrounds and temperaments, who are fatefully mismatched and yet condemned to each other. Set against the background of the Cold … See full summary »

Writers:

Pawel Pawlikowski (story), Pawel Pawlikowski (screenplay) | 2 more credits »

The director of the Best Foreign Film Oscar winner IDA three years ago, Pawel Pawlikowski returns with a new film, dedicated to his parents (as stated at the end of the film) and based loosely on their lives. 

The film is set in Poland in the year 1949, just after the War.  The film is a period love story.  The film begins with several songs accompanied by various musical instruments played by assorted villagers.  Director Pawlikowski slowly but surely brings the audience to the subject of his film.  A musical scout is impressed with one rural dancer that begins a tempestuous romantic relationship that survives through time, trails and tribulations.  The film traces the remarkable journey of a troubled love relationship that survived the cold war.   But the lovers endure a cold war of their own where nothing is black and white.  

What is black and white, however, is the film’s stunning cinematography (Director of Photography is Łukasz Żal), capturing the atmosphere of the period after the war where Poland indulged in popular propaganda.  The exterior shots of the peasant farms and village amidst the trees and snow combined with the the interiors of the old buildings create the atmosphere.

Wiktor (Tomasz Kot) the musical director of a dance tripe falls in love with a recruited rural dancer, Zula (Joanna Kulig).  Wiktor is warned that Zula is serving time for murdering her father.  Her feisty nature is shown when questioned on the incident: “My father mistook me for my mother and I used a knife to show him the difference.”

They travel together to different cities.  She fails to show up when he decides to defect, while in Paris.  They meet again at different times in different cities proving that their love is true – though plagued with jealousy.  The intensity of the love is vividly portrayed by the two actors and the setting of the dance troupe (with some excellent dances) add a super backdrop to the story.  Lots of metaphors in the film including the hilarious ‘pendulum that kills’ metaphor that got those watching the preview screening at TIFF (where I first saw the film) laughing.

As mentioned, the film is lovingly dedicated to the director’s parents.  Pawlikowski is quoted here from a Hollywood daily, Deadline: “I dedicated it to my parents, because it’s somewhat inspired by their tempestuous relationship—they had [both] a great love and a great war. Their separations, betrayals, getting together again, moving countries, changing partners, getting together again—that story has always been in the back of my head, as a kind of a matrix of all love stories. So I knew I had to do it.”

COLD WAR that premiered at Cannes last year has received universal acclaim.  It competed for the Palme d’Or at the 2018 Cannes Film Festival, where Pawlikowski won the award for Best Director.  Other awards include: the Golden Lions Award at the 43rd Gdynia Film Festival, five 2018 European Film Awards, and was selected as the Polish entry for the Best Foreign Language Film at the 91st Academy Awards, making the December shortlist. At the 72nd British Academy Film Awards the film earned four nominations, including Best Direction and Best Film Not in the English Language.  

Trailer: https://www.youtube.com/watch?v=BvPkDdFeTk8

Film Review: RACETIME (Canada 2018) ***

Racetime Poster
Trailer

A spectacular sled race through the village. Frankie-Four-Eyes and his team, including Sophie as the driver, take on the newcomers: the mysterious and conceited Zac and his athletic cousin … See full summary »

If the Canadian (Quebecois) animated feature’s characters look family, you might have seen the film THE DOG WHO STOPPED THE WAR which RACETIME is based on or SNOWTIME which is its prequel.  RACETIME, as its title implies is a race of sleds. 

The subject is the  spectacular sled race through the village. Frankie-Four-Eyes and his team, including Sophie as the driver, take on the newcomers: the mysterious and conceited Zac and his athletic cousin Charly.  The fantastic sled designed by Frankie disintegrates right before crossing the finish line.  This becomes the most bitter loss for Frankie who refuses to accept that he might have made some building mistakes.  Frankie gets into  a fight with Sophie who blames the sled.  Together with his friends, Frankie manages to prove that Zac cheated during the race.  Frankie demands a rematch; which Zac accepts on condition that Frankie build an entirely new race track. Frankie and his friends build a spectacular race track. Zac realizes he is up against a worthy opponent so he raises the stakes even more by cornering Frankie into betting the barn.  As the two teams prepare for race day, Zac has no scruples about cheating even more to weight the outcome of the race in his favour.  But Frankie and his team have a few surprises of their own in store for him.

The Canadian animation can nowhere be compared to the animation of Disney and Pixar studios.  But RACETIME holds it own.  What it might lack in technology is compensated by creativity.  The animation fo the races, the one at the start and the climatic one are both brilliantly conceived and executed with the sleds soaring into the air, while the sleds turn as if cameras were placed in the real sleds.  The snow in the animated scenes also looked remarkable real.

The film could do with a solid villain or a nastier Zac than one who merely cheats.  The part where Frankie befriends his nemesis treads clichéd territory.  However, this can be forgiven for a family film.

The film contains a few scenes with blurry images and a few where objects are flung out (like snow pellets) of the screen.  RACETIME must have been conceived as a 3-D film at one point.

Of all the voice characterizations, the best one is Frankie’s.  Frankie is voiced, surprisingly by a female, Lucinda Davis, who has to ability to make even the most ordinary of lines like ‘How dare you?’  funny.

For the audience who likes a bit of romance in the story, there is a sub-plot involving the strongest kid in the village, Chuck and Charly, the sister of the cheating Zac.  The film also contains a few messages for the young audience – put in for good measure.

There are a few song and dance numbers -the songs courtesy of Cindi Lauper.  The animated dance sequence at the end to celebrate the winner  of the race is also sufficiently lively.

RACETIME turns out to be an entertaining harmless family romp (never mind the one fart joke), credit to the Canadian and Quebec filmmakers.

Trailer: https://www.youtube.com/watch?v=EV5OpotW6S8

Film Review: VIRUS TROPICAL (Ecuador/Colombia 2017) ****

Virus Tropical Poster
Paola is born in a traditional Colombian family, or at least that is what they try to be. Her father is a priest, her mother is a “psychic” and her sisters are not what their parents … See full summary »

Director:

Santiago Caicedo

Writers:

Entique LozanoPaola Gaviria (as Powerpaola)

This full length animated feature is inspired by the graphic novel by the Colombian-Ecuadorian illustrator Power Paola, and directed by Santiago Caicedo,  TROPICAL VIRUS is so called because when Paolita’s (as Paola is called) mother had her in her womb, the doctors told the mother that she was not pregnant and had contacted a tropical virus.  She conceived anyway going birth to Paolita, the youngest of three sisters.

  The film  a shows us the life of the Gaviria family, seen from the perspective of her, from her unexpected birth to the inevitable journey to reside in another country.  Paolitia faces a series of events that will change her perception of the world that surrounds her.  Caidedo’s film is high spirited, full of keen observations, totally femminist and totally delightful an refreshing.  It is a coming-of-age stay set in a foreign place (Ecuador and Colombia) though the problems encountered by the young protagonist is common to all.  

The animation is simple but stylist offering a different look in an animated film.

Trailer: https://www.youtube.com/watch?v=jutDJ3PGBmQ

Interview with Festival Director Anastasia Cazabon (GRRL HAUS CINEMA)

 GRRL HAUS CINEMA is an ongoing program of short films and video art made by women. A mix of local, national, and international artists present work from a variety of disciplines: narrative, documentary, experimental, and conceptual. With an emphasis on low budget and DIY, GRRL HAUS is a space for underrepresented voices in the arts today.

https://www.grrlhauscinema.com

https://www.facebook.com/GRRLHAUSCINEMA

https://www.instagram.com/grrlhauscinema/

https://filmfreeway.com/GRRLHAUSCINEMA

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

Anastasia Cazabon: GRRL HAUS CINEMA began as a way to showcase short films and video art by women directors. We show films by emerging filmmakers, many who have just started their journey into filmmaking.

2) What would you expect to experience if you attend your upcoming festival?

We put on multiple events throughout the year. We have screenings every other month at IL KINO Berlin. End of the year screenings at The Brattle theatre in Cambridge MA, USA. And then many other screenings dispersed through the year. Some past venues include, The Institute of Contemporary Art Boston, Alamo Drafthouse Yonkers, WORM Rotterdam, Oblomov Kreuzkolln, Loophole Berlin and Dorchester Art Project.

Some events are more traditional movie-going events in cinemas, and others are in DIY spaces. We have had events that have included art exhibitions, bands, vendors, performance art, dancers and DJ’s.

So every event is different, but they all have a common theme in celebrating women filmmakers and artists.

3) What are the qualifications for the selected films?

The qualifications is that the film must have been directed by a women (female identifying) . And the film must be less than 30 min.

We try to select films without distribution and lower budget.

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

I think it’s pretty hard for many low budget films to compete with higher budget and distributed films. Which is unfortunate because lower budget doesn’t mean lower quality – this is one of the reasons that GRRL HAUS exists, to give an audience to these amazing films.

5) What motivates you and your team to do this festival?

GRRL HAUS events are really fun to put on, and seeing the filmmakers at the events is a great experience. Many of the filmmakers we feature are just starting out and have never shown their films to a public audience, so giving them this opportunity really motivates us.

6) How has your FilmFreeway submission process been?

The FilmFreeway process as been great. It’s a really great platform to view films and super user friendly.

7) Where do you see the festival by 2023?

I see the festival expanding to different locations and growing as a community of filmmakers.

In Berlin, we have recently began short-term residencies for filmmakers. Where we will be showcasing 2-3 international filmmakers at a time, with three opportunities for public screenings.

So I hope to continue with different events and ways of giving female filmmakers a platform.

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

That’s really hard to say- I’ve watched a lot of movies, and I re-watch a lot of movies. Let’s say Mulholland Drive, Daisies, Vertigo and Dazed and Confused.

9) In one sentence, what makes a great film?

When every element involved – cinematography, screenplay, sound, acting, editing, etc- comes together seamlessly, for the same artistic purpose.

10) How is the film scene in your city?

GRRL HAUS is currently located in Berlin. The film and art scene is incredible here and thriving.

 

 

 

 girr haus 1

Film Review: HALE COUNTY THIS MORNING, THIS EVENING (USA 2018) ***

Hale County This Morning, This Evening Poster
Trailer

Composed of intimate and unencumbered moments of people in a community, this film is constructed in a form that allows the viewer an emotive impression of the Historic South – trumpeting … See full summary »

Director:

RaMell Ross

Writers:

RaMell RossMaya Krinsky (co-writer)

This nonfiction documentary debut and  U.S. Documentary Sundance Award winner by RaMell Ross is a minimalist doc about the lives of black people in Hale County, Alabama.  Running just about an hour and a quarter, Ross picks a few people to focus his points on.

The film shows the limited opportunities available to the citizens of Hale.  The film opens with the first subject who specializes in psychology and basketball.  There are extended scenes with subjects practice basketball giving the film the feel of an art movie.  It is for this reason that the film could have got the rave reviews but the capsuled film is lacking in many areas.

For one only the blacks are centred.  Very little is heard or revealed on the white pollution – even whether they are a minority, as if they did not matter one bit.  The film is pessimistic in outlook.  Nothing is mentioned of the decrease in unemployment or the increase in voter turnout in the years following the film being made  The film generalizes from just the few subjects chosen on camera.

There are two main subjects on show.  The other is a black kid called Daniel.  He is shown to be a kind of anti-social wild person that one would stay clear away from.  The film attributes the cause to be his upbringing where his grandmother prevented his mother from raising him.  Daniel is a very angry teen.  Daniel blames his mother, who on camera confesses that it was not her fault.  On one occasion, she tried to get her son back but with little success.  The grandmother called the cops on her.  This intimate section brings some life into the doc.

Having a background in photography, director Ross’s simple film is beautiful to look at, in a simple way, without glamour or special effects.  This suits the mood of the lives of the simple Hale County citizens on display.

It is hard to fault small well-intentioned films like HALE COUNTY which aims low and needs little research, contains no whistleblowing and ruffles few feathers.  It is easier to find faults with larger docs which have more chance of making errors.  HALE COUNTY also provides no answers to the problems of poverty and racial image brought up.  But the film offers a rare look at the African American in small towns in the black belt region of the U.S. instead of big or inner cities.

Narration is minimal and replaced by interwoven images, a few of which are long takes.  One shows Daniel, all sweaty practicing basketball on his own.  This is one long take of a practice that could have lasted hours.

HALE COUNTY THIS MORNING, THIS EVENING is a film the many have not heard of – then suddenly appears out of nowhere for a limited engagement at the TIFF Bell Lightbox.  It is also thanks to Bell Lightbox that small films like this one have a chance at being seen.

Trailer: https://www.youtube.com/watch?v=DlOeSyl-zZk

Film Review: GLASS (USA 2018)

Glass Poster
Trailer

Security guard David Dunn uses his supernatural abilities to track Kevin Wendell Crumb, a disturbed man who has twenty-four personalities.

Writers:

M. Night ShyamalanM. Night Shyamalan (characters)

GLASS is a superhero thriller written, produced and directed by M. Night Shyamalan. The film is a sequel to Shyamalan’s previous films UNBREAKABLE (2000) and SPLIT(2016), cumulatively forming the Eastrail 177 Trilogy.  All the main stars are present – Bruce Willis, Samuel L. Jackson, Spencer Treat Clark, and Charlayne Woodard who reprise their Unbreakable roles, while James McAvoy and Anya Taylor-Joy return as their Split characters.

The premise is the fight between good and evil, the good being the super hero David Dunn (Willis) and the bad the McAvoy split characters.

The film opens two years after the events of SPLIT.   David Dunn (Willis) works with his now adult son Joseph (Clark) in using his superhuman abilities to protect people from criminals under a new alias known as “The Overseer”.   This part is incredibly silly and unbelievable.  David learns from Joseph that Kevin Wendell Crumb (McAvoy), who suffers from dissociative identity disorder, has a group of cheerleaders held up in a warehouse.  David goes to free them after discovering the fact out of pure coincidence but encounters one of Kevin’s personalities known as “The Beast,” and the ensuing fight spills out into the streets.  The Philadelphia police department are called leading to the eventual capture of both David and Kevin.  Why David is brought in is never really explained as he has done no harm. The two are sent to a mental institution where Elijah Price (Samuel L. Jackson), David’s sworn enemy, in another wild coincidence, is being held.

Shyamalan introduces a new character into the story.  Dr. Ellie Staple (Sarah Paulson) is the head doctor of the mental institution and works with patients who claim to have special powers. In order to have them suppress those thoughts, she tries to persuade them that there is no such thing as superhuman powers and that they actually have a mental illness. Meanwhile, Elijah (Jackson) is secretly working with Kevin to unleash “The Beast” and expose the world to the existence of superheroes. With the help of “The Beast,” Elijah escapes but he is soon pursued by David, who again battles Kevin on the institution’s grounds.  The Dr. Staple character is the silliest of all the characters – coming off as a  pompous dumb bitch know-it-all who will obviously be roved wrong, cliche-wise at the end of the story.

At this point, the film appears to have gone through full circle with nothing at all accomplished.

GLASS is a trilogy of two UNBREAKABLE, SPLIT and this one.  A word of warning that one must be familiar with the other two films or end up completely lost in following the plot or characters in GLASS.  Director Shyamalan makes no attempt to update his audience to the current proceedings of GLASS.  

One point of observation.  This is the rare film where the actor Samuel L. Jackson’s character does not utter the ‘mf’ word.

Shyamalan make a guest cameo at a store in the film.  He sees David Dunn and mentions that he recognizes the man from the stadium where Dunn used to work security, stating that he used to do shady things when younger.  Those familiar with UNBREAKABLE will recall that Shyamalan gave himself a cameo in UNBREAKABLE selling drugs at the stadium.

There are many reasons that the word ‘split’ would apply to GLASS.  One is the main character from SPLIT portrayed by Jame McAvoy who is also one of the lead characters in GLASS.  Second, the film splits between the thriller and super action hero genres though unfortunately not blending well.  The fight scenes are minimal and the thrills and suspense are also unimpressive.  As GLASS contains two main characters, one from SPLIT and the other, the Bruce Willis superhero from UNBREAKABLE, there was debate regarding the film’s distribution.  Distribution is now split.  Universal now distributes the film in North American while Buena Vista (UNBREAKABLE was from Touchtone Pictures) internationally.  Willis’ performance is stoic while McAvoy’s is downright crazy as he switches from one personality to another instantly.  Director Shyamalan films often splits between the excellent (SIGNS, THE SIXTH SENSE, UNBREAKABLE, SPLIT, THE VISIT) and the duds (LADY IN THE WATER, THE LAST AIRBENDER, AFTER EARTH).  Unfortunately, GLASS belongs to the latter category.  Audiences will undoubtedly be split on whether liking or hating GLASS.  But GLASS is long, boring, too dead serious on its subjects despite the general silliness overall.

At the promo screening, a fair portion of the audience stayed to the end of the closing credits as in SPLI there a was a surprise appearance of Bruce Willis at the ed of that film signalling the sequel GLASS.  No such luck in GLASS.

Trailer: https://www.youtube.com/watch?v=Q7ztHi9ejp4

Film Review: THE KID WHO WOULD BE KING (USA/UK 2019) ****

The Kid Who Would Be King Poster
Trailer

A band of kids embark on an epic quest to thwart a medieval menace.

Director:

Joe Cornish

Writer:

Joe Cornish

The film title THE KID WHO WOULD BE KING is likely used due to familiarity with the medieval hit, John Huston’s 1975 Rudyard Kipling adaptation of THE MAN WHO WOULD BE KING.   Don’t let either the title or the fact that this is a family film discourage you from seeing this picture.  Despite the film’s limitations of targeting a family audience, there is plenty to enjoy for adults. Also ignore the silly ad” “Kids Rule” that would turn off adults. 

The story follows Alex Elliot (Louis Ashbourne Serkis, son of Andy) a young boy who is picked on at school and does not appear to be very special at all.  However, that soon changes when he finds and pulls King Arthur’s famous sword Excalibur in the neighbourhood construction site.  He discovers that he is destined to form a new round table for an upcoming battle with the medieval villain Morgana (Rebecca Ferguson), who summons evil forces to rule the world, after being banished by King Arthur.  All this information is revealed at the film’s prologue – animation style.  The wizard Merlin (Angus Imrie) assists Alex in his quest. He is depicted as a young incarnation of Merlin in the film but capable of transforming to his old self (Sir Patrick Stewart).

If Morgana’s evil forces, creatures made up dark black with infra-red eyes look familiar, these creatures bear an uncanny resemblance to the invading aliens in ATTACK ON THE BLOCK, a small first feature that was a hit.  And with solid reason.  KID is directed by that film’s same director Joe Cornish who has the talent of bringing his films filled with spirit, humour and imagination.

Performances are surprisingly spectacular.  Deserving of mention is relative newcomer Angus Imrie who plays the young Merlin, who suddenly appears as a new student to help Alex in his quest to save the world.  Also delivering a heartwarming and sometimes gut-wrenching performance is Denise Gough, an Olivier Award (British Theatre) winner who plays Alex’s mum.

The location where the fights and setting take place is stunningly captured on film by cinematographer Bill Pope.  The film is shot in the Cornwall area, south coast of England.  The film can also be considered to be a super action hero film, with Alex as the young schoolboy King Arthur type hero saving the world.  The film also has plenty of special effects to go with it – so action fans will be delighted.  The special effects is dished out small doses at a time with nothing much at the first half of the film but then coming out strong at the end creating a solid climax for the film.

Cornish’s clever script contains plenty of messages as if to mock films with messages.  These come on strong even at the beginning of the film.   “Telling the truth and doing the right thing.”  “The world doe not change – you do!”  “You do not need what you already have!”  “Use your enemies as your allies.”

THE KID WHO WOULD BE KING is an often imaginative super hero adventure cleverly blending medieval times with the modern with lots of good messages from the director Joe Cornish who the TFCA (Toronto Film Critics Association) awarded the Best First Feature way back when for his equally impressive 2011 ATTACK ON THE BLOCK.  This film rules!

Trailer: https://www.youtube.com/watch?v=cJlxP5P9v9c