2016 movie reviews

Movie Review: DARKNESS FALLS (2016)

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MOVIE POSTERDARKNESS FALLS, 15min, Sweden, Sci-Fi/Thriller
Directed by Jarno Vinsencius

Melissa suffers from amnesia. When she slowly regains her memory, the world isn’t what it supposed to be. Darkness Falls is the winner of best Sci-Fi Picture award at OutlantaCon Short Film Festival 2016 and nominated for best Sci-Fi picture at SCI-ON! Film Festival 2016. Darkness Falls is also the winner of Best Cinematography at Roswell Film Festival 2016.

Shown at the September 2016 Sci-Fi/Fantasy FEEDBACK Film Festival

Movie Review by Kierston Drier

 
Darkness Fall, a Swedish film directed by Jarno Vinsencius is the compelling tale of Melissa, a woman with amnesia who wakes up in a forest with no idea who she is. She regains her memory with the help of an in-the-know male counterpart who sends her an anonymous letter offering aid. Our heroic duo is seemingly always on the run from some ominous enemy, as they frequently seem to be narrowly escaping capture or confinement by one or another figure.

There is some excellent camera work in Darkness Falls, some strong cinematography and clear visuals. The tone of the piece feels a little loose, however, with the film never reaching a nail-biting level of fear or tension. Some viewers may feel the film’s twist coming, however, the performances are strong and the films steady pace keeps interest, even if all the questions are never fully answered.

There is an eerie element to Darkness Falls. And that element plus its ultimate reveal nestle the piece firmly in the category of science fiction. A film any sci-fi lover would like to sink their teeth into Darkness Falls.

 

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Movie Review: 20:15 (2016)

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MOVIE POSTER20:15, 12min., Canada, Sci-Fi/Thriller
Directed by Marc-Andre Morissette

20:15 is a drama-mystery, sci-fi thriller in which we follow the lives of a mysterious man and a loving couple. Their lives will forever be changed once their two worlds collide.

Shown at the September 2016 Sci-Fi/Fantasy FEEDBACK Film Festival

Movie Review by Kierston Drier

 20:15 from Canadian director Marc-Andre Morisette is a dramatic and impassioned piece played out with almost no dialogue. A stylistic choice that nevertheless heightens the tension of the story. After the horrific loss of his partner by an unknown gunman, our hero becomes obsessed on a machine, hell bent on using his present to somehow fix his past.

Full of graceful shots, excellent camera work and beautiful muted tones, this piece is poetically beautiful to watch. The story is engaging and the twist is satisfying, with a thought provoking ending that is sure to be a conversation starter.

Morisette’s choice to limit the diegetic sound in his piece gives this film a distinctive avant-garde tone. It changes the cinematic experience for the audience. A more traditional film may create the feeling that you are immersed in a real-life story, perhaps not even aware that you are watching a film at all, and instead standing invisible observing the lives of the characters.

20:15’s stylized choices give the distinct feeling that you are watching a piece of Art, where the stylistic choices are equal to the plot of the piece itself. Morisette’s movie has a mysterious tone, with notes of Film Noir. It is a film that feels like it provides cultural capitol as well as entertainment.

Lovely devices tie the story together and thoughtfully composed music and sound composition elevate the piece to a more refined level. A film that may not be everyones’ preference, but certainly an enjoyable watch.

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Movie Review: RED ROVER (2016)

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MOVIE POSTERRED ROVER, 15min, Australia/USA, Fantasy/Action
Directed by Brooke Goldfinch

Two teenagers from a remote religious community travel to town in search of shelter after being told by their Evangelical parents that an asteroid will soon destroy the earth.

Shown at the September 2016 Sci-Fi/Fantasy FEEDBACK Film Festival

Movie Review by Kierston Drier

 A refreshingly different approach to an encroaching apocalypse film, Red Rover, an American film directed by Brooke Goldfinch, straddles the genres of science fiction, romance and drama. As the end of the world approaches, two teenagers escape their religious community to seek shelter and potential survival. The piece is founded in tragedy when the teens realize that they have nothing left to loose except each other.

Unlike many apocalypse films, this piece does not rely on heavy pandemonium- huge riots, teeming masses of terrified people, big explosions- instead it focuses on the last death throws of a society that has already accepted its’ end. The streets are vacant. The shops deserted. The last remains of society exist in debauchery inhabited abandoned hotel rooms. Red Rover’s focus on realism in this way may be disturbing to some, a refreshingly honest to others.

The theme of this film, however, will pull the heart strings of any romantic. As the world approaches its violent end our heroes must re-evaluate what it means to have lived and been alive. Is a life that is short, yet full of love, wonder and joy, any less lived? Red Rover seeks to ponder that question. To find the answer, you’ll have to watch it and see.

 

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Film Review: THE GIRL ON THE TRAIN (USA 2016) ***

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the_girl_on_the_train_poster.jpgTHE GIRL ON THE TRAIN (USA 2016) ***
Directed by Tate Taylor

Starring: Emily Blunt, Haley Bennett, Rebecca Ferguson, Luke Evans, Justin Theroux, Edgar Martinez

Review by Gilbert Seah

THE GIRL ON THE TRAIN is based on the best selling novel of the same name by British author Paula Hawkins. The suspense mystery revolves around Rachel’s daily trip on the train to work in London. The film is adapted to a setting in the U.S. with the train now travelling along the Hudson.

The film and book is divided three chapters – Rachel, Meghan and Anna in that order. It makes sense in the novel as the story is told from the three points of view of the three women. In the film, however, it is not and while unfolding totally from Rachel’s (Emily Blunt) point of view, it is told in non-chronological order, flipping back and forth from the present to 6 months ago, to 4 months ago to 2 months ago again back to the present. The titles appear, which is really redundant and confusing. One title of 6 months ago should suffice, with all the events now occurring in chronological order. The film’s mystery is heightened artificially by these antics coupled with blurry images of Rachel’s memory.

The film opens with Rachel Watson travelling on the train. It is revealed that Rachel is an alcoholic (reason not given except perhaps to make her a sad and pitiful protagonist) who divorced her husband Tom (Justin Theroux) after she caught him cheating on her. During her daily journey, she sees through the train window and fantasizes about the relationship of her neighbours, Scott (Luke Evans) and Megan Hipwell (last seen in THE MAGNIFICENT SEVEN). That all changes when she witnesses something from the train window and Megan goes missing and is presumed dead.

One can see the attraction of the story. It is also one of redemption – the redemption of the sad, alcoholic Rachel. She goes to the detective (Allison Janney) with her story of what she had seen, hoping to do some good. This of course backfires. The story, full credit to the book, is very intriguing where truths and secrets are hidden and images are lies. For those who like a good yarn, THE GIRL ON THE TRAIN will not disappoint. But director Taylor is unable to prevent unintentional laughs (as observed in the promo screening) during a few of the film’s key scenes.

The film is aided by excellent performances, the best of which is provided by Blunt in the lead role. Janney is also outstanding as the disbelieving detective.
But the film is totally geared towards a female target audience (i.e. film is a chick flick to put it crudely). All the female characters are strong like the detective and those who are not, finally get it together at the end as in the characters of Rachel and Anna. The men are all male idiots who cannot keep their dicks (the doctor, Tom and Scott) in their pants. The actors playing them all have great bodies. No female should complain about the eye candy. The only male who has a good character is a fellow passenger on the train who ends up saving Rachel from two thugs when she passes out. Even then, he is also told to “fuck off” when Rachel comes to. Enough said about a film with main female characters in a female novel written by a female with a script adapted by a female. (The director of one of my outlets has already told me I have female issues).

The film does have a few good sinister moments. The best is the one where a victim (not to be revealed in the review) is about to be murdered. She is half-conscious and being pushed under the vegetation in the woods. It is an excellent scene as she looks at her killer, knowing that she is about to die and unable to do anything.
Apart from a few over melodramatic segments, THE GIRL ONTHE TRAIN is a satisfying mystery with a credible solution with the bonus of the sad heroine’s redemption.

Trailer: https://www.youtube.com/watch?v=KkoEE1i0CX8

 

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Movie Review: GHOSTBOY (2016)

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MOVIE POSTERGHOSTBOY, 9min., UK, Animation/Comedy
Directed by Jonathan Brooks

An exciting tale of mystery, mayhem and friendship, ‘Ghostboy’ teaches the very important lesson to not judge a book by it’s cover…

Seen at the August 2016 FAMILY FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Coming to use courtesy of Jonathan Brooks and Foolhardy films, Ghostboy reminds us that not all ghosts are here to haunt us. Charmingly designed with exquisite musical composition and engaging visual motifs, Ghostboy invites us to take a look at life for a few moments through the eyes of a child.

Whimsical, bright, and full of colorful imagery, this film takes us on the adventures of Alfie, a reluctant young boy moving into a new home with his unassuming grandmother and his perpetually upbeat mother.

Of course, he soon finds that his new home is already occupied by an evil hostage-taking spider, a creepy doll and most distressingly, a ghost-child. Not all ghosts are bad though, as Alfie soon discovers.

This short is one of those brilliant films that fires the imaginations and delights the senses of child and adult alike. With kid-friendly humor and just enough tension to keep the plot engaging from moment to moment, Ghostboy offers a pleasant mixture of fun and games that is enjoyable for the whole family.

The soundtrack and music design is beautifully constructed, the animation is delightful and visually lush and story is delightfully fun.

Enjoy the show!

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Movie Review: LUCY (2016)

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MOVIE POSTERLUCY, 16min, Greece, Family/Drama
Directed by Stamatis Giannoulis

Myrto and Kimonas, an elderly childless couple have just lost their pet dog Lucy of natural causes. The events that will unfold the day they take their beloved pet to the vet will make them reconsider their relations and give them the opportunity to realise that nothing can substitute their love which, they now put to the test for whatever they have left…

Seen at the August 2016 FAMILY FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

This story of a childless elderly couple who loses their family pet may seem like a simple concept, but the beauty in this piece is how much more in communicates than losing the family dog. From writer and director pair Stamatis and Alex Giannoulis, Lucy begins with our elderly couple discussing taking the pet into the vet.

The conversation seems tense, as though the couple have a history of not seeing eye-to-eye. Yet the husband rushes to his wife’s’ side when she breaks down over the animal. Of course, the pet has passed away, and it marks far more to the two of them than simply losing an animal.

Later, as the couple walks home, they pass a puppy in a local shop window, which bewitches the heart of the elderly woman. Good short films leave the audience with a sense that they are feeling something deeper, greater and larger than the sum of the films’ parts. In this case, the last scene in Lucy ties everything together, when we realize the couple’s’ pet of 18 years represented the children they could never conceive.

This animal was the focus in their lives and belonged to the world they built together. Lucy may take some viewers a little while to get into, but it is more than a story about losing a pet- it is a story about the capacity human beings have to love. A beautiful piece about the human heart and what keeps it beating.

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Film Review: OFF THE RAILS (USA 2016) ***

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off_the_rails_poster.jpgOFF THE RAILS (USA 2016) ***
Directed by Adam Irving

Starring: Charles Bilal, Courtney Brown, Sally Butler

Review by Gilbert Seah

OFF THE RAILS is the story of a black man who has spent a majority of his life on the NYC subway and buses. But he is not an employee but a transit worker impersonator who has landed himself in jail 32 for criminal impersonation of NYC Subway workers, hijacking trains and buses, endangering the lives of the public and a whole lot of assorted charges.

Why make a documentary of such an unimportant person and who would want to watch a documentary on such a person? Co-writer and director Irving makes it a point to make his documentary on Darius McCollum one of the most intriguing and entertaining documentaries that it won the prize of the top 20 Audience Popular docs at Canada’s Hot Docs Festival.

Irving has clearly done his homework. He has assembled everything about Darius and has shown him to be a most unfortunate victim of the U.S. system. One cannot help but feel both pity for the man yet wanting to punish him for his deed. But there is more……. Darius McCollum is revealed as a man with Asperger’s syndrome who cannot help himself.

A patient with Asperger’s is one who can deal with objects better than human beings. But Irving includes two human beings that affect Darius the most. One is his mother who is interviewed on film. Their letters of correspondence while Darius is serving sentence are read aloud. The other woman in his life, an immigrant from Ecuador who can hardly speak a word of English is also interviewed. Here, the audience sees that even true love cannot alter Darius’s obsession with the NYC Transit System.

Like many a successful documentarist, Director Irvin know how to rally his audience’s emotions. Irving has as his target the U.S. judicial system. Darius is an unfortunate sick man who has not done anyone any harm, though it is made clear that he could have, given the opportunity. Darius offers the police information on the weaknesses of the transit in order to better protect citizens from possible terrorist attacks on the subway. Yet because of fear of being contacted by terrorist while incarcerated, Darius is put into solitary confinement. His lawyer clearly states that no system would punish a man who has helped them in this way.

OFF THE RAILS is not without humour. Irving parodies jail with the transit system. “The doors are closing,” is heard in voiceover as the jail doors automatically close shut. The way in which Darius manoeuvres his way around the system is quite hilarious.

OFF THE RAILS is a very thorough examination of Darius McCollum. The origin of his sickness is shown to be catalyzed from a stabbing by a pair of scissors in school when he was a kid during a snow day. Asperger’s experts also explain Darius’s behaviour in impersonating transit personnel and his comfort within the transit system.

An obvious solution is to have Darius hired by NYC Transit. But Transit has replied that Darius is a risk and Transit cannot have the safety of the many millions of riders lie in the hands of someone who never obeys the rule book.

OFF THE RAILS finally emerges as both an entertaining and absorbing documentary about an ordinary person with a problem. The doc is tremendously effective because that ordinary person that is the subject in OFF THE RAILS could be any one of us.

Trailer: https://vimeo.com/160158306

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Film Review: QUEEN OF KATWE (USA 2016) ***

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queen_of_katwe_poster.jpgQUEEN OF KATWE (USA 2016) ***
Directed by Mira Nair

Starring: Madina Nalwanga, David Oyelowo, Lupita Nyong’o

Review by Gilbert Seah

The film is based on the book entitled “The Queen of Katwe: A Story of Life, Chess, and One Extraordinary Girl’s Dream of Becoming a Grandmaster” by Tim Crothers. The title itself tells exactly what is going to happen in the Disney film – Disney Studios the one being most famous for making formulaic films. Do we need then to watch this movie?
Apparently a lot of people think so. QUEEN OF KATWE has already been selected to premiere at the Toronto International Film Festival and the London Film Festival later in November.

QUEEN OF KATWE is directed by Indian American Mira Nair. She is an odd choice for the job having taken on controversial projects like THE RELUCTANT FUNDAMENTALIST. But she has directed crowd pleasers like MISSISSIPPI MASALA and SALAAM BOMBAY! The public will likely be quite pleased with QUEEN OF KATWE as Nair hits as many right notes as she can in this biographical sports drama.

For sports dramas where the sport involved is football or soccer or boxing, whoever watching the game knows what is happening and who might be winning. The same cannot be said for chess. Even at the crucial moment of a checkmate, by looking at the pieces on the board, no one can tell what is happening. This is a challenge for the director who needs to incite excitement in the game. This is achieved in one vey funny part when one character asks another during a match. “What does it mean?” The answer is jubilantly shouted: “It means she is winning!”
The film begins in 2011 when Phiona is playing in the chess championships. The rest of the film is told mainly in flashback – how Phiona has reached this point in her life and the film carries on from here.

Once can hardly complain about Nair’s direction or William Wheeler’s script. The film is thorough to include everything that an underdog has to go through to become a champion. The girl Phiona Mutesi (Madina Nalwanga) and her family are evicted form her home; Phiona comes into conflict with her uneducated mother (Oscar Winner Lupita Nyong’o) who understands little of the importance of education; she loses an important game; she learns humility etc. etc. etc. By the time the film gets to the last reel with the climatic crucial chess game, the story has stretched out far too long. But for many who love getting their right buttons pushed. QUEEN OF KATWE will likely have them reaching for their tissues. David Oyelowo plays her coach Robert Katende, who always has the right advice for everyone and cannot do the wrong thing.
The best and most important part of the film is the one in which Phiona grows too proud after winning a game and decides she is too special to wash the vegetables for her mother. Her mother pulls her out of bed in the important scene screaming that maybe Phiona needs her feet washed as well.

The film ends well with each actor standing beside the real character their portrayed. There are no photos here, real people with real actors.

The film will be screened with in conjunction with a delightful and inventive animated short called INNER WORKINGS (director Leo Matsuda) – a sort of alternative take on INSIDE OUT. Running just over 5 minutes., this terribly funny film outshines QUEEN OF KATWE. But QUEEN won the runner-up prize for the People’s Choice Award at the recent TIFF.

Trailer: https://www.youtube.com/watch?v=z4l3-_yub5A

Film Review: KICKS (USA 2016) ****

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kicks_poster.jpgKICKS (USA 2016) ****
Directed by Justin Tipping

Starring: Jahking Guillory, Christopher Jordan Wallace, Christopher Meyer

Review by Gilbert Seah

KICKS is the ‘nigga’ term for shoes and refers to the pair of red Jordan sneakers Brandon (Jahking Guillory) bought and lost within the same day. The film brings a new look to the term ‘red shoes’.

“Get your nigga ass over here.” are words used instead of “Please, come here,” in the film. This is one example of the common black slang used in KICKS. KICKS is a spirited African American film that puts the audience right in the hood. The hood in this case is Richmond of East Bay, California. Similar to Vittorio de Sica’s classic BICYCLE THIEVES, the protagonist gets his prized possession, his KICKS stolen. Updated to the present, the victim, unlike the Italian who got the bike quietly stolen, Brandon is beaten up, insulted and has his beaten ass photographed on a cellphone and uploaded on to YouTube.

Justin Tipping’s film has a simple premise. 15-year old Brandon longs for a pair of the coolest sneakers that money can buy, assuming that merely having them on his feet will help him escape the reality of being poor, neglected by the opposite sex and picked on by everyone – even his best friends. His best friends – good-looking Lothario Rico (Christopher Meyer) and wisecracking Albert (Christopher Jordan Wallace, son of the Notorious B.I.G.) – are hilarious, making fun of Brandon half the time, while trying to get it on with the chicks. Working hard to get them which he eventually does, hilariously from a street hustler (he is too naive to question if they are genuine), he soon finds that the shoes have instead made him a target after they are promptly snatched by Flaco (Kofi Siriboe), a local hood. Brandon goes on a mission to retrieve his stolen sneakers, even stealing a gun in the process.

Tipping has plenty of style on display. He makes good use of slow motion from the car spinning competition (making the sequence look like a majestic symphony), to the rap music to the upbeat titles that precede each segment. It also helps that his characters are interesting as well as funny. Brandon learns a few life lessons on the way. Though Brandon finally gets his sneakers back, the question that finally bogs him, is whether all the effort is worth it. He is now on the watch for Flaco who he knows will hunt him down to get the shoes back. And his best buddies are hurt in the process.

Another feature of Tipping’s film is the depiction of Flaco’s character . Flaco, though first shown as a tough thug, is later shown giving the shoes to his young son (Michael Smith Jr.). When the sneakers are taken by Brandon, Flaco drags his young son on a mission to teach Brandon a lesson. The narrative sacrifices a portion dedicated to the character of Flaco with effective results.

2016 will be remembered for some fine black low budget films. At the Toronto International Film Festival, highlights were MOONLIGHT, I AM NOT YOUR NEGRO and BIRTH OF A NATION. Though KICKS did not play at the festival, it is the most original and entertaining of the lot.

Trailer: https://www.youtube.com/watch?v=rci4qxqcooA

Film Review: THE MAGNIFICENT SEVEN (USA 2016) ***

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the_magnificent_seven_poster.jpgTHE MAGNIFICENT SEVEN (USA 2016) ***
Directed by Antoine Fuqua

Starring: Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Haley Bennett

Review by Gilbert Seah

This 2016 version that opened the 2016 Toronto International Film Festival is a western film remade from John Sturges’ successful 1960 version that itself was a remake of the 1955 Samurai film called SEVEN SAMURAI by Akira Kurosawa. Those who have seen either of the remakes know that either one was much superior. But Fuqua’s updated version is true to its source, still fun and pays loyal homage to the classic western in every department.

The story, simple enough is one that most are familiar with. A band of 7 misfits are recruited to save a town from an evil land baron. They succeed with some losses no doubt.

The original 7 spawned a sequel and this one should as well, as this film seems destined to be a hit, helped by the fact that there is no competing action film out right now.
THE MAGNIFICENT 7 are played by:
Denzel Washington as Sam Chisolm, a bounty hunter, the leader of the Seven
Chris Pratt as Josh Farraday, a gambler with a fondness for explosives
Ethan Hawke as Goodnight Robicheaux, a sharpshooter
Vincent D’Onofrio as Jack Horne, a tracker
Byung-hun Lee as Billy Rocks, an assassin[9]
Manuel Garcia-Rulfo as Vasquez, a Mexican outlaw
Martin Sensmeier as Red Harvest, a Comanche warrior

The cast is excellent though a few like 2-time Oscar winner Denzel Washington has nothing much to do but grit his teeth. Director Fuqua has directed both Washington and Hawke before in TRAINING DAY and it is of no surprise that they play the two lead characters in the story, though the dullest of the 7. The most interesting of the 7 are the asian characters, Red Harvest who eats a raw heart and Billy Rock a Japanese with a hidden history though played by a Korean star.

Peter Sarsgaard plays the main villain Bartholomew Bogue, a corrupt industrialist well enough for an audience to hiss and boo at him.

For all that this remake is worth, Fuqua appears apt at setting up the action set-pieces, right from the very first scene when the town is taken over by Bogue. The mid-section when the 7 rid the town of Bogue’s men and the final showdown are all expertly setup from the camera angles, to the close-ups, to the fights right down to the way the sun shines through the camera lenses (cinematography by Mauro Fiore), as is seen so often during the old westerns. The screen also saturates to red like the old 60’s credits of the spaghetti westerns.

Just as the confrontational shootout at the climax is riddled with bullets, the film is also riddled with cliches. When Robicheaux is reprimanded by Chisolm after turning chicken and taking off the night before, one knows he is going to show up the next day to help the fight. When another Red Indian is shown as one of Bogue’s new recruits, he and Red Harvest will face off in a hand-to-hand combat fight. The Mexican and the gambler throwing insults at each other will end up saving each other’s lives. And the villain and the hero, Bogue an Chisolm eventually meet for a gunfight draw in the true western tradition.
Fans of westerns will not be disappointed with THE MAGNIFICENT SEVEN. The only surprise in the movie is that the entire film, directed by Fuqua has only one black character, throne played by Washington.

There is no credit mention of Sturges’s MAGNIFICENT SEVEN or Kurosawa’s SEVEN SAMURAI in the end credits though Elmer Berstein is credited with his MAGNIFICENT SEVEN score which was used in Fuqua’s film. But the film is dedicated to James Horner, who partly did the music for the film and passed away before the film’s completion.

Trailer: https://www.youtube.com/watch?v=anyMa2gN6uw