film reviews

Film Review: PATTI CAKE$ (USA 2017) ****

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PATTI CAKE$PATTI CAKE$ is centered on aspiring rapper Patricia Dombrowski, a.k.a. Killa P, a.k.a. Patti Cake$, who is fighting an unlikely quest for glory in her downtrodden hometown in New Jersey.

Director: Geremy Jasper
Writer: Geremy Jasper
Stars: Danielle Macdonald, Bridget Everett, Siddharth Dhananjay

Review by Gilbert Seah

PATTI CAKE$ is a story of a big white girl, Patricia “Dumbo” Dombrowski (Danielle Macdonald), from Bergen County, New Jersey who seeks fame and fortune as a rapper. She lives in a really untidy house with her mother (Bridget Everett) and looks after her bed-ridden Nana. The film introduces her as she wakes up in the morning. The camera shows her ‘fat’ side while she does her daily routine like brushing her teeth, while rapping. She swaggers down the street with the camera showing her floating up in the sky – a great start for the movie. Her talent is rapping and she with her best friend Jheri (Siddharth Dhananjay) and new discovery (Mamoudou Athie) hope to make it in the rap scene. The film is their difficult success story.

The film has 3 big plusses and with these three plusses, one can hardly go wrong. The first is a killer rap soundtrack. Director Jasper shows the origins of a song, how the lyrics come about and how the melody is created. The finish product is a marvel. The second are the great performances from the entire cast and thirdly, the script though not flawless, is nevertheless quite good covering many current issues. It is expected that the film has a happy ending and the tacked on turn of events is a bit manipulative.

Australian actress Danielle Macdonald is a real find and should be heading for stardom. Bridget Everett is also winning as Barb, her mother while Cathy Moriaty as Nana is a scene stealer.

Besides rap dance, the film covers a lot of relevant issues though not all to great depth. But it helps keep the film interesting rather than just focused on one issue. Bullying and non-acceptance is the other main issue. Patricia is big and when she does the rap battle, her size comes into play. She is also bullied in the neighbourhood and called “Dumbo’ by almost everyone. The mother and daughter relationship is also covered with satisfactory detail. Her mother has no time for Patricia and has no idea that her daughter is into rap, though she is also a real talented singer. One issue just touched on is the health care. When Nana is taken to hospital with a stroke, Patricia and her mother has to come up with the money. Patricia works extra shifts in her part-time job while the mother juggles the credit cards to pay the hospital bills. The difficulty of getting recognized in the music industry is also eminent throughout the film as the rap group try all measures to get a break.

Besides crooning out the rude lyrics with the ‘f’ word in almost every phrase, the film also shows that in order to survive one has to work very hard and be disciplined. Patricia works long 8-hour shifts as a part-time bartender, forcing a smile on her face all the time, in order to help pay the family bills.
The film is quite a marvel from a first time director. It is my sure bet that this film will win the Toronto Film Critics Association Prize for first film feature. Though the film is a hard watch from start to finish, every minute is worth it.

Trailer: https://www.youtube.com/watch?v=L-591Dqa48g

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Film Review: THE QUEEN OF SPAIN (Spain 2016)

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THE QUEEN OF SPAIN.jpg
The misadventures of a Spanish crew during the filming of an American movie in 1950’s Spain.

Director: Fernando Trueba
Writer: Fernando Trueba
Stars: Penélope Cruz, Cary Elwes, Mandy Patinkin

Review by Gilbert Seah

THE QUEEN OF SPAIN arrives after its Gala Selection at Berlinale 2017. The film is the sequel to Fernando Trueba’s 1998 drama THE GIRL OF YOUR DREAMS which also starred Penelope Cruz in a story set during the Spanish Civil War with Josef Goebbels falling in love with Macarena Granada. The film, though not many are familiar with in North America won seven Goya Awards including best film and best actress for Cruz. But what is more well known, is that Cruz and director Trueba worked together on the 1992 film BELLE EPOQUE which won the Best Foreign Film Oscar. With that, THE QUEEN OF SPAIN aroused sufficient interest to get commercial distribution.

The film is not as good as the other two, and in fact quite a disappointment, considering the film’s setting and its ambitious political intentions. Trueba injects lots of comedy and melodrama and the kind of goings-on during the filming of a movie. The film is fun to watch but could have developed into much more.

There are many stories – in fact a few too many on display in the film. The most important of all is to the one considering Cruz’s character but a film director, Blas Fontiveros (Antonio Resines) that has got into a lot of political trouble in the past. He suddenly appears at the start of the film, like a ghost as everyone though him dead, but is arrested. With so many people in the new film that he has helped in the past, they decide to spring him. The new film that is made is an American Hollywood film shot in Spain by director John Scott (Clive Revill) who is so old, all he can do is shout ‘action’ or ‘cut’ between his naps. The main star from Hollywood is Marcarena Granada (Penelope Cruz) who falls in love with a grip (Chino Darin) on the set. Other subplots include the dandy American actor, Gary Jones (Cary Elwes) and an assorted Spanish crew including a couple (a lesbian and gay man) who marries for convenience.

The setting is the nostalgic age where Hollywood came to Spain. Clearly director Trueba hates politics and Franco for that matter and has a sort of love/hate relationship with Hollywood as depicted in the film. The McCarthy witch hunt in which screenwriters were banned from working in Hollywood is given a nice touch in the film. One such writer arrives in Spain and works under an assumed name.

THE QUEEN Of SPAIN is a well intentioned film which has taken too much on its plate. It still is an entertaining romp – a tribute to the nostalgic filmmaking times of the 50’s – a film in a film. Following its premiere in Berlin, which was met with a long standing ovation, the film was nominated for five Goya Awards held this past March, including a nomination for Cruz as best actress.

Trailer: https://www.youtube.com/watch?v=0VfVvAlyeJ4

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Film Review: THE ONLY LIVING BOY IN NEW YORK (USA 2017)

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THE ONLY LIVING BOY IN NEW YORK.jpgAdrift in New York City, a recent college graduate’s life is upended by his father’s mistress.

Director: Marc Webb
Writer: Allan Loeb
Stars: Callum Turner, Kate Beckinsale, Pierce Brosnan, Jeff Bridges, Cynthia Nixon, Kiersey Clemons, Tate Donovan, Wallace Shawn

Review by Gilbert Seah 

 It has been 5 years since the announcement of the making of this movie and its completion after many delays and re-casting. Surprisingly, THE ONLY LIVING BOY IN NEW YORK turns out not that bad, but it is a far cry from the director’s first and excellent debut, THE (500) DAYS OF SUMMER.

The lead young actor, Callum Turner of THE ONLY LIVING BIY IN NEW YORK appears to be a clone of Joseph-Gordon Levitt in SUMMER, not only in looks but in certain mannerisms. Turner is not bad, charming, while portraying both the strength of a budding writer and a vulnerable player in the artistic world. The casting director seems unable to resist the casting of Wallace Shawn as a talking artist in one of the family’s famous artist dinner parties.

The script by Allan Loeb feels at times like a Woody Allen one, with multiple relationships going on at one time. No one appears capable of keeping a monogamous less honest relationship without sleeping with another and then substantiating it as all right afterwards. Unlike an Allen film, the guilt comes more into play in this story with each lover trying to right a wrong.

When the film begins, a recent college graduate, Thomas Webb (Turner) is given the news that the girl whom he has been seeing and has fallen in love with, Mimi Pastori (Kiersey Clemons) is leaving him to go abroad. They still love each other as they profess, which really means nothing in a film that tries to be as smug as this one, from the very beginning. Thomas ends up sleeping with his dad, Ethan’s (Pierce Brosnan) mistress, Johanna (Kate Beckinsale), while the poor mother Judith (Cynthia Nixon) looks on. It turns out that mother is not that innocent after all, as will be revealed later on in the story (no spoiler to be revealed here.) In the process of all this, Thomas meets, though too coincidentally, a neighbour stranger named W.F. Gerald (Jeff Bridges) who turns out to be his mentor helping him out both in his love affairs and life.

THE ONLY LIVING BOY IN NEW YORK is a likeable film and director Webb (who also did the SPIDER-MAN movies) knows how to make a likeable film. Love triumphs in many ways and always does. Everyone in the script also ends up with his or her own little happy ending.

THE ONLY LIVING BOY IN NEW YORK, which turns out to be the title of the book a character writes, will be inevitably compared to a Woody Allen movie for its look on the New York art scene and relationships.

This is the difference between Loeb’s script, Webb’s direction and Woody Allen’s works. Life does not always turn out to be happy endings. Allen’s characters suffer more, for their cheating in their love affairs and in general in how things in life eventually turn out. Life is not all plain sailing that turn out well. That is the reason Allen’s films are more endearing and realistic. And Allen knows how to put in more humour and sarcasm into his works as well. This film ends up a too smug arty fairy tale.

Trailer: https://www.youtube.com/watch?v=tkjhAeF3b1g

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Film Review: BUSHWICK (USA 2016)

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bushwick.jpgWhen a Texas military force invades their Brooklyn neighborhood, 20-year-old Lucy and war veteran Stupe must depend on each other to survive.

Directors: Cary Murnion, Jonathan Milott
Writers: Nick Damici, Graham Reznick
Stars: Dave Bautista, Brittany Snow, Christian Navarro

Review by Gilbert Seah
 

 BUSHWICK is a working-class neighbourhood in the northern part of the New York City borough of Brooklyn. The neighbourhood, historically a community of Germanic immigrants and their descendants, has been predominantly Hispanic in the late 20th century. The neighbourhood, formerly Brooklyn’s 18th Ward, is now part of Brooklyn Community Board 4. It has been the scene of extreme looting during the 1977 blackout. This low income working-class venue has been chosen as the setting for directors Murnion and Milott apocalyptic tale of destruction, chaos and survival.

When the film opens, directors Murnion and Milot prompts the audience to evaluate their most dreaded fears. As 20-year old Lucy (Brittany Snow) chides her boyfriend for being scared of being in the dark while leaving the underground (subway), he replies that he should get some incentive for not being scared As they converse, they notice that they see no one else. The place is deserted. Then appears from nowhere a man screaming as he is inflamed. The two run to the street level where the boyfriend is shot and she left alone. Lucy then meets Stupe (Dave Bautista) and the two newly met companions bind together to figure out what is going on. The script does not reveal the answer till half way through the film.

The film, written by Nick Damici and Graham Reznick is well shot by Lyle Vincent with an atmosphere of the end of the world scenario. The trouble is that audiences have seen all this before in a dozen or so films of this nature. With only two main characters, the film becomes not only more minimal but hardly credible. How and why has so much happened in the so few minutes that Lucy is in the underground? Do the audience really care? There is hardly any excitement created as no one really cares about these two characters. Also, any reason for this has been already put together in one movie or other.

The script is devoid of humour. The only funny part appears to be the name of the main character – Stupe. The film is quite violent in terms of wounds see on screen like Lucy’s shot-off finger and Stupe’s wound.

Actors Bautista and Snow do their upmost best to keep their characters interesting. The scene where Stupe has to pull out chard of metal from his leg, with Lucy looking on while burning it with red hot metal for at least 5 seconds to kill the germs, seems to be put there to gross out audiences but still with little effect.

The film is nothing more, than running around, shootings, more running around and even more shootings. More people get killed, then more running around and shootings. The film contains a lot of false hopes One is the search for Father John in a church.

Another appears to be evacuation by helicopters at a park. But when the climax comes, nothing much makes much sense. This film is clearly as the saying goes, a film with no head and no tail.

Trailer: https://www.youtube.com/watch?v=dKvNp0PEkHY

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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

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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.
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Interview with Festival Director Stephanie Dadet (OUR CITY FILM PROJECT)

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Our City Film Project is a film collective showcasing the work of filmmakers from different cities to a global audience. It is a community celebrating storytelling and passion.  The project aims to promote filmmaking and redefine production practices. As filmmakers, the stories we tell are influenced by our background, experience, and perception but shaped by our community – Our City. OCFP will focus on a chosen theme for a year which determines the accepted entries. The festival is a not-for-profit initiative of Big Bad Wolf Pictures, a film production company from Cape Town, South Africa.

WEBSITE: www.ourcityfilmproject.com

Social Media: Facebook – www.facebook.com/ourcityfilms

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

Stephanie Dadet: Our City film project in its mission aims to provide a platform to celebrate the people and stories that shape us. Our focus is not just on the films but also to shine the spotlight to the filmmakers to have brought these stories to our screen. As we grow, we aim to bring filmmakers together to create projects as part of the collective.

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

Two days with a great line up of some of the best LGBT short films produced within the past 24 months hosted by the prestigious Ster Kinekor Cinema Nouveau and a space to network with filmmakers, catch up with friends and of course, good wine.

What are the qualifications for the selected films?

As required by 2017 theme of the festival, all entries must be LGBT short films produced between 2016 -2017. We are focused on the quality of the narrative. We are looking for filmmakers who not only understand storytelling but know how to genuinely tell their stories and create value. Our focus, however, is not just about the film itself but also on the filmmaker.

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

The obvious reason is the number of submissions a festival. There are a lot of films made and submitted but limited selections. This is why it is important to create projects like this to provide more platforms. It is very important to get your film out there, to share your story and meet other people with shared visions. There is a film festival out there waiting to share your story, don’t give up – look out for them and keep submitting!

What motivates you and your team to do this festival?

That will be the personal commitment to contribute to the growth our film industry and celebrate the filmmakers who are having the effort to show the world what they have to offer and to encourage collaboration on productions between filmmakers especially as we plan for our second year.

How has your FilmFreeway submission process been?

Good. We have received over 1600 submissions from FilmFreeway and it has been an efficient platform all round.

Where do you see the festival by 2020?

We aim to be hosting screenings in at least 10 cities around the world bringing together people to celebrate the stories and filmmakers from their cities and also the collaborative projects put together by filmmakers from different cities working together, learning, sharing and also inspiring. It is called Our City Film project for that reason.

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

That will be the Pixar animated feature UP. It is a brilliant film that gives me Goosebumps – touching, exciting and entertaining. It is a special film.

In one sentence, what makes a great film?

A great script matched with a talented film director.

How is the film scene in your city?

The Film Scene in my City – Cape Town is good and continuously growing. It is one of the most beautiful cities in the world and hosts quite a number of local and international film shoots. The city has a growing pool of talented filmmakers ready to leave a mark in the industry both local and in the international scene.

 

our city1.jpg

******

FILM FESTIVAL DIRECTOR BIO:

Stephanie Dadet is a film producer and screenwriter. In 2012 she obtained a BSc (Honours) degree in Business Administration and in 2015 moved to Cape Town, South Africa to study for a BA (Honours) in Motion Picture Production attained from AFDA Film School which she was awarded Best Producer and Best Film. She has industry experience working across Nigeria and South Africa in film and television. She is currently completing her MFA degree. She is also the co-director of Big Bad Wolf Pictures founded in December 2016.

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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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
 

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Movie Review: STRANGE BEASTS (UK, Experimental)

festreviews 2017 movies, Kierston Drier, movie, Movie Review, Short Film Movie Review, Uncategorized , , , , ,

Played at the July 2017 Experimental Short Film Festival

STRANGE BEASTS, 5min, UK, Experimental
Directed by Magali Barbe

‘Strange Beasts’ is an augmented reality game. It allows you to create and grow your own ‘pet’. How far can it go?

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

A bright, authentic and chillingly vibrant piece of speculative fiction, STRANGE BEASTS follows a software and game developer on his new groundbreaking game. One where you create and care for a digital pet. The catch? The game exists in a device embedded in your eye.

Our hero is loveable, bright, energetic and trusting. The game looks authentic, dazzling and instantly addictive. As a film the colors, graphics and visuals are flawless. The film is a master of attention to detail.

But what sets this film apart is its believability, and its gut wrenching twist. Without spoiling this remarkable ending- this film hits frighteningly close to home.

With this only a five-minutes-in-the-future kind of science fiction, the audience is hit with the sudden realization that this type of technology already exists, and the we are not watching a film about what could be, but what will be.

STRANGE BEASTS will haunt you, with its disarmingly charming approach to the future, and send a chill up your spine when it ends.

Watch the Audience FEEDBACK Video

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