Director interview: Jamie Adams – ‘A surrogate family emerges almost organically – you can’t escape it at Christmas!’

November 20, 2014December 1, 2022 Garry Arnot2 Comments

At the 2014 Glasgow Film Festival, I was lucky enough to be introduced to the work of writer director Jamie Adams (pictured above right) when I watched indie gem ‘Benny & Jolene’. His latest feature ‘A Wonderful Christmas Time’, starring Laura Haddock and Dylan Edwards (pictured above left and middle), follows similar themes and Jamie Adams kindly agreed to discuss these with me. See it on-demand from Monday 24th November.

It’s exciting to see that films can now avoid the standard route of distribution, and ‘A Wonderful Christmas Time’ is to be available on demand first and in cinemas after. How did this decision come about and do you see it happening more in future?

‘These are digital new wave movies so it makes complete sense that our path would lead to on-demand platforms in the first instance, where a good percentage of our audience will discover the movie. Hopefully it will be backed by decent word of mouth and positivity and the movie heads into selected indie cinemas. This system has been working brilliantly in America this year especially and so to bring this idea to the table in the UK and to be the first to distribute a movie this way in the UK is exciting, and also what we’re about. For our next movie we’re looking at BitTorrent bundles for example. I love going to the cinema and believe it’s where movies come alive but that doesn’t mean both platforms can’t work together and compliment one another, to co exist and actually support one another.’

Your new film clearly looks at the Christmas spell through a perspective we are not used to seeing on-screen, highlighting the loneliness that some face at the time of year. Personally, are you a festive-fanatic or are you a bit of a scrooge?

‘I can see there’s a loneliness there sure, but I think that’s because there’s a pressure to spend Christmas with your family and friends – for it to be a collective experience as much as possible. It’s also the time of year where we take stock as individuals and reflect on where we are in our lives and where we want to be so even though we tend to be surrounded by people, close relatives, loved ones, we are all essentially more alone than ever as this introspection seeps into our thoughts. Having said all that family is important to me, it’s the time of year geared toward bringing family to the fore and as such I love Christmas, I have three children and a beautiful wife that get incredibly excited about the festive season. I think in the movie we see that a surrogate family emerges almost organically – you can’t escape it at Christmas, somehow a family environment, and all that entails will emerge somehow! It’s the domestic detail of Christmas and the tension all the traditions bring to a family environment makes me smile! So much opportunity for awkward moments between relatives that hardly talk to one another all year!’

From the films you have written and directed to date, you have pulled in an impressive cast for both, having the brilliant Craig Roberts in ‘Benny & Jolene’ and Laura Haddock in ‘A Wonderful Christmas Time’. Tell us a little about the casting and how these big names got involved…

‘Craig (Roberts) noticed that this filmmaker from South Wales was making an improv comedy and that Charlotte Ritchie and Rosamund Hanson had got involved. He got his agent to get a message to me that he wanted in – I sent him a tweet and that was that he was in! Charlotte was the first on board she contacted me via Facebook to say she really enjoyed this short film I’d made with a mutual friend of ours and that she’d be up for making a short together. I then built the story around Charlotte being this Laura Marling type and I contacted Rosamund via Facebook and she called me while I was at work as a Park Attendant (!) We talked about how we’d be in a motor-home travelling into North Wales to a music festival and we’d improv all the way there and back and she loved the idea!

With ‘…Christmas Time’ I saw Laura (Haddock) in Inbetweeners Movie and thought she was fantastic – the best thing about what is an awesome movie. I found out who her agent was and sent him a long email explaining who I was and that I needed to chat with Laura about making a movie. Again it was the five day improv idea that caught her imagination and after a two hour conversation at Soho Theatre she was in! Actually this is how I discover the actors I would love to work with – I see them in a movie or TV show or play and “fall for them” in a ‘I really want to create a character with them type of feeling ‘… That sounds a bit rude! It’s true though that making indie movies is incredibly difficult so you have to be excited about creating characters and stories with your actors – especially with improvisation. Then I watch them in an interview situation on YouTube, so Laura on a red carpet somewhere being interviewed, and I’ll be closer to knowing whether or not they can improv in the way I’ll need them to. Sometimes it’s award speeches like Sean Harris at last years Baftas – what a speech – so natural and funny – so I’m currently chasing him! To make a movie with him is high on the agenda. Then I contact them via any means necessary that falls short of stalking! Digital platforms such as Facebook and Twitter have really been such a useful communication took for these movies. It’s all about how you approach people though – it’s not as simple as messaging someone and they’ll jump at being in your movie! Agents are really helpful too and they want their clients to be involved in a range of projects and so something like the experience we offer is exciting to a lot of actors. There are so many factors with casting, especially on indie pictures as you don’t have the finance to entice. Your picture isn’t going to raise profile necessarily and for me I don’t have scripts.

I have stories and character sketches and now I have a few movies to show as examples of my work – it’s a real passion thing – you have to work hard at setting up the projects in such a way that you can juggle actors other commitments so that come your shoot dates they can all be there with you and in the moment. Sometimes you’ll lose one or two along the way because you simply can’t keep all the balls in the air at once – there are too many variables – so I have yet to work with Tuppence Middleton, Sally Phillips, and Alexandra Roach all of whom I’ve come very close to working with on various movies but in the end it hasn’t worked out. Nine times out of ten if you believe in your movie and share that enthusiasm, communicate that enthusiasm using the appropriate form of communication for that particular actor and it’s something they are interested in doing. It doesn’t really matter that there’s no money or profile raising involved – for most actors it’s about being involved in a movie they believe in. That could be as much about the challenge of making it as it is about the final movie. That said having your best work at hand to present as an example of what you do is helpful, enthusiasm will get you through the door but it’s your previous work and the way in which you communicate your passion for the story /character that will attach your chosen star(s)!’

The dialogue in both films has succeeded in coming across very naturally, and the actors have gelled well to the improvisational approach. How much of ‘A Wonderful Christmas Time’ is scripted and how much comes in during production process?

‘Thank you firstly! We work hard on achieving a sense of naturalism, especially with the dialogue, which is created over the course of production. In the scriptment (a detailed scene by scene account of the film) there are a few lines of dialogue here and there to give a sense of how a character might talk. I discuss the characters with the actors and these discussions feed into the creation of the characters and how they talk is a part of this. During the shooting of the scenes they reveal their characters in the moment and between each take I might say I liked this or that or didn’t like this or that and the actors readjust accordingly. We go again and again until it’s as good as it can be and I have what I need and then in the edit we make choices on what pieces of dialogue to use where – so in a way we are writing right through from inception of the idea through to the edit and sound mix.’

Following on from the last question, do you have tight storyboards and a polished treatment laid out before you start shooting, or do you let the improvisation take over to tweak and transform parts of the story as you go?

‘Storyboards are too rigid and too restricting for me as are treatments in their most polished form. I work hard on creating and writing a good story with great characters full of potential and strong relationships to explore. I begin conversations with the actors – sometimes about the characters – sometimes just about things that are interesting me leading up to the shoot. Then we shoot, and it’s here that I’m guiding the improvisation, always tweaking and leading the talent around me into the unknown and it’s there that we find the gold. Each take is different and builds on the last and as long as we are staying true to the relationships we are moving through our acts and gathering the material to create the story.

It’s there that the writing takes place and I truly believe the best cinema allows for freedom of expression in the first instance and that you have to be present during the shoot and in the edit to have the confidence in the talent to express themselves – and to be open to the film presenting itself. It’s difficult to put into words but anyone that’s shot a film will recognise that moment in the edit where the film they were making becomes the film they have made. It’s at this moment that you have to stay strong and react in a positive way to this film that isn’t the film you imagined for years during its formation. That’s where improvisation led movies come into their own because you are always aware that the film will constantly shift and struggle. In being prepared for that I know I’m in the best position to recognise the version of the movie that will play the best with our target audiences, which remain forward thinking, honest and sincere, hopeless romantics with a great record collection and an even better sense of humour!’

From my research, I know you started out as an editor and have documentary experience before you made your own features. Have you always wanted to direct or did the appetite for this come through being involved in previous projects?

‘Since I made my first movie on super VHS back when I was fourteen years old in 1994, I have been a filmmaker, director. I trained under a great documentary maker at Royal Holloway University – Gideon Koppel who made the brilliant Sleep Furiously recently – and I recognised early on that I gravitated to the work of the great improvisers. The French New Wave, Mike Leigh, the 1970’s independent cinema gang of Scorsese, De Palma, Coppola, Altman and more. I mean Woody Allen writes his scripts very quickly in an almost stream of consciousness and encourages the actors to improvise all the time. His camera may be fixed and behaves traditionally but his actors are free to express themselves and that’s why they get award season recognition because they embrace the freedom.

Improvisation to me doesn’t mean shooting without a script – it means being prepared to live in the moment and make choices in the present not the past. I have worked with some of the best editors we have in Britain and learned so much about pace and rhythm and keeping your audience at the forefront of your mind at all times. This sense of confidence in the edit comes from many years seeing movies emerge as an editor. I’ve also worked as a lecturer in film and as a parks attendant, a shelf stacker in a supermarket, a finance assistant at a holiday park, a fruit and veg shop assistant and more, which have all influenced my approach to film making!’

I’ve seen ‘B&J’ and ‘AWCT’ described as the first two parts of the Jolene Film’s modern romance trilogy. With the former looking at the music industry and the latter at Christmas, can you provide us with any exclusive insight as to the direction of the third?

‘Well it’s called ‘Black Mountain Poets’ so we can assume we’re looking at the world of poetry and poets in some way and I can say that it looks at relationships and romance. I can also say that we have the best cast with Alice Lowe, Dolly Wells and Tom Cullen, amongst others including Josie Long making her feature film debut. Dolly and Alice play sisters Claire and Lisa and Tom Cullen plays Richard, a poet that hasn’t written anything decent for seven years!’

My review – ‘A Wonderful Christmas Time’

DVD & Digital

DVD review: 22 Jump Street

November 15, 2014November 16, 2014 Garry ArnotLeave a comment

After the huge success of 21 Jump Street in 2012, it came as no surprise that developments were soon underway for a sequel. Would it live up to the original or will it be doomed to become yet another unimaginative paint-by-numbers comedy follow-up? In a way, both boxes are ticked but the self-awareness of repeating the formula cleverly causes the audience laugh at and with the film simultaneously. The first saw cop duo Schmidt (Jonah Hill) and Jenko (Channing Tatum) go undercover in a high school to investigate a drug problem, based on a 1987 television series. This time around, they do the same, but in a college! Hardly a leap forward in plot development, as the writers and characters will be first to admit, but there are more than enough big laughs to make it work.

The budget thrown at a second go becomes a recurring joke and despite the gag, the stronger product value is evident in the film itself also. Proceedings open with a hilariously exhilarating chase sequence and a lot of fun has been had with the freedom of milking the profits of the predecessor. Flavours of other recent pictures of the same ilk are to be found, with the frat-pack humour of Bad Neighbours and a finale in Spring Breakers territory, so it seems the Apatow University alumni still don’t mind referencing the work of friends and collaborators. The directors, Phil Lord and Christopher Miller, are known mainly for their work in animation, such as the Lego Movie, and this unrestricted manner lends a playfulness and creativity to their work. Inventive cuts and transitions often add to the amusement, juxtaposing the styles and statures of the leads, and a whacky split screen trip segment involving a fashionable new drug known as WHYPHY is among the highlights.

Jonah Hill and Channing Tatum are both on spectacular form, as Tatum again adapts seamlessly into the improvisational approach to comedy that Hill is associated with. Their partnership, on paper, shouldn’t really be as natural as it appears on screen but you get the feeling that their friendship is genuine which helps the humour on its way. They are joined by a solid supporting cast including Ice Cube who is fantastic as crazed police chief, Dickson. The sub plots are typical but well judged, as are the cameos which get better continuously until the brilliant closing credits which carries the franchise longevity joke further than you could imagine. The magic of ’22 Jump Street’ is that it doesn’t try to be anything it’s not, and because of this, it doesn’t overreach. It already has a winning formula so simply repeats itself, and self-parodies with the wit needed to get away with it, making it the funniest in-joke of the year.

See the trailer:

Features

Film review: A Wonderful Christmas Time

November 10, 2014December 23, 2021 Garry Arnot5 Comments

Christmas films are typically full of schmaltz, sentimentality and festive cheer, building up the hype for yet another fun-filled day spent with family, playing games, eating and drinking to excess and telling bad cracker jokes. To combat this idealised depiction of 25th December, writer-director Jamie Adams continues his indie-rom trilogy of sorts to bring us ‘A Wonderful Christmas Time’, which comes closer to capturing what the time of year can really be like for the single twentysomethings of the modern age. Noel (Dylan Edwards) has returned to his hometown of Porthcawl in Wales after splitting up with his long-time girlfriend to find that his parents are going away over Christmas. This leaves him alone with his thoughts, reminiscing and reflecting over where it has all gone wrong and what to do next. In an attempt to move on past this grey period, he turns to old friends, the local pub and a therapy which involves primal screaming at the edge of a cliff. Here, he meets Cherie (Laura Haddock) who tells him that ‘everything is going to be OK’.

The improvisational style implemented into the script, as well as the documentary-esque camera work means that the story, and the few characters within it seem incredibly natural. We can relate to Noel as he stumbles his way through uncomfortable conversations and scenarios and this appeals to the very British downtrodden sense of humour where we quite happily cheer for the misfits or losers of society. Because of the free-flowing dialogue, the jokes filter in seamlessly and laughs come both in the deliberately cringey lines and attempts at freestyle rapping, and in the moments of awkward silence. The realism techniques are continued on from the Adams’ last project ‘Benny & Jolene’ which used the music industry as its platform for a dysfunctional love story, and music works its way into the narrative again as well as cinema when Noel and Cherie bond over their shared tastes.

At the heart of the piece is the forced preconception that everyone should be happy at Christmas and should be having ‘a wonderful time’, despite what they may be going through for the other 364 days of the year. Noel and Sherry’s friendship tackles this idea as well as the emotions we go through at the end of romantic relationships, both wanting to be together but neither wishing to be seen as nothing more than a rebound. Their despair is disguised by alcohol and good company, and the highs are accompanied by an upbeat indie-laden Christmassy soundtrack. Dylan Edwards is superb, a natural at appearing unnatural with his equally impressive co-star Laura Haddock, best known for her roles in Guardians of the Galaxy and The Inbetweeners Movie.

‘A Wonderful Christmas Time’ brilliantly sidesteps the notions of joy and celebration surrounding the end of the year, poking fun at traditions to illustrate the true, if pessimistic, sense of the holiday, where we can escape the mundanities to drink and be merry until the hangover sets in and we’re back to the daily grind. That might seem a negative prospect but it is refreshing to see the genre handled in this way, dragging it into the 21st century. The aforementioned indie-rom trilogy from the Jolene production team is two down with one to go, going from strength to strength to reinvent the worn-out formula, presenting the rom-com from new angles with a quirky twist in an ultimately more satisfying way.

See the trailer:

DVD & Digital

DVD review: An Alternative Reality: The Football Manager Documentary

November 2, 2014November 10, 2014 Garry ArnotLeave a comment

A film about a computer game in which you manage a football club might seem like a strange concept but when said game is so integrated in the sport’s language and culture across the globe, it is more than justified. It changed the way fans talk about football and I, like many others – some featured as the talking heads of this insightful documentary – lost hours upon hours of my life to choosing tactics, wages, formations and more for a virtual squad of players. The game has a knack of pulling you in to the point that it nearly takes over everything else. ‘An Alternative Reality’ examines it in great detail, documenting its humble origins through to its current status, finding a satisfyingly healthy balance between being both fun and informative.

Fans of the game are full of anecdotes, and talk passionately about past glories and near misses. We also like to reminisce over the must-have midfield marvels such as Mark Kerr and Renato. An amusing extremist trend has emerged which involves comically suiting up for those all important cup final days. It is this aspect of the film that provides the most entertainment as from musicians such as Jon McClure and Paolo Nutini to players and coaches, everyone has their fond memories. Ex-Cardiff City manager Ole Gunnar Solskjær was an avid enthusiast back in his glorious Man United days and used to battle it out with Jordi Cruyff on their many away trips. After this film, you’ll find yourself recalling your own beloved eleven or feeling right in the mood to create new memories as soon as you get the chance.

On a more serious note, the technology and vast research behind the database is discussed at length as well as how the graphics have been improved and enhanced. These sections occasionally verge into dull territory but for die-hard stats fans there is a lot of data to get excited about. Listening to the founding brothers Paul and Oliver Collyer talk about the game alongside studio director Miles Jacobson is fascinating and it is evident that real passion for football as well as the loyal fan base has driven the game forward. Interestingly, Jacobson described the bizarre wonder-kids that never amounted to anything in real life as ‘glitches’ in the abnormally accurate engine but for super-fans, these were gems to behold. In recent times, the developers Sports Interactive have become involved with the real game, allowing clubs to take advantage of the colossal database and precise filters to discover the players with the correct attributes to slot in to vacant positions.

One of the most decorated managers in football history, Bill Shankly famously said ‘Some people believe football is a matter of life and death. I am very disappointed with that attitude. I can assure you it is much, much more important than that’. It is this dedication towards the ‘beautiful game’ that brings supporters together, and a very similar sense of adulation echoes throughout this funny and enlightening cult film. Whether your old favourite side used wingbacks, a playmaker, a false nine or you preferred the classic 4-4-2, prepare to dust off your disc and go back to the drawing board to become addicted all over again…

DVD & Digital

DVD review: The Fault in our Stars

October 30, 2014October 31, 2014 Garry ArnotLeave a comment

A tear jerking twist on the young adult trend, The Fault in our Stars, directed by Josh Boone, is a love story which takes place in horrible circumstances. Based on the novel by acclaimed novelist John Green, the film stars Shailene Woodley as Hazel Grace Lancaster, a cynical sixteen year old suffering from terminal thyroid cancer. After reluctantly attending a support group in order to please her parents, she meets and subsequently begins a relationship with teenage Augustus Waters, played by Ansel Engort, who is recovering from bone cancer after having his leg amputated. The same themes are explored as your ordinary teen romantic comedy, but with an underlying sadness as a black cloud looms over the star crossed lovers.

The girl-meets-boy element of the plot stays very much within our expectations, with subtle glances, long awaited text messages, the awkward meeting of the parents and terrible dialogue. Comic book-esque speech bubbles are used to represent the iMessages exchanged in an attempt to appear fresh and modern, but I felt it left it looking a little Nickelodeon. John Green wrote his book through Hazel’s perspective and her character is very well written. She is complex, funny, and translates credibly on screen as a sympathetic protagonist. Her narration provides a fascinating insight into her thoughts as she battles her demons. Augustus on the other hand is designed to be arrogant and cocky on first impression, before melting hearts with his profound wit and charm. Personally, I found him irritating, immature and his sense of humour was painfully out of date.

Hazel and Augustus share an interest in a fictional book called An Imperial Affliction by mysterious author Peter van Houten, as they can both identify strongly with his lead. This provides an interesting subplot where they seek out van Houten, who lives in Amsterdam in recluse, in search of answers to some unfinished questions. The city serves as a beautiful backdrop as the couple enjoy a weekend adventure to track down their inspiration. Willem Dafoe portrays the alcoholic writer and gives a shockingly strong performance, as his warped outlook on life highlights the harsh realities of Hazel’s grim situation.

The film is at its most powerful though when dealing with the Lancaster family dynamic, and scenes between mother and daughter are touching, despite the score being heavily engineered throughout to make audiences weep. Laura Dern puts in a highly experienced turn as her mother, trying to cope with the fact that her daughter will be taken away before her time. Woodley impresses and commands the film with ease, asserting herself as an actress in high demand off the back of her leading role in Divergent. Her performance alone makes the film worth seeing if you don’t mind having your heartstrings tugged to the point that they nearly break.

See the trailer:

DVD & Digital

DVD review: The Anomaly

October 26, 2014January 5, 2017 Garry Arnot3 Comments

Noel Clarke must be one of the busiest men currently working in British cinema. If his time isn’t taken up working on his own projects, he’s appearing in blockbusters or hit television shows. His actor-turned-film-maker story is inspiring and his ambition is admirable. In his third feature in the director’s chair, he steps out of his grimy comfort zone for sci-fi action thriller ‘The Anomaly’. As well as directing and co-producing, Clarke stars as Ryan, an ex-soldier who becomes subject to a bizarre scientific experiment. After waking up in the back of a van, he finds that he is only consciously himself for approximately ten minutes before his body is taken over and he loses control. He then awakens again, having missed out whole chunks of time and finding himself in an array of different scenarios. If this all sounds a little confusing, that’s because it is.

The story is initially set in the futuristic cities of London and New York full of flying advertising and shiny things but without the budget and production skills of finer ultramodern adventures, the future has never looked so dated. In between the time hops are clunky fight sequences involving Russian gangsters and the like, where Ryan, against the odds, punches and kicks himself out of bother. These scenes are shot at a distracting pace, sped up and then slowed right down for the big hits, like the finishing moves in nineties videogame Tekken. It’s like watching The Raid on hallucinogens. A romantic subplot slides in where he befriends a hooker who quickly develops deft gunmanship and athleticism. Both having suffered a raw loss in their lives, they form an alliance to overturn the criminal exercise cooked up by a father and son partnership who seemingly want to take control of everyone in the world, but for no apparent reason.

Throughout the repetitive structure, Noel Clarke’s acting performance is frustratingly one-dimensional. He perfects a look of bemusement every time he wakes up somewhere different, despite the fact that it has happened time and time again. Before long, he figures out the ploy against him, involving Brian Cox, the father of the father and son villainous duo, wired up in a glass bubble and attempts to outsmart his foes. The son, played by Ian Somerhalder, is effective as a smarmy know-it-all in a suit, acting tough but ultimately wanting to please his father. He crops up in the various situations, serving as the stereotypical baddie.

Overstretching it in terms of the complicated plotting, ‘The Anomaly’ struggles to achieve the same authenticity that the director’s previous features have had. The dialogue is very clichéd and lacks punch, perhaps because Clarke himself was not on writing duties this time around. To see a change in focus from expectations is refreshing, if flawed, and results in little more than forgettable popcorn fodder. Hopefully a return to his excellent urban crime background will right this wrong.

See the trailer:

DVD & Digital

DVD review: Godzilla

October 25, 2014October 26, 2014 Garry Arnot2 Comments

2014 marks another year filled with reboots and sequels, many unwanted and frankly unnecessary but Godzilla’s return to the big screen has been met with only intrigue and excitement. The trailers have teased and the hype has quickly became monumental but would this new imagining of the classic fable rid all memory of Roland Emmerich’s nineties interpretation, which is widely regarded as a misfire? The director this time is the relatively inexperienced Gareth Edwards, who gained widespread recognition after his low-budget hit Monsters. With the big budget he now has at his disposal, he has assembled an all star ensemble including Aaron Taylor-Johnson, Elizabeth Olsen and Bryan Cranston who all ultimately play second fiddle to the stunning CGI on show and the Godzilla himself, of course.

Respectful to the origins of the story, Gareth Edwards chooses to build around his characters and story first, and really makes us wait for the monster reveal. The plot revolves around the Brody family, headed by former nuclear plant worker Joe who has a conspiracy theory linked with what appeared to be a natural disaster at his place of work fifteen years previously. His son Ford, an explosives expert, hesitantly decides to take notice of his father’s claims, flying to Japan to meet him, and they become embroiled in a fight for survival whilst doting wife Elle is left in San Francisco keeping up with the developments via breaking news bulletins.

The human element of the film slow burns into insignificance, falling to the waste side as it is belittled by the colossal beasts around it. When a Massive Unidentified Terrestrial Organism, or a MUTO as it’s referred to, becomes free to roam in big city, the real spectacle begins. The pterodactyl-like creature is visually impressive and once we see a boss fight collision in the brilliantly choreographed final act, it is an aesthetic feast as well as a marvel in sound design. See this in on the largest screen possible and it’ll be worth it for the roar-off alone! Sentiment shines through in the eponymous monster, almost humanising Godzilla and really fleshing out his character despite the unfortunately concise screen time he is given. This signifies a tip of the hat in homage to the historical background of the pop culture icon.

As far as the acting goes, the big name cast unsurprisingly struggle to leave a lasting impact in the shadows of the giants. Cranston is solid enough, as is Elizabeth Olsen with what material they have to work with. Taylor-Johnson has bulked up but where muscle has been added, fun and emotion have passed to make way to create a rather emotionless hero and I struggled to connect with his personal circumstances. Members of the supporting cast feel even more meaningless, with David Strathairn and Sally Hawkins criminally underused. Ken Watanabe serves the purpose to deliver the scientist’s ‘we call him Godzilla’ line that fan-boys will be waiting for but does very little else other than perfecting a horrified expression in reaction to the carnage that ensues before him.

As an action piece, Godzilla is a remarkable technical achievement, and is as thrilling and entertaining as you would expect from a modern adaptation. It sadly falls down a few plotholes and lacks a powerhouse performance to lift the human aspect. Despite this, Gareth Edwards has furthered his reputation as a filmmaker and given the project a sense of intelligence as well as having the sensational set-pieces. The legend has a new lease of life, and with a sequel in the pipeline, this could be the start of an exciting new series of monster movies.

See the trailer:

DVD & Digital

DVD review: Cold in July

October 20, 2014October 20, 2014 Garry ArnotLeave a comment

Laden with neon, synth and mullets, Jim Mickle’s latest film ‘Cold in July’ is a stylish throwback to the eighties, adapted from a novel of the same name by Joe R. Lansdale. Michael C. Hall, who is known for playing cool serial killer Dexter, stars as Richard Dane, an honest family man who confronts a house intruder in the opening scene. The suspenseful start sets up an interesting premise, as threatening criminal Ben (Sam Shepard) begins to torment Richard and his loved ones. This raises questions around carrying a firearm for protection in the home, and the consequences that this form of self defence can present. This slow-burning thriller is full of potential but descends into ridiculousness, as the directorial vision becomes somewhat blurred.

Starting with a Cape Fear atmosphere, with Sam Shepard in the haunting Max Cady type role, before turning into something more along the lines of Dukes of Hazzard, writer director Mickle has very clear, if mismatched, influences for this project. Jeff Grace’s electronic score has strong flavours of the work of Cliff Martinez, who provided the sounds for Drive and Only God Forgives. Comparisons aside, the story has pacing issues and takes too long to get anywhere. Around halfway, an unorthodox investigator Jim Bob Luke, played brilliantly by Don Johnson, is added to the fray and certainly brings with him a much needed dose of adrenaline. His snappy sense of humour distracts from the shoddy character development but after a while, it becomes hard to see the motives in any of the protagonists as they join forces to bring down an snuff-video operation.

‘Cold in July’ is not without its strong points, and is very successful at building tension. I can’t remember being as gripped as I was watching the first couple of scenes. The performances are suitably solid also, with each of the three big names bringing another dimension. The problem is that the elements that their characters provide feel as though they belong in three separate films. Somewhere the recipe turns sour. The inventive and attractive cinematography will only hold the attention of the audience for so long but ultimately, the unnerving chill becomes an irritating draught.

See the trailer:

DVD & Digital

DVD review: Two Days, One Night (Deux Jours, une nuit)

October 19, 2014July 9, 2020 Garry Arnot1 Comment

Film is often celebrated for the sense of escapism it provides, the enclosed darkened rooms of the cinema proving a welcomed distraction from the outside world. In comparison to this theory, the Belgian directing brothers, Jean-Pierre and Luc Dardenne are known for their naturalistic style, presenting real life issues on the cinematic stage. Their latest effort, ‘Two Days, One Night’ highlights the problems within the social economic system not only in the small French town in which it is set, but globally. Marion Cotillard stars as the depression stricken mother Sandra who returns to work after a leave of absence at a solar panel plant to find that her colleagues have chosen to accept a bonus instead of her keeping her minimum wage job. She has the weekend, as the title suggests, to overturn the vote, approaching them one by one in a desperate plea to save her livelihood.

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DVD & Digital

DVD review: Edge of Tomorrow

October 12, 2014October 13, 2014 Garry Arnot2 Comments

Now that we’re into blockbuster season, the Cruiser is back with another action packed sci-fi adventure. Adapted from Hiroshi Sakurazaka’s novel All You Need is Kill, Doug Liman directs ‘Edge of Tomorrow’ which is not only big, but clever as well. Tom Cruise stars as military media man, Major William Cage who has rallied troops to battle against an alien invasion that is quickly spreading across Europe. As face of the campaign against a deadly threat to the human race, he is as confident and cocky as ever. However, when he is forced into the front-line, he is less than enthused and relies on the help of super-soldier Sergeant Rita Vrataski (Emily Blunt) to save the world, but most importantly to save his own skin.

What sets the film aside from the run-of-the-mill popcorn is the time-travel elements that see William Cage effectively ‘reset the day’ each time he loses his life in the heat of battle. As a result, it becomes like watching somebody play a video game, desperately trying to reach an unattainable checkpoint…but a lot more fun. It doesn’t explain itself all too well, so there are evident plot-holes, but there is also entertainment, and a surprising amount of humour in watching Tom Cruise die over and over again. The repetitive nature of the story never gets boring and is more long lasting that any of the glossy special effects. I found the action sequences to be rather frenetic and distracting, with spider-like creatures known as mimics whizzing about the screen like moths around a light. The 3D adds very little to the experience, but the characters and their complex companionship hold it together.

In recent years, I have been known to avoid the work of Tom Cruise, as I feel that with any role he takes on, I struggle to invest in his characters. I can’t take him seriously as the all-conquering hero. But with Edge of Tomorrow, his character is initially far from a hero. He is smug on the outside, cowardly on the inside which is an interesting turn to see Cruise pull off, and he does it very well. He links with Emily Blunt believably, as she plays a strong willed warrior, not dissimilar to her powerhouse part in Looper. They share moments that are genuinely funny as she prepares him for his next attempt at overturning the alien army. Of course, there is a Hollywood romance aspect involved but it is handled well without being overdone.

Edge of Tomorrow is a smart, inventive summer flick that showcases two stars at the top of their game. With obvious flavours of Groundhog Day, it still manages an aura of originality as the majority of the film is contained within a tight time-frame creatively played through continually, before stretching further a field for an expansive finale. The computer game feel lends an odd sense of ownership over the lead, and though it may be frustrating at times to watch him fail, you urge him to pick himself up and give it another go, improving all the time.