Category Archives: Film

Withnail And I Gallery Review

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withnail-and-i-stillThe free booze was flowing generously and the sounds of Jimi Hendrix were pounding as Withnail and I returned to their old stomping ground in Camden Town, basking in the glorious summer heat. June sees the start of an exhibition at the Proud Camden Kitchen of a remarkable set of candid, behind the scene stills taken during production of the cult British classic, taken by the renowned film set photographer Murray Close.

 

Murray Close is considered the go to man for film production photography in a career that has spanned over three decades. He got his big break at the age of nineteen, working for the great Stanley Kubrick (himself a photographer in his youth) on the set of horror adaptation The Shining. The publicity still  of Jack Nicholson’s face peering with menace through a freshly axed door has become synonymous with not just that film, but for Nicholson’s bad boy persona and has become an icon of horror cinema. Close has worked for some of the biggest names in the business such as Spielberg and Eastwood, and on some of their best known works. Tucked away in his extensive C.V. is the low-budget 1986 comic drama Withnail and I, written and directed by Bruce Robinson. It’s a semi-autobiographical tale of two out of work actors (Richard E.Grant and Paul McGann) in 1960’s London, who tired of waiting for the phone to ring and drowning themselves in a sea of liquor and lighter fluid, decide to go ‘on holiday by mistake’ to the remote rural setting of Penrith in Cumbria. Their situation improves little. It’s a terrifically British comedy and by that I mean that as hilarious as it gets, every scene is undercut with an overwhelming melancholy. It is every bit as achingly sad as it is funny. Over the years it has become the definition of the word ‘cult’ creating an entire legion of fans across the years, not least amongst countless students who attempt to match drink for drink what the characters consume in the film.

 

Close’s portraits of the film’s production are a joyful and revealing spectacle. They range from the cosy intimacy of the London based segments  (the warmth of Uncle Monty’s flat radiates from images) to the roaming, overwhelming countryside locale that seems to swallow cast and crew whole. The collection captures the comradery of the cast and crew, and also fits in with the almost anarchic tone of the films story. Grant seems to take centre stage in many of the portraits. The character of Withnail can’t help but infiltrate each shot he is in and that unique blend of charisma and chaos permeates from his pictures, as intoxicating as anything he consumes in the film. As he does in the film, McGann remains a calm centre in the midst of his colleagues tomfoolery. His handsome features would not look out of place in a fashion shoot and they create a nice contrast with the displays of comic caricature. Look out to for an appearance from Ringo Starr; fellow Beatle George Harrison was one of the driving forces behind the films production.

 

The title of Withnail and I: The Finale is given a deeper, bittersweet meaning by the sad passing earlier this year of Richard Griffiths. The established character actor had many hits to his name (Pie In The Sky and Harry Potter were standouts) but none more memorable than that of Uncle Monty; Withnail’s eccentric uncle, fellow would be thespian with a passion for cooking and lust for ‘I’. His gentle yet unmissable presence was another key factor to the films success and its staying power over the years. This gallery serves up a fitting tribute to not just a great character but, by all accounts, a genuinely lovable human being.

 

Withnail and I: The Finale is running from June 21st to September 1st at Proud Camden, Stables Market in Chalk Farm Road

 

I Am Breathing Film Review

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i-am-breathing film reviewThe thin space between life and death becomes an unlikely source of optimism and hope in the face of grueling adversity, in this powerful yet restrained documentary. It follows the last months in the life of Neil Platt, a Yorkshire based architect who contracted Motor Neurone Disease in his early thirties and was left paralysed from the neck down and dependent on breathing apparatus. Under no illusions to the outcome of his diagnosis, Neil welcomes the filmmakers (one of whom he befriended at art school in Edinburgh)  into his home and family life and communicates, via interviews and an online blog he sets up, his struggle with the disease, his reflections on his life to date and the legacy he wishes to leave behind for his infant son Oscar.

 

From its opening scenes, any sense that we the audience are in for a thoroughly maudlin and downbeat experience are quickly and quietly dispelled by Platt’s engaging and immensely likeable presence. The most courageous acts can be the most subtle and the calm and dignity that he approaches his situation with is incredibly moving. Directing duo Emma Davie and Morag McKinnon keep interviews and observations stripped down and low key, settling for tight close ups for interviews and a handheld roaming camera to follow Platt’s interaction with family and friends and his daily tasks. There’s a genuine ‘fly on the wall’ feel to the proceedings and lengthy sequences that follow the minute details and tasks that suddenly seem to require a Herculean effort. There’s a sharp juxtaposition between a recognisable suburban home setting and the cold, sterile heaps of medical equipment that clutter the family home.  However far from settling for a miserabilist tone there’s a gentle and inspiring sense of humour in Platt’s observations of this new take on home life and his struggles with faulty assistance equipment. In one great scene, he recounts how his phone company can’t quite grasp that he won’t be alive in order to renew his phone contract (‘We can offer you three months for free?’)

 

When the directors do decide to break away from the low key formalism, they thankfully do it in tasteful and reserved manner. We are treated to animated depictions of Platt’s blog posts on Plattitude (every bit as droll and upbeat as interviews), diagrams of his work in architecture  home albums and video of early life and university where he met his wife Louise, who is never far from his side and appears as  rocksteady support for her husband. Platt recounts his eventful life prior to his diagnosis, his passion for motorcycling and the close knit unit of family and friends he has met over the years. The depictions of an active and healthy lifestyle underline the tragic nature of the illness without oversentimizing the issue.  As well as creating an itemised catalogue of personal items that he plans to leave to his son for later years, Platt intends the film itself to be a testament not just to his struggle with the disease but as a human being. In this regards I Am Breathing takes on an astonishingly personal and thought-provoking edge. How do you begin to sum up your life when you when you know it is being robbed from you in such a cruel manner? What do you plan to say and leave behind for your son who will have only vague memories of you? The honesty and straightforwardness of these reflections is quietly devastating.

 

As the inevitable draws closer and Neil’s methods of communication begin to fall away, the filmmakers keep their respective distance but stay with him to record his final blog entry and goodbyes at a hospice. It’s these scenes that are the most gruelling and challenging to get through. Some may argue they toe the line of taste yet  it is utterly to the filmmakers credit that they tackle such a painful, intimate moment with such reservation. Rather than trite sentiment they end on an image of seeming mundanity yet heartbreaking pogiance. As harrowing as the themes approached in I Am Breathing can be, the tone of the direction and the inspiring nature of the man at the heart of it create a warm, rich and incredibly moving portrait of not just a fight against illness but the rhythm of life itself. Along with a premiere screen at the Edinburgh International Film Festival, I Am Breathing is set to have its wide release in the UK and international community screenings  on 21st June, Motor Neurone Global Awareness Day. The Scottish Documentary Institute (SDI) and Motor Neurone Disease Association (MND Association) are collaborating to promote screenings of the film and awareness of the disease in general. A fitting tribute to both the film and the man at its centre.

 

Entity Film Review

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entity film reviewA group of documentary filmmakers travel into the heart of rural Siberia and come across all manners of unpleasantness in this low-budget, stripped down horror thriller written and directed by Steve Stone. It utilizes a low budget (approximately £100,000) to go over what is admittedly familiar material in the horror genre, but is executed in a stark and efficient manner that grabbed it the Best Horror Film at the London Independent Film Festival earlier this year.

 

A British documentary crew led by Kate Hansen (Charlotte Riley) for ‘Darkest Secrets’  travels to a remote Siberian woodland to report on a grisly find decades earlier; dozens of unidentified bodies shot dead and buried in shallow graves. Joining the established film crew are renowned psychic Ruth Peacock (Dervla Kirwan)  and local guide Yuri (Branko Tomovic), who escorts them to the location and narrates the backstory to their cameras. Hopes are that Ruth can give a unique insight into the the identity of the victims and why they were killed.  However they soon stumble across a vast, dilapidated research facility that harbours far more sinister secrets…

 

At first glance Entity would appear to heading down the well worn path of the found footage horror film that broke through into the mainstream with The Last Broadcast and The Blair Witch Project, and has been diluted down over the years with titles such as the Paranormal Activity quartet. The opening scenes play out via skipping and distorted CCTV footage and the cameras point of view is brought up and referenced several times throughout the film. Thankfully Stone resists succumbing to a ‘flavour of the month’ approach and settles for a more traditional narrative style and supernatural feel. The tone here favours atmosphere and chills over graphic carnage and the film touches on themes of regret, loss and memory that thankfully suggest the filmmakers agenda was above just splattering claret across the walls. The abandoned military facility is a horror subplot that has been done to death with recent incarnations such as The Bunker and Outpost. It’s credit to Stone and his collaborators that they manage with limited resources to craft such omnipresent dread from such a familiar setting. A large part of that is down to the impressive location scouted for the film; an abandoned, almost monolithic industrial estate that seems to smother the  characters and the very screen with its presence. The cinematography serves well in in transforming it into an embodiment of menace and transfers from graceful tracking shots to a frantic, hand held pursuit in night vision as the narrative develops. Proceedings are made more memorable by a strong cast doing good work with what do seem initially liked cliched roles. Particularly worthy of note is Kirwan who embodies her role with an ethereal calm in the face of fear, that always seems not too far from some form of breakdown as the story unfolds.  Branko Tomovic also does solid work in a role that is admittedly not very difficult to guess its trajectory but he invests it with a surprising mix of menace and care.

 

I had the fortune of seeing Entity at a director’s Q&A at the London Independent Film Festival. Just from Stone’s passion and enthusiastic response to questions it was easy to see the time and energy he had put into the project and how much it meant to him on a personal level . Entity is not without its rough edges but it gets the job done with effective determination.

 

Sex Talk With Phoenix James – Love Freely But Pay For Sex – part 2

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What happens when the government opts to tax sex? ‘Love Freely But Pay For Sex’ follows a group of rogue filmmakers as they attempt to discover how the controversial legislation affects Londoners.

If you’re unaware of the government policy, watch ‘Love Freely But Pay For Sex’ at www.PayforSexPolicy.com, and if you haven’t already done so, read the first part of this article here Phoenix James in Frost before continuing.

For those who have, the credits reveal the government policy, the rogue film production company and the film itself is a concept created entirely by Hackney-based Phoenix James.

The multi-talented James is recognised as an actor, poet and spoken-word recording artist, but ‘Love Freely But Pay For Sex’ is his first foray behind the camera. Not someone to do things by halves, James wrote, cast, produced, directed, edited and sound-recorded the entire film.

“I had written down the concept in a series of bullet points back in 2007, and after having filed it away for some years, I came across it again in 2011,” says James.

“I began to see what I’d written as more of a visual concept and then started to develop those points into dialogue segments. This later became a film script and from that point on, I was driven to make the film.

“Shooting began in April 2012 and by the end of July, I had everything I needed. Working on some other film-related projects gave me some time away from ‘Love Freely’ and I was able to return for the post-production process with fresh eyes and fresh ears. It also helped me to focus it all in my mind and allowed me to remain true to what I initially intended the finished product to be.

“I chose the documentary angle for the film because I wanted to create and display a type of lingering realism that I felt would only come from shooting and presenting it as a real-life, documentary-style film. All of the actors I cast did an amazing job. They each took the dialogue and made it their own.

“I had a call from one local newspaper asking where my statistic quoting 89% of people in Great Britain pay for sex came from because they couldn’t find any information on it. That may be a reflection on the state of journalism in the UK, but I’d say it’s a good measure of how effective the documentary angle has been.

“The reception I’ve received so far has gone beyond anything that I anticipated or had hoped for. When you’re creating, you have an idea of how you feel that creation might be received or how you might want it to be received, but you never really know how it will be until it happens.

“When I set out, I initially hoped a lot of people would watch it and talk about it, but it’s gone beyond that. I knew what I was making was important and would have an effect, but I’m only just beginning to realise just how much.

“Making a film on such a major scale has been a huge learning curve. I was working from scratch for almost the entire filmmaking process. But I definitely felt energized and excited throughout. Any moments where I may have felt slightly overwhelmed just added to my determination to complete something I knew would not only be groundbreaking, but a great achievement for me as well as for everyone involved.

“I think what I’ve learned overall during the making of the film is that we can all truly do anything we put our minds towards achieving. I’m very excited about exploring different avenues, new ground and uncharted waters, discovering new ways of working and writing and filming – and expanding upon what I’ve already learned in creating this film.

“I’ve been infected with the joy of filmmaking,” smiles James. “Love Freely But Pay For Sex’ is the template by which I can judge my future film projects and growth. There’s certainly lots more to come.”

Man of Steel {Film Review}

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*WARNING – MAY CONTAIN SPOILERS!*

 

This week is Warner Bros./DC Comics turn to bring up the heat for summer blockbuster season. It has been seven years since we had Superman on our screens with Superman Returns and the results were incredibly underwhelming (considering we had Batman Begins the year before, which was a critical and financial success). So a reboot was green-lit and Zack Snyder takes the helm to deliver Superman with watchful eyes from Christopher Nolan (serving as co-writer and producer). The end result is not as soaring as one would hope but flies rather valiantly.

 

Superman’s origin story remains the same; Kal-El (Henry Cavill) is one of the last remaining beings from the planet Krypton. Both his parents, Jor-El (Russell Crowe) and Lara Lor-Van (Ayelet Zurer), sent him off on a spacecraft as the planet was becoming unstable and would soon lead to its imminent destruction. His spacecraft crash lands in Smallville, Kansas and is raised by Jonathan and Martha Kent (Kevin Coster and Diane Lane). Though the interesting aspect that writers David S. Goyer and Christopher Nolan decided to focus on this Superman movie is asking; how would we react to a super-being? Would we welcome it with open arms or would we feel threatened? It’s certainly interesting to the fact none of the previous

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movie iterations even remotely decided to focus on that aspect. Although the story can feel a bit too cold for a Superman film and comes to no surprise it mostly has Chris Nolan’s stamp all over it. It was understandable for his Dark Knight trilogy to contain such a grim tone and featuring such dark themes. Superman really is a Moses story through and through but really delves into his alien heritage. There are amusing one-liners here and there but the cinematography all felt bleak with shades of blue and grey (with exception of scenes in Krypton).

 

Henry Cavill dons the suit really well, and he also brings the character quite a bit of charm but also some weight to the character. He brings such emotions as isolation and frustration, trying to blend in but there’s always a reminder that he will never be one of them. Although one scene that I felt was too forced on the religious symbolism is when he confesses to a priest in a church (whilst sitting in-front of a window with Jesus on it, subtle movie!) and he tells Kal-El to take a leap of faith. Amy Adams makes Lois Lane an active character this time round, rather than just solely being the damsel-in-distress that has Superman saving often. The chemistry between Superman and Lois is a bit weak but hopefully will expand in future sequels. Both Kevin Costner and Diane Lane play their characters really well, though there’s not much to work on as Jonathan is along with the many motivational parent/guardians to our heroes (Aunt May in Spider-Man and Alfred in Batman). Though the spot-light is Michael Shannon as General Zod, a great character actor but he completely chews the scenery and yet makes him quite intimidating which brings the fun to this film. You really believe this is a man motivated and dedicated to his genetic upbringing as a military leader.

 

As expected from Zack Snyder, he really delivers the spectacle and makes you believe a man can fly again! You feel the ferocity when Superman is flying for the first time, the sense of wonder from Superman’s reaction on roaring through the clouds. We finally get to see super-beings beat the living daylights out of each other. The scale and action sequences is spectacular, raising the bar to the extreme on what Superman has to handle. Zod’s soldiers really do put up a fight and you feel every blow they make is a devastating one! Though it does concern me that Zack Snyder causes this much destruction more on looking cool than taking into consideration the death toll would be extremely high (not to mention the amount of damage and lasting impact would leave upon Metropolis’s citizens). I was genuinely enthralled by WETA Digital’s creation of Krypton, clearly the filmmakers made sure they distanced themselves from Richard Donner’s Krypton. You feel that everything had a purpose and the planet felt alive with its inhabitants (I especially liked the silver projections when Lara is giving birth and Jor-El is giving Kal-El a history lesson about Krypton). Hans Zimmer’s score really captures the awe and wonder of Superman but also the menacing threat from the villains. There’s a lot to live up to than being under the shadow of John Williams’ iconic theme tune but Zimmer completely makes it his own.

 

Overall; a great stab on the Superman icon and really succeeds to make its own than trying to be a copy with what has been already established. Henry Cavill and Amy Adams play their respective characters faithfully and supported by a terrific cast. I really am looking forward to seeing more of this Superman series.

 

4 out 5

Documentary Film Project “Kickstarted” Gives Back to Crowdfunding Community with Original Video Series

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It has been a very exciting week for LA filmmakers Jay Armitage, Jason Cooper and Chris Gartin since their own Kickstarter campaign began for their documentary feature film “Kickstarted,” the first documentary feature film for, by and about the crowdfunding revolution.  Their goal is to raise $85,000 to complete the film they’ve been working on for the past year, where they have interviewed crowdfunding newsmakers like Zach Braff, Amanda Palmer, Maxwell Salzberg, Lisa Fetterman, John Vanderslice, Brian Fargo and many others. 

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Shrewdly, before launching their Kickstarter campaign on May 27, the trio released part of their Zach Braff interview on May 8, and that video was included in a feature story on Mashable that introduced the project to the world.  To date, that video has generated well over 50,000 views per week.  The filmmakers are shaping-up all this content which in Cooper’s words, “Tells the inspiring and dramatic stories of artists, makers and entrepreneurs who are harnessing the crowd to achieve the impossible,”  and they are also continuing to colorfully share their key findings and insights with the growing international community of makers and crowdfunding enthusiasts.

In their introductory and trailer video, Armitage says, “We’ve taken this film as far as we can with our own resources and now need your help to complete it.”  Since Mashable’s Eric Larson wrote his follow-up story on “Kickstarted” on May 30, the project is now 18% funded.  Braff himself recently appeared on the cover of Variety with these words: “Go Fund Yourself: Zach Braff made finding financing on Kickstarter look easy. But is it?”  That’s the exact type of question that Cooper, Armitage and Gartin have set out to answer with their project, and along the way, they are sharing their knowledge in the hopes of raising the money to finish their film.

Earlier this week, they released the first two in a series of original “Funded in 60 Seconds” episodes, presenting crowdfunding tips, insights and best practices from people who are using crowdfunding to pursue their dreams.  Episode one features Lisa Fetterman of Nomiku, who had a goal of raising $200,000, and raised nearly $600,000, while episode two features musician Amanda Palmer, who raised almost $1.2 million to launch her new album.  Also this week, in association with Indiewire, they kicked-off an original “Top 5” series with their first release, “Five Controversial Crowdfunding Moments.”  These videos and others to come are currently available in their entirety for free on the Kickstarted YouTube channel.

 

As the excitement builds, instead of watching the funds come in, the “Kickstarted” filmmakers are seizing the opportunity to meet, network with – and often, film – others who are making headlines with their own crowdfunded projects.  Naturally, “Giving back” is a big part of this project’s DNA: “We are a participating member in Kicking It Forward and pledge to give five percent of any profits back to other crowdfunding projects,” Cooper has said.

“We’re hoping that our efforts to help educate and cross-promote our colleagues will make it clear that the more people put into our project, the more they and others in the community will get out of our efforts,” added Armitage. 

To learn more about the project please visit http://www.kickstartedmovie.com. 

The Long Riders Blu-Ray Review

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The Long Riders is a classic western from Walter Hill. It is now making it’s Blu-Ray debut thanks to Second Sight Films.

thelongridersThe Long Riders is a good film. It has good performances from actors that are now super famous, but were then young actors trying to make a mark. Their raw talent is there and fascinating to watch. These include real life movie siblings Dennis and Randy Quaid, Christopher and Nicholas Guest, and three Carradine’s; David, Keith and Robert. So it is very much a family affair.

The casting of real-life brothers in the film adds to the tale of the infamous Jesse James/Cole Younger gang. We may all know the story of Jessie James and Robert Ford but knowing the ending doesn’t stop you enjoying this film. The shoot outs are filled with excitement and the consequences come fast and hard. It is hard hitting and in it’s day it must have been violent and shocking as it still has power today.

This is an old movie and for those who like old movies it is certainly enjoyable. Although I think people who do not usually watch old movies will like it too. A well paced film with a cracking script and lots of action. It has beautiful cinematography and is a visual feast. I really loved the look of the movie. All the way down to the melancholic ending which comes after a brilliant shoot out scene and includes the infamous Northfield, Minnesota bank raid.  It is one of those great old westerns that they don’t make anymore.

The Long Riders is out now on Blu-Ray.

Government: “Love Freely But Pay For Sex” – part 1

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Fifty years ago, almost to the day, a series of events began that eventually helped to topple the Harold Macmillan Conservative government.

In what became known as the Profumo Affair, the then Secretary of State for War, John Profumo, stepped down after deceiving Parliament about his relationship with Christine Keeler.

The affair with 19-year-old Keeler, who was also in a relationship with Yevgeny Ivanov, a naval attaché at the Soviet Embassy, strained the government to its limits at the height of the Cold War.

Half a century later, another potential sex scandal is poised to prove another headache for today’s Tory leaders as Hackney-based filmmaker, Phoenix James, focuses on the government’s pending and divisive Pay for Sex policy.Love freely but PAY for SEX - IMDb

Produced by James, ‘Love Freely But Pay For Sex’ follows the efforts of a handful of untrained – but enthusiastic and vocal – amateur journalists and presenters as they roam across London canvassing public opinion, and pursuing media personalities and members of authority.

By pulling together the efforts of the rogue independent film and TV production group, James has found himself at the forefront of a lively and controversial debate.

In its simplest terms, the Pay for Sex policy will make paying for sex a legal requirement for unmarried men and women, one that requires couples to register.

Despite previous coalition climbdowns on pasty, caravan and charity taxes – in a world where sex is already a global money-making industry, the government see it as a natural progression, and a practical tax in line with those already on pleasures such as smoking and drinking.

And as well as a much-needed boost to the British economy, by encouraging couples to marry – and so become exempt – ministers hope to see a return to traditional conservative, family values.

Understandably, the battle lines in ‘Love Freely But Pay For Sex’ are frequently drawn on social and age lines. Two young men are resentful and challenging, older couples are philosophical, but worried about making ends meet, while others see it as a logical step forward.

“The planet runs on sex and money,” says writer and performance poet, Phenzwaan. “It’s the perfect match.”

Whether the policy is enforceable is debatable, but the government is clearly hoping the majority of people will register for the Pay for Sex policy to avoid possible prosecution – and as a safeguard.

While the production company failed to get to the bottom of what happens if a lover is unsatisfied and refuses to pay, a registered person is likely to have some legal grounds for complaint, while unregistered lovers could find themselves in court.

The talking heads and interviewees in ‘Love Freely But Pay For Sex’ are wide-ranging and frequently producing support in unlikely places. Surprisingly, James’ film reveals escort agencies are welcoming the policy, believing that business will boom as men and women opt to pay for a regulated and expert lover.

Gay men and women also see it as a triumph. As the team catch up with street celebrations following the legalisation of gay marriage, becoming both liable for, and exempt from, Pay for Sex is seen as equality for the gay community with heterosexual couples.

Given the far-reaching consequences of the subject matter, it’s perhaps unsurprising that the hour-long production only scratches the surface. The production team admit that their collective aim in making and showcasing the film is to create awareness among those unaware and stimulate further dialogue among those who are. Their work to uncover, document and highlight more information about the Pay for Sex Policy is, they say, ongoing.

To find out more about the government’s Pay for Sex Policy and to see ‘Love Freely But Pay for Sex’ go to www.PayforSexPolicy.com

 

Look out for part 2 of this article soon! – Phoenix James on ‘Love Freely But Pay For Sex’.