Thursday, 23 July 2015
Emma Platt hosts and is joined this week by Chris Byrne to discuss the UK Box Office Top Ten, along with... ...digesting this weeks NEWS, dissecting new trailers for SUICIDE SQUAD, BATMAN vs SUPERMAN: DAWN OF JUSTICE & FANTASTIC FOUR... Chris leads discussion on found footage horror THE GALLOWS, plus Tarsem Singh's new sci-fi piece SELF/LESS, both slipping through under the wings of... ANT-MAN, which Emma leads analysis on - find out why she and Chris were satisfied but not overwhelmed by Marvel's latest origin story... ...before finally Emma brings us DEAD MEAT: THE FINAL GIRL, an enlightening discussion on the 'Final Girl' theory in horror - is it time for a new kind of Final Girl? Join us for our final podcast until September...
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Saturday, 18 July 2015
Director: David Gregory
Starring: Richard Stanley, Fairuza Balk, Hugh Dickson,
Dickson, Robert Shaye, Marco Hofschneider
Comparisons to Lost Soul, which details the making of The Island of Dr. Moreau, could easily be made to like
football club Fulham FC’s
recent history. What looks to be a decent project on paper slides descends too
rapidly into relative obscurity after being abused with a multitude of poor decisions.
At one point, both film and football team as a maniacal but proven manager take
over, yet his old school ways do little to stop what is now a situation in free
fall. Suddenly oblivion.
From a technical standpoint, Lost Soul says very little. It’s a standard T.V budget documentary with the usual set up of talking heads and archival footage. Nothing is too out of the ordinary. But the story. Oh, how the narrative unravels. The most fascinating things about documentaries about films that fall apart, is how they fall apart. Despite being made, The Island of Dr Moreau is almost like a group of people looking to purposely build a dilapidated household to live in. The worse thing is, we see the cracks appearing from the off.
The film sells Richard Stanley (Hardware, Dust Devil) as a once up and coming genre director, whose brush with Hollywood left him burnt. The film sets up a lot of time in displaying Stanley’s intelligence and eccentricities. It’s quick to make Stanley out as an unfortunate, yet likable soul who is nastily shoved out of his own mind bending creation. Despite this, the films set up belies not only the frustrations and anxieties of a studio, but also the difficult balance between art and commerce.
For sure New Line President Robert Shaye is a tad wrong to lump assumptions of Stanley’s love for sugary coffee as a warning sign
trouble ahead (has he not considered Hollywood’s illegal drug problems?). But
it’s clear for all to see that Stanley’s outrageously creative ambitions would
pose a difficult issue, once New Line actually saw an avenue for decent
business. Seriously, the concept art features a human-dog hybrid
licking afterbirth from a genetically mutated human/animal baby. We’ve only now
just got around to the idea of a Human Centipede and that’s clearly pretty
Such documentaries become
illuminating in the same way as
soaps and reality TV. It’s easy to become engrossed in the gossip. And why not.
Val Kilmar (at the peak of his stardom) is likened to a preppy high school
bully. Fairuza Balk sets upon cross country trip away from production once she
finds out about how Stanley is being treated. The reasoning for the trip being cross
country? Her lack of geographical knowledge of Australia. We have Brando taking
the art of trolling a production to Jupitar sized proportions. The piece de
resistance? Well, just because Stanley was fired from production, doesn’t mean
In watching Lost Soul, you
realise just how plain some of
our filmmakers come across now. The PR stranglehold over productions makes
films like this a certain succulence. It’s clear to see that mavericks like
Stanley (interest in witchcraft aside) are often considered best avoided by
Hollywood. A quick look at the Marvel production line right now, highlights
just how much a studio wants their creatives to toe the line (I write this on
Ant-man’s opening weekend).
But when an eccentric slips through the ropes, and an inmate gets a chance to take over the asylum, it’s easy to see how they can become lost in a world where power plays and bottom lines become everything and your enemies may be the guys smiling for the camera. Stanley shows throughout that his creativity is in abundance, but his personality is one that simply doesn’t meld with the playboys of LA. Unlike Terry Gilliam, Stanley doesn’t show himself to be a director who wishes to defeat extreme weather.
What Stanley does give us, though, is an unbelievably rich texture to a deeply unfortunate hot mess. Unlike Troy Duffy’s aggressive bluster in Overnight (2003), Richard Stanley’s offbeat wit and creative prowess only makes one wish that he was able to stay in the game longer to see what he could have come up with. Sweet tooth or no.
Friday, 17 July 2015
Year: 2014 (UK Release: 2015)
Director: Patrick Brice
Screenplay: Patrick Brice, Mark Duplass
Starring: Patrick Brice, Mark Duplass
Synopsis is here:
The most terrifying thing about Creep is not only how it melds horror tropes into elements that feel way too plausible for their own good. It's the revealing way that it uses masculinity and empathy to its own twisted ends. The film doesn't just find a simple way around its found footage aesthetic, but also crafts a chilling narrative around some of
the worse male traits. It's
difficult to say more without effectively dismantling the film. It is safe to
say that Creep manages to bottle some of those queasy, deceptively aggressive traits
that often infiltrate young men.
The first young man; cash strapped, videographer, Arron (Brice), decides to take a Craiglist ad and work for
Joesef (Duplass), who
wishes to be filmed in a series of videos for his unborn son as his dying wish
a la My Life (1993). Simple enough. But Joesef comes off as a little off key
and not just in the unconventional spelling of his name. Odd events start off
slowly, but as the day goes on, the unease builds. What’s strange is that as
odd as Josepf gets, Arron keeps filming. Yes, he’s getting paid handsomely, but
there seems to be more to it than that. Is there a connection? If so, do either
wish to delve further into the dark?
The impulsive and imbalanced feelings of companionship is something that Mark Duplass has been familiar with since his early
days (The Puffy Chair, Baghead). Yet here he mixes in that same sense of unease
that came with Black Rock (which he co-wrote). A tension which hides behind the somewhat
Strangely, here with Creep, Duplass feels similar to the likes of Adam Sandler in Punch Drunk Love. Whereas Sandler subverts his man child aspects, Duplass toys with his outward charming persona to somewhat sinister effect. From the particular wording that his character uses, to the dead eyed gaze that he pulls off a tad too easily. This is all wrapped in his hey buddy charm. Much like someone chipped away at the last bits of decent at his Everyman role from his character in
sitcom The League. Despite that character
being a douchebag to his friends, at least you'd feel comfortable with him taking
a whiskey. Brice gives us the weaker performance, but his simple direction of
the narrative combined with Duplass’ oddness helps distract from the film's largest
The final moments are as compelling as they are terrifying. As the film comments on something that feels closer to home as the earth grows smaller and angrier. It questions our empathy. It's an ending that feels OTT and unbelievable at first, but grows the more it is considered. A character asks a question that an audience member is likely to ask. But the answer to the question and the power of Creep lies much in same reason why all the coverage needs to be shot. We believe we're going to get something good out of this.
Thursday, 16 July 2015
Director: Seth MacFarlane
Screenplay: Seth MacFarlane, Alec Sulkin, Wellesley Wild
Starring:Mark Wahlberg, Seth MacFarlane, Amanda Seyfried, Giovanni Ribisi, John Slattery, Jessica Barth, Morgan Freeman
Synopsis is here
This potent independent article helped gather some thoughts on Ted 2, the intermittently funny, yet still unnecessary sequel to Seth MacFarlane 2012 hit. Seth wants to have his cake and eat it. Ted plays fast and loose with jokes about black cocks and white
niggas and yet the film gives pays
little lip service to black people. Yet ted 2 is a film which is about civil
rights …to a point. Really Seth wants to be able to make crummy race jokes while
still giving the wink that he's a card carrying liberal. Ted the CGI bear
wishes to be considered a human and have his surname called Clubberlang. , you could say he comes off more as an Archie Bungle. Here, however
These days any flaw or dislike in a un-P
.C piece of media,
instantly considers the viewer as over sensitive. You can't have class if you
don't like crass. But despite a favourable view of the previous entry and an
admirer of MacFarlane’s animated work, my disinterest in Ted 2 is more down to
the fact that that Ted 2’s humour feels thinly spread this time round. Gags
feel well-worn and lacking in any type of growth. Much like The Hangover
franchise. Ted 2 never feels like the shot in the arm that the first entry
gave. It feels like a stale re-tread.
It's no surprise that American Dad has grown from strength to strength out of all Seth’s creations. As it
favours less of the oblique
randomness that litters Family Guy and Ted. In both Ted 2 and his previous film
A Million Ways to Die in the West (2014), Seth has pushed even further towards
random non sequiturs with none of the Monty Python flair.
But even Family Guy gains more
favour due to its ability to
lean on its animation. It shouldn’t be said, but the series can have more fun because
it’s a cartoon. It’s become more apparent that MacFarlane has a style that he
wishes to stick with. This was fine when Ted was viewed as a one shot. A random
series of connected vignettes tied by character and crassness. However, this
second time round delivers Ted has less of a rouge and more of an asshole. The
jokes that miss are, once again, even more targeted to those with a working knowledge of
current American pop culture that’s off the beaten track. This mostly leaves
Ted making dick jokes, but lacking with the fairy tale element which caused
much of the amusement from before. In addition to this, Wahlberg has less to
do. Seyfried is coasting in a drab role and while MacFarlane still doesn’t get
enough praise for his vocal ability, Ted is far less lovable this time round.
Once the first film became a hit, you can see what little earnestness there
was, leave Ted and anything connected to it due to money.
It’s a damn shame that Ted opens with hilariously silly MGM musical-
lite titles. It reminds you of how much of a song and dance man
MacFarlane can be alone with his love for older Hollywood. There’s clearly some
comedic gems to mine there. Yet once the film gets to comic con and makes Star
Wars gags (another MacFarlane trait), it’s clear that geeky callback culture
currently rules all, and MacFarlane only goes balls out with the easy dick, race
and gender jokes, but isn’t interested in skewing things any further. Ted 2
finishes up like the results of what you’d get from an easy bake oven. You’re
able to digest it, but you’ll probably need something to wash it down with
before forgetting you even had it. A sticky mess.
Tuesday, 14 July 2015
Dan Taylor hosts and is joined this week by Leslie Byron Pitt & Chris Wilson to discuss the UK Box Office Top Ten, plus... ...chow down on this weeks news, including an RIP to Omar Sharif, how James Bond is about to become a musical, and the end of The Dissolve leads Les on a tirade against modern film criticism... Dan then leads analysis of TED 2, Seth MacFarlane's comedy sequel, which gets a lukewarm reception... Chris dissects LOVE & MERCY, the unorthodox Beach Boys biopic starring both Paul Dano & John Cusack as Brian Wilson... ...before Dan leads induction into the HALL OF FAME once more, this week the Best Actresses never to have won an Oscar. Who will the guys pick?
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