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Guillermo del Toro's visionary ideas of shine through in a beautiful love story in a Beauty and The Beast type fashion with the heroine falling in love with the beast. Del Toro's film is packed full of extraordinary colours - from the beautiful blues to the lavish greens, this is something not to be missed. The film is littered full of brilliant performances, from the dark Strickland played by Michael Shannon, The hilarious Zelda played by Octavia Spencer, the treacherous yet kind Robert Dr. Hoffstetler played by Michael Stuhlbarg who also recently put on an Oscar worthy performance in "Call Me By Your Name" and finally Sally Hawkins plays a mute cleaner named Elisa Esposito of which she gives the performance of her career portraying Elisa as a sly yet kind woman full of love. The visuals are stunning and Del Toro's mark unmissable as every single shot has his own signature written all over it, from the opening expressionistic scene as the camera takes us through an omnious water filled corridor to Elisa as she floats alone in her flooded apartment which is symbolic of a particular key scene later in the film. Del Toro has claimed a lot of his work with monsters has been influenced by Mary Shelley's "Frankenstein" novel and the influence from James Whale's "Frankenstein" film is evident along with such films as Steven Spielberg's "ET". The Shape of Water is an outstanding piece of cinema diving into tones of melancholy, love and the supernatural that is made from pure passion - from director Guillermo del Toro as seen in his BAFTA ceremony speech, this is Del Toro's finest film. 5/5 Ben Rolph

The film starts near the end. Zain is being brought to court from a juvenile detention centre to sue his parents for having brought him into the world. When we see in lengthy flashback what that world was like for him, we are inclined to agree. Zain is supposed to be 12 years old, but looks a squalid age eight. His birth was never registered, he has never been to school. He, his parents and a crowd of brothers and sisters live in a Beirut slum called Capernaum. He works all day for Assaad a neighbouring store owner -- running errands, making deliveries, hauling stuff up long flights of stairs. As a business sideline Zain's family peddles Tramadol. One day Zain realizes that his beloved sister Sahar, age 11, has begun menstruating. He washes out her panties for her, steals sanitary towels for her, warns her not to throw the used ones out in case their mother discovers them. Of course she does. Sahar is married off to Assaad in exchange for some chickens. Zain runs away. He is befriended by Rahil, an Ethiopian illegal immigrant. She feeds him, washes him, lets him stay, and in return he helps look after her baby boy called Yonas. One day Rahil is picked up by the police and Zain is left looking after the baby. When he finds Rahil's home has been locked up with her belongings thrown out in the street, he finds his only option is to hand over Yonas to Aspro (who deals in false ID documents and is also a people smuggler). Aspro promises Zain he will find Yonas a wonderful home with wonderful parents. He also tells Zain he can help him leave for Turkey, or even Sweden. All he needs is some sort of ID. He returns to the family home in search of just that, not knowing that his parents never registered his birth. Besides receiving a beating, he finds out that Sahar is dead. She became pregnant, and then bled to death outside the hospital. The hospital would not admit her because she had no ID. Zain grabs a knife and rushes out to attack Assaad. So, here we have a fullblown melodrama: the poor with no future; an unscrupulous trafficker who robs defenceless babies and tricks young boys; a young girl who dies before she even has a chance to live. All narrated soberly, coldly, heart-breakingly. The final ending has a tinge of hope. Thanks to Caritas little Yonas is rescued before he can be shipped off to be sold and is reunited with his mother. Zain finally smiles into the camera as his photograph is taken for his much needed ID. He will never recuperate his childhood. He may begin to enjoy his youth. This is a powerful, deeply moving film. Nadine Labaki is an accomplished young actress and filmmaker, whose previous work has focused mainly on women, their lives, hopes and aspirations (Caramel, 2007; Where do we go from here? 2011), Here the theme is relentless, grinding poverty. In all his short life young Zain has never known anything but poverty, work, deprivation. He has never slept in a real bed. He is a survivor, a warrior, a master of making do, dealing with impossible difficulties, managing to go on living. Zain Al Rafeea is superb in the part, as indeed is the whole cast, mainly first-time actors. Christopher Aoun, a German-Lebanese cinematographer portrays with documentary-style veracity the grim starkness of this Beirut slum.

When I was younger I used to be a huge fan of Jackie Chan, from his cult classic 'Police Story' series of films to his entertaining action comedy capers 'Shanghai Noon' and 'Shanghai Knights'. As a young boy I always had a fascination with martial arts and Chan was among others such as Bruce Lee and Jet Li of my on screen idols. When I hit my mid teens, I dropped out of my Ta-Kwan-Do lessons and decided to focus on a new passion, writing. I still enjoyed watching martial art flicks but wasn't as obsessed with them as previously. As I got older, I became more interested in the film genres of crime and drama. So it was a surprise and a delight one evening, when I happened upon a Film4 Thriller/Drama called 'Shinjuku Incident', starring none other then Jackie Chan. Although Jackie has done a handful of more serious films, he is most well known for his jaw dropping stunts, hectic and masterfully choreographed fight scenes and comic, light hearted style of acting. This film however made me reconsider my opinion of the actor, as I found both the story of the piece and Chan's acting engaging and impressive. Although there is a small amount of fighting and martial arts, the film is more about Jackie Chan's character and the physical and emotional toll he suffers, throughout the course of the narrative. So, you can imagine my excitement, when I first heard news that Chan was bringing out another film with him in a serious role. Having watched the Netflix film, I can gladly confirm that this is one of Chan's best performances. He brings a lot to the role and his gravitas in his performance is consistent throughout. In a nutshell, The Foreigner focuses on Quan (played by Chan), who after the fatal death of his daughter in a London bomb attack, seeks vengeance and goes in search of the people responsible. At first glance, it would seem like your typical revenge flick, following in the same vein as such payback classics as 'Commando' and 'Taken'. What sets it apart though, is the political backdrop it is set against. The bombing is by a rogue IRA group and with it's detonation, both England and Northern Ireland are plunged into political chaos with the threat of a British Civil War from it's backlash. The character of Hennessy, played aptly by Pierce Brosnan adds another layer to the film and his relationship with the prime minister of England and his former IRA associates, prevents this from becoming just another box standard revenge fesh. Despite their being that added layer of depth with the political angle, I did spend the first fifteen minutes of the film, contemplating that the death of the daughter and the father's decision for revenge, could be seen as glorification. At the end of the day, parents lose their children all the time but in reality, they wouldn't turn into Rambo and simply go on a killing spree. Life doesn't work like that and in a way to highlight that in film can be seen as a bit insensitive to anyone, who has actually experienced this sort of thing in real life. If there had been one scene where he was mourning the death of his daughter and then suddenly on the hunt for the killers, I would have very much felt it was glorification. In terms of story and Quan's character though, it is a little bit more thought out then that. Whilst he does eventually go rogue and take matters into his own hands, there is a decent amount of time where we see Chan mourning for the loss of his daughter. During this period of grievance, his action in regards to the people responsible, is more realistic to what someone would do. He visits the Metropolitan police every day, pleading with them to find the people responsible. When that fails, he appeals to Hennessy, again very politely and humbly asking for him to help. It is only when these avenues of aid fail to help resolve the matter, that he decides to take matters into his own hands. Although, this can be seen in some senses of glorification, the way Quan's character is written and the way Jackie performs it, plus the later revelations of his past and backstory, makes it less insensitive. Quan, although out for revenge feels like a real person, not just a trained fighter with his finger on the trigger. Martin Campbell has always been a director who has struck me as possessing that ability to deliver slick, smooth and stylish action, whilst at the same time having main characters that have much more going on, then their prowess at beating the crap out of anyone. He also has a good track record for implementing the ripple effect fictional events have on the political landscape of that world. 'Casino Royale' has all the classic traits of a bond film. Fast car chases, epic fight scenes, corny one liners but it was the first bond film, where I felt they tried to explore Bond's emotions. Yes, he is a cold blooded killer but he also has compassion and a sensitive side. Campbell has done the same here. Quan is a trained killer, taking down his enemies one by one but he is also a grieving father trying to deal with a tragic loss. One of the things I very much liked about this film was how clever Quan is, in terms of his tactical planning and execution. They could have avoided all of that and relied on Jackie's mastery of martial arts. To have scene after scene of him working his way through room after of room of brutes, to get to his objective. Instead, Quan's character is more methodical in his approach. He sets traps, plants false trails and makes sure he is one step ahead of his foes, so his chances of prevailing in his outcome are far more likely.  This makes sense, as both Jackie and his character are much older, meaning that to physically have to fight would be harder and waste precious energy and strength. On the handful of occasions Quan is forced to fight, the sequences are devastatingly brutal. They play to Jackie's strengths with him using the environment around him to best his opponents but the close combat fighting is harsh in its delivery. Combine these two together and you have fight scenes, which are both realistic and impacting, whilst at the same time with enough flair to be surprising and entertaining. What is interesting about Quan as a character is that he doesn't actually kill anyone apart from those responsible. Admittedly, he does rough up those that get in the way quite a lot but he refrains from killing on several occasions, when it would be easier too. As I have mentioned before, Quan is calculating and objectionable. His morale compass stops him from killing Hennessy's men but it is also a clever power play. By using other techniques such as the threat of death or blackmail, he can get the information he needs and secure his own safety better. Following on from this, it was a strong decision on the directing and writing front, to shake things up a little bit in the last act of the film. Instead of sending more men to be outwitted, disarmed and knocked out by Quan, Hennessy sends his nephew, an ex soldier, who fought in Iraq. This stops it becoming too easy for Quan and adding a sense of new threat and danger to the story. Hennessy is an interesting and very well developed character. At first I found him rather dislikeable and then warmed to him and then later in the film, grew to really hate him. But what is clever about how he is written, is that there is no straightforward answer. He is neither good or evil. Hennessy hovers between, in a murky grey area, making it hard to form an decisive opinion of the character. The ones that surround him, particularly his ex IRA colleagues further add to this character's complexity and by the end of the film, I was faced with a character I strangely pitied in a lot of ways. Again though, his actions would then contradict with this and I would find myself at odds with the character again. Brosnan plays it very well, never revealing too much but hinting at possible secrets his character is keeping tucked away. The tension and pace is achieved remarkably throughout, juggling both what is happening on a personal level with Quan and Hennessy and the larger political game that is happening with the Northern Irish and English governments. Finally you have the perspective of the bombers themselves. These three story arcs interspersed with one another, make for an exciting watch and when the three story lines come together at the end, the climax is exciting and dramatic. This goes to show how important editing is in a film's delivery, showcased in both the splicing and cutting together of events, as well as the skill of the edits during the fight sequences. 'The Foreigner' takes an overused and predictable revenge plot device and instills it with new life. It does this in a number of ways. Firstly, it takes a political topic that is still very fresh in terms of British history and executes it well, through both it's character writing and strong acting from a plethora of well regarded and praised Irish actors. Alongside that you have Jackie Chan bringing something completely new to the table. Probably one of his best performances, Chan presents a character who is broken emotionally and later on in the film physically. At the same time, he delivers just the right amount of stunts and martial arts, which at the age of 60, is pretty damn impressive. Although it is a revenge film at it's core, there are enough twists and turns to stop it from becoming too predictable. The fight scenes are well thought out, packing a punch but with enough of a tactical approach to not appear totally ridiculous. If you are looking for a revenge film that stands out from the endless copycats of 'Taken', then 'The Foreigner' is well worth your time. It still packs all the punches but isn't afraid to explore it's characters and the larger political world that surrounds them.

I would have shot you in the dick, if the target wasn’t so small. “Guns Akimbo” is simply too absurd for words. It’s absolute nonsense and you shouldn’t take it too seriously. It’s simply “over the top” pulp and looks as if it’s based on some Asian comic strip. But believe me. This film is simply top-notch entertainment. A roller coaster that slowly takes a very steep run-up and then crashes into the depth with a breakneck-speed, shaking you back and forth. And this crazy, hyperkinetic ride lasts until the end. The action scenes with Nix (Samara Weaving) are equivalent to those in “John Wick“. Flashy editing. Blood splattering when bullets rip apart human flesh in slow motion. And all this under the guidance of an energetic soundtrack where you will hear amongst other “The Ballroom Blitz” from The Sweet. In short, I greatly enjoyed this film for an hour and a half. Once again respect for the actor Radcliffe. I have infinite respect for the actor Daniel Radcliffe. This guy could have benefited all his life from the “Harry Potter” stamp that they have tattooed on his forehead. It would have been possible to come up with a few sequels without any problems and without hesitation they could have exploited the success formula of the book series and film versions. He could also have demanded to be part of the “Fantastic Beasts and where to find them” franchise. But no. Instead, Radcliffe opted for not so obvious projects such as “Kill your Darlings“, “Horns” and “Swiss Army Man“. A homosexual-tinted film, full of literary blabbering on the one hand. And on the other hand a film about a friendship between a castaway and a corpse. It’s hard to say that these were commercially safe films that suit the fantasy-loving Harry Potter fans. And to avoid any misunderstanding. I was also enchanted by the Potter films (at least the first four anyway). Where did these freaking guns come from? So no magic formulas, mythological creatures and a Radcliffe with a wizard hat showing a boyish, shy smile. Nope, he’s a nobody in this flick. A nobody with a futureless job, who empties one beer bottle after the other while playing violent video games at home. And as a notorious online troll hunter, Miles (Daniel Radcliffe) cannot resist posting derogatory comments on the “Skizm” website and provoking supporters of this obscure platform. “Skizm” is an illegal website that organizes duels in real life where opponents try to eliminate each other. And this is thrown on the internet and followed by hundreds of thousands of fanatic fans and bettors. Obviously, the first movie that came to mind was “Death Match“. The organizer of all this is an ugly tattooed guy called Riktor (Ned Dennehy) who’s obviously completely nuts and is accompanied by a gang of weirdos whose muscle mass is noticeably heavier than the weight of their brains. And Riktor isn’t happy with the muscular language Miles places on his forum. And before the latter realizes it, he lies in bed with two automatic guns bolted to both his hands. And furthermore, he himself is a candidate for a duel between him and Nix. Over-the-top action. With this film, Daniel Radcliffe leaves his comfort zone for the umpteenth time and tries to show that he’s more than just Harry Potter. A bushy beard, constantly covered in blood and using a portion of self-mockery and humor, ensure that. Not to mention his clothing: a checkered dressing gown, boxer shorts, and fluffy giant slippers in the shape of tiger claws. For Samara Weaving, this is a little bit an extension of her role in “Ready or Not“. The same bloody and over-the-top situations. But here she got more of a Harley Quinn attitude. A disturbed, fearless person who’s extremely effective in terms of eliminating opponents. That her insane behavior was caused by an incident in her youth is briefly mentioned, but in fact, has no impact or significance. This mindless action film has only one goal in mind and that’s to show chaotic and limitless action. And all this topped with a sauce of humor à la “Deadpool“. There are quite a few hilarious moments in this film. The hand-mounted guns that cause problems for Miles to accomplish daily routines. Like for instance opening a door. Or making a phone call. And peeing is even a hazardous thing to do. The Australian-sounding hobo (Rhys Darby) was simply hilarious with his advice on suicide techniques and his Cypress Hill imitation. How he got Miles in that coat, however, remains a mystery to me. Wtf is Akimbo? If you can’t stand a chaotic storyline and you get annoyed when it’s a movie that’s plain predictable and that looks more like an exaggerated comic, then I recommend you avoid this one. Or you don’t take a too critical attitude and you simply undergo the film. Perhaps then you can appreciate the vibrant pace, the screamy images, the creative camera techniques and the complete insane undertone of this movie with a limited budget. “Guns Akimbo” is certainly not a film for everyone because of the video game-like mood and the raw sense of humor. And for those who want to know what the film title actually means: Akimbo is a combat technique in which two weapons are used, with one in each hand. Well, I had to look it up myself. My rating 7/10 Links: IMDB

https://youtu.be/tSX3_jKR53s

(London, BFI Southbank, 0 Belvedere Rd, London SE1 8XT, United Kingdom, Friday 12 August 2022 18:15, NFT1) "My Old School" In 1990s Scotland, Brandon Lee (Alan Cummings) enrolled at a well-heeled school in Glasgow. The events that followed became the stuff of legend. He seems a little different from the other 16-year-olds. A little wiser, a little more worldly perhaps and more in need of a shave. He eventually became one of the cool kids with a very promising future. Then people started to discover that Brandon was not who they thought he was. Brandon Lee said his mother had been an opera singer, and that she had traveled the world with him until she died in a car crash. The other school kids in the posh Glasgow suburb took a while to get used to him, but little by little, he won everyone over. He defended the weak, was music-savvy, astounded the teachers with his knowledge, and even starred in the school play(and kissed a girl. But then something about his story didn’t add up anymore, and his stunned teachers and fellow schoolboys could not understand how they had missed it. What followed over the next two years would become the stuff of legend. Brandon had been privately tutored in Canada while he accompanied his mother, an opera diva, on tour before her tragic death. The preternaturally bright scholar surprised teachers by blazing toward his goal of entering medical school, displaying a wealth of knowledge beyond his years. Brandon found friends despite his initial awkwardness. He took bullied school kids under his wing, introduced classmates to seminal retro bands, and even starred in the school's production of South Pacific. The documentary finally reveals the truth behind the story. Featuring interviews with old classmates and teachers, together the film tells how a 32-year-old man tricked his way into the school, and, for the first time, how Brandon Lee’s true identity was revealed. This is a Scottish tale, one that gripped the entire nation when it first broke back in the 1990s, and this documentary retells it from the point of view of the pupils and teachers it all happened to! The teaching staff includes Clare Grogan, and US Billboard chart-topping singer of ‘To Sir With Love’, Lulu. And just like in that movie classic of 1967, Lulu sings the title song, the Steely Dan hit ‘My Old School’. The film looks at one of the strangest and most notorious imposter cases of modern times, which becomes more sensational with every detail revealed. You can fool most of the people, most of the time. The wildly entertaining, jaw-dropping documentary hybrid tells the outrageous story of Scotland’s Great Pretender. Returning to his old school, the film captures the memories of fellow pupils who recall their time with Brandon and the impact he made. Even they didn’t realise the half of it. The film becomes a voyage of discovery through the stories of class 5C. Animated flashback scenes with cartoon characters evoke high school life from 25 years ago. The film also nods to the animation styles of the 1970’s. This is a story that will remind you of your schooldays, who lived through this extraordinary deception and have never forgotten it. written by Gregory Mann

(London Film Festival, October 7th, 2019, Odeon, Tottenham Court Road, Central Cross, 30 Tottenham Court Rd, London W1T 1BX, UK, 15:10 pm) https://whatson.bfi.org.uk/lff/Online/default.asp?BOparam::WScontent::loadArticle::permalink=jojorabbit&BOparam::WScontent::loadArticle::context_id= "Jojo Rabbit" "Jojo Rabbit" is a 'World War II' satire that follows a lonely German boy Jojo Betzler (Roman Griffin Davis) as whose world view is turned upside down when he discovers his single mother Rosie (Scarlett Johansson) is hiding Elsa (Thomasin McKenzie), a young Jewish girl, in their attic. Aided only by his idiotic imaginary friend, Adolf Hitler (Taika Waititi), Jojo must confront his blind 'Nationalism'. Based on Christine Leunens novel 'Caging Skies', first published in 2004, the story begins in fictional 'Falkenheim'. In this quaint town under 'Nazi' rule, the end of the war is rapidly approaching. However, in 10-year-old Jojo’s bedroom, anticipation is mounting. For today, he finally has the chance he’s been waiting all his 10 years for, to join The Hitler Youth'. To Jojo, so credulously gullible and susceptible to the pervasive propaganda that surrounds him, it feels like his first opportunity to do something big and important, to help protect his single mother he loves beyond anything, and maybe even to feel like he belongs. To sooth his insecurities, Jojo brings along an outsized imaginary friend; a clownish, hare-brained apparition of Hitler, who with all the emotions of a child dispenses advice Jojo might have sought from his absent father. With Adolf in his head, Jojo feels invincible. But in fact, Jojo’s troubles are just beginning. Humiliated and nearly decapitated in 'The Hitler Youth' camp, his frustration only grows deeper. Then, Jojo makes a discovery that slowly, yet radically, transforms how he sees the world. Chasing what he believes to be some kind of phantasm, he finds instead that his mother has been hiding a 'Jewish' girl in the wall at terrible risk to them all. The shock nearly undoes him, here's the danger he’s been warned about living in his own home, under his own nose, mere feet from where he regularly confides in his imaginary friend Hitler. But as Jojo endeavors to keep tabs on the mysterious Elsa, his fear and vigilance grow into something even Adolf cannot seem to fathom. For the more he gets to know Elsa as a person, the more she becomes someone Jojo can’t imagine allowing anyone, including his 'Nazi' idols, to harm. While "Jojo Rabbit" is very much a comic allegory about the costs of letting bigotry take hold, whether in your bedroom or a nation, Jojo also takes a very real journey as a child coming-of-age. For in finding the courage to open his mind, he discovers the power of love to change your path.   Jojo is a very, very conflicted boy, so that's a big challenge. When you first meet him, he truly believes all the propaganda he’s seen. All Jojo knows about 'Jews' is from propaganda and the teachings at school which says they've got horns and devil tails and they're monstrous creatures. But you also see that he’s just a sweet kid who doesn't really know what he's talking about! He’s looking for something in 'The Nazis' that's missing in his life. His father is gone, and his mum is busy with things she doesn’t talk about, so he has no one except his imaginary friend, and he imagines that the only one who can really help him is Hitler. Jojo is a mix of blind gusto and untamed emotions in stride. He has that sparkle in his eye and the extreme enthusiasm for life. He mixes anger, anxiety, discovery and other subtle emotions into the humor. He reminds people of the harrowing history of bigotry, and how deeply it can affect not only entire societies, but especially children. Jojo’s awakening seemed to mirror how the world reacted after 'WWII'; stunned by a collective human loss of innocence, then uniting to affirm that hateful ideas would never again be allowed to take hold like that. As bizarre and unexpected as it's to interact with Hitler, some of the most demanding scenes come as Jojo wrestles with how to react to Elsa, who he truly believes has devilish powers. Yet, even Jojo cannot keep up his suspicion of Elsa for very long. While at first, he merely keeps her secret for fear of his mother getting arrested, the more he gets to know Elsa, the more he can’t resist what starts to feel like an authentic, eye-opening friendship that's rocking his world. In many ways, Elsa has all the bravery and sense of dignity Jojo only dreams of having. In spite of everything he thinks he’s supposed to think, Jojo really starts to like her. It’s quite confusing for him; how can he have such affection for Elsa despite his strong beliefs? It makes him question everything, even Hitler.  Elsa is basically living in a cave, almost starving and all alone, so it's difficult to find such strong feelings and go on pro-'Nazi' rants at her. At first, you don't really know if she's a monster or a ghost. You don't know who she's or what her intentions are.  You’re in Jojo’s point of view, so you start off with a fear of Elsa. But then, like Jojo, you see more and more of who she's and all that she's going through. As Elsa and Jojo start to see each other more clearly, outside of all the propaganda that surrounds them, they develop a relationship almost like a brother and sister. She's mysterious to entice Jojo to want to know more, but with a humanity that strips away Jojo’s illusions and confronts him with the discomfiting fact that everything he’s been led to believe about 'Jews' is all a terrible lie. Elsa’s situation is so vulnerable the whole way through, trapped in this small crawlspace, but the film wants to counter that by showing that Elsa is actually stronger and fiercer than anyone. She's a girl who isn’t a victim at all and definitely doesn’t see herself that way. The character of Elsa represents nothing less than the hope and resilience of humanity when confronted with unbridled hate and evil. She doesn't want pity, she just wants to be able to live her life without all this crap happening. Elsa transforms Jojo in spite of himself. The film likes the dynamic where, contrary to what Jojo expects, Elsa holds most of the cards and calls the shots. But also, they're in a 'Catch-22' that binds them together because both face terrible stakes if their secret gets out. Also vital is creating all 'The Nazis' in the film to be ridiculous and mockable, full of all the same flaws and quirks as the rest of us, which makes their participation in the fascist realm that much more of a chilling warning of how easily malevolent ideologies can take root on a large scale. This is especially true of Jojo, who initially reveres what he sees as Hitler’s might, until he sees in Elsa and his mother a principled strength that's so much greater. It's important that Jojo be clearly seen as a 10-year-old-boy who really doesn’t know anything. He just basically loves the idea of dressing in a uniform and being accepted. That's how 'The Nazis' indoctrinated kids, really, by making them feel part of this really cool gang. It's about the idea of seeing the madness of war and hate, something grown-ups very much manifest, through the eyes of a child. Adults are supposed to be the people who guide children and raise them to be better versions of ourselves.  Yet when children look at us in times of war, adults seem ridiculous and out of their minds.   You’ll go to Morocco, take up lovers and make them suffer, look a tiger in the eye and learn to trust without fear. That’s what it's to be a woman, or at least what it could be. You don’t get to see the full extent of their relationship, but Rosie Betzler is someone that’s saving her life and putting a lot on the line just to have Elsa in her house. Elsa feels admiration and a longing to establish a relationship, a longing to have a mother and someone to speak to. The film turns Rosie not only into a single mother, but also a defiant woman who decides that so long as ideals of empathy and tolerance are being pushed to the margins, she will work fearlessly to uphold them. Contrary to Jojo, she sees all too clearly the poisonous world Hitler is forging, so her natural response is to help, as she says, by doing what she can, which in her passionately practical way is a lot. But that also means hiding the truth of her life from Jojo to keep him safe, while hoping her little boy comes to his senses. She's really strong solo mom who's trying to save her son and others from this horrible situation, but at the same time trying to retain Jojo’s innocence. She's trying to balance her need to live boldly and be true to herself while doing all she can to keep Jojo safe through loss and peril. Being a mother is a big part of her identity but it's just one part. She also is full of fervor and ideas and the film wants her to have all those different shades so that she might feel really full of life. Rosie is unabashedly imaginative, poetic and romantic and at the same time, she's this very grounding force for Jojo. She's fighting for 'The Resistance' and is really a very modern woman. She's such a bright light in this very dark time. Even though Rosie is a dreamer and a bit of a comedian, she's also very pragmatic. Very much part of being a parent is that constant balancing between your practical, responsible, adult side and the side who can create a magical world for your kids. She's truly the strongest character in the film. Adolf Hitler (Taika Waititi) is really recent in terms of human history and we’ve got to keep talking about it, because the dynamics that caused it aren’t going away. He’s a figment of Jojo's imagination so his knowledge of the world is limited to what a 10-year-old understands. He’s the little devil on Jojo’s shoulder, basically. He’s also a bit of a projection of Jojo’s heroes all combined, including his father. Jojo’s fantasy version of Hitler is hardly the historical figure. Instead, he’s a loony, larger-than-life mashup of Jojo’s own impulses, desires, things he’s read or overheard and his yearning for a father figure. Jojo’s version of Adolf can actually sometimes be quite nice, which might seem a bit weird because he's Hitler, but at other times he's properly scary. He’s very light in the beginning, like Jojo, but by the end of the film he's just this sad, sad despot. Captain Klenzendorf (Sam Rockwell) is the cheekily imperious trainer of 'Hitler Youth Troops' who's at various times Jojo’s idol, nemesis and confidante. He has one eye, zero faith in the military command and a growing number of secrets. Captain Klenzendorf lives in a world of his own. He has all this flamboyant creativity that we want to give expression to at the end, when he explodes onto the scene.   Providing deadpan comic relief throughout "Jojo Rabbit" is Fraulein Rahm (Rebel Wilson), the instructor who teaches the girls how to perform their womanly duties in war time but dreams of joining the frontlines herself. Fraulein Rahm follows in this tradition, ever-willing to believe every absurd 'Nazi' myth that makes the rounds. Despite her satiric portrait of a woman who questions absolutely nothing she hears, Fraulein Rahm is representative of many German women who took lead roles in the war. She serves in every way she can; teaching girls their womanly duties, giving Jojo physical therapy, then manning a machine gun. Perhaps the most hilariously dark and frightening character of all in Jojo Rabbit is Captain Herman Deertz (Stephen Merchant) of 'The Falkenheim Gestapo', who meticulously investigates reports of hidden 'Jews' and resistors. The character reminds people of just how outrageous cults of personality can become. There's something laughable about the worship of this little man with his little moustache who looks like an angry accountant and that’s one of the things that the film plays with. There’s a sense of how people can be swept up by, for lack of a better word, bullshit. It’s something still resonating right now. We still see people all over the world being up in these things, especially when there’s a uniform and an identity involved, so it seems well worth satirizing.   'The Hitler Youth' was first created in 1922 to indoctrinate kids and teens into 'Nazi Ideology' and train them to ultimately be tools of war. This gives us a sense of just how dark the reality of Jojo’s world is, no matter how much he just wants it to be a glorious adventure, as any 10-year-old would. What 'The Nazis' did to children was really awful. They wanted to have an army of fanatics to help them take over the world. Nazis' were parodied on screen as early as the 1940s when they're still very much a global threat, with the key being that the last laugh was always on them. Both during and after the war, Hitler was routinely mocked because it was a way of people dealing with the horror they're seeing. If you can reduce Hitler to something laughable, you win. The book is more of a drama, though it has comic moments. The film has more fantastical elements and obviously more humor, creating a kind of dance between drama and satire. The film creates something like a jazz riff on Leunens book, whipping up the structure of her story into an antic allegory of how fear mongering can take root in naïve mind, and how love can come out of left field to topple down the walls we put up against other people. If the book is a classical, panel painting, the film is more like Picasso’s 'Guernica'.   Like the story, the design of "Jojo Rabbit" presents the world through a 10-year-old’s confined but vivid lens, full of bright colors and bucolic beauty even amid the oppression and destruction of 'Nazi Germany'. At that age, you remember everything but with a kind of brightness to it all. Everything looks like a Spring morning. The film has all those 'Neorealist' qualities where there are sunny and charming moments but also very dramatic moments, and the mood can go from funny to tragic in a snap. That era between 1930 and 1945 was actually a revolutionary one for style in Europe, despite the war. In a lot of 'WWII'-era films, everyone dresses in brown and gray and it just feels kind of sad and dated. But if you look at the fashions of the time, though, there's really lots of bright color and high style. It's an era that in most people’s minds unspools in black-and-white. To see that world in color, the way Jojo, Rosie and Elsa would have experienced it, gives it a whole new dimension and aliveness. We've seen so many muted period films from 'WWII', whether in black & white or in more somber colors, that we're shocked to see such a vibrant spectrum of color.  But that's the reality and once the film decides to reflect this, it's an idea that circulated through the set design and the costumes and helps to set the tone for the story. At Jojo’s age things are a little more rosy-tinted and the world seems bigger and more amazing. So, the film recreates this feeling, the feeling we all have in childhood, but within 1940s Germany. For most of the film, we’ve been in Jojo’s imagination, with his playful view of war, but when the battle hits the town, we’re suddenly struck with the reality of what war really is. The frightening atmosphere and noise of it feels very real. In some ways it feels very visceral and real, but the film also creates something that becomes a kind of magical and surreal moment in the film. As the events in the film grow darker, so too do the colors. For the happier, more playful moments in the film, we've a diverse palette of oversaturated colors.  Then, the film tapes those off as more drama comes into play. Most of the film takes place in 'The Autumn" so we've lush greens sprinkled with gorgeous reds, oranges and pinks into the street scenes. However, hidden deep within the lightness of the house is Elsa’s dark, cramped space behind the wall, which forges an opposite feeling, mirroring the nearly unbearable tension under which she's forced to live. Rosie’s look has to be so distinctive that the audience recognizes her, in a flash, in the scene that's a devastating emotional turning point of the story. The butterfly seemed to express who she's, and the film uses a very distinctive pair of shoes, which stand out for a lady in that era. It's more powerful when you just see the shoes and make the connection to the butterfly in this moment. The camera always tries to make sure the audience is aware of Rosie’s shoes. For example, you really notice them when she’s dancing by the river in that light moment. The best comedy has always come out of the hardest human situations and 'Nazi Germany' is one of the hardest situations in history. "Jojo Rabbit" offers a sharply funny, yet profoundly stirring, child’s-eye view of a society gone mad with intolerance. The film makes a powerful statement against hate with this pitch-black satire of 'The Nazi Culture' that gripped 'The German Psyche' at the height of 'WWII'. It's a story almost too appalling to approach with sober solemnity, that of a boy who, like many at that time, has been brainwashed into absolutely gung-ho devotion to Hitler. He then mines from it a dark, mesmerizing comedy that ultimately unravels the toxic ideas of 'Anti-Semitism' and persecution of the other. Balancing on a comedic high-wire, the film mixes the fury of satire with an insistent sense of hope that fanaticism and hate can be overcome. The film follows very much in the footsteps of Mel Brooks, Charlie Chaplin, Ernst Lubitsch and Stanley Kubrick to name a few. The script has a charged, satirical edge in the vein of say "Dr. Strangelove" and other black comedies that confront heavy subject matters by making them very funny. "Jojo Rabbit" is a fresh way to re-visit the most unsettling of topics through the paradoxically moral force of out-and-out parody. But much as the film owes to its bold forbearers, The film feels very much of our times, with it's deeply human characters whose blinded foibles might amuse but whose inner predicaments are deadly real and pointedly relevant right now.     The film opens a comfort zone but also any notion that stories about 'The Nazi Era' have been played out, especially when the lessons of those times are so urgent right now. With 'Nationalism', 'Anti-Semitism' and other forms of religious and racial intolerance on the rise, the stakes of grabbing people’s attention felt sky-high. The film brings the audience in with laughter, and once they’ve dropped their guard, then start delivering these little payloads of drama that have serious weight to them. Even if you don’t see them right away, you’ll feel them. It’s after the laugh that the strings start to be felt, drawing one’s consciousness to things that aren’t quite right, aren’t entirely funny, into deeper, more complex emotions, amongst these, the realization of the absurdity of the situation, and the tragedy and pain. In the end, as much as "Jojo Rabbit" showcases the tragically absurd realities of authoritarianism and nationalistic fervor, as well as the personal wages of prejudice and hate, the film equally reminds us of our human connection and the simple responsibility we all have to do what we can, including simply trying to be good to one another. This feels like exactly the right time to tell this story, because this is a case where you don’t want it to be too late to tell it.

My name is Nick Psinakis and I'm independent filmmaker that recently made a $10K indie feature film comedy which is now streaming on AMAZON PRIME. In addition, we had a limited theatrical release in LA.     We were fortunate enough to have appearances by Oscar Nominee RYAN O'NEAL (Love Story) as well as MINDY STERLING (Austin Powers, The Goldbergs).    Below is a link to our trailer.  http://bit.ly/MyBestFriendsFamous_Trailer_on_YouTube We are a micro-budget operation and are reaching out to the film community for help in spreading the word about our little movie. I hope you enjoy it!

(Release Info London schedule; October 25th, 2019, Cineworld West India Quay, 5 Hertsmere Rd, Canary Wharf, London E14 4AL, UK, 15:30 pm) https://www.google.de/search?oq=&aqs=mobile-gws-lite..&source=hp&q=Countdown+showtimes+London "Countdown" If you could know the exact moment of your death, would you want to know? In "Countdown", an ambitious, young nurse Quinn Harris (Elizabeth Lail) is pressured to download an app that claims to predict exactly when a person will die. As her friends and colleagues reveal the many decades left on their lives, including Dr. Sullivan (Peter Facinelli), Quinn is shocked to see her clock will run out in only three days. Initially, she dismisses the app as a passing internet hoax, but when she discovers people are violently killed at the exact second their clocks run out, she starts to fear the hype. To change her fate, Quinn cancels plans on the day the app says she will die, breaking the user agreements and unleashing something truly evil. With her clock ticking away and fearing a sinister figure is following her, she meets Matt Monroe (Jordan Calloway) whose time is also running out. As the two make increasingly desperate attempts to delete or alter the app, Quinn realizes something worse than death is fast approaching. To save her own life, she must find a way to confront the demons haunting her before time runs out. A pivotal part of the film is ensuring 'The Demon' summoned if we choose to cheat death is truly terrifying. You can learn your fate and you can die a natural death, but if you take that information and try to change your fate, you’ve broken the rules, and you’re his. He’s a hunter who enjoys the chase and wants every second until your last to be a nightmare. "Countdown" choses to slowly reveal 'The Demon' to create a sense of suspense, starting with a shadow until you see more features of an evil that feasts on souls. As part of the chase, the demon also feeds on the fears we never speak of the inner demons that eat away at us. While Quinn appears to have her life together, she has ghosts lurking under the surface. Quinn blames herself for the loss of her mother and the strain it has caused her family, especially with her younger sister Jordan (Talitha Bateman). Clearly, Quinn is expected to take on a motherly role within her family, but she’s focusing on creating a life for herself. We all have these demons inside that we bury, and for Quinn, this is inhibiting her from having a close relationship with her family. This is already haunting her by the time she downloads the app. Quinn takes her family for granted, rarely speaking with them. When she attempts to reconnect with those she loves after downloading the app, something worse than death is quickly coming for her and she realizes it might be too late. A central theme of the movie is you only have so much time with the ones you love. Cherish those moments because you never know when your time will run out; so put down the phone. The film also subverts certain horror tropes, for instance, when you're dealing with a demon you need a serious, stoic priest. Father John (P.J. Byrne) takes to the cloth as a fan of the Bible’s more morbid teachings. He has this enthusiasm for the Bible and it's demons. The concept of "Countdown" is inspired by a simple moment; setting a timer on a smartphone. What if this timer is ticking down to when you die? It’s probably not a normal thought, but something just clicked. It's about a demonic app that tells you when you will die. 'The Final Destination'  franchise meets 'The Ring', in app. With "Countdown", this timeless temptation of wanting to know when you will die is tied to a timely theme, the obsession with our phones, giving it the foundation for a high-concept horror film capable of pushing cultural buttons. We all have this relationship with our phones, so much so, that people are more connected to their phones than their families. The film strikes a nerve while also mixing fear with fun. This film is terrifying, and it needs to be, but there’s also an element of comedy. Moments of levity go hand and hand with great horror, and this film does that in an exceptional way. It's the premise for a fun horror movie rooted in a concept that sticks with audiences. It’s an exciting ride with great scares that poses a very primal question, which starts a lot of conversation. It also shines a light on how dependent we're on our devices in a highly original way by showing how they control our lives, and potentially our deaths. It’s a smart, scary movie that knows not to take itself too seriously, there will be nothing like it in theaters. Comedy and horror shared key beats. While comedy sets an expectation and subverts it, horror establishes patterns, then surprises the audience. They've so much in common. The way you set up a horror set piece and the way you set up a physical comedy set piece. The premise of the film doesn’t lend itself to a relentless, gothic tale of horror. Moments of intensity are followed by levity so the audience can breathe again. You’ll be scared, but you’ll also laughm Those who find scary movies too unnerving will enjoy this film because there’s a good balance of frightening to fun. You’ll jump, you’ll laugh, you’ll be scared. It’s a fun, fast, entertaining ride that grabs you in the first frame and doesn’t let you go; that's the goal.  

Early Man is the new stop-motion, clay animation film from Aardman Studios. If you're familiar with the studio's previous films or series you likely know what to expect. By continuing the studio's affinity towards good humoured, layered and utterly charming animated films that can be enjoyed by the whole family; Aardman has created another classic! Early Man follows, Dug and his tribe of stone-age people as they're driven out of their home by the despicable, Lord Nooth and his more advanced city of bronze ("Ze age of stone is over!"). After being evicted to the volcanic badlands and realising that fighting is futile, Dug discovers his ancestors had a love for a game the bronze people call...football. With the help of Goona – a bronze city resident with her own desire to play football – Dug sets about training his tribe in an effort to win back his home and save his people from slavery or destruction. Featuring a concoction of some of Britain's finest talent, Early Man is as wondrously voice-acted as it is animated. Eddie Redmayne, as Dug – our lead, and the stone age tribes more plucky character – gives a typically excellent performance; as does Maisie Williams as the tough, want-to-be football player, Goona. Dug's best friend and sidekick, Hognob – lovingly grunted by Nick Park – is a delight to watch, and serves as a reminder of how perfectly Aardman can develop speechless characters that are equally as emotive and understandable as others. Rob Brydon also deserves credit for his hilarious, albeit limited role as the mimicking messenger bird; a bird that frequently brings bad news or angry messages to Lord Nooth, from his wife, Queen Oofeefa. Contributing some of my favourite scenes in the whole movie; watching as the messenger bird struts around the table, yelling and throwing fruit at Lord Nooth – as his wife would, had she been there – never got boring and had me in fits of laughter long after the scene had ended. The rest of the cast is made up of an eclectic group, including the likes of: Timothy Spall, Richard Ayoade, Mark Williams, Johnny Vegas, Miriam Margoyles and Gina Yashere. All of whom do a superb job at creating side characters that never feel like a carbon-copy of another, or unimportant; imprinting each with their own personal flair. It's Tom Hiddleston who really steals the show for me, however. Playing the tyrannical Lord Nooth, Hiddleston gives us the perfect mixture of the evil villain and the campy bad guy (think Victor Quartermaine - Curse of the Were-rabbit); with the most extraordinary French accent, I might add! The animation and humour on display are typical for Aardman, and for a legitimate reason. They're good at it. Really good at it. Mixing a Punch and Judy style slapstick, hilarious puns ("Go on then! Show us your tackle!") and intelligent cultural jokes is no straightforward task; and yet, Aardman rarely put a foot wrong. The combination of clever and funny off the cuff puns and jokes regarding British culture (Dug kicking the ball over the fence and having to ask for it back) will ensure there's plenty of laughs for adults. The more physical look of the animation, silly slapstick, and cheery style captures the interest of children; truly, a film for the entire family. Handmade plasticine models provide the basis for the movies painstakingly made animation. CGI is also used to add certain visual flourishes, but mostly to create the movies backdrops. Although CGI is used more than ever now; Early Man nevertheless manages to hold onto the down to earth, thumbprint look, and style that so defines Aardman Studios. Verdict Early Man is a beautiful and laugh out loud funny animated movie from Britain's best known, and most loved animation studio. By sticking to their tried and tested formula, Aardman can sometimes seem unadventurous; but why change something that works so well? The pick-a-mix bag of gags and jokes ensures that there is something for every member of the family; no matter the age. For me, Early Man did its job; it had me smiling from the get-go, and I didn't stop laughing until the movie finished. Although primarily about football – not a subject I have any interest in, or much knowledge of – the movie managed to keep me hooked, and I never felt like I was watching a film I just didn't get. Although not one of their best works (for me that's Curse of the Were-Rabbit), Early Man is nevertheless a wonderfully charming, and funny piece to join Aardman's already marvelous back catalogue. I've seen the movie once so far, but fully intend to see it a couple more times; to look out for the no doubt copious background gags I missed the first time around; something you can always rely on with these films. I challenge anyone to go see this movie and not come out of it smiling and feeling even just a little better about things. 9/10

Actions speak louder than words is the tagline for Duncan Jones’ latest Sci Fi offering and ten minutes into the film and you can see why. Mute follows the story of Leo, an Amish man living in a near future, dystopian Berlin. Due to an accident when he was a child, Leo is unable to speak and so communicates through gestures, writing and drawings. Despite their being a handful of films, which centre on a moody, quiet protagonist exacting revenge, nothing has come along recently that has created an impact since 'Drive'. That is until now. Alexander Skarsgard gives a very impressive performance as Leo.  Like Gosling, Skarsgard manages to simultaneously appear vulnerable and sensitive, while at the same time being intense and intimidating. He balances these two traits perfectly, utilising each one at the right moment for the desired effect. His icy blue eyes can be cold and piercing one moment, then fragile and watery the next. In some ways the decision to have him mute adds more impact then 'Drive', as his silence makes all of his enemies nervous and awkward. The other aspect to his character is his Amish upbringing and belief. Although he isn’t as strict as most Amish followers, the lingering effect of his family’s influence is highlighted throughout. His traditional attitude and innocence is in stark contrast to the futuristic city that surrounds him. The image of this reserved and respectful man working behind a bar in a techno strip club is striking and adds to the already interesting visual style that is at play here. Religion is a theme that is explored from the start of the film and continues to be an important factor as the story unfolds. His muteness although not caused by his Amish lifestyle is affected by it, when his parents refuse treatment, leaving it in the hands of god. Then later, at various points in the film, Leo struggles to overcome difficulties, either due to his lack of voice or his inability to use technology. His choice to fall in love with a stripper, actually use a phone and drive a car is all fuelled by his repressed anger at religion. Leo is a character, who from the start always seems to be out of control of situations or worse prevented by others from doing what he wants. So, when he does finally snap, like Michael Douglas in 'Falling Down', in is truly satisfying to watch. Leo isn’t the only striking aspect of this film. The world itself is so vibrant and prominent it is almost a character itself. What I like about the film, is that even though there are flying cars and robots, there are still elements that are familiar with the current world. Like 'Blade Runner' it has a retro feel to it, opting for Tokyo style holographic billboards emblazoning the various buildings and speeding hover taxis, with 80s style lift up doors and bulky bumpers and hoods. These elements would hurl it further away into dystopia, if it wasn’t for the secondary characters that inhabit the world. Actors such as Noel Clarke and Dominic Monaghan give it cultural relevance with their down to earth and recognisable personalities. Even Paul Rudd, who brings something very different to his role, still has that zany, offbeat humour that grounds the film. The city itself is a great visual representation of the story’s tone. Near the start of the film, the bright lights, hypnotic music and colourful characters give it a glitzy allure. However, as the story unfolds, the city becomes colder, harsher and unsettling. There is a real sense of atmosphere to the piece and part of that is influenced by the strange and surreal world that Jones has created. It is hard to talk about one nemesis, as Leo seems to be surrounded by antagonists and it seems that he is constantly fighting to overcome evil. Paul Rudd is technically a bad guy in this outing, and although he doesn’t seem inherently evil, there is a definite dark presence lingering inside him. Rudd gives a notable performance, lulling viewers in with his aptitude for comedic timing and execution. However, it soon becomes apparent that there is a nasty, violent side to his personality. The fact that he has a young daughter makes for an even more conflicted viewing. The decision to explain his behaviour as being linked to him being a deserter from the armed forces is incorporated very well, despite it being a tad cliché. At the end of the day though, PTSD is a serious matter and it is both brave and commendable that Jones decided to tackle it. One scene sees a drunk Rudd flying off the handle at a security guard, after he is caught stealing peanuts. The inner demons spill out in this confrontation and it is written and performed fantastically. There are a few issues I had with the film. For one, despite the acting, world, style and concepts being incredibly strong, I did feel the choice to have the age-old story of a man falling in love with a stripper, who mysteriously disappears a tad cliche. There are a lot of films that feel the need to throw in mangst as the driving force behind the story. In this instance I can forgive it, as the characters, setting and style are so unique that it just about gets away with it. Although the romance element is a tad generic, the little nuances such as Leo’s secret project and the way they communicate with one another, keep it fresh and stop it from stagnating. It is always important to note that Leo’s love interest Naadirah is the only person bar one, he doesn’t have issues communicating with. After she disappears, Leo finds himself constantly struggling to understand other people or them not able to understand him. It serves as a good plot device, adding to the other conflicts he is already faced with at every turn. It is also saved by the fact that it suddenly turns from a film about love and loss to something a lot darker. There are technically two twists to this film. The first I suspected but the second was a surprise. Both these twists explore the darker and more sinister aspects of humans. Everyone has a limit to what they can deal with. For example, I do not get disturbed by murder as much as I probably should. Rape on the other hand, I find extremely disturbing. For those that are worried about this, there is no rape in the film. It has always been my opinion that there is no need for this in films. I can just about handle it being insinuated but there is no need to show it. Although this film doesn’t deal with that, it does deal with another very sensitive subject. So much so, that at points I was unsure whether I could carry on watching it. Although very well done, it is highly unsettling. Having watched the whole film, I would say that Jones did well. He did not go too far. More is implied than anything else and although stomach churning, the eventual outcome did have me sighing in relief, that the light overcame the dark. As well as Leo being an interesting protagonist due to his muteness and Amish upbringing, there are other traits that make him appealing. His relationship with water. His accident occurs in water at the start of the film and the concluding events of the story end in water. Throughout, he reveals that he has a curious ability to hold his breath for a very long time, as we witness him swim an entire length of a pool and down a whole glass of water. But this is not just a kooky quirk. By the end of the film, it becomes incredibly relevant and crucial that he has an ability to do this. The other aspect of his personality is his love of drawing, crafting and building. Underneath this insecure and unsure exterior, is a soul bursting with a confident voice, demonstrated through his art. Again, like with the water, it is actually crucial to the unfolding of the story and later becomes highly crucial in the eventual outcome. The small images and clues that are littered throughout are highly symbolic to the story and the world and Jones’ attention to detail is astounding. Mute is one of the most unusual and fascinating films of the year. It excels in its hybridity, presenting relevant and relatable themes in a futuristic world inhabited by weird and wonderful characters. The fact that Leo is mute, only reinforces the fact that everyone else around him who can talk, are less interesting and more dislikeable then he is. What almost is a love story, fuelled by mangst becomes something much more poignant and although the darker themes it explores are unflinching in their examination, they are explored in a tasteful and well-conceived way. The rhythm and pace are executed perfectly with slow building tension punctuated by hard hitting moments of impact. The characters are engaging, the word rich and vibrant and the narrative twists and turns at any available moment, making for an exhilarating nail biting watch. If you’re in the mood for something raw, exciting and which leaves a marked impression, then Mute is definitely worth your time.