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Written and Directed by Mike Mort Review by Monica Jowett ‘The best goddamn cop on the force’, Chuck Steel fights twenty convicts to rescue a hostage who is having his balls kicked repeatedly. This outrageously absurd animation short, Chuck Steel: Raging Balls of Steel Justice, is packed with laugh out loud moments, vibrant characters and wonderfully violent gore. Stop-motion animation combined with CGI gunfire provides great entertainment as Chuck Steel and his oversexed side kick robot ‘Assface’ fight these twenty convicts with a no nonsense attitude. Reminiscent of the 80’s action schlock and cop dramas, like Lethal Weapon or Beverly Hills Cop, Chuck Steel plays on the character stereotypes and the very quotable lines to make this short film full of explosive action and big comedy. A huge amount of love and dedication has clearly been poured into the film by writer and director Mike Mort and the talented crew. With traces of Wallace and Gromit, and even Team America: World Police, the details are wonderful; from the permanently cocked eyebrow and the hilarious signs, to the background movements of each individual character. This also results in the often absurd over the top violence being inventive and brilliant. The way each convict has a carefully elaborate death makes it even better. It is definitely a thrill ride, with each moment being crazier than the last as you laugh at the outrageous action and out of place, yet very suitable, gore from this animation short. You can watch the WHOLE MOVIE right here... #ChuckSteelRagingBallsofSteelJustice #MonicaJowett #Shortfilm #shortfilmreviews

Review by Chris Olson An insomnia-stricken factory worker suspects he is being plotted against by a mysterious man named Ivan, but, as the machinist attempts to unravel the conspiracy, he begins to doubt his own mind. Starring Christian Bale as the aforementioned machinist called Trevor, the film provides a modern suspenseful thriller that makes some poignant comments about our industrial-aged society, whilst creating a very entertaining story. The film has typical science-fiction themes running through it, such as the enduring battle between man and machine, and the idea of our own consciousness in a world consumed with productivity. Trevor’s plight during the film is largely founded on his own human aspects, i.e. the idea that he is flawed, and will make mistakes. This puts his character out of synch with his profession; working in a busy, industrial factory where time is money, and people are less valuable than the machines they work with. There is something ultimately terrifying about the coldness of Trevor’s life, which we see reflected in different ways during the movie. Firstly, his only intimate relationships are with a waitress at an airport coffee shop, and with a prostitute, whom Trevor visits regularly. Stevie, the prostitute, is also a victim of our industrial society - she only serves one purpose (sexual gratification) and can be replaced at any time. She becomes attached to Trevor, because he sees her more as a human than a machine, wanting to just talk with her, or eat a meal together. This human connection is one of the few we see in the film, and it is important to note this rarity. Secondly, we can see the effect that society is having on Trevor through the horrific gauntness of his body. Consistently losing weight, we see Bale as a near skeleton throughout the film, which could be providing a visual dilemma about the consequences of our diminishing role within our own society. The end of the film provides some bittersweet relief to the viewer, as we learn that Trevor’s behaviour has resulted from a disaster in his past, which has caused him to imagine this plot against him. However, nothing seems solved. The machines will keep on producing, people will continue to endure the stagnation, and no lessons were learned from Bale’s misery. A film that is openly depressing, but in an engaging way that makes us consider our own place within a modern, mechanic world. #TheMachinist #ThrowbackThursday #ChrisOlson

Neil Blomkamp - "Social commentary in Science-fiction" Written by Monica Jowett South African director Neill Blomkamp is a science-fiction film director whose films often refer to current political and social issues in an action packed yet entertaining way. District 9 (2009) Elysium (2013) and Chappie (2015) use a documentary style of filmmaking with use of hand held cameras. This, coupled with the photo-realistic computer generated visual effects makes for a different kind of sci-fi movie. District 9 develops themes of social class through the depiction of xenophobia and segregation as the aliens, nicknamed derogatorily as ‘prawns’ that have stopped their spaceship over Johannesburg are forced into government encampment, out of the way of the human population. They are then made to register with the government due to clashes between humans and aliens over the years. The crackdown and segregation on the alien population alludes to the Apartheid era of South Africa. Furthermore, the terrible way aliens are treated by the government and military officials, demonstrates how some people act towards things they do not know or understand. Ironically, when Wikus (Sharlto Copley) is infected by alien DNA he relates more to the aliens and finds his humanity as he appears less human. Filmed in documentary style, with direct to camera interaction from Wikus and then ‘interviews’ with other actors covering the alien invasion and hand held camera movements, Blomkamp creates a sci-fi reality set in the present day. Through the use of visual effects and CGI aliens at a photo-realistic standard District 9 is an example of science-fiction that could be happening now (should aliens exist). His eye for this type of dramatic film draws influence from other present-day set sci-fi films from the 1980’s that have a gritty harsh reality that features in his other films. Elysium, Blomkamp’s second film moved to the setting of Los Angeles in the year 2154. Featuring actors Matt Damon (Max Da Costa) and Jodie Foster (Secretary Delacourt) on different sides of the system, Elysium focuses on the themes of overpopulation and healthcare. On an overpopulated Earth with many people too poor to afford healthcare and in constant battle with authority figures, Max is hit by radiation poisoning and the only way to save him is to get to Elysium, a space station orbiting Earth that inhabits the rich and powerful and provides healthcare that cures everything from cancer to re-growing limbs. However, Delacourt is strict about who is allowed onto the station, and uses extreme defences to stop Earth citizens from using the medical care. In Elysium Blomkamp has robots to do the law enforcement, similar to Chappie yet the conflict is between the humans. Set over a hundred years from now, the themes and situation are not that different from today. Blomkamp again uses a science-fiction world to show the worst part of contemporary life. Blomkamp’s recent film Chappie has similar themes to his previous films, dealing with overbearing law enforcement and is again set in Johannesburg. The beginning of the film shows through newscasts how the crime rate in Johannesburg has rocketed and weapons manufacturer Tetravaal has created police robots to keep the crime down. Engineer Deon (Dev Patel) is also working on a programme to develop artificial intelligence, which he succeeds in doing, with the outcome of Chappie (Sharlto Copley). Again, Blomkamp mixes realistic computer imagery in a dark urban world to great effect as Copley’s motion capture performance places Chappie in odd gangster life. Hugh Jackman, sporting a hilarious mullet as Vincent, Deon’s rival, is desperate to prove himself using the MOOSE, a larger version of the police robots that has more gun power than a tank. Chappie, a sentient robot, acting like a teenage gangster is against the odds, and the authorities become extremely wary of a robot who can think and feel. Chappie never questions if A.I. is possible as Blomkamp has created a robot that becomes aware of his own mortality as his battery runs out. Blomkamp’s films frequently reference technology opposing humans. District 9 has an alien race with their own better developed forms of technology, Elysium has the medical bays which can cure anything, yet are only available to the elite and Chappie has A.I. that realises the cruelty of humanity. This version of social commentary is not uncommon in science-fiction films yet Blomkamp makes it entertaining through the big showdowns and drama in the humanity of his central characters. Neill Blomkamp’s view of the future is an interesting view, often suggesting how the future is now. #FilmmakerFeatures #MonicaJowett #NeilBlomkamp

Written & Directed by James Webber Starring Rebecca Van Cleave & James Alexandrou Review by Amaliah S. Marmon-Halm Set in the frightful streets of Hounslow on Halloween, The Prey follows Mel (Rebecca Van Cleave) and Ethan (James Alexandrou) as they return from a night out at a party. As they start to fight and have a bit of a lover’s tiff over the night’s events, Mel decides to continue her journey alone. Getting a fair amount of attention along her way, it’s this attention that leads her into the darker side of town, will she be safe? All we know is someone is not going to leave alive. A great example of a horror done the right way, director and writer James Webber has created a comedic horror marvel that easily illustrates how good a horror can be when you have a clear plot; something that sometimes feels lacking in the making of today’s horror films. With the right amount of humour that is slightly Shaun of the Dead-esque and a cool edge that seems to tip its hat to the works of Tarantino, The Prey has the potential to be very popular among audiences. When we finally see the “prey” itself, if you are a fan of Men in Black, think back to the scene where Will Smith’s “J” is holding the blinking alien baby – that’s what sprung to mind when the Prey was in full form. A bit more of a cute impression than a scary one, if you go for that sort of thing. Throughout the film, there are moments when you might think “aww” or just laugh, rather than feeling how fearsome it is supposed to be. Saying that, these moments still do not take away from the enjoyment factor of the film. Everything from the way its shot, to the very slick soundtrack that plays in the final montage sequence, makes this film very enjoyable to watch. Even to the point where you wished it was just a little bit longer. If that’s not a sign that you’ve created a hit, I don’t know what is. #ThePrey #Shortfilm #shortfilmreview #amaliahsaramarmonhalm

Written by Monica Jowett Known for their unique narrative and personal style, Wes Anderson’s films are well loved and critically acclaimed. In a career covering over two decades so far and a few Academy Award nominations under his belt, Anderson shows a personal creative vision for each of his films. The trademarks of his films seen through cinematography and story, suggests Anderson may be considered a modern filmmaking Auteur. The Life Aquatic With Steve Zissou (2004) is just one of many films that advocates this. Though The Life Aquatic with Steve Zissou was less well received as some of Anderson’s other films, it is a perfect example of a movie that utilises all the visual and narrative techniques Anderson has become associated with. What is most noticeable in Anderson’s films is the wide screen anamorphic format that is not often used for comedies and brings on screen action into focus, and also allows for a lot of detail for the mise-en-scène. First used in Bottle Rocket (1996) and continued in the rest of his film, with varying ratios, the wide screen format has become a staple of Anderson’s film. The Life Aquatic applies it well, particularly in scenes that have the whole cast on screen. Almost ten people can be seen clearly, and means the viewer can see the often amusing background action. Anderson stated, “What a lovely shape to make these pictures in” in an interview with Matt Zoller Seitz for The Wes Anderson Collection.  Anderson has other traits such as symmetrical shots that have a central point, usually a character. This is seen frequently in his most recent film The Grand Budapest Hotel (2014) though all his films have many shots where a character or an object is exactly aligned in the middle of the frame. Similar to this use of symmetrical framing is the frequent use of slow motion for ending shots. In The Life Aquatic, Steve Zissou (Bill Murray) walks along the red carpet for his premiere carrying a small boy on his shoulders, with a whole crowd following in the last scene. The slow motion also happens in The Royal Tenenbaums (2001) as the whole family leaves the graveside one by one, all slow motion. What I greatly admire about Andersons’ films is his eye for detail. Through mise-en-scène – that is the staging and scenery of a shot – we can see how much thought is put into every piece of the film from the colour palettes to the stop motion animated animals. The precise staging and costume is a recurrence for Anderson’s films, the props used subtly to engage more emotion, sometimes important parts of the character, like Suzie’s (Kara Hayward) books in Moonrise Kingdom (2012) or referenced throughout as though as an ongoing joke, like the red hats in The Life Aquatic. In fact Anderson wanted the costumes of the crew in The Life Aquatic to look like something out of Star Trek. All of these clear concepts Anderson has for his films do imply Anderson as an Auteur. Narrative styles in Hollywood films is usually linear, and though his films do unfold in this way, Anderson’s storytelling jumps about, involving flashbacks, side stories and direct to camera narration, such as in Moonrise Kingdom. He also uses title cards to dissect the story into parts. The Life Aquatic does this through its film within a film, as Zissou shoots a documentary about tracking the infamous jaguar shark. Similarly The Grand Budapest Hotel and The Royal Tenenbaums do this, as the film is broken into parts including a prologue and epilogue.  Wes Anderson’s films often centre around a dysfunctional family group, whether related or not, and the central character as a father like figure. The Life Aquatic has Steve Zissou, The Grand Budapest Hotel has M. Gustave (Ralph Fiennes), The Royal Tenenbaums has Royal (Gene Hackman), The Darjeeling Limited (2007) has Francis (Owen Wilson) and Fantastic Mr. Fox (2009) has Mr. Fox (voiced by George Clooney) who are all eccentric and tormented by something in their own way, be it the death of a friend, estrangement from their family or framed for murder. Anderson writes brilliant characters and embraces the dry wit, including a smart joke rather than the obvious and also has outbursts of violence and swearing from characters to great comedy effect and timing. Furthermore, his repeated collaborations with actors, to name a few Owen Wilson, Bill Murray, Jason Schwartzman, show how Anderson cares for the people he writes and the story focuses on their losses and wins. All of this; the cinematography, narrative style and the character driven films confirms that Anderson can be described as an Auteur, someone whose films reflect their unique vision as though they are the author of the film. As a writer, director and producer on all his films it can be easily said Anderson is the author of them. The bizarre worlds he creates and characters within them are always funny, heart-warming and beautifully depicted. #WesAnderson #MonicaJowett #FilmmakerFeatures

Directed by James Webber Starring Sian Breckin, Rosie Day & James Alexandrou Review by Amaliah S. Marmon-Halm Beautifully made short film with accents of gentle and artistic scenes, Soror (which translates to mean sister in Latin) centres around two sisters, Lisa (Sian Breckin) and Grace (Rosie Day). Lisa is an outspoken and lively woman, who fantasises of escaping to somewhere new and away from the constrictions of her home. With her boyfriend Andrew (James Alexandrou) who doesn’t see the point of leaving the comforts of Hounslow, it doesn’t seem like her dream will be possible. Grace, on the other hand, is a more gentle soul, with an amazing talent for dancing. The joy these sisters bring each other seems almost paralleled by their quiet and sombre mother Amanda (Kate Dickie), who still seems to be coming to terms with the loss of her partner and the daily struggles of life. We are introduced to them all on the day that will hold a great importance for them all, as they face a future apart. Usually when a film is set in such a noisy location like Hounslow, a place where you have to get used to the roaring sound of planes overhead, it can cause an issue for filmmakers. In this case, they are used to add atmosphere to the film. What really makes this film more than just a short and more like a piece of art, are the scenes where it seems to cut to the characters inner selves. The emotion, swelling music and lighting almost sway the audience along until it feels like we really are in tune with the characters. Overall, this is a very well-crafted drama that successfully delves into the lives of these sisters and artistically illustrates the important roles love, family and the need to be one’s self, play in our lives. There are times when the chemistry between Breckin and Day feels so real, that it would be easy to falsely assume that they were actually sisters. The improvised dialogue between the two just adds to this feeling that the characters are truly connected. Though Amanda only plays a small in the illustration of the sister’s story, her character also highlights the constant and almost forgotten consistency of a mother’s love for her daughters. All in all, this is a very wonderful short. #Soror #Shortfilm #amaliahsaramarmonhalm

Directed by Jordan McGibney Starring Jordan Smith, Luke McGibney, Kyle Turlunch, & Noor Lawson Review by Amaliah S. Marmon-Halm Set against a dark urban city background, Stereotype revolves around a young teenage boy, Leroy (Jordan Smith), who has to come to terms with the loss his brother to a knife attack. In a very violent display of racism, a gang of white racists manipulate a mentally challenged man called Judas (Luke McGibney) to stab Leroy's brother Dez (Kyle Turlunch), in what comes across as a sort of sick way to get further kicks out of their attack, especially as Dez cared for Judas. Watching the hurt and disruption that his brother’s death has caused his family, Leroy sets to take matters into his own hands. In order to achieve his aims, Leroy is confronted by a gang leader to take revenge. Alongside the pressure of media and his own conscious, eventually Leroy decides to go out into the night and seek on Judas’s pregnant girlfriend, Tracy (Noor Lawson), creating moral choices that he must confront. At the centre of the film is the idea of morality and the power that stereotyping can hold. Add this to the theme of knife crime and loss, we are left with a storyline designed to challenge an audience's views on urban ethnic minority youth. As a result, the film does a powerful job of highlighting the painful consequences of knife crime. I don’t know whether it’s the swelling music, intense themes or the sheer emotion which pours from each of the actors, but it is impossible to not sit and watch this film without feeling that intensity. The audience’s own judgements and views of stereotypes guide them to what they think the outcome will be. Not only is this a highly emotive film, it is also a film with a cause as it is being supported by several bodies trying to pave a better way for young people; Made Corrections, Stretch and The Kiyan Prince Foundation, all of which are charities that mainly work with young people and ex-offenders. Some of the young people these organisations work with have experienced the type of circumstances like those displayed in the film. As well as this, the film is apparently being donated to these charities to be used in workshops over the next year, Dean Stalham Founder of Made Corrections said, “The film is a marvellous achievement and a film that we can use to challenge mindsets”. Director Jordan McGibney managed to bring his own personal experiences into the film, as he himself grew up in a council estate and experienced what it’s like to live in these rough settings. When asked about his motives in making a film like this, McGibney said, “It is never black or white, in my experience the situations are complex and are not the stereotype clichés that we see in many films today”. Overall, this film is wonderfully made, highly emotive and has a clear message about looking into the power of choice. It is obvious that it has been designed to be provocative and make you squirm in your seat in order to create the intended dialogue, mainly the issues of knife crime, the dangers of stereotyping and the power of morality and choice. This film will premiere at The British Urban Film Festival on the 21st September 2015. #Stereotype #Shortfilm #amaliahsaramarmonhalm

Directed by Dean Charles Written by Owen Mowatt Starring Neil Reidman, Naomi Ryan & Roger Griffiths Review by Amaliah S. Marmon-Halm Written by Owen Mowatt and directed by Dean Charles, Hard Time Bus is a romantic drama following the (mainly) lows of Mark Bishop. After a rude awakening and what seems like a series of bad dreams, Mark (Neil Reidman) is brought back to reality with a bump. This causes him to make the hasty and forced decision to start making plans to marry devoted girlfriend, Denise (Naomi Ryan). After discovering his friend’s feelings towards his decision, his newfound direction opens his eyes to the life he led and the friends he thought he knew. He turns to best friend Fitzy (Roger Griffiths) for advice on what he should do next, only to be ridiculed for not following the Fitzy Rules: never marry and never settle. While all this is going on, Mark might already be too late as he learns that Denise has already caught the eye of a possible new suitor and is seriously considering a different proposal. Pool, alcohol and young “tings” are all that he and his friends can focus on. After living a life of carefree apathy and complacency, the years finally catch up with him, especially after news of his friend Shaun (Bailey Patrick) falls on hard times. Mark receives an overdue wakeup call and now faces a race against time to prove to Denise that he is worthy, but has it all come too late? And what will it take for him to get his life back on track? I did find this film enjoyable and relatively easy to watch, however as no film is perfect, there are a few negatives. It does seem that some parts might have either been unnecessarily stretched or could have been left out of the final cut altogether. There were also a few instances where characters with the main purpose of helping the plot along have such a forced performance, it does temporarily ruin any creation of atmosphere. That being said, Reidman’s performance as leading man is very well done and he does a very good job of pulling in the audience into Mark’s conundrums. Overall, this is a well-made tale reminding us to take care and remember what is truly important to us, before the chance to keep hold of them slips away. Otherwise, someone else might swoop in and take it from beneath your nose. #Indiefilmreviews #SupportIndieFilms #amaliahsaramarmonhalm #HardTimeBus

Review by Chris Olson Danny Boyle’s notoriously brilliant drama starring Ewan McGreggor as a heroin addict in Edinburgh, who attempts to free himself of his substance dependence. Renton (McGreggor) is a full-time heroin addict. His involvement in the drug scene spans all aspects, from the recreational use of the substance, to the crimes committed in order to pay for the habit. His friends are also mostly users, as well as deadbeats. However, after one too many nasty accidents, Renton vows to rid himself of his addiction, hoping to avoid time in prison, or a worse fate. Unfortunately for Renton, his former life as a junkie is just as difficult to shed as his heroin dependency, and his old buddies continue to haunt his attempts at forging a new life for himself. From an extraordinary director, Trainspotting captures a darkly hilarious atmosphere to this small group living in Scotland during the heyday of heroin. The starkly bare and tragic lives that these addicts live is represented in both physical and emotional terms throughout the film, and it is the vulnerability of these characters which makes for the most conflicting aspect. Renton is a very likable character, with some witty narration during the film and some very funny lines to his mates, but his delusions about the scale of his problem are quite scary. One of Renton’s friends, called Begbie (Robert Carlyle), is violently disturbed, but not a drug user. His addiction to confrontation and aggression is seemingly more destructive than drug taking, and his reliance on Renton for a better life is a terrifying relationship to watch unfold. Music is chosen well in this film, using some great tracks from the likes of Iggy Pop, Lou Reed, and Underworld. These artists, and their connections to drug scenes, is unmistakable, and gives the movie a great deal of authenticity. The film has some pretty heavy themes, which are unavoidable given the plot, but there are a few moments of happiness which emerge, and give the viewer a more rounded viewing experience. Such as: the group’s enduring bonds to each other, their commitment to their addictions, and their unyielding creativity when it comes to staying high. One of the best films I have watched from my 50 Films To See list, and probably the best performances I have ever seen Ewan McGreggor and Robert Carlyle give. #Trainspotting #ThrowbackThursday #ChrisOlson

September Preview - by Hannah Sayer As Oscar season gets officially underway in September, the cinematic calendar is already looking promising and intriguing this fall season. This coming month plays host to an array of films being released; some that definitely should not be missed! Me and Earl and the Dying Girl received its official premiere at the Sundance Film Festival in 2015, where it received a standing ovation and won the U.S. Grand Jury Prize: Dramatic and the Audience Award for U.S. Drama. This critical darling, released on the 4th September here in the UK, is directed by Alfonso Gomez-Regon and written by Jesse Andrews; the film is also based on Andrews’ 2012 debut novel. Greg Gaines, played by Thomas Mann, is a high school student who befriends fellow student and past childhood friend Rachel Kushner, played by Olivia Cooke, who has recently been diagnosed with leukaemia. Greg’s love of movies means that he spends most of his free time with his best friend Earl, played by Ronald Cyler II, making short film parodies of classic films. As Greg’s and Rachel’s friendship blooms, he decides to make a film for her. Described as both heart warming and tear jerking, Me and Earl and the Dying Girl is a sure winner for any film lover. What’s better than a film starring Tom Hardy? A film starring two Tom Hardy’s: Legend. Based on the notorious life of the Kray twins, the film is written and directed by Academy Award winner Brian Helgeland (Best Adapted Screenplay, L.A. Confidential). Although an already well-known and brutal tale, Helgeland has chosen to tell the story from the point of view of Reggie Kray’s wife Frances, played by Emily Browning, as the film follows the rise and fall of the East-End gangsters. With Tom Hardy playing both roles of Ronald and Reggie Kray, it will be interesting to see him blur and differentiate the two characters, in a likely legendary dual-performance. Released on the 9th September, Legend is going to be the most thrilling British film of the month. With an impressive cast made up of Jason Clarke, Josh Brolin, John Hawkes, Robin Wright, Michael Kelly, Sam Worthington, Keira Knightley, Emily Watson and Jake Gyllenhaal, Everest is a real life dramatisation of the 1996 Mount Everest disaster directed by Icelandic director Baltasar Kormákur. On the 2nd September, the film will open the 72nd Venice International Film Festival; a coveted premiere spot which led Birdman last year to Oscar glory where it won four Academy Awards, including Best Picture and Best Director for Alejandro González Iñárritu. The film follows two expedition groups, one led by Scott Fischer (Jake Gyllenhaal) and the other Rob Hall (Jason Clarke), as they attempt to reach the summit while being faced with one of the strongest snowstorms that tested these climbers to the limit. Expected to be a 3D visual spectacle, Everest is likely to be a thriller that needs to be experienced on the big screen. It hits cinemas on the 18th September. The Martian, directed by Ridley Scott, is based on the 2011 debut novel by Andy Weir. Matt Damon stars as Astronaut Mark Watney who is presumed dead and left on Mars by his crew when a storm causes their mission to go horrifically wrong. Watney is in fact alive and has to struggle to adapt and survive on his own while trying to send a signal of his survival to Earth. Upon successfully sending a signal through, NASA and Watney’s crew plan a rescue mission to save him. With a strong supporting cast including Jessica Chastain, Kristen Wiig, Jeff Daniels and Chiwetel Ejiofor, this is an exciting new project from Ridley Scott, who is of course no stranger to the Sci-Fi genre, having directed acclaimed films such as Alien and Blade Runner. On the 11th September, The Martian is premiering at the Toronto International Film Festival, where it will follow with a general release in the UK on the 30th September. Upcoming Films and Release Dates in September: 4th September American Ultra No Escape Ricki and the Flash The Transporter Refueled Dope Miss Julie Me and Earl and the Dying Girl Buttercup Bill 9th September Legend 10th September Maze Runner: The Scorch Trials 11th September The Visit Irrational Man 18th September Aloha A Walk in the Woods Everest 25th September Lessons in Love Life McFarland 99 Homes Captive Solace Miss You Already The Messenger Just Jim 30th September The Martian #Comingoutin #Legend #MeandEarlandtheDyingGirl #TheMartian #Everest #HannahSayer

Directed by Antoine Fuqua Starring Jake Gyllenhaal, Rachel McAdams and Forest Whitaker ★★★★ Review by Chris Olson “Hope & Glory” Rarely does a film get defined by its genre as much as a boxing film. Those viewers familiar with movies like Raging Bull (1980), Rocky (1976), Warrior (2011) etc, will be no strangers to the structure of a boxing/fighting film - where violence and brutality are kept within the confines of an organised structure. Antoine Fuqua’s lively and gritty Southpaw follows a riches-to-rags-to-riches story, rarely subverting the genre, but still pummels the viewer with enough emotional blows and intensity that you won’t ask for a refund. Jake Gyllenhaal plays professional boxer Billy Hope - a man at the top of his career, only to have it snatched away after a violent and tragic run in with a challenger’s entourage. Left broken and unstable, Hope’s situation goes from bad to worse, as social services deem him an unfit parent, taking his daughter Leila (Oona Laurence) into the system. Having grown up in the system himself, Billy channels his anger, fear and frustration into his boxing in order to climb the ladder once again - using the wise teachings of local trainer Tick Wills (Forest Whitaker). With the hard-edged hip-hop soundtrack and the definition of Gyllenhaal’s abs, viewers entering into Fuqua’s Southpaw may forget to bring with them a box of tissues - but be warned, you should need them! The ferocity of the fighting is matched by the depth of emotion that is poured into certain scenes, allowing a gripping variety for the audience that is not Raging Dull. Gyllenhaal is formidable in this film, tackling every aspect with intense purpose that is believable and filled with pathos. Forest Whitaker serves up his own impressive combination of jabs, his character’s integrity and blunt honesty is beautifully combined with Hope’s raw rage. 50 Cent is as thin as a coin, portraying the slimy organiser who shamelessly benefits from his fighter’s misery without any sense of trying. Where Southpaw finds itself on the ropes is in the inevitability of it all. Aside from the shocking tragedy near the beginning (spoiled in the trailer), the film never hits the audience with an unexpected uppercut - it follows the footsteps of all its predecessors. Like watching a classic fight on ESPN. Antoine Fuqua’s direction is evenly handed and captures the emotional turmoil with fluidity. There is no chunky, pointless dialogue or scenes. In essence, much like Gyllenhaal’s abs, he trims all the fat and has viewers gripped until the end - where we realise it looks like any other set of abs. Watch the Southpaw trailer below... #Southpaw #TheatricalReleases #ChrisOlson #JakeGyllenhaal #ForestWhitaker #AntoineFuqua

Directed by F. Gary Gray Starring O’Shea Jackson, Jr.; Corey Hawkins; Jason Mitchell; Neil Brown, Jr.; Aldis Hodge; and Paul Giamatti Review by Jack Martin “You are now about to witness the strength of street knowledge” – so goes the opening lyrics of the N.W.A’s most famous track Straight Outta Compton, and also serves as one of the first things we hear in the group’s biopic of the same name. That strength is what carries F. Gary Gray’s film all the way throughout, and even when it hits certain points of melodrama that come with every musical biopic, the power and ferocity of the people it’s representing is so strong that it’s perfectly acceptable to overlook its obvious flaws. The film charts the rise of the N.W.A, which consists primarily of Ice Cube (O’Shea Jackson Jr., the offspring of the real Cube), Dr. Dre (Corey Hawkins) and Eazy-E (Jason Mitchell) – or at least, that’s who the film decides to focus on the most, while other members MC Ren (Aldia Hodge) and DJ Yella (Neil Brown Jr.) are mostly reduced to secondary background characters – and how they inspired a whole wave of hip-hop artists and even entire communities with their anti-authority stance and truthful lyrics. Of course, each member experiences hardships along the way, from contractual complications with their white Jewish manager Jerry Heller (Paul Giamatti) to the untimely deaths of close relatives. Standard biopic fare, you might assume; but the film is endlessly entertaining and, even at nearly two and a half hours, never boring which gives it an edge that similar biopics might not have been able to have. Gray’s direction manages to highlight the obvious racial boundaries that the group members and other black civilians at the time were forced to go through – there are multiple instances of racist police officers manhandling our protagonists based purely on what they look like – without sugar-coating it for a wider mainstream audience. The LA Police Department depicted in this film are as brutal and assuming as they would have been around the time of the Rodney King incident – in one scene, each member of the N.W.A is forced on the ground outside their recording studio by a couple of police officers (one of whom is significantly also black), and refers to Heller as their “master” when he comes to their aid. In the context of this film, they are clearly bullying obstacles that the group needs to overcome in order to succeed, and Gray portrays this struggle as some sort of crowd-pleasing resolution when they do in fact rise above the pressure – but again, it’s entertaining enough to ignore much of that. The film also benefits from its casting, placing into the roles of the group members a fine bunch of young and untested actors who are more than up for the challenges that the script requires, and each one of them leaves an extremely impressive mark as a result. Jackson Jr., aside from being almost the spitting image of his father, is able to replicate Cube’s mannerisms down to a tee while also making the role decidedly his own, though we wonder how strange it must have been for the real Ice Cube, one of the producers of the film, to have watched his son on set score with several groupies and other adulterous activities whilst playing his own father. Hawkins, as Dre, exhibits a certain on-screen charisma that will surely carry him a long way in his career, with this being a perfect example of a breakout performance; he’s emotional, he’s enduring, and he’s even funny at times. The true stand-out, however, is fellow newcomer Jason Mitchell as the late Eazy-E, who the film dedicates itself to in its closing credits. The closest this film gets to a true main protagonist, even opening with his character during a drug deal that soon becomes interrupted by a violent police raid, Mitchell carries the weight of the film on his shoulders and delivers some of the film’s strongest emotional scenes with his natural on-screen abilities, and gets you to care unreservedly about his character which makes this one of the better tributes to the late rapper. What some critics will have undoubtedly highlighted about this film is its, erm, less than honourable portrayal of women, and to be honest it’s for good reason. When the female characters aren’t crying or emotional banks of support for the men, they are mostly portrayed as sultry groupies with hardly any clothing (or sometimes, none at all). It also neglects to reference the women that had allegedly been physically assaulted by their partners (former muses of Dr Dre have recently made public their own disappointment with the film’s lack of mention of their own suffering), or even some of the female artists that N.W.A members worked with in the studio, such as JJ Fad or Tairrie B. As far as the male-dominated movie seems to be, the N.W.A certainly does not stand for the National Women’s Association. It’s likely that there are some dramatized versions of real events that may distort things slightly for the common viewer – scenes such as Ice Cube trashing a record producer’s office seem a little exaggerated, and representations of other figures such as Suge Knight (played by R. Marcus Taylor) as a borderline psychotic can be somewhat cartoonish. However, none of that really seems to matter because, at the end of the day, Straight Outta Compton is a compelling and well-crafted cinematic experience that you’ll forgive the dramatized nature of it all. It is, as Dre would call it, “dope”. SO, TO SUM UP… Straight Outta Compton is a very entertaining biopic of the N.W.A, with F. Gary Gray’s committed direction and pitch-perfect performances by its talented cast being more than enough to forgive its more obvious flaws. To read more of Jack Martin's reviews, visit - http://www.filmfeeder.co.uk/straight-outta-compton-review/ Watch the Straight Outta Compton trailer below... #StraightOuttaCompton #JackMartin #TheatricalReleases #UKFilmReview