DING DONG I AM GAY NEW website review by Amit Singh
DING DONG I AM GAY. wow, what a spectacular webseries! It is a show full of laughter and with awesome punch lines. The story line is so well written! Some dialogues are stamped in your mind. It’s very original series and we all can connect to it at one or another point. It focuses mainly on the gay community while it’s still seen as taboo for so many countries and places. I believe that the series like "Ding Dong I am Gay" is a flag barrier supporting and educating to propel that we are all humans who have t orespect each other's beliefs and that we all have same feelings and emotions. "Ding Dong I am Gay" series are very well played by the whole cast, the directorship and the story line is amazing and funny. We on the behalf of BOHEMIAN RHAPSODY CLUB AND MAGAZINE would like to congratulate the whole team of the Show wishing you all lots of great success and we can’t wait to see the upcoming episodes. Thank you! Amit Singh
An Australian feature, Blood Vessel is an amazing gift for those who crave a good horror story, wrapped with a bow of history surrounding that of a famed monster of modern-day literature.
A period-flick which highlights events set at the trail-end of World War II, we see a group of survivors stranded in the ocean, only to be saved by a ghost ship with seemingly no survivors. They embark on an investigative track, and, over the course of the movie, discover a certain truth which is laced with both terror and legend.
Blood Vessel is a production which seems to have spared no expense, offering a grandiose framework of movie effects, brilliant acting and wonderful story-telling. This is a must-watch for the season.
Nothing prepared me to what I would experience when I clicked on a link to watch Deerskin movie. I had a task to write a review and the film started rolling nicely with a scene of a man driving his car while listening to Joe Dassin beautiful song. He arrived at a country house with a purpose to buy a unique richly frilled leather jacket that was advertised for sale. The man paid a huge amount of money for it because he desperately wanted it to be a real deerskin item which gave him ‘a killer look’. The seller was surprised with such a generous payment and presented the buyer with a gift: a video camera - “as new”. This buyer, named Georges, was played by Jean Dujardin whose memorable role in the movie Artist brought him Academy Award for Best Actor in 2012.
Georges’ excitement with this jacket felt ‘over the top’ which became even stranger when he began talking to it. The story continued by his arrival to a remote village where his only company in his hotel room was his jacket. As Georges spent all his cash on the jacket he could not pay for the hotel until the next day, and he gave his golden wedding ring to the hotel guard as a security. Next morning, he went to withdraw money from the bank. But Georges was told that his account was blocked by his wife. When he called her the woman said to him “you don’t exist”. It looked like their marriage was on the rocks but obviously Georges did not take it seriously.
Since that moment his behaviour became weirder by the day.
When Georges mentioned to the hotel manager that he gave his wedding ring as a security to the previous day guard, the manager told him that the guy just committed suicide. Georges went to look at the corpse. Without any emotions he took the guard’s hat, read the label ‘deerskin’ and put it on himself. Then he tried to remove his wedding ring from the guard’s finger. Without hesitation he leaked the dead finger and pulled the ring off.
In his room Georges made ‘conversations’ with his jacket asking it about its dream. The jacket ‘wanted’ to be the only jacket in the whole world. Georges shared this idea as he wanted to be the only person in the world who was wearing a jacket. No one else!
Meanwhile Georges tried to use video taking some shots and introduced himself as a film director to Denise, a waitress in the bar. She shared with Georges that she loved editing movies – just for herself. As an example, she mentioned that she took “Pulp Fiction” and changed scenes in it, so it looked better than in Tarantino version. Having no money Georges lied to Denise about his crew filming in Siberia as if they could not send him money for some reasons. So, he offered Denise to hire her as an editor for his ‘movie’ and gave her a few cassettes with his totally unprofessional filming. However, Denise found them interesting and asked him to do more videos.
Meanwhile, his mental state deteriorated. Georges drove around and when he saw younger people, he offered them to play a scene in his movie. For that, they had to remove their jackets and put them in his car boot. He pretended filming, and then suddenly left the place with people’s jackets in his boot. He was doing those rounds again and again. From time to time he noticed a teenager who stood nearby watching him. That irritated Georges. He tried to wave to the boy to go away, but the boy did not move. Then Georges grabbed a heavy brick and hurled it right to the boy’s head causing him terrible injury. All those filmed materials he brought to Denise and she encouraged him to do more filming praising his videos. She supported him with money and drinks and was telling him that their movie would be success.
She also supported his craziness about deerskin buying him pants and gloves, all from deerskin leather.
Sinking deeper in his madness Georges cut a huge sharp blade from a ceiling fan and began killing his victims in order to take their jackets. And he continued filming that. Denise asked him to bring more scenes like that ‘with more blood’. It became apparent that it was Denise who was a moving force behind that killing spree. She needed it to create her own masterpiece that would excel Tarantino. Soon she decided that it was enough material for her movie. She told Georges that she knew from the beginning that he was not a filmmaker. Denise also got a lot of money from her father to realise her dream to be a producer.
Therefore, only close to the end of the movie it became clear that although Georges committed terrible killing the real horror figure was Denise. She was a girl, looking plain and simple who skilfully used the man who was losing his mind to realise her dream of creating a movie out of those blood chilling crime scenes.
They drove to the countryside. Georges was running and dancing and yelling to Denice “film me, film me’. Suddenly a shot rang out and Georges fell to the ground, dead.
A man with a rifle got back to his car and sat next to his son with bandaged head, the same teenager who was injured by Georges.
The Deerskin is a genuine arthouse film with a gradually building momentum where the viewers could observe a process of deteriorating of the mind. Georges is a scary madman, but a real danger is a humble-looking Denise, played by Adèle Haenel, obsessed with a desire to be a film producer. She manipulates Georges pushing him into deeper craziness as she needs him to commit and film more of his crimes. French writer/director and musician Quentin Dupieux created a movie of the unique genre: a horror-comedy. And that is what I have seen indeed!
CALM WITH HORSES NEW website review by Sherry Westley
Film: Calm With Horses Director: Nick Rowland Independent film set in Ireland Released in Australia : 23 July 2020 Starring: Cosmo Jarvis, Barry Keoghan, Niamh Algar Length: 1hr 41 Review: Sherry Westley This film really surprised me by how unexpectedly interested in and drawn to the main character I was, right from the opening scene where he muses on his childhood and violence in general. With an imposing physical presence and an emotionally disengaged view of his own violence,(“there’s no hatefulness in it..... sometimes it’s just a way of making sense of the world”), we are engaged and curious about him from the beginning. Set in rural Ireland, Douglas Armstrong (The Arm, The Lapdog, The Halfwit),is an enforcer and intimate of a lower class drug dealing family, the Dévers. He lives with the Devers and regards them as “family” he owes loyalty to. He is separated from his five year old autistic son Jack and his ex partner Ursula. Douglas is a fascinating enigma for us. We puzzle over the cool, business like and submissive way he deals out physical punishment at the Devers’ bidding, contrasted with his love for Jack and respect for the strong and positive Ursula. Is Douglas submissive,simple, complex, good or bad? Possibly all of those. But we certainly are on his side and the edge of our seats as we see him struggle with these conflicting traits,in the dangerous “family” circle in which he exists. The photography is atmosphericlly bleak, cloudy, threatening.The three main actors extremely convincing. But you will have to concentrate on the dialogue, the accents are very local. Based on Colin Barrett’s short story of the same name, the script was written by Joe Murtagh and produced by Daniel Emmerson. It has achieved a score of 94% on Rotten Tomatoes and 6.8/10 on IMDB. The amazing lead actor, Englishman Cosmo Jarvis, has four films coming out in 2020. If you don’t already know Cosmo Jarvis, you soon will. Likewise, debuting feature film director Nick Rowland, who is an awarded short film director. Calm With Horses is a totally absorbing crime drama. But it is the first class acting and direction which lifts it into a compelling and poignant story of the complexities and choices of a simple, likeable man. See it if you can.Yes there is violence, but there is so much more to admire and enjoy in watching Calm With Horses
review by Vellu Khanna
A movie that presents coherence in the strain that everyone feels every now and again, 'CalmWithHorses' toys with the sense of justice and fairness in an Irish family (i.e. the Devers) which deals with criminal and underworld activities.
The main protagonist is a retired boxer, Douglas "Arm" Armstrong, who is seen trying to balance his job as the muscle of the Devers family and that of being a father to his autistic son. As the plot unfolds, we see an emotionally-torn Douglas question the direction pointed by his own moral compass.
'CalmWithHorses' illustrates exactly what brilliant acting is, with several high-tension scenes and clever cinematography to boot.
Brian Wilson, Tom Petty, Ringo Starr, Eric Clapton, Graham Nash and other iconic rock musicians discuss the creative explosion of Los Angeles folk rock scene in the mid-60s in the documentry called Echo in the Canyon. The film was directed by Andrew Slater, a former music journalist, producer and label executive. The film focuses on the influence of the ultimate "California sound" enshrined by artists such as the Beach Boys, the Byrds, Buffalo Springfield and the Mamas and the Papas.
Throughout the video, songwriters reminisce about the interchange in sound that took place during this fertile period in music, when groups visited each other, performed unfinished songs and inspired each other's music. “California was like this legendary paradise,” Petty says before plugging in his signature Rickenbacker electric guitar. “Laurel Canyon has become this paradise,” Clapton recalls. Starr notes that he "fell in love" with the scene.
Jakob Dylan recalls the last interview with Tom Petty for the film... When he and his old friend and former Wallfowers manager, music industry veteran Andrew Slater set out to make Echo in the Canyon, they recruited an impressive Rock legends. Tom Petty is another important role in this movie, but Dylan and Slater certainly didn’t know that this would be his last official camera interview. Petty Yu passed away on October 2, 2017. He was sitting in the Truetone Musical Instrument Store in Santa Monica, talking excitedly about Byrds, The Beatles and the California Dream. These scenes captured the heart of this man. Now we watch at these scenes: it's inevitably bittersweet, which is understandable. "This is obviously far-reaching. Dylan said: "We didn't expect that this would be the last time he was interviewed in front of the camera... This is very unfortunate, and I certainly hope that is not the case." "But of course I am grateful, I am glad I believe him the last time (interview) is not painful, and he really had a good time-for people like him or me, this (interview) is not always pleasant!" He came here politely and talked about him: like the music, he likes the music we played for him, and he kindly gave us a day, which is cool... "I remember that was a great day. For me, it was probably the most interesting time of the (shooting) day," Dylan continued. "Maybe it's because Tom Petty and I spent some time in the guitar shop, and at the same time in the guitar shop-I like both of these things!" He seemed to have a good time, obviously, he was, the kind of people who can't drive to the music store often, so we closed this store. This is a great opportunity, even if it is not in the movie-just walking with him and talking about the equipment, it is great. "
Slater as I mentioned is the director of Echo in the Canyon, and Dylan is the executive producer. Their conversation about "bad things" is exiting. Look, when people are making special effects, amplifiers, and musical instruments, they are suitable for all kinds of music and all kinds of people. Sometimes when we become more modern and mass-produced, these things are not as well constructed as other things! So, their comments are very interesting. " Most of the artists involved in Echo in the Canyon of the 1960s, as mentioned above, or Dylan’s peers, like Fiona Apple (whose first album Tidal is by Slater), Baker, Regina Spektor, Cat Power, Stoneware. The era of Josh Jie Ao, Queen Nora Jones, and ex-Edward Sharp & Magnetic Zero singer Jade Castrinos, they all joined Dylan on the stage and reproduced the classic songs of the era movie soundtrack in the studio. But Petty offers a unique perspective. During his career, Petty has reported on the Bird Brothers songs "So You Want to Be and Rock'n' Roll Star" and "I'll Feel Better" (I'll Feel a Whole Lot Better) and cooperate with McGinn.
Dylan explained: “It’s obvious that Petty started listening to this song when he was a teenager, and he understood this song better than most people who have studied it in retrospect.” “He lived (in the 1960s). It was very powerful for him as a teenager. Obviously, he appreciates that kind of music very much. He is very important to us in this movie. You have people who are really there, creators. There ae people like us who belong to this generation; we studied, we went back to learn to appreciate music. But then, Tom Petty's generation was actually a teenager, so we wanted to capture that perspective too."
Although the second-generation musician Dylan comes from a rock family - Petty's father was the son of Wilbury County band member Bob Dylan - he said that Petty was the only young person interviewed by Echo. The artists he knew, he only met when he was an adult. He smiled and said: "I saw that I have already hinted that this movie has some (childhood connection) with me... I think this is a misunderstanding, and that everyone has such a person who stays at home all day." "I know it sounds like we are, maybe, at Monkees's house or somewhere else, but..."
Therefore, I have to ask whether it is daunting to take over this 60s song for young Dylan. There is a scene in the movie. When he was recording "In My Room" by The Beach Boys, Brian Wilson was in the room. There was also a scene when he played back Michelle Phillips in the studio. When mom and dad cover. "I didn't think too much. In hindsight, sitting there and doing that sounded pretty bold!" Dylan admitted. "I think we have a common friendship. No matter what happens, we are on the same team. I can see that they are encouraging people. I don't think there will be any snickers or similar things. Anyway, I think when someone is singing your song is a compliment, I think we did them very faithfully, and we respect them very much. If we tear a song to pieces and really turn it upside down and insult someone, we might feel more pressure!"
Echo in the Canyon (PG) – 89 minutes – by Alex First
If you are a music buff, it would be hard not to get excited by the trip down memory lane that is Echo in the Canyon.
This is a reverential documentary and accompanying riff about the Southern Californian sound that produced some of the best folk-rock bands.
I am talking about the likes of The Beachboys, The Byrds and The Mamas and the Papas, to name but three.
We’re in LA’s Laurel Canyon in the mid 60s as folk went electric and creativity hit a new high.
The Beatles were most certainly influenced by it.
Some of the biggest names in the music business reflect upon the times that they were such a big part of.
I speak of Eric Clapton, Ringo Starr, Graham Nash, Stephen Stills and Michelle Phillips, among others.
They chew the fat with Jakob Dylan (Bob’s son), lead singer and primary songwriter for the Wallflowers, who also reproduces the sounds of the mid 60s with a series of contemporary artists, names such as Beck, Cat Power and Regina Spektor.
Echo in the Canyon also gives us access to never-before-seen footage of the stars in their heyday.
Famed record producer Lou Adler speaks adoringly of Laurel Canyon as close to Sunset Strip but with a beautiful country feel.
Phillips, from The Mamas and the Papas, says it was a hangout for bohemians and actors, full of charming little houses – a joyful time.
Clapton, on the other hand, was attracted to eccentrics and they were all there.
David Crosby describes the music of the day as “putting good poetry on the radio”.
So, apart from the sound, it was the song writing that distinguished the times and the place.
Rickenbacker was the first known maker of electric guitars and it ruled the roost in the swinging 60s.
The 12-string Rickenbacker was a favourite of The Beatles and Roger McGuinn of The Byrds, the latter of whom turns back the clock with an impromptu performance.
While The Beatles’ Rubber Soul album resulted in The Beachboys’ brilliant front man Brian Wilson writing Pet Sounds, it – in turn – inspired The Beatles Sergeant Pepper’s Lonely Hearts Club Band.
That is touched on in Echo in the Canyon.
The master of cool, a great muso in his own right and a ready listener, Jakob Dylan is the perfect host for a doco such as this, which dips its lid to what went down more than 50 years ago.
And some of the biggest artists of the day are more than happy to trip the light fantastic once more.
It may have been the music of a generation, but those sounds have well and truly stood the test of time, to which Echo in the Canyon attests.
You don’t mess with perfection, merely honour it and Dylan – with writing credits to Eric Barrett and Andrew Slater, and direction from the latter, the former CEO of Capital Records – does just that.
It is available on 5th August, 2020 on digital and on demand. I speak of platforms including Apple, Microsoft, Google, Fetch and PSN.
Fear of the unknown is a powerful driving force in many horror movies. A half-concealed monster, a person who is acting strangely, or a shadow that shouldn’t be there – these ideas fuel nightmares and pave the way for thrilling scares. It is all too easy to get carried away, though, and THE VIGIL is a good example. Overall, this is an okay horror movie, and a decent movie in its own right. It suffers mostly from trying too hard to be a horror; the whole movie has been plunged into a moody darkness in post-production that actually lessens the impact of jump scares rather than heightening them. That fear of the unknown is overused to the point of muddying the scenes where it could have been most forceful. Many times, I could barely make out what was going on because, apart from a few isolated pools of light, the rest of a scene would be shrouded in absolute darkness. In a movie which relies heavily on visual elements with little dialogue, it is disappointing to have those few elements we are given be hazy and dark.
Dave Davis does a truly impressive job in his role as main character Yakov Ronen. He carries the movie very well considering he is alone in 90% of the scenes. I was so invested in his journey through anguish, and he was a particular reason that I kept watching. Alongside him, Lynn Cohen fulfills her role as the unsettlingly knowledgeable Mrs Litvak almost too well; I could hear the smile in her voice as she delivered delightfully unnervy lines to an increasingly agitated Yakov. As the only characters to appear for most of the movie, they moved things along very well.
A particular mention has to be made for the musical score. Composed by Michael Yezerski, it is not often that I notice the music in a horror movie, since it is often little more than dramatic bass when a jump scare is imminent. However, Yezerski delivers a wonderfully fresh composition that I wish I could have heard in surround-sound in a movie theatre, rather than bursting out of my tinny laptop speakers at home.
This movie takes a simple premise – monster that feeds on another’s fear and pain – and invites us to consider it from a new perspective. Different elements of Orthodox Judaism and its culture within New York City are explored through the eyes of one tortured soul. As Yakov comes to terms with his own internal demons, he also comes to terms with his identity, and how that identity coincides with the people around him. It is an interesting exploration, especially within the context of a horror movie, and one that leant a new take on a classic horror idea. I quite enjoyed this movie, despite its flaws. If only Yakov had turned on the lights once in awhile, I would have been more scared and enjoyed it more.
It is one horror story of creative madness and female solidarity. This is the story of how American writer, Shirley Jackson became practically the heroine of her own disturbing prose on the screen.
In 1948, The New Yorker magazine published the story "The Lottery", a short story about how the inhabitants of a small town gather in the main square on a clear summer day and choose a victim by lot, a man who will be stoned for the welfare of the entire community. The procedure is described as completely mundane: people are afraid to draw out the unlucky ticket with a black mark, but no one asks any questions. Collective ritual is more important than individual death.
It is the "Lottery" that young Rose (Odessa Young) reads on the train, who, together with her husband Fred (Logan Lerman), a promising young philologist, is moving to Vermont. Since the couple does not yet have their own housing, they temporarily settle in with Bennington College professor Stanley Hayman (Michael Stulbarg) and his wife, writer Shirley Jackson (Elisabeth Moss). It was she who wrote "The Lottery", and therefore Rose really wants to meet her. However, a meeting with a literary idol turns into a disaster. Shirley is a self-proclaimed "witch" and the main target of urban gossip. She almost never leaves the house, drinks a lot and is openly rude to her embarrassed guests. The writer at first perceives Rose as an annoying hindrance, as another Stepford wife, concerned only with the welfare of her assistant professor. But the more time women spend together, the better they understand each other.
But who is Shirley Jackson? The classic of American literature of the 20th century, the writer who was named among the favorite authors of Stephen King, Richard Matheson and Neil Gaiman. Contemporaries, however, did not immediately appreciate her talent. After the publication of "The Lottery", the editorial board of "The New Yorker" was inundated with outraged letters. The volume of correspondence broke all records - employees said they had never received so many responses to a literary work. Many demanded to explain to them the meaning of the story. Jackson wrote in a separate article that she wanted to shock readers with "a graphic depiction of senseless cruelty and general inhumanity in their own lives." Her most famous work is "The Ghost of the Hill House", a gothic novel about a mansion in which the paranormal occurs. The book survived three adaptations, including the 2018 series, but only the first of them, released during the author's lifetime, was close to the original text. Two years ago, another film based on Jackson's late novel, "We Always Lived in the Castle", premiered.
In the film "Shirley", Josephine Decker's Shirley still doubts her ability to move from small to large literary forms. The action takes place in the late 1940s, when Jackson was working on her second novel, "The Hangman". The writer was inspired by a real incident that happened next door: Bennington College student Paula Welden went for a walk in the woods and disappeared. The girl's body was never found.
So, is this a biopic? Not really. Shirley Jackson was indeed married to literary critic Stanley Hayman; they lived in Bennington; she had a controversial reputation and suffered from neuroses. However, the film, based on the novel of the same name by Susan Scarfe Merrell, constructs a fictional image in which the real life of the writer is skillfully intertwined with the author's assumptions. Anything that can blur the plot is omitted or bracketed. This fate befell, for example, the children of Jackson and her husband, and, by the way, the couple had four.
Elizabeth Moss The initial alignment of forces, somewhat theatrical and reminiscent of the play "Who's Afraid of Virginia Woolf?" (two mature intellectuals, whose marriage has long turned into a marathon of mutual barbs, host dumb youths), the film changes rapidly. Men fade into the background. They disappear at lectures, seminars and literary club meetings. But all the most interesting things are not happening there, but in the house, which Shirley and Rose are forced to share. Unlike male characters, female characters literally carry the whole world in themselves: a new novel is born in the writer's head, and her pregnant guest, young Rose prepares for the appearance of her first child. Gradually, a connection is established between the two academic wives, the nature of which they, themselves cannot fully determine. It is a strange mixture of intellectual play, psychological manipulation, distinct sexual attraction, and genuine engagement. Shirley, who fought for a long time over the portrait of her mysteriously missing heroine, ends up giving her the features of Rose. The death of one woman in the process of creative creation will turn into the birth of another: the girl who came to Bennington as a supplement to her promising husband will leave there as a completely independent person.
How is it filmed From the previous film by Josephine Decker, "Madeleine Madeleine", it was already clear how much she was interested in the fragile line between the reality and the imaginary world. She, again erases this line in Shirley, also doing it visually. The film camera man was Norwegian Sturla Brandt Grövlen, who became famous after the release of the German crime drama "Victoria", masterly filmed in one shot. In this movie his camera is constantly in motion again and again, it comes close to the characters. In the space of the film, as well as in the space of the house, it is physically cramped, the heroines are obscured by some foreign objects. The periphery of the frame is often blurred, which creates the feeling of a sticky nightmare, dark horror, as if something invisible and elusive is happening there, on the sides. We can not see it, our minds can not comprehend it, our hearts beat, we can feel it on the tips of our fingers...
Michael Stoelbarg Shirley is obviously not limited to a portrait of a specific creative person. Shirley Jackson's "madness" is largely a reaction to the stifling framework of society, which prescribes a woman of that era to be interested first of all in the household and her spouse, and only then in everything else. Elizabeth Moss for her role as Jackson is simply obliged to get her first Oscar nomination. This is an incredible performance: her character - always disheveled, blurry, awkward, nervously reaching for a cigarette or a glass of wine - evokes both delight and disgust. Michael Stulbarg is wonderful in the role of a passive-aggressive husband-manipulator, who seems to support his wife, but does it in such a way that she does not imagine much about herself. Against the background of already established stars, the young Australian actress Odessa Young is not lost - after "Shirley" she should not have a shortage of interesting proposals. She is simply amazing!
Verdict Josephine Decker convincingly demonstrates how flexible the traditional genre of biographical drama can be. Shirley is a non-standard movie about a non-standard personality. Its impressionistic form perfectly matches the content: the writer, who wrote uncomfortable and frightening stories, herself turns out to be extremely uncomfortable, at times repulsive, but at the same time an endlessly attractive person. The film will surely take its rightful place in cinematography.
Elisabeth Moss and Odessa Young And finally, a story told by the film's operator. When Decker posed the problem to him, she asked the viewer to feel like being smashed between Shirley Jackson's breasts. This is probably the most accurate description of how you will feel when viewing this picture...
If you are looking for a straightforward, readily understandable narrative, then Shirley may not be the movie for you.
Instead, it is a left of centre, slow burn, dramatic thriller with a series of “look at me” performances and an arresting score.
It concerns a brilliant, intuitive, evocative horror writer – Shirley Jackson (Elisabeth Moss – The Invisible Man) – who is decidedly paranoid and her equally self-absorbed, feted university professor husband, Stanley Hyman (Michael Stuhlbarg – The Post).
Her illness manifests itself in her bizarre behaviour, which includes being sullen, angry (she frequently throws stuff), lack of social mores and deep fear of leaving home.
She doesn’t take kindly to company.
She is particularly unwelcoming and unpleasant to a young woman, Rose Nemser (Odessa Young – Celeste), who arrives with her husband, Fred (Logan Lerman – Fury).
Fred – also an academic who has completed his dissertation after years of work and is looking for tenure – and his wife intend to stay with this odd academic couple for only a few days while they arrange for a place of their own.
Shirley – who seems obsessed with death – immediately senses that Rose is pregnant and gives her reasons for concern.
The professor, meanwhile, prevails upon the couple to stay longer and for Rose to look after the housekeeping – which Shirley is incapable of doing – in return for room and board.
Shirley’s latest obsession is writing a book – something the Prof doesn’t feel she is up to – about the disappearance (and presumed death) of a female college student, Paula Jean Welden.
While Shirley’s incessantly aberrant behaviour remains a mainstay, Rose is intrigued by her and with Fred’s long hours away from home forms a bond with her.
The question remains whether Rose can really trust Shirley.
Further, what Stanley’s intent with Fred is, when – for all intents – he is playing him.
The mood throughout is one of disruption and unease.
Dream sequences, reading into the life and times of the college student who has gone missing and Rose taking on her persona are all part of the journey.
Moss does a fine job playing seriously deranged, as much through her withering looks as by virtue of the spoken word.
Stuhlbarg makes quite the impression as her boisterous, manipulative husband who sees himself as better and more gifted than others.
Arguably the hardest role to play is that of the naive young, pregnant wife who gradually becomes ensnared in Shirley’s bizarre life.
Young makes that persona plausible. She plays vulnerable and captivated with aplomb.
As Shirley the movie relies heavily on atmospherics, composer Tamar-Kali has undoubtedly added to the sense of dread with her expressive score.
The sets, settings and cinematography (the latter by Starla Brandth Grøvlen) add to the frenzied appeal.
Still, the obtuse nature of the script by Sarah Gubbins, based on a novel by Susan Scarf Merrell, and direction from Josephine Decker, will undoubtedly frustrate many.
Others, like me, though, will appreciate the creativity involved in crafting this troubling portrait of a woman on the edge.
It was nice to see a movie focused on the lives and loves of the older generation as I don’t think there are too many around. It wasn’t like your common romance movie, 23 Walks seemed true to life with a realistic story line. It centres around Dave and focuses on his life and his new ‘friend’ Fern. Their dogs, Tillie and Henry also play important roles in the movie which is nice especially if you’re a dog lover.
While I liked the idea of focusing on issues the older generation may face without it seeming too fabricated, I did find the movie rather slow. I wasn’t hooked on waiting to see what happens next and actually watched it in parts as I struggled to maintain focus. Even with my attention wavering, there were parts that made me smile, laugh and cry. If you’re looking for a gripping movie, this would not be something I’d recommend. However, if you want a slow paced movie this would be a good choice.
(The years is important to bear in mind as there is another movie Made in Italy, released in 2018)
Beautiful Tuscany is a location where we were taken to watch a soulful story about family ties and sentimental feeling that the main heroes experienced being bought back to their past.
The glamorous London artist Robert (played by Liam Neeson) and his estranged son Jack (Michael Richardson) made his come back to Italy with a purpose to quickly sell the house Robert inherited from his late wife.
The eternal theme of fathers and sons is permanent motifs trailed throughout the whole performance. To complicate matters, the house is in a terrible state. Therefore, a father and son, between whom there is no close relationship, will have to work together to sell their old Tuscan villa.
Step by step, they learn to understand and accept each other while both gradually developed fondness to that derelict but romantic place.
Initially renovations went wrong, with father and son argued endlessly. Realising his lack of skills in renovation, Robert was looking for help and found it when he met Kate (Lindsay Duncan), an expat making her living selling villas. She quickly captured his attention romantically.
For Jack, the villa represented memories of happier times with his mother. When he met young local woman Natalia (Valeria Bilello), an easy-going Italian chef, who run her local trattoria, another love story began. However, it was in jeopardy from Natalia’s jealous and threatening ex-husband.
Struggling from their lack of skills and experience Robert and Jack learnt how to restore the villa to its previous glory. At the same time, they learnt how to restore their relationship. With time and patience their life, for each of them became more fulfilling and agreeable. And happier!
In total, this is a light-hearted movie, kind of a soft romantic comedy with wonderful cast of actors. Quite enjoyable.
The film is written and directed by James D'Arcy. Made in Italy is his directorial debut.
review by Marina Sklyar
Oh money old money, never enough at any given time. They are the cause of break ups, love, war and peace. What would we do with or without them…?
Jack is getting a divorce, and is wanting to continue running a gallery owned by his ex-wife’s parents. To keep the gallery Jack had to buy it, as this Was the only option if he wanted to keep it.
He is Forced outside his comfort zone to approach his father to sell a family owned house in Italy. It was in Tuscany, a house which hasn’t been occupied for More than 20 years.
Coming home was never this frightening. Finding a deserted house , which is falling apart wasn’t what Jack was expecting.
Only having a month to renovate, and sell the task was just unreachable. Jack, had strolled to the shops and just like that bumped into Natalia who happened to be a beautiful young lady, the owner of the best Tuscany restaurant.
Natalia, helps Jack to make a conversation with his father and to find out all the lost puzzles of his childhood and the tragic death of his mother.
Robert Fostes, Jacks father who was a very successful artist before passing of his wife, finds in the house his old work, with memories and inspiration by Natalia, both man develop a relationship with Natalia, and unravels their grief and untold story of the past.
Though the discovered sketches by Jack, he re instates his childhood memories, he revalue his presence in life.
The destiny have chanced for both man, a father has found his son, and son has found his father.
An artist is born…
THE HOUSE OF CARDIN NEW website review by Marygrace Charlton
Film Review: House of Cardin By Marygrace Charlton
Directors:P. David Ebersole, Todd Hughes
Producers:P. David Ebersole, Todd Hughes, Cori Coppola
It took me several viewings of this documentary to endeavour to absorb the full extent of the Pierre Cardin empire. Spanning 70 plus years, his talents seem to have no bounds.
Most people know the brand and iconic logo of Pierre Cardin but few know the man, the genius directing the successful business.
Originally, the brand was synonymous with haute couture. However, his modern, futuristic thinking and designs combined with his ability to evolve with the times, has led him down many paths. Not everyone is aware of the plethora of products (more than 800 from cookware to padlocks).
American directors P. David Ebersole and Todd Hughes were ardent fans of Pierre Cardin (“PC”) products long before they ever met him. Having bought “PC” furniture which they adored, for their new home in Palm Springs, followed by a car – a 1972 Javelin whose fixtures and trims were designed by “PC”, they decided to try and meet Pierre and to apprise him of their admiration. So in 2017 whilst in Paris presenting another of their documentaries, they did just that.
Call it divine providence, luck, the right place at the right time, the directors were indeed fortunate to gain “PC” consent to create this documentary, especially since Pierre will be celebrating his 97th birthday in 2020. Perfect timing! House of Cardin (the documentary) traces the far reaching career of a mastermind. It only touches lightly on his private life, respecting Pierre’s wishes.
Given exclusive access to “PC” archives (first to be permitted to do so), catwalk footage, interviews and the “PC” museum in Paris the directors have created an almanac of his working life. We (“PC” fans) are indeed fortunate that Pierre consented to this production giving the audience an overview of his remarkable business prowess.
Words of praise and testimonies from many celebrities - designers, models, musicians, singers, include Jean-Paul Gaultier, Sharon Stone, Philippe Starck, Naomi Campbell, Dionne Warwick, Maryse Gaspard.
Pierre’s fountain of youth is his drive, passion and energy to “work, work, work”. For him, work is liberating and a pleasure. He says he’s bored on holidays.
Well done directors! It’s an entertaining, informative tribute to the life of an extraordinary talent.
THE TAVERNA NEW website review by Jeanette Russell
Thank you for the opportunity to view The Taverna. This is a film directed and written by Alkinos Tsilimidos. The movie was entertaining, as well as witty and engaging. It has been described as a black comedy of sorts. During these unprecedented times, especially here in Victoria, this yarn, Tsilimidos has so cleverly created has been just what the doctor ordered. I am hopeful that we can all soon go back to our lovely cinemas and also that others can have the chance to view, The Taverna, there. To me the show was intriguing, humorous in parts, and lighthearted in other segments.
The storyline is about an evening set within a Greek restaurant. Alkinos Tsilimidos's plot centres around the staff, who all have deeply personal issues that they are grappling with, in regards to their families and loved ones. Our characters evolve as the film progresses. It is quite the night, from catching possums, to kidnappings, of sorts, and belly dancing as entertainment. We are even privy to some dance training, in this regard. As the night unfolds we witness the staff's personalities, colourful and resourceful as they are, come to light.
Alkinos has said of the movie that it's based on a Tavern he has frequented. He informs us that " All the characters are based on people that I know and the idea was to simply place them inside a Greek restaurant for one night to see what could happen.” Tsilimidos has stated about his tale that “Their stories would evoke universal themes around love, migration and displacement ". " These people were in danger. They had to either face certain realities in their lives to enact change or be destined to live in some sort of delusion. This was to become the central theme of the movie.”
Going on further from that he describes that, he wants his viewers to feel a personal relationship with the characters in the narrative. The actors, I believe, did a very noteworthy job. The cast includes Vangelis Mourikis, Rachel Kamath, Senol Mat, Emmanuela Costaras, Emily O’Brien-Brown, Salman Arif, Tottie Goldsmith, Peter Paltos, Maria Mercedes . To me the Taverna is well worth a view. It is always a pleasure to see a Melbourne based show.
DONGS DON'T WEAR PANTS NEW website review by Vellu Khanna
Dogs Don't Wear Pants
An interesting Finnish flick surrounding the life of an ordinary middle-aged man called Juha (played by Pekka Strang), who is a cardio-vascular surgeon at a local hospital, and of how one tragic event leads him down a spiralling chain. Down, in fact, onto the hands of a dominatrix by the name of Mona (Krista Kosonen).
The movie depicts several instances of utmost despair, in which the invoking of Dante Alighieri's 'Divine Comedy', is a fitting parallel to the storyline.
With a fantastic sense of cinematography and the use of colours, the director has brought out every hue of dark and twisted emotions - and, ultimately, of reliving the one, joyous moment that defines our very lives.
Master Cheng takes us on fish out of water journey when a mysterious Chinese man Cheng and his young son arrive in a remote Finnish village town on a mission. Stepping off the bus and arriving at the empty town, Cheng and his son head to the local diner. Cheng is met with blank stares as he repeatedly asks whether anyone knows “Fongtrong” the name of the man he is seeking. His quiet and polite manners clash with the straightforward behaviour of the locals.
The diner owner Sirkka offers them a simple room to stay the night. It doesn’t take too long for Cheng to find an opportunity to pay her back. A bus full of Chinese tourists rock up at the diner, and when they turn their nose up at the regular diner food being served, Cheng offers to cook chicken noodles for them. The noodles prove to be a great success, and the tourists return again the next day for more of Cheng's special cooking. Sirkka strikes up a deal to keep Cheng’s help in the kitchen in exchange for her help trying to locate “Fongtrong”. Cheng’s creative dishes soon begin gaining popularity with the adverse to change locals, and the cultural barriers begin to melt away.
The unlikely connection between Cheng and Sirkka gradually develops as they both reveal past trauma and they are focused on the path to rebuild their lives. While the plot is simple and slowly paced, the charm is in the details and the authenticity of the characters.
The picturesque scenery of the Finnish town is accompanied by a beautiful soundtrack. The enchanting score is so divine that at times I just wanted to close my eyes to zone in my attention.
With countless close ups of appetising dishes, this wonderful heartfelt film is best watched with a full stomach and a box of tissues on standby.
THE PERSONAL HISTORY OF DAVID COPPERFIELD website review by Olga Kirk
The Personal History of David Copperfield, Directed By: Armando Iannucci Written By: Armando Iannucci, Simon Blackwell Stars: Dev Patel, Hugh Laurie
The producer has taken up his own interpretation of the classic work of Charles Dickens. The film tells the story about the life of young David in London in the XIX century. Fate throws the young man many obstacles and problems that he copes with in order to find his happiness. Iannucci loves to twitch, so in his previous films it was hard to see humanism. David Copperfield’s personal story, seems to be for the director as well. In it, he can finally demonstrate all his philanthropy without regard to the laws of genres, whether it be black comedy or political satire. Iannucci's new film is simply a direct injection of kindness into the heart. All his heroes are funny, outcasts, eccentrics, losers and simpletons. But out of their friendship, a story is born that can inspire and console.
A quintessential representation of a man torn apart - stemming from being a fellow Klansmen (Mike Burden, who is the namesake of the movie) in one of the southern states of the US in the mid-1990s. The movie is framed to be a biopic of the Church Reverend (portrayed by the brilliant Forest Whitaker) of the town, who happens to be an African American, and the battle he takes on with the members of the Klan, which is led by Tom Griffin (played by Tom Wilkinson).
Several scenes depict explosive amounts of energy, and it is captivating to note that basal human emotions are beyond colour and creed - one in which the movie advocates through both in its undertones and in stark overtures. 'Burden' is a must-watch for the year.
Making a good quality horror movie is not an easy task. Any horror aficionado will attest to this. There’s such an over-saturation of horror on the market that creating a movie that stands out from the crowd by offering something new or creative is a struggle. At the other end of the spectrum, there are those horror films that are so bad they’re good, and have a loyal cult following of viewers who lovingly laugh at their flaws. Unfortunately, The Wretched doesn’t seem to be interested in either of these camps.
This movie seems to have pulled out a ‘how to make a horror movie’ template and followed it point by point. The main cast are walking, talking clichés and every trope you can possibly think of is used to march the story forward, without anything particularly unique to hook you in. That being said, the monster concept in this movie is an intriguing one – having a supernatural creature which steals people’s skins and memories and inserts itself into their households could have made for a wonderfully dreadful thriller-slash-horror, with the audience not knowing who the creature is impersonating or whose memories can be trusted. Such a build-up of suspense and disquiet would have played to the monster’s strengths and paid off the plot twists at the end with a lot more punch. This movie, on the other hand, decides to point out most of the monster’s abilities in the first five minutes, and then proceeds to show the audience its every step and decision before the main characters even know what’s happening. Without any sort of tension, the jump-scares lack strength (few and far between as they are), and the plot twists fail to deliver the shocks that they’re designed to. Those twists only work if the whole movie has been built around themes of mystery, suspense, and uncertainty. Also hurting its credibility is that the main cast of characters are just not interesting. They only exist to serve in horror movie tropes – take Liam, the father of protagonist Ben (John-Paul Howard). He dips in and out of the story with the sole purpose of highlighting the troubled relationship he has with his son, disappearing between those scenes and never giving us anything more than that. The other characters similarly lack motivations for their decisions, or even proper personalities. The exception to this is Mallory, played by a heartwarming Piper Curda. She at least shows some spunk and a likeable charm that sets her apart from the other characters. Apart from her, I struggled to feel anything for the others being preyed upon by the monster stalking the quiet seaside town.
The Wretched is a bog-standard horror movie with nothing new to say, but features a fascinating monster that could have scared me properly if the movie didn’t insist on telling me its every move. The scares are rare and noticeable from a mile away, and a lot of the character’s motivations make little sense apart from driving the plot forward. Again, a decent horror movie is a diamond-in-the-rough deal, but The Wretched misses the mark on almost every front.
LOVE SARAH Who knew a movie about starting a bakery could bring out so many aspects of the human lives it touches? Every character feels real and normal, and therein lies the beauty of this film. It’s heart-warming and easy-going without throwing a lot of conflict toward the characters; rather it focuses on the personal journeys of each person touched by Sarah’s death. It is interesting to watch a film which revolves around a character whose death occurs in the first minute of the story, but even though Sarah is absent for most of it, her character and personality is felt through each of the characters who knew her. Celia Imrie does a wonderful job of playing Sarah’s estranged mother, as she does wonderfully in every role she’s given. She breathes warm, sympathetic life into the role of absent mother striving to atone for her absence once it’s too late. Gracious and compassionate, watching Mimi open up as the film progresses is a delight. Similarly, Bill Paterson’s performance as inventor Felix could easily have stopped short as the comic relief, but his burgeoning romance with Mimi injects warm humanity and believable flaws into his somewhat exaggerated character. Shelley Conn as Isabella is a very flawed character, easily interpreted as being irrational even as she fights to save her best friend’s bakery, a situation that many others would give up on. While some of Isabella’s choices seem exaggerated for the sake of bringing some sort of conflict into the story, overall Conn’s performance is sincere. Wrapping up the main cast are Shannon Tarbet as Sarah’s daughter Clarissa, and Rupert Penry-Jones as Sarah’s once-lover and fantastic baker Matthew. The subplot surrounding these two characters’ relationship may feel a tad unnecessary but serves to reveal their unique quirks and underlying empathy.
I very much enjoyed ‘Love Sarah’. It is a light and compassionate story about a group of people learning to keep on living even when the very worst happens. It reminds us that there is always something worth living for, some meaning to the complicated jumble of our everyday existences. And sometimes, we have to create that meaning for ourselves, as Clarissa does when she urges Isabella to open the bakery.
Director:Jonathan Jakubowicz, a Venezuelan filmmaker and writer, whose film Secuestro Express was nominated for Best Foreign Language Film at the British Independent Film Awards and was a New York Times "Critics' Pick" in 2005. He is of Polish-Jewish descent
I wasn’t sure what to expect when I decided to review RESISTANCE since I had no prior knowledge of it. Consequently, I was very surprised to learn it was not just “yet another” French resistance/WW11 movie but also a story inspired by the early life of Marcel Marceau.
For those who are not aware, Marcel was a French actor and mime artist, famous for his stage persona as "Bip the Clown". Marcel (22.3.1923 – 22.9.2007) was born in Strasbourg, on the French/German border in the historic region of Alsace, France to a Jewish family. He and his younger brother, Alain, changed their family name of Mangel to "Marceau" during the German occupation of France for obvious reasons.
The "art of silence" was how Marcel referred to mime which he performed professionally worldwide for over 60 years. His first major performance to 3,000 American troops occurred after the liberation of Paris in August 1944.
Released in March 2020, RESISTANCE, a biographical drama, centres on the invasion of France by Nazi Germany. Thousands of young Jewish children were orphaned by the NAZIS. The French Jewish Resistance - Organisation Juive de Combat (OJC) composed of nine clandestine Jewish networks made it one of their objectives to rescue and house Jewish children and adults in safe accommodation in various locations. However as the war developed these sanctuaries were deemed unsafe and a plan was devised to relocate the children over the border to neutral Switzerland.
Marcel was urged to join OJC where he found his unique mime talent an asset in calming and entertaining these psychologically traumatised children. His talent also helped to communicate silence to the children when making their perilous journey first by train and then on foot over the border with the NAZIS hot on their heels, escaping war torn France to hopefully freedom. He worked with the French Resistance during most of World War II, aiding in the salvation of thousands of children during the Holocaust.
Jessie Eisenberg, actor, author, and playwright portrays Marceau. Jessie is best known for playing Facebook founder Mark Zuckerberg in The Social Network (2010), for which he received a BAFTA Award, Golden Globe, and Academy Award nominations in the Best Actor category.
Matthias Schweig plays an extremely convincing Klaus Barbie (Nikolaus Barbie), the SS and Gestapo functionary during the Nazi era known as the "Butcher of Lyon". Assigned to Lyon as the head of the local Gestapo where he established his headquarters, he led a reign of terror till the end of the war. His stomach-turning, brutal methods of interrogation and torture are legendary.
A nail biting, suspenseful movie, worth watching.
RESISTANCE was dedicated to the all the children who lost their lives in WWII.
A WHITE , WHITE DAY BEST MOVIE OF THE MONTH website RATE: 8/10
Iceland landscapes, Tarkovsky style and scared granddaughter...This film will remain unknown to the general public and it's a real pity.
The movie was shot by the Icelandic director Chlinur Palmason, again, not recognised by the wide world attention, but already noted in Cannes and having a number of local, Scandinavian awards for his previous art work “Winter Brothers”. Scandinavia in general is not very rich in big names and of course, Bergman immediately comes to mind while watching this particular film. Palmason, in fact, is only starting off his career and we rely on his strong work in the future. He is definitely very promising director in my own humble opinion.
Hearing the title “A White, White Day” reminded me, the admirer of Tarkovsky's films his original name of the film "Mirror" and his father's poem:
Камень лежит у жасмина. Под этим камнем клад. Отец стоит на дорожке. Белый-белый день.
В цвету серебристый тополь, Центифолия, а за ней -- Вьющиеся розы, Молочная трава.
Никогда я не был Счастливей, чем тогда. Никогда я не был Счастливей, чем тогда.
Вернуться туда невозможно И рассказать нельзя, Как был переполнен блаженством Этот райский сад.
Tarkovsky haunted me for the whole film duration. The film: is like unhurried meditation, with prolonged shots, close-ups of objects. There is symbolism that we can not always understand, we understand it on the level of heart beats. There is an abstract game taking place with colors and light in the film that bewitches you. Tarkovsky's presence is obvious in so many details, even in the tragedy that takes place. The expression “A white, white day” is an Icelandic saying that indicates the time of day at which snow merges with the sky and the dead can communicate with the living. Knowing this, it may be easier to understand some points when you watch the film.
From the first seconds we see a tragedy: a car falling off the cliff. Later we learn that the main character's wife was inside that car. He is a stern northern man, a police chief, a loving father and grandfather. He, Ingimundur is trying to hide away from the tragedy. He builds a house for himself as a symbol of caring for his family and at the same time he builds a shelter from everything external: it is like a coverage fr him from his grief. In addition, he visits a psychologist, who, given the northern mentality and isolation, is actually useless for Ingimundur, but for us it is another way to show the man in sorrow.
Until a certain point, it seems that the action is not taking place and we just observe just an everyday life, filled with internal torment, domestic issues and communication with the granddaughter (by the way, a terrible tale is told to her at night by Ingimundur - one of the most memorable moments of the film). But when he starts to analyse the events that took place with the deceased wife, Ingimundur suddenly realises that she was not loyal to him, he finds some evidence of her betrayal and begins to suspect that death could not be accidental.
This is where the thriller part starts, but the tension is really growing like the storm outside the window. It will be unfair to tell the story further though. I will only say that there will not be a classic denouement and the finale will be quite unpredictable...
There are some awesome artistic tricks present. We return to Tarkovsky again.
I mentioned the unusual lighting and color solutions. The film was shot on a 35mm analog film, which can also be considered to be a tribute to the masters of the past. So, about the symbols in the picture.
The archetype of the house, which we mentioned above, is of great importance for many masters like my beloved Tarkovsky where, again, in his “Mirror” house plays a great symbolic role. House is family a nest of the clan and, at the same time, a man-made creation, an embodiment of the ego. A horse who accidentally enters the house at the very start of the film made it to be immediately "Tarkovsky movie". Tarkovsky often used horses in many of his art works, as the bright image of nature, but nature tamed by man. The main character's unity with nature is shown in all its glory. Nature's presence is overwhelming. It changes with the mood of the characters. It is so powerful in that country. It can not be left unnoticeable. Please also watch how the construction of the house going on: with each step there is a change in the mood of the character, please notice doors, plastic on windows and the windows themselves: how they change from plastic to the glass... and much more. The house is the main character.
White color is the leitmotif of everything: this is also the spiritual purification that Ingimunduk seeks and the innocence of his granddaughter as well as the color of death and the world of the dead.
In fact, all of these images can be argued endlessly. What ever you see in the film for yourself - keep it inside. If it connected you deeply with your spiritual self, the director has done its great work. If now, this film is not for you then...
But... It is better to watch once than to read ten pages of reviews. For those of you, the lovers of Tarkovsky and meditative cinema as well as arthouse movies, and the lovers of Scandinavian films or for those of you who want to expand their film knowledge and artistic knowledge by watching something other than Hollywood, I highly recommend this film.
You will grow.... and this is the only thing Universe wants from you as only through you it cognises itself.