Jurassic World (2015)

“Bringing Rexy Back”

By Chris Olson

****

Untouchable films are hard to find. It seems any film is fair game for a reboot or delayed sequel these days. Just by looking at a list of the recent glut of disappointing films that have bludgeoned film goers with their can-do attitude towards “reinventing” a beloved classic is enough to trigger projectile vomit. When it was announced that Jurassic Park (1993) would be the next victim of this unwanted trend, the internet became awash with denouncement and memes - arguably the most ineffective brand of protest. 

That being said, there was definitely a small contingent of hopefuls that wished to be transported back onto the island where it all began, with that iconic score from John Williams blaring in the background. And, thankfully, the hopefuls can start rubbing their smug memes in everyone’s faces, as Jurassic World is bringing Rexy back…

Set 20 years after the first story, so pretty much in real time, Jurassic World sees a resplendent park open for business, where tourism has not only thrived, but threatens the park with extinction - IRONY. Without bigger and more badass attractions, the owners fear that ticket sales will drop off (this plays like a anathema for cinema itself), and it seems their latest creation could be the answer to their prayers - or, you guessed it, the start of some big trouble in little Isla Nublar. Having spliced the genes of a T-Rex and some unknown creature, the Jurassic World owners have created a formidable beast, grown in isolation, that seems smarter than the average bear. Or indeed average human, as it is not long before this monster escapes from its holding pen and wreaks havoc on the island’s population - both human and dinosaur alike. 

Beautifully balanced and full of spectacular action, this is an absolute return to form for the Jurassic franchise. It contains all of the original’s heart, flair and style, without the ludicrousness of the sequels, whilst bringing something new to the table. The film raises virile themes about our insatiable lust for entertainment, no matter the cost, something which has only deepened since the original two decades ago. Now, with youngsters glued to mobile phones and dependent on technology for immersion, it’s rare that a glorified petting zoo would distract them, even momentarily. However, once the island becomes a literal killing field, with dino carcasses littering the horizon and terrifying pterodactyls patrolling the air, humans find themselves once again pushed down a few notches on the food chain. 

One man, Owen (Chris Pratt), an ex-Navy type now working as a sort of Dinosaur Whisperer, may be the only man up to saving the island from implosion. He takes to a variety of travel methods (motorbike, quad bike, even running) in order to help uptight park coordinator Clair (Bryce Dallas Howard) save her two nephews who have got lost in the fray. 

There is a solid confidence to Jurassic World that keeps it out of the “worst sequels” buzzfeed lists, which it manages by carrying on the strengths of its predecessors. Rather than stubbornly trying to re-imagine Jurassic Park, like a lot of films we could mention, the film follows the rather large dinosaur footprints laid out for it, without veering too far off course. The film is built on these big action sequences, terrifying scrapes, and the magnificence of these creatures who still hold a primeval interest for all of us. This, coupled with the lush score and kept-in-check comedy makes for an incredibly intelligent movie. 

Given the smorgasbord of smash hits on its way to UK cinemas (AntMan, Terminator: Genysis, Fantastic 4 etc), Jurassic World was always going to have to blow us out of the water - perhaps by using the massive dino-fish in the trailer, but few could have predicted the deep-felt reverberations of its mighty stamp on 2015. This is the film to beat so far, the one that could see Marvel in a mini ice age of its own…

Woodfalls

Littered with strong performances and emotionally-arresting scenes of drama and violence, Woodfalls depicts a volatile clash of cultures that is as topical as it is brutal. 

Damon (Gareth Bennett-Ryan) and his pals stand around a pub quiz machine, drinking pints of lager. Across the day-lit bar sits a solitary man called Billy (Matthew Ferdenzi), sipping his own beer in relative peace. One coughed-up phlegm later, and Billy is squaring up against Damon and his pals in the car park, defending himself against flying punches and flick-knives. 

The reason for the vicious attack? Billy comes from a community of travellers, cruelly labelled “gypsies” and “pikeys” by Damon, and the tension between the locals and the new arrivals is just getting started. 

With a penchant for intense realism and harrowing savagery, David Campion’s film (which he wrote and directed), has a lot in common with the films of Guy Ritchie, whilst keeping one-hand firmly grasped on the pulsating themes that add a great deal of pathos to the proceedings. Like the best of Brit-flicks, Woodfalls pulls no punches, delivering on every count: sex, violence, swearing, and even a poster that says “I (heart) Clunge” - this film is not trying to cater for the masses, it has a distinct ambition and reaches it with attitude. 

By dealing with social disfranchisement, the film could have ended up as a pastiche of blended clichés and stereotypes, but the characters of Woodfalls are well defined and thoughtfully complex. There is a constant sense of threat during this indie film that makes a hostile atmosphere throughout for the viewer, and the friction between the varying social cretins that litter the streets is terribly entertaining.

There is a ballsy and pounding techno soundtrack that complements the tone of the film perfectly, offering authenticity to the film without compromising on substance. Very often, indie films must submit to a lesser score of ill-chosen “beats”, Woodfalls, luckily, avoids such a misfires. From the strong opening sequence to the close, music is there to add bulk and muscle to an already rough-and-tough plot.

A little on the dark and dank side for some, fans of gritty-Britty films like Trainspotting (1996) and Snatch (2000) will enjoy the spills of the underbelly as it is torn open before our eyes, revealing the terrifying social angst which can turn a social divide into a purely hateful conflict. 

More indie film reviews at: www.ukfilmreview.co.uk

Bus Stop - short film review for UK Film Review.

"A Tale of Two Sitters"

Review by Chris Olson

Most people’s experiences of bus stops are far from glamorous. I think I speak without hyperbole when I say that almost every, single bus stop in the UK has an immovable fragrance of urine and at least one man who wears a pigeon as a hat. However, this short film from Jamie Sims captures the beautiful possibilities that present themselves to us every day in our lives, if only we let ourselves engage with them. 

Sitting at a bus stop one day is Henry (Sam Underwood), a young man carrying a box of his belongings from the job he has just been fired from. Alexa (Valorie Curry) joins him on the bus stop bench, on the phone to her boyfriend whom she is in the middle of a domestic spat with. After an awkward introduction of Henry pretending to listen to music on his phone as to not impeach on Alexa’s private call, the two start chatting and realise that they are both in what most would call a bad point in their lives. 

However, deciding to look at the world on its head, Henry and Alexa choose the path more sunnier and go on a sightseeing tour of…Woking. They enjoy a freedom which comes only from meeting a stranger, a freedom without any personal baggage. However, like most bus routes, the end of the line is never a pretty sight.  

With a dedication to character and script, Sims delivers an embracing and enchanting tale of two sitters. The chemistry between Curry and Underwood will hook you in, and their poignant tale of fate and chance will keep you seated at all times. The two characters seem captivated by the other, revelling in the unknown and mystery of the situation, which makes for a very enjoyable short film. Curry in particular delivers a remarkable performance, splendid throughout. 

There is a depth of emotion to the framing which invokes a very intimate feeling, capturing these two offset strangers with perfect balance. A lovely sprinkling of music from Ursine Vulpine intertwines the scenes, giving the tone a nostalgic element which reinforces the timelessness of the plot. 

The conclusion may leave some feeling overcharged for this journey, but I for one would like to see a return trip (by which I mean a sequel, sorry, these bus metaphors are getting out of hand). It is a vibrant and life-affirming film that captures the essence of spontaneity, without feeling too clichéd. 

UK Film Review - Cannibals & Carpet Fitters

Cannibals & Carpet Fitters

Directed by James Bushe

A quirky British comedy with about two carpet fitters, Colin (Darren Sean Enright) and Dean (Richard Lee O’Donnell) who…ahem…have the rug pulled from under them when one of their customers, a sweet old lady (Jenny Stokes), turns out to be hiding a ghastly secret beneath the floorboards of her Downton-Abbey-style abode. 

Set in a picturesque stately home, Cannibals & Carpet Fitters has a wonderful combination of quintessential British charm and comedy - it is witty and weird in perfect unison. Some of the one-liners are bust-a-gut funny - for example when Dean confuses Josef Friztl with a pretzel. 

There is an eeriness about this short film from Bushe that captures the darkness and wackiness of something like The League of Gentlemen. Bushe’s filmmaking skills are a true talent to observe, with a superb dedication to using a variety of framing methods, and the result is a film which looks utterly top standard. 

This is a vibrant and show-stopping comedy that would make a fantastic horror-comedy feature, which may well be the plan. It has excellent characters, a brilliant blend of guts and gags, and two lead performers who spark well off each other.The music is well chosen, adding to the light heartedness of the atmosphere, and it adds a great sense of joviality to the two main characters bouncing along in their van - reminiscent of Peter Kay’s Pheonix Nights. 

Some may find the barmy buffoonery of Colin and Dean far below their reach, and others may dislike the way the film blends genres, however, refined taste is all well and good, but whether laying carpet or making a film the same ethos is always true - always check your customer is not a psychotic maniac looking to feed you to her underground monster! And have fun doing it.

Visit www.ukfilmreview.co.uk for more film reviews.

Ave Maria - Short Film reviewed for UK Film Review

Stark and brutal, Ave Maria is Skip Shea’s silent short film that depicts a torture scene in a New England wood, where the victim is a man of the cloth. 

David Graziano plays the aforementioned clergyman, who awakens to find himself tied naked to a chair, without a seat, surrounded by masked women wielding some eye-wincingly terrifying tools. With nothing but Alessandro Moreschi’s “Ave Maria” playing in the background, the man is subjected to horrific violence (not on camera), in a frank response to the controversial topic of sex abuse committed by religious officials. 

With the style of the short film harking back to classic silent cinema, Ave Maria has an engrossing combination of whimsical aloofness and dark horror. The violent and disturbing scenes of torture and ritual are carried out in a way which seems incredibly uncomfortable against the natural backdrop of the woods, and the crackling sounds of “Ave Maria”. This essence of unnatural tension reinforces the themes of the story perfectly. 

A special mention must be given to Director of Photography Nolan Yee - whose splendid use of close-ups and an array of framing techniques make the film a visual treat. 

The masked woman may have been more effective had they shed their anonymity at some point, making a gesture for the victims of such atrocious crimes. This would also have developed the story beyond a simple revenge fantasy. 

That being said, Shea’s film is deeply troubling (in a good way), and Graziano delivers a strong performance as the lead, yet doomed, character. Aurora Grabill is also worth watching, in a role which seems bewilderingly intriguing.

Fans of short films and classic cinema will be in their element with Shea’s affecting and thought-provoking movie, although squeamish viewers may want to bring a bag.

Male viewers will probably want to cross their legs. 

More film reviews at www.ukfilmreview.co.uk

Support Indie Film - UK Film Review

UK Film Review now have a selection of 3 UK Kickstarter film projects which need support.

You can check them all out here: http://www.ukfilmreview.co.uk/#!support-indie-film/cnam

But, here is a quick run-down of the three amazing projects:

LAB RATS

A short body horror filled with practical effects - expect melting faces and exploding limbs!

Synopsis: Kat and her eco-warrior friends embark on a mission to expose the international bio-chemistry company, Ring-Amnion, as liars after a tip-off that they ran an animal testing lab - despite their public profile claiming otherwise.

The gang, and Kat's 20,000 followers, are eager to find out what Ring-Amnion have been hiding as they break into an old building, but they aren't prepared for what they find inside...

MAYA

Maya is a horror feature film about jinn possession shot on location in Pakistan in the Urdu/Hindi language, subtitled in English. It follows the life of a young girl in her early twenties, Maya, and a traumatic event that happens in her childhood revolving around urban legends/stories about jinn (fire demons from Islamic scripture). The film follows her as an adult as she tries to piece together her childhood whilst surviving her present. 

Current challenges include hitting deadlines whilst in post-production - Editing, subtitling, Colour Grading, Sound Design and Music Composition. They're aiming to have everything done by May in time for their first festival entry. Any setbacks would most likely stem from technology and equipment, however they have a solid team working together, which will help resolve any matters quickly.

Directed by: K Pervaiz

 

LIKE THE DEAD 

 

Like The Dead is a short film series that tells the tale of a man (Will McCabe) reliving the same day again and again in different ways, always with the same outcome:  The grisly murder of his girlfriend (Sian Gordon).

The first three 2-5 min shorts set up the environment and the repetition that he is living.  Looking past the bloodshed, there is something behind those haunted eyes.  There is more to the tale than is immediately apparent.

The final 20-min short that we are raising money to film provides the answers we are looking for, and raises a few more questions.  We find out who this man and woman are.  We finally see how he is living like the dead.  Asleep from reality.  Escaping.

Check out the UK Film Review #supportindiefilm page for more: http://www.ukfilmreview.co.uk/#!support-indie-film/cnam

 

UK Film Review - Short Film - "Aftermath"

Bleak and atmospheric, Aftermath (or Akibet in its original, Turkish title), depicts an intense short story about grief and the “painful truth of life”.

Damla (Gizem Aybike Sahin) and her unnamed sibling (Berkan Uygun) are trying to cope with the death of their parents in very different ways. The traumatic experience has left them distraught, and the need to lean on family during times of strife is a strong theme during the film. Damla’s attempts to bring her brother back from the edge of oblivion are met with heartbreaking stoicism, which only ends up causing another devastating tragedy.

As the pair struggle to find an anchor, it becomes clear that without a solid companion for dependency, both are lost in different ways.

Enduring themes of loss and coping mechanisms are pelted at the audience, with a beautifully moody score and a pointed and effective script. The film, from Tofic Rzayev, delivers a powerful punch in its short, 8-minute run-time that most films fail to produce in a feature length.

Aftermath is a beautifully shot and well-produced short film that leaves a distinct aftertaste for any discerning viewer.

A little more development on the story and its fallout would have been appreciated, however this is just evidence of Rzayev’s expertise - giving you such powerful flavours, leaving you desperate for more.

One of UK Film Review’s top short films this year, Aftermath is a lesson in short film-making.


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Aloha - Movie Trailer

Trailer for new film Aloha - starring Bradley Cooper, Emma Stone, Bill Murray, Rachel McAdams, and...Alec Baldwin!

http://youtu.be/lPU3uoXcLBU

Short Film Review - UK Film Review

FLUX

“Choreography Geography”
Review by Chris Olson

Three separate dancers perform mesmerising routines across different locations, ranging from urban landscapes to a lonely dance studio.

Dance as a modern expressionistic art form exploded a while back, with dance troops forming orderly lines at every talent show across the UK, hoping to be the next Diversity. However, what was missing from most of the groups as they flung their members across arenas to mash-ups of pop/techno songs was substance. Few communicated anything other than a desire to wow with acrobatics, lacking in any emotional connection between the dancers and the routine.

Flux, a short film from Patrick Ryder and Alex Brock, dishes out more inspiration in its two-and-a-half minutes run-time than an entire series of Britain’s Got Talent!

The three dancers, vastly different in look, style and location, not only display fantastic skill in their choreography and execution, but deliver a worthwhile portrayal of the competing themes represented through dance. At once a lonely and isolating scene, seeing an individual dancing with no one around them in a deserted location, Flux can also be seen as a collective. These three dancers seem to be moving in unison (even with different styles), expressing an inner urge that needs no words.

Also, there exists a contrast between the fantastic moves shown by these talented performers and the fact that there is no audience. Not even passers-by. This juxtaposition between art and fame is revealed in such a short space of time most will miss it, but that's what appeals from filmmakers like Ryder and Brock who pack a quick punch to their short films.

With a pounding soundtrack that rises towards a beautiful climax, Flux maintains high levels of passion and emotion without relying on inevitable falls to build momentum.

Hats off to Xue Zhang, Ellena Louise Austin, and Hannah Barron for their outstanding performances - in the truest sense of the word.


More reviews at www.ukfilmreview.co.uk

Under The Dark Wing
Directed by Christopher Di Nunzio

Shot in a moody, film noir style, Under the Dark Wing is a combination of crime and supernatural. Three characters intertwine in the gangster-land world of this criminal underbelly: a chicken-wing eating Don called George (David Graziano), an ex-junkie called Johnny (Fiore Leo), and a mysterious woman (Jessy Row) whom Johnny fails to “eliminate” during a hit.

Torn between his ethics and his loyalties to George, Johnny falls into a spiral of despair and looks to his old ways to help him cope. In a powerful drug-taking scene, Under the Dark Wing proves its mettle in delving into the crime genre.

Di Nunzio’s stylistic choices make this a worthwhile watch for fans of short films, in particular for those who enjoy gritty urban fables and character exploration. The odd use of close-up, like when George is eating chicken wings, is a fantastic method of creating dislike for his character, whilst the long, static shot of Johnny preparing to shoot-up is equally as effective, making the viewer feel increasingly uncomfortable as its moral anchor slips into chaos.

Sound is used well, creating a tense atmosphere, in particular the church bells behind Johnny’s drug-taking, and the loud crunching of leaves when a goon (Keith Bennett) approached the mysterious woman.

Arguably, the clichéd mobster (George) is little on the nose, but Graziano still comes across as believable and a decent script elevates his performance above the usual contrived claptrap that passes for modern, urban cinema. Leo is also worthy of mention, in particular in the more dramatic sequences.

The themes of innocence versus purity, and the ambiguity of morality are pulsating throughout the movie, and make it extremely compelling. Very watchable stuff.

More reviews at: www.ukfilmreview.co.uk