Category: Romance

24Jan

[FILM REVIEW] HAPPIEST SEASON Review (2020)

Posted in Comedy, Drama, Film, Film Genre, Home Page, Romance | Leave a comment

Summary: Abby thinks her relationship with Harper is perfect but all that changes when they go to Harper’s family home for Christmas and Abby learns that her parents don’t even know she is gay.

Year: 2020

Cinema Release Dates: 20th December 2020 (Australia), 4th February 2021 (Thailand)

VOD Release Dates: 26th November 2020 (UK), 25th November 2020 (USA)

Country: USA, Canada

Director: Clea DuVall

Screenwriter: Clea DuVall, Mary Holland

Cast: Chelsea Banglesdorf (Colleen the Hostess), Sarayu Blue (Carolyn McCoy), Alison Brie (Sloane), Michelle Buteau (Trudy), Mackenzie Davis (Harper), Victor Garber (Ted), Ana Gasteyer (Harry Levin), Jenny Gulley (Ashley), Caroline Harris (Kelly), Jerrick Hoffer (Em K. Ultra), Mary Holland (Jane), Daryn Kahn (Todd), Lauren Lapkus (Mall Security Crystal), Dominque Lawson (Levi), Dan Levy (John), Jake McDorman (Connor), Burl Moseley (Eric), Anis N’Dobe (Matilda), Matt Newell (Guard Eugene), Aubrey Plaza (Riley Johnson), Benjamin Putnam (Miss L’Teau), Timothy Simons (Mall Security Ed), Mary Steenburgen (Tipper), Kristen Stewart (Abby)

Running Time: 102 mins

Classification: M (Australia), 12 (UK), PG-13 (USA)

OUR HAPPIEST SEASON REVIEWS

David Griffiths’ Happiest Season Review:

Yes it is almost February but the Christmas movies just keep coming this year. Now it is time for Happiest Season to be released in Phuket and one thing about this film should tell you straight away that this film is not going to be ‘just another Christmas movie’ – and that is the fact that it stars Kristen Stewart.

Stewart is an actress that we should all feel sorry for. Most people still unfairly refer to her as the ‘Twilight girl’ despite the fact that she had a pretty decent filmography behind her before she stepped into the shoes of Bella Swan and since that outing has made a number of more serious cinematic classics Cafe Society and Clouds Of Sils Maria. Yes, she also made Charlie’s Angels but we will give her a free pass for that one because she is one actress that normally knows how to pick a film with an interesting script.

In Happiest Season she plays Abby, a young gay woman in a relationship with the love of her life, Harper (Mackenzie Davis – Blade Runner 2049), but hasn’t really celebrated Christmas since the death of her parents several years before. In a moment of Christmas spirit Harper invites Abby to go and spend Christmas with her family but then instantly regrets it when the next day she remembers that she has never told her parents she is gay.

The pair create a story that Abby is Harper’s orphaned house-mate and Harper promises to tell her parents the truth after Christmas. But then when they arrive they discover that Harper’s father, Ted (Victor Garber – Titanic), is mounting a political campaign for Mayor fuelled by her mother, Tipper (Mary Steenburgen – Step Brothers), who is in full campaign mode. But as the weekend goes on Abby sees a darker side to Harper as she competes with her sister (Alison Brie – Community) and continues to hurt Abby.

As Abby then finds herself confused by her relationship and Harper’s attitude she finds herself listening more and more to her best friend, John (Dan Levy – Schitt’s Creek), and Harper’s ex Riley (Aubrey Plaza – Ingrid Goes West).

Just like Last Christmas last year Happiest Season is the kind of Christmas film that even the most seasons cinema-goer can enjoy. Director/screen-writer Clea DuVall (The Intervention) makes sure that there is no cheesy Christmas moments in the film – instead she has created serious relationship drama that at times contains just as much suspense as a thriller.

Dave’s rating Out Of 5

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05Jan

[FILM REVIEW] WORDS ON BATHROOM WALLS Review (2020)

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Summary: A young teenager, who is obsessed with cooking, suddenly finds himself having to battle schizophrenia during his senior year at High School.

Year: 2020

Cinema Release Dates: 10th December 2020 (Australia), 6th November 2020 (UK), 21st August 2020 (USA)

VOD Release Dates: TBA

Country: USA

Director: Thor Freudenthal

Screenwriter: Nick Naveda, Julia Walton (based on the book by)

Cast: Cruz Abelita (Danny), Devon Bostick (Joaquin), Aaron Dominguez (Todd), Reinaldo Fabrelle (Manuel), Andy Garcia (Father Patrick), Walton Goggins (Paul), Beth Grant (Sister Catherine), Latifa McIaney (Monica), Molly Parker (Beth), Charlie Plummer (Adam), AnnaSophia Robb (Rebecca), Taylor Russell (Maya), Drew Scheid (Ted), Lobo Sebastian (The Bodyguard), Evan Whitten (Ricky)

Running Time: 110 mins

Classification: M (Australia), 12A (UK), PG-13 (USA)

OUR WORDS ON BATHROOM WALLS REVIEWS

David Griffiths’ Words On Bathroom Walls Review:

There have been some amazing films made about mental illness over the years. Films like Girl, Interrupted and Rain Man have managed to be both entertaining films while exploring mental illness in such a way that they also educated the people watching the film. Now another film joins that list, Words On Bathroom Walls, but this is also a film with a difference because director Thor Freudenthal (Percy Jackson: Sea Of Monsters) finds creative ways to reveal how a teenager with schizophrenia sees the world.

The teenager at hand is Adam (Charlie Plummer – Lean On Pete) who lived a pretty regular life with his mother (Molly Parker – The Wicker Man), then all of a sudden everything changed. First his mother began dating Paul (Walton Goggins – The Shield) and then after a violent episode at his High School Adam suddenly finds himself diagnosed with schizophrenia.

Now his constant companions are the rude and obnoxious Joaquin (Devon Bostick – The 100), the violent Bodyguard (Lobo Sebastian – The Longest Yard) who seemingly wants to protect Adam whenever he feels threatened and the free-spirited Rebecca (AnnaSophia Robb – The Way Way Back) who surprisingly seems to be full of good ideas.

That’s when the pressure really hits Adam. Suddenly he is at a new school on a strict probation and although he quickly makes friends with Maya (Taylor Russell – Waves) he finds that he can’t tell her about his schizophrenia. Now he has to try and find a way to keep his life together while undertaking a medical trial while the only person he can be honest with is Father Patrick (Andy Garcia – Ocean’s Eleven).

What sets Words On Bathroom Walls apart from most other movies about mental illness is the fact that the film is not simply just ABOUT a character with schizophrenia it is a film written and viewed FROM the perspective of the person with the mental illness. The result is purely unbelievable. The genius of the idea best comes to the screen when Adam is being interviewed by the Head Nun at his new High School while in Adam’s mind the office around them is on fire. The way the scene is handled by Thor Freudenthal is absolutely amazing – visually it is spectacular and for once the audience gets to see how the world through the eyes of someone with schizophrenia… I know for me that visual with stay with me for a long time.

One of the amazing things about this film is that while at its very heart Nick Naveda’s (Say You Will) screenplay is a teenage romance the film goes a lot deeper than that. It has the visual presence of a film like Fight Club while the full rounded characterisation of the characters gives the feel a realism that so few teenage films have.

Those well-rounded characters also give the cast a chance to shine. As many of us who had already seen Looking For Alaska and Lean On Pete knew Charlie Plummer is the future Leonardo DiCaprio. He is amazing actor who just gets stronger and stronger with every performance, but it is easy to see that he has already captured the art of method acting brilliantly well. Here his performance is very reminiscent of the work of a young DiCaprio in The Basketball Diaries.

Plummer is also well supported by Taylor Russell who also put in a hopefully award-winning performance in Waves earlier this year. Walton Goggins also relishes the fact that he gets to play one of the film’s most interesting characters while Andy Garcia is a real stand-out as Father Patrick… one of the more conventional priests to hit the big screen over the past few years.

Words On Bathroom Walls is one of the surprise films of 2020. I went into this expecting just an ordinary teenage drama and came out of firmly believing that I had just seen one of the films of the year. An amazing film that gives the world an insight that they would not normally have while also revealing that there is more to Thor Freudenthal as a director that we may have previously thought.

Dave’s rating Out Of 5

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03Jan

[FILM REVIEW] ON THE ROCKS Review (2020)

Posted in Comedy, Drama, Film, Film Genre, Home Page, Romance | Leave a comment

Summary: When a woman suspects her husband of having an affair with one of his colleagues she enlists the help of her adulterous father to help her investigate.

Year: 2020

Cinema Release Dates: 2nd October 2020 (Australia), 2nd October 2020 (UK), 2nd October 2020 (USA)

VOD Release Dates: 23rd October 2020 (Australia), 23rd October 2020 (UK), 23rd October 2020 (USA)

Country: USA

Director: Sofia Coppola

Screenwriter: Sofia Coppola

Cast: Barbara Bain (Gran), Zoe Bullock (Jenna), Julianna Canfield (Amanda), Alva Chinn (Diane), Nadia Dajani (Kelly), Grayson Eddey (Milo), Lucie Fleming (Lucy), Elizabeth Guindi (Carla), Jessica Henwick (Fiona), Rashida Jones (Laura), Mike Keller (Officer Callaghan), Ximena Lamadrid (Mandy), Bill Murray (Felix), Liyanna Muscat (Maya), Musto Pelinkovicci (Musto), Alexandra Mary Reimer (Theo), Anna Chanel Reimer (Theo), Jenny Slate (Vanessa), Marlon Wayans (Dean), Chase Sui Wonders (Chase), Evangeline Young (Miss Mindy)

Running Time: 96 mins

Classification: M (Australia), 12 (UK), R (USA)

OUR ON THE ROCKS REVIEWS

David Griffiths’ On The Rocks Review:

When it comes to cinema, bigger isn’t always better. In fact sometimes something very simple can be the best. Sure big explosions and car chases are fun, but nothing works quite as well as a simple film that is just easy to sit back and enjoy. Filmmaker Sofia Coppola (The Virgin Suicides) has been making those kinds of films for over twenty-years now and to be really honest should be included as one of the finest directors in Hollywood at the moment. A quick scan over her career has reveals a number of cult classics like Lost In Translation and The Bling Ring while her last film, The Beguiled, I felt was one of the most under-rated films of 2017.

Now Coppola returns with the simplistic but deeply captivating On The Rocks – a film that instinctly feels more French or Italian than it does American… and I mean that with the very best of intentions. Yes, On The Rocks is a reminder of just how good American cinema can be when in the hands of someone as talented as Coppola and isn’t just trying to fit another movie into a franchise or launch the career of the latest ‘it’ actor or actress.

Set in modern day New York On The Rocks finds successful writer and busy mother, Laura (Rashida Jones – The Social Network), in a quandary. On one hand she feels under-valued in her marriage to her husband, Dean (Marlon Wayans – White Chicks), as his work takes him to exotic destinations and fancy restaurants while she stays home to be ‘mom’, yet she doesn’t say anything because she doesn’t want to rock the boat.

The tension inside her though rises when she becomes suspicious that he may be having an affair with his leggy colleague. Not sure what to do she asks her father, a womanising Art Dealer named Felix (Bill Murray – Moonrise Kingdom) for advice – after all with the number of affairs that he has had he should be an expert on what to look for.

Coppola’s plot does seem simple enough but she does something absolutely magical with it and the result is something beautiful. She uses New York as her canvas brilliantly well and brings a wit to her characters that is normally reserved for one of my favourite filmmakers – the legendary Woody Allen. Through sheer screenwriting brilliance, that will leave any budding screenwriter jealous, Coppola weaves in themes including juggling motherhood with working and how to deal with the dilemma of confronting a cheating partner all while keeping the audience on the edge of their seat as they try to figure out if Dean is cheating or will discover Laura and Felix spying on him.

Perhaps the real genius of this screenplay though is bringing in the amazing storyline of a daughter bonding with her father for the first time in years while they both play ‘detective’. It is obvious that in early scenes that Laura only sees him as an adulterous traitor but as she spends time with him that clearly changes as she really talks to him and finds out his side of the story. That plot also allows Murray to deliver one of his best acting performances in years. At times this storyline makes you feel like you are watching a buddy-cop movie without the badges as Laura and Felix do their own detective work and it is those scenes that make up most of the film’s most magical and memorable moments.

Back to the Allen-esque dialogue and characters though. This was not something that you would normally expect from Coppola. Here she brings a character to screen that most filmmakers would have just prevented as a prick. Instead somehow Coppola works her magic and makes Felix a likable character, something that is only enhanced by a brilliant performance by Murray who shines in every scene with Jones, and together the pair create something memorable. That scene where Felix is pulled over by the cops shows Coppola’s screenwriting is now some of the best in the world as it delivers a barrage of quick-witted humour

Suspenseful, quirky but most importantly full of heart On The Rocks is one of those films that that you know you will return to over and over when you need a comfort film. It is simple but it is American cinema at its best.

Dave’s rating Out Of 5

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03Jan

[FILM REVIEW] AFTER WE COLLIDED Review (2020)

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Summary: Tessa and Hardin continue to have ups and downs in their relationship as Tessa settles into a job she loves and Hardin tries to get his life together.

Year: 2020

Cinema Release Dates: 10th September (Australia), 4th September 2020 (UK), 23rd October 2020 (USA)

VOD Release Dates: TBA

Country: USA

Director: Roger Kumble

Screenwriter: Mario Celaya, Anna Todd

Cast: Dylan Arnold (Noah), Stuart Berehns (Ron), Selma Blair (Carol), Feng Chao (Kevin), Taylor Conrod (Paige), Vanessa Dubasso (Ally), Rob Estes (King), John Jackson Hunter (Young Hardin), Candice King (Kimberley), Josephine Langford (Tessa), Samuel Larsen (Zed), Louise Lombard (Trish), Shane Paul McGhie (Landon), Pia Mia (Tristan), Constance Payne (Zoe), Max Ragone (Smith), Sarah Rossman (Nadia), Innana Sarkis (Molly), John W. Sparks (Santa Claus), Dylan Sprouse (Trevor), Khadijha Red Thunder (Steph), Hero Fiennes Tiffin (Hardin), Charlie Weber (Christian Vance), Karimah Westbrook (Karen), Ariel Yasmine (Jamie)

Running Time: 105 mins

Classification: M (Australia), 15 (UK), R (USA)

OUR AFTER WE COLLIDED REVIEWS

David Griffiths’ After We Collided Review:

Have sex. Have a fight. Have sex again. Fight again. There you go, I have pretty much saved you from having to waste 100 minutes of your life on After We Collided because that is the sequence of events that play out on repeat all throughout the movie.

That might sound harsh, but I am sorry this film really deserves it because even shows like Dawson’s Creek and One Tree Hill never had as much teenage angst as this film manages to deliver to the screen. Of course I probably should never have expected more – the first film in this franchise, simply titled After, was a blatant rip-off of Cruel Intentions which of course in itself was a teenage remake of Dangerous Liaisons which in turn was a remake of a French film (lost yet???) – the difference being that Cruel Intentions is one of my favourite teenage movies of all time while After is something that I hope I never have to endure again.

Instead of distancing itself from the C.I. comparison part of the ‘improvements’ that the studio brought to the table for After We Collided was bringing on board Roger Kumble to direct… who of course was the man who directed the Cruel Intentions movie, its sequel and subsequent television show. I really don’t know what to say other than – they really didn’t think that through, did they?

Really, the only change I noticed this time around was that Kumble has given the film a more adult edge. Now the two young lovers – Tessa (Josephine Langford – Intro The Dark) and Hardin (Hero Fiennes Tiffin – Harry Potter And The Half-Blood Prince) – use adult cuss words and have sex… a lot. The script is still bad, Hero Fiennes Tiffin still isn’t believable as a bad boy and as a result the movie suffers on all levels just as its predecessor did.

Plot-wise the movie picks up just a month after the grand finale of the first film which saw Tessa learn that Hardin only slept with her as part of a bet to take her virginity and no matter how often he declares it she doesn’t believe he loves her. Now Hardin is still heart-broken and deals with his pain by getting tattoo while sober (yep the screenwriter wants you to believe that’s what bad boys do) while Tessa is moving on with her life and becoming an intern at a publishing company… wait isn’t that just Fifty Shades Of Grey without the whips and chains???

From there it feels like the movie is on repeat. Tessa’s mother still don’t like Hardin, they reconcile, they have sex, they fight, they reconcile, they have sex again… and yes it seriously happens four or five time throughout the film. Oh and we finally see Hardin’s mother – played by Louise Lombard (CSI) – and she likes Tessa. Did I mention that Tessa and Hardin have sex a lot and anywhere they like – in bed, in the shower, at her work, in other people’s beds… like I said anywhere they want.

To say nothing much happens in the film is an understatement and it felt wherever I looked I just saw other movies that the film ‘borrowed’ from. This time around Hardin’s wardrobe is the same as Sebastian’s in Cruel Intentions and Hero Fiennes Tiffin just does not work as a bad guy no matter how the screenwriters try to change that.

Bringing Roger Kumble on board should have made After We Collided a better film but suddenly nothing was ever going to save this bomb. Josephine Langford puts in a good acting performance but is badly let down by a screenplay that goes nowhere – the result is badly written film with so many sex scenes it feels like you are watching soft-core porn. Check my worst films list of 2020 and you can guarantee that this will be on it.

Dave’s rating Out Of 5

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02Jan

[FILM REVIEW] SUPERINTELLIGENCE Review (2020)

Posted in Comedy, Film, Film Genre, Home Page, Romance, Sci-Fi / Fantasy | Leave a comment

Summary: An ‘average’ woman suddenly finds herself being followed by an A.I. who informs her that by watching her he will decide whether he is going to end humanity or not.

Year: 2020

Cinema Release Dates: 17th December 2020 (Australia)11th December 2020 (UK)

VOD Release Dates: 26th November 2020 (USA)

Country: USA

Director: Ben Falcone

Screenwriter: Steve Mallory

Cast: Usman Ally (Sergei), Mac Alsfeld (Fletcher Dobbs), Sarah Baker (Emily), Michael Beach (General Saul Gomez), Patrick Bristow (Digitel Superintelligence (voice)), Tommy Campbell (Army Major Irvine), Bobby Cannavale (George), James Corden (Voice Of Superintelligence/himself), Nigel Crocker (Airman (Birdman) Brayton), William Daniels (KITT (voice)), Ben Falcone (Agent Charles Kuiper), Eduardo Franco (Todd), Ken Griffey Jnr. (himself), Bryan Tyree Henry (Dennis), Damon Jones (Victor), Jay Lay (Jay), Andrew Tinpo Lee (Mr. Peacock), Steve Mallory (Dean), Melissa McCarthy (Carol), John McKissic (Rico), Courtney Patterson (Carla), Jenny Perusich (Helga), Greg Puckett (Sergeant Cross), Sam Richardson (Agent John Donahue), Jean Smart (President Monahan), Karan Soni (Ahmed), Octavia Spencer (Female Superintelligence (voice)), Jessica St. Clair (Leslie), Rachel Ticoton (Director Tyson), Caroline Trahan (Waitress Debbie)

Running Time: 106 mins

Classification: PG (Australia), PG (UK), PG (USA)

OUR SUPERINTELLIGENCE REVIEWS

David Griffiths’ Superintelligence Review:

I will always be the first to admit that I am somewhat of a hard marker when it comes to comedy. I love stand-up comedy –  I can watch it for hours – yet when it comes to comedy in cinema a majority of films just don’t do it for me. For some reason most of the comedies watch don’t even get a chuckle out of me… and it is normally because they are trying too hard to get their audience to laugh.

That is why it surprises me when very, very simple comedies like Superintelligence work for me. The plot for this film is so simple it is ridiculous yet somehow the film worked for me, largely due to the fact that it never pushes too hard for a laugh yet somehow made me chuckle once or twice anyway.

Directed by Ben Falcone (Tammy) Superintelligence centres around Carol (Melissa McCarthy – Brides Maids) who since losing her job at Yahoo has done what she has can to help a number of charities. During that time she also broke up with the love of her life, the baseball mad writer George (Bobby Cannavale – Ant-Man), and that is something she deeply regrets. Despite how hard her best friend, the very kind Dennis (Brian Tyree Henry – Widows), pushes her Carol just can’t get her life back together.

Her life is then turned completely upside down though when she is suddenly stalked by an A.I (voiced by James Corden – Trolls) who announces that he is going to watch her to learn about humanity. If he likes what he sees he will spare humanity and if he doesn’t he is more than willing to wipe out the entire planet.

Despite the fact the film is a comedy Steve Mallory’s (Life Of The Party) screenplay does take the audience through a wave of emotions. Yes there are times during this film when you will laugh, but there will also be times when you are close to tears and even on the edge of your seat. While this doesn’t seem like the kind of film that I would normally describe this way – this is a very well-rounded film.

There is a really natural feel to this film and McCarthy is a good enough actress to further enhance that feeling. She doesn’t try to overact or work too hard to get a laugh here. Yes, she does her ‘talk to herself’ stick that seems to follow her into every film but for the most part she plays the well-meaning Carol exceptionally well and the scenes that she shares with Bobby Cannavale are filled with emotion. Given the circumstances that the two characters find themselves in, those are the scenes that will see you reaching for the nearest packet of tissues.

What surprised me the most about this film though was the suspense that was generated throughout the film. By the time you reach the half-way mark of this film you soon start to realise that this is not going to be a film where the ending is easily predictable. In a lot of ways that sense of suspense and emotion that this film created reminded me a lot of the Steve Carrell film Seeking A Friend For The End Of The World, and yes that was another film that I fell in love with.

I guess the best way for me to sum up how I felt about Superintelligence was surprised. I expected absolutely nothing from this film but somehow it ended up giving me a delightful afternoon filled with emotion. You certainly wouldn’t be wasting your time giving this film a viewing.

Dave’s rating Out Of 5

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23Dec

[FILM INTERVIEW] WONDER WOMAN 1984 – Chris Pine Interview

Posted in Action, Adventure, Film, Film Genre, Home Page, Interviews, Romance, Sci-Fi / Fantasy | Leave a comment

It is one of the biggest cinematic questions of 2020. How does Steve Trevor, played by the very talented Chris Pine, return in Wonder Woman 1984 after his very heroic death in the first film. And while Pine is remaining tight lipped about any spoilers he is more than happy to talk about other aspects of the much anticipated film.

“Yeah, I’ve actually been working with Patty a lot,” he says with a laugh when asked about working with Wonder Woman 1984 director Patty Jenkins. “We even did a television show together between the two films. I have been working consistently with her over the last four years – I love working with her. She is a great leader, she is like General Patton but also has a sensitive and quiet side. She is a great observer of people, she is a great listener, she knows how to get the best of her actors and ultimately she is incredible visionary. She knows how to bring her vision into life which is much more difficult task then it seems like it should be.”

Pine though is not only full of praise for his director he also seems in awe of his co-star Gal Gadot who brilliantly brings the role of Wonder Woman to life on the big screen. “I think Gal is the perfect embodiment of Wonder Woman,” he says again smiling. “She is the personification of love and heart and that is also Gal, she has this great big heart and she has these eyes that just takes in the world. She has this natural instinct of maternal strength and heart and I couldn’t think of anyone else that could ever have played her.”

As we said previously of course Pine is not going to go into great details about how Steve Trevor finds himself back… well alive… but he is only too happy to talk about how Steve feels about being alive in the 1980s. “I think Steve is just pretty happy to be back around the love of his life,” he says after thinking for a moment. “He is stoked to be taking in all these great things like elevators and pop-tarts, toaster ovens and great clothes and dancing and incredible airplanes and stuff like that. They just picked the funniest clothes and then made me put them on and then tried to create scenes out of them. I pretty much just put on clothes  that made Patty laugh and that helped us see what worked.”

Of course the biggest part of Wonder Woman 1984 is not the costuming though – it is the action sequences and it is surprising to learn that Pine doesn’t do much to prepare for them. “No I don’t do much,” he says after asked how he prepares for action scenes. “Gal has to do stunt training ,wire work and stunt co-ordination and all of that and I kind of have these sock ‘em and get punched in the face things. I just worked with the co-ordinator and came up with some good stuff because with Steve Trevor he is more of a bar-room brawler. He gets in a fight, throws in his fists, sees what lands and then tries to get out.”

Aside from the action though Jenkins has also given Wonder Woman 1984 a massive amount of heart and it seems that Pine is happy with the fact that the film explores more of the relationship between Diana and Steve. “They are polar opposites,” he says when trying to explain the connection between the two lovers. “She is wide eyed, loving and compassionate and he is closed off and jaded and he is bitter and angry at the world. They teach each other important lessons and they help the other grow and I think that is the best version of a healthy relationship.”

To finish off Pine talks about why he believes Wonder Woman 1984 is the perfect film to close out 2020. “I think this is a movie about love and compassion,” he explains. “It is heart and it is a movie that has a lead that personifies those qualities who is a joy to work with and is like that in real life… that is certainly not a bad thing and I think while it is easy for people to get their fix of complicated heroes and dark subject matter it is also nice to return to good old fashioned entertainment which is what I think this is.”

Wonder Woman 1984 is released in Australian cinemas on Boxing Day.

29Jul

[FILM REVIEW] I STILL BELIEVE Review (2020)

Posted in Drama, Film, Film Genre, Home Page, Music / Musicals, Romance | Leave a comment

 

Summary: The biographical story of musician Jeremy Camp.

Year: 2020

Australian Cinema Release Date: 12th March 2020

Thailand Cinema Release Date: 19th June 2020

Australian VOD Release Date: TBA

Country: USA

Director: Andrew Erwin, Jon Erwin

Screenwriter: Andrew Erwin, Jon Erwin, Jeremy Camp (book)

Cast: Timothy James Adkinson (Pete Nelson), K.J. Apa (Jeremy), Cameron Arnett (Doctor Furst), Nicolas Bechtel (Jared), Rushi Birudala (Raj), Tanya Christiansen (Jannette), Abigail Cowen (Adrienne), Reuben Dodd (Josh), Hali Everette (Megan Henning), Gregory Hobson (self), Anjelah Johnson-Reyes (Professor Rochester), Marshall Meeker (Yves La Joie), Katie Anne Moy (Jacqueline), Sahjanan Nasser (Maria), Nathan Parsons (Jean-Luc), Britt Robertson (Melissa), Melissa Roxburgh (Heather), Terry Serpico (Mark), Gary Sinise (Tom), Shania Twain (Teri)

Running Time: 116 mins

Classification: PG (Australia)

 

 

OUR I STILL BELIEVE REVIEWS & RATINGS:

 

Dave Griffiths’ I Still Believe Review:

Becoming a teenage heart-throb is the dream of every young actor. But while the pull of stardom is very strong reaching that heart-throb status is never a guarantee of a long and successful Hollywood career.

Flash back to the late 1990s and Dawson’s Creek was the biggest show on television. Its male stars – James Van Der Beek, Joshua Jackson and Kerr Smith were on posters on every teenage girl’s wall around the world. Today all three are lucky to get small roles in television shows and B-Grade movies.

The next actor following in those foot-steps is young star K.J. Apa. The New Zealand local has risen to stardom as the star of Netflix’s very own Gothic teenage mystery show Riverdale where he plays comic book legend Archie Andrews, while his new film I Still Believe opens in cinemas across Thailand this week.

Apa’s movie career to date has been successful from a critical point of view. Films like A Dog’s Purpose and The Last Summer have certainly earned him more fan attention while his work on the gritty The Hate U Give gave him a chance to show the world his acting ability. I Still Believe sees Apa’s career take a whole new direction though… a direction that many of his young fans probably didn’t see coming – the starring role in what many people would label a faith-inspired film.

In I Still Believe Apa plays Jeremy Camp – one of the world’s highest selling Christian musicians. The movie follows Camp’s life from the moment he leaves the country-side home of his parents (played by Gary Sinise and Shania Twain) and heads to college. It is there that he meets musician Jean-Luc (Nathan Parsons – The Originals) who recognises Camp’s musical ability and starts him out on his career.

From there though things don’t exactly go the way that Camp wants them to. First he and Jean-Luc find themselves competing for the affection of the same woman – the beautiful Melissa (Britt Robertson – Tomorrowland). But even that doesn’t run a smooth path when Melissa is diagnosed with cancer and is soon battling massive odds to just survive.

Unlike many ‘religious’ films I Still Believe doesn’t come across as a preachy film. While both Jeremy and Melissa’s faith is there for all to see the film also explores themes of a hope and love as it depicts a young couple facing one of the biggest challenges of their lives. The screenplay also brilliantly allows the plot to explore the story of a man who begins to doubt his own faith as the odds stack up against Melissa.

While many religious films are also plagued by soap-opera style writing and bad acting that certainly isn’t the case with I Still Believe. Directors Andrew and Jon Erwin (October Baby) doesn’t hold back at all with this film. The audience will find themselves tested as the plot causes you to start to think about your own beliefs and how you would cope in circumstances where it appears that your partner may not survive. While Camp is a Christian the film would cause people of any faith or belief to look deep inside and explore how they would react in the same circumstance.

Likewise the directors also test their young stars. Britt Robertson is at times unrecognisable as she plays the terminally ill Melissa but the acting tour-de-force here is Kapa. In Riverdale we have had to watch Kapa deal with the death of his on screen father, which was brought about due to the off-screen death of actor Luke Perry, and once again here Kapa is put through an absolute acting wringer. Some of the sequences here as Camp goes through a personal and faith-driven breakdown would have been brutal and emotionally-toiling on Kapa. To the young star’s credit though he pulls them off with ease and many of his scenes have the power to have the audience in tears. If there was any question at all over whether Kapa had the acting ability to forge a career outside of Riverdale this is the film that proves the world his is oyster.

I Still Believe may be an emotional viewing for some audience members, but it is well worth packing the box of tissues and sitting through. A thought-provoking and challenging story-line mixed with a young star putting in the performance of his young career makes I Still Believe one of the biggest surprises of  2020.

 

 

 

 

Average Subculture Rating:

 

 

IMDB Rating:

I Still Believe (2020) on IMDb

 

Other Subculture Entertainment I Still Believe Reviews:

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Trailer:

28Jul

[FILM REVIEW] 23 WALKS Review (2020)

Posted in Drama, Film, Film Genre, Home Page, Romance | Leave a comment

 

Summary: An older couple’s friendship grows as they meet each day to walk their dogs.

Year: 2020

Australian Cinema Release Date: 20th July 2020

Thailand Cinema Release Date: TBA

Australian VOD Release Date: TBA

Country: UK

Director: Paul Morrison

Screenwriter: Paul Morrison

Cast: Graham Cole (Jimmy), Bob Goody (George), Dave Johns (Dave), Marsha Millar (Marsha), Oliver Powell (Saul), Natalie Simpson (Donna), Vivienne Soan (Chaplin), Alison Steadman (Fern)

Running Time: 102 mins

Classification: M (Australia)

 

 

OUR 23 WALKS REVIEWS & RATINGS:

 

Dave Griffiths’ 23 Walks Review:

From the outside 23 Walks looks like it is going to be a run-of-the-mill romance between two older member of our society. How looks can be deceiving though. Scratch under the surface of 23 Walks and you discover a brilliantly written film that packs quite a punch as it explores social topics that many other films would shy away from.

The film centres around David (Dave Johns – I, Daniel Blake) and Fern (Alison Steadman – Pride & Prejudice) who innocently meet while walking their two dogs on the moors near their homes. At first Fern is stand-offish with David but as the two begin to meet each day and walk together they become closer friends. The fact that they both have secrets that they keep from each other has the potential to de-rail their friendship though as things come out into the open.

Even a brief read of the synopsis of 23 Walks makes it feel like a film that we have all seen a million times over. The key to getting the best out of the film though is to go into the cinemas knowing nothing about the twists and turns that the film takes as David and Fern’s friendship begins on its journey. It is hard to imagine but if you don’t know what those twists are then this film rides with you with the energy of a suspense rather than a drama.

The power of this film comes completely from the screenplay of director/writer Paul Morrison (Little Ashes). Writing like this is a rarity in films these days. The dialogue between David and Fern at times seems so natural that you would swear that is has been ad-libbed rather than scripted, while the many turns that the plot takes are in no way sign-posted. The result is that as an audience you get the shock and emotional slap that the characters endure as the surprise is revealed to them.

Much like Dave Johns previous film I, Daniel Blake this is a film that explores some pretty deep topics. From looking at what happens when somebody in public housing is ‘moved on’ by the council through to what happens when family members disagree with their aging parents getting involved in a relationship. This film goes deep but never bogs itself down by trying to preach and falling into the trap of getting political. Often a film involving older members of society will also try to portray them in a ‘perfect’ light, 23 Walks never does this – in fact it does the complete opposite and exposes both David and Fern as having emotional hang-ups that make them far from perfect.

As a filmmaker Morrison also knows the power of the expression ‘less means more.’ Scenes such as Fern’s ex getting angry when he realises that Dave has stayed over or Dave’s daughter telling him off over his relationship with Fern stick with you as the film goes on, but Morrison knows that in order for that to happen he doesn’t have to repeat the does ten times throughout the film. Instead the one time it happens is so brilliantly written that it hits the mark and stays there.

The great script also allows Dave Johns and Alison Steadman the chance to shine. Grouped together with his performance in I,Daniel Blake Johns shows that he is a likable actor who is afraid to take on confronting roles – one again he deserves to win awards for his work here, anything else is just wrong. Likewise Steadman was born to play Fern. She plays her uneasiness to a tee and like John makes her character likable to the audience despite her flaws. Together the two pull off two of the best performances you will see in cinema this year.

Thought-provoking, dramatic and at times intense 23 Walks is the perfect example of why you shouldn’t judge a film before watching. The film comes from one of the best screenplays of 2020 and gives its two leads the opportunity to pull off some sensational performances.

 

 

 

 

Average Subculture Rating:

 

 

IMDB Rating:

TBA

 

Other Subculture Entertainment 23 Walks Reviews:

Nil.

 

Trailer: