Tagged: Jim Klock

Summary:  The true story of one young white Southerner in the Summer of 1961, caught in a place and time where he had to choose which side he was on.

Year: 2020

Cinema Release Dates: 6th May 2021 (Australia), 5th February 2021 (USA)

VOD Release Dates: 5th February 2021 (UK)

Country: USA

Director: Barry Alexander Brown

Screenwriter: Barry Alexander Brown, Bob Zellner (book), Constance Curry (book)

Cast: Jake Abel (Doc), Shamier Anderson (Reggie), Nicole Ansari-Cox (Professor Kleiner), Cedric The Entertainer (Reverand Abnerathy), Dexter Darden (John Lewis), Lex Scott Davis (Joanne), Brian Dennehy (J.O. Zellner), Will Deusner (Skeeter), Onye Eme-Akwari (Chuck McDew), Chaka Forman (Jim Forman), Bram Fuller (Willy B. Painter), Brendan Fuller (Officer Fuller), Cian Genaro (John Hill), Thom Gossom Jnr. (Herbert Lee), Sienna Guillory (Jessica Mitford), Lucy Hale (Carol Ann), Malcolm X. Hayden (William Barbee), Bryan Herlong (James Zellner), Charlie Hill (4 Year-Old Bob Zellner), Stan Houston (E.H. Hurst), Evan Huang (Young Derek), Kuntrell Jackson (Leon), Jim Klock (Younger), Matt William Knowles (Jim Zwerg), Sharonne Lainer (Rosa Parks), Tom Lawson Jnr. (Aubrey Williams), Ludi Lin (Derek Ang), Mike Manning (Townsend Ellis), Michael Aaron Milligan (Jack), Will Mossek (Young Bob Zellner), Brad Napp (Floyd Mann), Julia Ormond (Virginia Durr), Laurissa Romain (Brenda/SNCC Singer), Will Runels (James Zellner in Russia), Michael Sirow (Jay-Jay), Angela Soule (Ruby Zellner), Jonathan Sterritt (Buster), Lyda Styslinger (Susan Wilbur), Greg Thornton (Clifford Durr), Joey Thurmond (Coach Raines), Lucas Till (Bob Zellner)

Running Time: 105 mins

Classification: M (Australia), 15 (UK), PG-13 (USA)


David Griffiths’ Son Of The South Review:

There is a power in cinema that sometimes even shocks me now despite the many thousands of films I have seen over the years. It shouldn’t surprise me though, cinema has been educating me and shocking my view of the world for a good many years now.

I was a pretty naive teenager when it came to world events. To be honest if a news story wasn’t about the footy scores on the weekend or what film James Cameron or Steven Spielberg was about to release then the chances were I wouldn’t have watched it. That view of the world changed for me at High School with a certain history teacher who decided the best way to teach his students about some of the world’s most horrific events was through cinema.

I still remember the day that he showed us Mississippi Burning. I remember seeing the cover and thinking “oh cool he is going to show us a Gene Hackman movie”, then I remember the film starting and me sitting in absolute shock and awe as I got my first piece of education on racism in the USA.

That same power and lesson resonates with director Barry Alexander Brown’s (Last Looks) new film Son Of The South. To be honest despite the fact that I am much more educated on American history these days I had never ever heard of Bob Zellner and his courageous story.

Zellner, played here by Lucas Till (X-Men: First Class), was a young white Southerner college student who in 1961 decided to write a college paper about the Civil Rights Movement. The response to his paper though was the threat of expulsion and much to the shock of has Klansman Grandfather he soon has to make a decision about what side of the Civil Rights Movement he wants to be on.

For Zellner these events change his whole life’s focus and purpose. He suddenly goes from the dream life that he and his girlfriend, Carol Ann (Lucy Hale – Truth Or Dare), have picked out for themselves  to suddenly having meetings with the likes of Rosa Parks (Sharonne Lanier – Summer Of ’67) and soon he realises that if he wants to really change the way the community around him thinks then he may have to start making some sacrifices of his own.

I found that there is a true power with this film, in fact in a lot of ways this film had more of an impact on me than films like Judas And The Black Messiah. It has that power due to a great script, also written by Brown, that allows the film to preach without having a sermon. The key to films like this working is to let actions speak louder than words and Brown allows that to happen here with truly memorable scenes of black rights activists being confronted and beating for simply riding a bus into town.

Brown also stretches that mantra to the performances of his cast and there are often times in this film when a look by Lucas Till as his character sees the behaviour of those around him says more than a page of dialogue could. There are so many moments and scenes in this film that will stay with me for years that the only thing I can say is that this is one of the most important films that you are likely to see this year.

With this film Barry Alexander Brown also announces himself as a director who is ready to have a big impact on Hollywood. Brown already has two Oscar nominations to his name – one for his editing work on BlacKkKlansman and a second for his docco The War At Home – and to be honest he should have a third just for this film. As a director and screenwriter he is obvious storyteller who has a knack of telling that story on screen in a way that only a select few filmmakers can, I honestly can’t wait to see what film he tackles next.Son Of The South is one of the surprise films of 2021. It has an engaging and powerful story enhanced by a director who is at the top of his game and a young actor, Till, who produces one of the best performances of his career to date.

Dave’s rating Out Of 5

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Son of the South (2020) on IMDb

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Summary: Two women face off as a deadly game called The Hunt goes completly off track.

Year: 2020

Australian Cinema Release Date: TBA

Thailand Cinema Release Date: 12th August 2020

Australian VOD Release Date: 9th April 2020

Country: USA

Director: Craig Zobel

Screenwriter: Nick Cuse, Damon Lindelof

Cast: Hannah Alline (Flight Attendant/Not Stewardess/Kelly), Usmine Ally (Crisis Mike), Alexander Babara (Bojan), Walter Babington (Bandana Man), Ike Barinholtz (Staten Island), Christopher Berry (Target), Reed Birney (Pop), Macon Blair (Fauxnvoy), Steve Coulter (The Doctor), Sylvia Grace Crim (Dead Sexy), Wayne Duvall (Don), Ariel Eliaz (Dino), Betty Gilpin (Crystal), Glenn Howerton (Richard), Jason Kirkpatrick (Rannnndeeee), Jim Klock (Captain O’Hara), J.C. MacKenzie (Paul), Amy Madigan (Ma), Steve Mokate (Sgt. Dale), Kate Nowlin (Big Red), Vince Pisani (Peter), Emma Roberts (Yoga Pants), Sturgill Simpson (Vanilla Nice), Charlie Slaughter (Young Crystal), Ethan Suplee ((Shut The F**k Up) Gary), Hilary Swank (Athena), Dean J. West (Martin), Teri Wyble (Liberty), Tadasay Young (Nicole)

Running Time: 90 mins

Classification: MA15+ (Australia), 18 (Thailand)





Dave Griffiths’ The Hunt Review:

In a year where people have learnt to embrace films in ways that they haven’t previously the one genre that seems to have topped all others has been the horror genre. While The Wretched topped the US Box Office just before the lockdown Leigh Whannell’s The Invisible Man found itself scoring five star reviews from some of the world’s top film journalists.

While those two results seemed to surprise fans of the genre the film they were eagerly anticipating was director Craig Zobel’s (Compliance) The Hunt. The excitement around the release was hardly surprising – Zobel’s post-apocalyptic thriller Z For Zachariah is one of the most under-rated films of the last decade while The Hunt was the latest film to come out of Blumhouse stable, a production company who rarely produce a dud.

The film itself is basically an adult version of The Hunger Games with some extra quirk thrown in for good measure. The opening scenes of The Hunt pretty much The Hunger Games but do quickly establish that characters like Crystal (Betty Gilpin – Stuber) are involved in a deadly game that has been set up by the mysterious Athena (Hilary Swank – Million Dollar Baby) But what exactly is the game that Crystal has found herself in? And why the hell has Athena set something up some vicious and cruel?

Those are the questions that the audience are asked to explore, but to be honest the road to getting those answers is un-original and at times plain boring. While the screenwriting team of Nick Cuse (Watchmen) and Damon Lindelof (Lost) try to give the film its own originality with some quirky Kevin Smith style black humour it does nothing to lift any interest in the film’s plot at all.

While the idea of losing characters on mass and at a whim throughout the early stages of the film may have made the script look like a horror film with a difference it just doesn’t work on the screen. Introducing characters and then having them killed or disappearing straight away makes it nearly impossible for the audience to get a vested interest in the film. It is also does nothing but waste the talents of quality performers like Emma Roberts (We’re The Millers).

While the film does gain a little bit of traction when it becomes a battle between Crystal and Athena even that comes to a crashing end with a lacklustre finale that any decent horror fan will have seen close a film a million times previously. To be honest that little battle royale comes a little bit too late for the interest of the audience as well. The film’s inability to engage its audience early on really does mean that you never really care for Crystal the way you should and again there are a lot of scenes throughout the film that are just too similar to other recent films like Peppermint.

The only winner out of this film is the star Betty Gilpin. While everyone falls around her her performance as Crystal is enough to at times back you forget the clichés that is holding the film back. She brilliantly delivers whatever is thrown at her – action, gore and black comedy. Her scenes with Hillary Swank are at times the only things making the film watchable and for that Gilpin deserves a lot of credit.

The Hunt never really lives up to the hype that came before it. Fans of genuine horror will give it a wide berth after just one viewing while it’s quirkiness and gore is probably enough to put off the casual cinema goer. If you’re looking for a decent gorey, catch-me-if-you-can horror then bypass The Hunt and try to find a way to watch Tony D’Aquino’s The Furies instead.


The Hunt is rated 18. It is available on a number of streaming services and will open in select Thai cinemas on August 12th.






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