#abitterlifethroughcinema

WOKE! Film Reviews in BCN

The Summer 2019 Movie Season Kick-Off!

by Lucas Avram Cavazos

Cue DJ Jazzy Jeff and the Fresh Prince! When I was coming of age in the 90s and early millennium, there were moment of sheer relief, joy even, as June broke through with certain heat in tow, that the summer would be bringing with it a break from the reality of non-stop scholastic rigamarole, as well as, a load of blockbuster films and some hot dance jams of the summertime. It was also usually ushered in by the Entertainment Weekly annual summer movie preview, but who gets magazine subscriptions nowadays? What we do get is down to business, so let’s roll!

Men In Black International ##-1/2

The first MIB film was released just as I made that high school to uni transition, and over two decades later, we start the 2019 summer movie season with this fourth instalment of what may have easily been put out to pasture long ago, but why stop when there is profit to be had, right? The charming sense of wonder that was first introduced to us back in ’97 was even served up back then with a now no longer Fresh Prince, but instead a mediocre hip-pop Will Smith single…oh the 90s. The thing is, that first film came across as right on time. Remember, this was at the height of paranormal entertainment, as the X-Files ruled the telly waves, alien movies started being produced in spades and pretty much everything commenced a somewhat pre-millennium tension, so setting a comedy/action thriller based on the tracking and maintaining of aliens in modern NYC society was a perfect, cinematic fit. In 2019, we now get the “int’l” version of MIB, where Agents H and B come poised like action figures in the skins of Thor:Ragnarok alums Chris Hemsworth and Tessa Thompson. They have been given the specific job of playing escorts to one of H’s old alien buddies who is a bigwig now and visiting Earth in search of a grand old time…cute. And then it becomes clear that old homeboy is also in possession of a diamond-sized weapon that could be a seismic shift to life as we know it and other evil forces want this for their possession too and la di da di da….It’s all been so overdone before, and I abhor seeing Miley Cyrus’ bro-in-law making such trite shite when, despite the obvious camaraderie between him and Lady Agent B, of which there is suspiciously mucho, when the script by three different writers is so obviously lacklustre, where is one to go from there? I digress but while it’s fun to see director F. Gary Gray do his attempt at dealing with alien life forms and shape-shifting cretins with a glossy sheen of comedy, if there is such real substance, how can you make a tired series shoot back to life? Answer: NOT LIKE THIS!

Aladdin ###-1/2

Disney’s consistent, modern renderings of animated classics into live-action, blockbuster behemoths continues with Guy Ritchie’s take on this undoubted classic from 1992 remade for #metoo 2019. While it may seem odd to not give the task to an Indian or Arab director, Ritchie takes on the task with aplomb that even gives this version a, dare I even say it, a woke feel to a story that truly should not be lily-white. Original Broadway star of Aladdin and TV’s Jack Ryan star Mena Massed nails it just as annoyingly as Robbie Benson did back in the day as the titular character, and although Indan-English actress Naomi Scott is a tad meh in her role, she also employs a fresh sense of independent woman ‘tude that vibrates through the celluloid and scenery despite the paint-by-numbers songs. But, let’s be frank, it’s beyond time that a production so perfectly timed and so immense in this modern time should and would have POC actors painting a picture of those times, so it comes to no surprise that Ritchie would want a big name star like Will Smith to embody the role left so perfectly-tinged with greatness like the cartoon original voiced by the late, great Robin Williams. Guess what? He does the role very fine justice…thankfully. And he does it in a classic, Fresh Prince vibe…smoothly and with easy aplomb. I also found the choices of lady-in-waiting Nasim Pedrad as Dahlia and Marwan Kenzari as the cruel Jafar as impeccably cast worthy…timely comic and story relief. Gone, however, is the annoyingly necessary voice of evil parrot sidekick Iago by Gilbert Gottfried and instead is a guy with a bird-like tone. Only time will tell if this particular film piece stands the test of time as I believe The Jungle Book and latter Beauty and the Beast will, but after the ho-hum taste of MIB Int’l, I’ll take this eye-spectacle anyway!

Godzilla: King of the Monsters ##-1/2

      Three Summer Taquilla Behemoths in Cinemas!       WOKE! Film Reviews...Halfway Through Summer                                        by Lucas A Cavazos

It goes without saying that Disney is undoubtedly the strongest hand in all of cinema. They have proved that beyond any shadow of a doubt over many decades but definitely most recently, what with the takeover of Pixar and LucasFilms and Marvel Studios and and and… As I hinted at last time, growing up, whether in Texas or Brooklyn, my dorky bum always had that weekly subscription of Entertainment Weekly waiting for me come week’s end. And that meant I had all the box office data, top album sales, Nielsen TV ratings, book sales and such all there to satiate my stats-obsessed appetite. Now, I bring to you a summer run-down of what fare has been most successful throughout this first half of the summer. Believe it or not, we are only halfway through the summer cinema season and these last six or seven weeks mark the last summer fare that either got delayed from the early summer due to concern of being pulverised by these upcoming blockbusters, or they are merely getting rid of fodder too long on the shelf or in need of distribution.

I’d dare say in fact that it was a rather smart move on behalf of Guy Ritchie and the entire marketing team behind the live-action remake of Aladdin, to release it just before the summer season truly hit. It is now fast closing in on 25€M in Spain alone, and has surpassed 1.1€B globally…quite an accomplished feat and second in box office stealth only behind Endgame for 2019 so far.

But let’s please talk newer reviews first as Disney’s The Lion King ###-1/2 burst into Spanish cinemas with a loud roar two weeks ago, and the same can be said of its success worldwide. Now soon to pass 19€M in Spain in a matter of mere days and more than 1.0€B globally, we at Bitter Life are pleased to say that the film, much like the formerly mentioned live-action remake, is a thing of wonder. What director Jon Favreau, who so lovingly concocted the impeccable remake of The Jungle Book a few years ago, does so well is adapt a timeless, and much beloved, cartoon classic into a breathtaking adventure story of the animal kingdom. One thing is for certain, if you are a true lover of the cartoon, this film will merely be palatable. For those few of us who were none too keen on the cartoon and its cheese-tactic musical numbers nor its cornball last-attempts at Top 40 numbers by Elton John, this film is quite the spectacle to behold. Telling the story of a proud lineage of lions who preside over what could best be described more as a savannah than a jungle, this rendering gives us a lifelike portrayal of fathers and sons, duty and honour, and is easily a testament to whatever family means to any individual. Apart from the brilliant, yet almost frightening, way in which the creators have anthropomorphised the creatures into almost too-real perfection, there isn’t too much to tell that the viewer is not going to know already, and thereby lies a part of the challenge that I find intriguing. While Disney continues to take risks in revamping their classics into live-action newer ones, do they then run the risk of petering out of new ideas? I mean, now that they have Pixar and so many more studios to pick up the slack, will we slowly see the demise of the annual big, Disney cartoon classic? We already have Frozen 2 appearing soon enough in cinemas, but even that is not building anything new and original into the cartoon oeuvre…it’s a damn sequel. I say it’s fair enough that most all investments in Disney live-action prequels are bound to be successful in terms of box office. Still, few of them will boast the talent power of Beyonce and Donald Glover, along with original Mufasa James Earl Jones, plus John Oliver, Seth Rogen, Keegan-Michael Key, Alfre Woodard. Amy Sedaris and so many more. These artists breathe life into a fun, if tired, film that we’ve all seen before, just never in this way. Here’s to hoping the tots of today don’t scare too much from the frolicking if fierce, fun found in this film.

The next big movie that has blown up the taquillas here in Spain is also the best one of the lot…Toy Story 4 ####.  If we have to wait nearly a decade between film sequels to have this type of wonderment thrown lovingly at our eyes, I’ll gladly take it and wait. So far, the film has taken in a nearly whopping 19€M in Spain alone, and it is also nearing 950€M worldwide, so far be it from me to deny that absolute scores of millions agree that this film marks itself in our hearts yet again. It is rather surreal that over the span of well over a generation, the creators have moved through the mid-90s to damn near 2020 with the same revolving door of a family, while carefully detailing the intricacies of our own nostalgia…and playing on that also forces us to love it.  Again, I dare say that they have achieved that tremendously throughout the entirety of the series’ lifespan. The premise this time revolves around Andy, now all grown up and, I’d suppose well past grad school, has donated his toys to little sister Bonnie, who has her own taste on what she prefers to play with versus her older brother, and dear ol’ cowpoke Woody, sensing certain neglect under the ownership of Bonnie, sneaks himself into her rucksack one day y voila!…the new adventure commences. The others set off to search for Woody, outdone by no one less than Buzz Lightyear, who is allowing himself to be led by his inner voice, which fits wonderfully into the guffaws of this type of silly and campy humour. What I began to notice while the screening went on is that the film continues to come up with a specific theme that ties itself into the plot, the denouement and frankly, throughout the film. Simply put, that would be the fear of rejection or not being wanted/accepted. Herein is where story developers like John Lasseter, Andrew Stanton, Rashida Jones, Stephany Folsom, amongst others, and all under the directing tutelage of Josh Cooley, spring to life and steer the film into witty and on-fleek, au courant elements that should make excellent fodder for post-parental conversations! What more can be said? Steal away and grab a 10’er and retreat to the coolness of your local cineplex!

         #ABitterLifeThroughCinema’s WOKE! Film Reviews

     The Top Ten (+1) Best Movies of 2018 and where to find them!

                                                          by

                                           Lucas Avram Cavazos

+1…11. Overlord  Having its premiere at this year’s Sitges Int’l Film Fest, Overlord not only happened to be one of the fave films screened there this past festival, but this cinematic fantasy is an all-too-real and stark portrayal of a horror that actually occurred, and it deserves a nod from the Barcelona film critic family, so here it goes. Duly noted, I’d say. It starts with an insane aerial combat mission on the night of D-Day, one which goes awry and sees only a handful of paratroopers surviving the drop when enemy fire rains hell. They land in provincial France and the plot sets out to detail some of the inner workings of the Third Reich in reference to the insane, gruesome experiments done on captured Europeans and Jews. Those stories you’ve heard about turning these poor people into guinea pigs for super soldier intent using potent, injected serums…yeah, those? They’re true, if you believe the words of JJ Abrams. Are they as utterly brutal and horror/zombie film-like as displayed here? I sure as hell hope not. (now available On Demand and DVD)

10. The Ballad of Buster Scruggs There once was a film called O Brother Where Art Thou? While this is not its sequel, there is a sharp-witted vein to this film that could only be crafted and gifted to us by the Coen Brothers. What a hoot it is, even if it is a rather darkly-tinted hue of that hoot and humour. It is also one of their finest in years. Revolving around the singing cowpoke Buster Scruggs (Tim Blake Nelson) and five other tales brought to us with the commonly-threaded theme of death in often brutally funny ways, this film is a fine return to oddball form from two of the finest sibling directors of all time. Starring Liam Neeson, James Franco, Zoe Kazan, even Tyne Daly and so many in its vignettes, and that acting star power fuses this Western comedy into new territory for the brothers. Their previous works set in the west always seemed to be re-hashing works of years gone by but here, with their usage of almost comic-book-like details and witty banter make this much more enjoyable than their other historical works like O Bother and their remake of True Grit. Best western in absolute years! (available on Netflix or VOD)

9. Eighth Grade This poignant little film, which should have been wide-released everywhere the world over, is given fierce and bittersweet star power by Elsie Fisher, protagonist and student at the heart of this film. Comedian Bo Turnham has brought us the quintessential coming-of-tweenage story and along with Fisher, everyone in this film is so perfectly placed in their roles, especially Josh Hamilton as her dad, who deserves some nominations for this film but is unlikely to get any. Telling the story of 13-year old Kayla, we the audience get a sneak-peek into the minds and lives of today’s young adults. From her simple YouTube videos made to encourage other young kids to her obvious desire to fit in with older kids to her insecurity with boys, this film paints a stark reality that too many have lived through and this little indie film deserves aplomb from anywhere it can get it! (now available On Demand and DVD)

8. A Star is Born I skipped the critics’ screening of this film for the mere fact that I couldn’t bear to see if the acting and plot lines were another torrid take on a much-redone film. Even into the holiday season, I had not yet seen it and then when I did, I certainly took back any reservations. Bradley Cooper’s update of the film starring himself and Lady Gaga is just about as good as everyone said it was, and that was beyond refreshing to note post-viewing. In many ways, I feel that Cooper is likely revealing a few things about himself with the guise of “it’s a movie” being a nice cover; in some ways, he gives us what I believe are hints of his covert life, and it’s with Gaga’s turn as Ally that we really see him shine beyond the shtick of his character, country-rocker Jackson Maine. In a tad corny-tad, gripping way that takes hold the moment you see Gaga, let’s be frank and real, this film goes on to detail a Diet Coke version of the grim realities that often detail too many a tale of celebrity in Hollywood. Without revealing too many details of the film’s plot and denouement, we are looking at a necessary conversation about alcoholism, drug addiction and fame (plus a lack of ’NO’ men/women in many relationships) that needs to addressed for all ages. Well done, Mr. Cooper Goes to the Oscars. (At select screens, On Demand & DVD)

7. El Angel Incidentally, this may be the first time in a rather long time that I say something good about Argentinian men, so do take note. Telling the true story of fresh-faced boy killer Carlos Robledo Puch, played to Oscar-worthy perfection by newcomer Lorenzo Ferro, the masterful detail to which director Luis Ortega has crafted this arthouse meets dramedy-thriller is astounding and easily touches heights set by dePalma and even, dare I say it, Scorcese. We follow young Carlitos Puch, who is just nearing the edge of seventeen, as takes up with a rough and tough family of his devilishly attractive school chum Ramon, played by the spirited Chino Darin, son of Ricardo Darin. But as Carlitos comes to find out, his street crimes can easily be paved to real ones and his sadistic tendencies suddenly yet gradually paint a picture of someone who is in part desperate for attention and tacceptance and in part a fairly smart, well-to-do young adult. He parlays his sociopathy at pubescence into psychopathy with time, and this film will likely be, but should definitely not be, forgotten come awards and Best Of lists time.(available On Demand and DVD)

6. Black Panther As Oscar season comes to a head, it is worth talking about one of the most striking films that you’ll see for a while. Black Panther is that good, not only because of its genre but also because of its message: that seeking freedom through recreating systems of oppression will only extend the ill-treatment and broken nature we find ourselves in nowadays. Set in the fictional African nation of Wakanda, protagonist King T’Challa (Chadwick Boseman) brings us the first real black superhero from the Marvel universe. With a cast including Lupita Nyong’o, Angela Bassett, Forest Whitaker and Michael B Jordan, the acting is beyond impressive. What is even more amazing, however, is how the plot power-plays many elements of our world’s current political climate. (now available On Demand and DVD)

5. Chappaquiddick Another film which is nothing short of striking in its relevance to the current political situation in the USA. Senator Ted Kennedy was the only remaining Kennedy that I was familiar with throughout my adolescence and early adulthood. Jason Clarke as the Massachusetts senator is astounding, as is the cut of his jib and chin, although the accent was a tad weak, to be ever sincere. This is a complete revelation on the many details that were only gingerly touched upon during the course of the week following the death which this movie is detailing . As the facts are laid out in the film, it astounds me that the American people continued to vote and elect Kennedy for decades after. This is a study on arrogance, class and governmental ambiguity. And if that was the case with liberals in the Sixties, how much more so with conservatives in this digital age? My favourite film of last year’s BCN Film Festival. (now available On Demand and DVD)

4. Private Life Good Lawd this is such a heartwarming/breaking story with the finest elements of believable comedy and situational realism that define the art of the classic Gen X film from the 90s to now. May we never forget that it was Gen, and even those a few years before them, who gave us the digiverse-Netflix-instant oatmeal www.orld in which we live today and when I see a very NYC film like this one, it makes it a true reality check. Being the age that one should be married with kids, I watched Kathryn Hahn as Rachel absolutely slay the silver screen and am eager to see if she picks up any more accolades throughout the current awards season. Simple plot…she’s in her early 40s and her hubby Rich (played by Paul Giamatti) is entering his late 40s and they are fully entrenched within the confines of every single way to conceive a baby. Following the couple through their trials and tribulations really get pushed up an ante when sort-of relative Sadie (the lovely Kayli Carter) decides she will be the surrogate mum for them as things get a tad pear-shaped. This could easily be dubbed a dreamed, for in effect, it is; what needs to be known is that this is also a morality tale for a new age. The old-fashioned ethics of yesteryear just do not apply anymore, at least not in big cities, and the less is more factor easily makes this one of the finest films released within the last year. (available on Netflix)

3. BlacKKKlansman Without a doubt, this is the finest work in all too many years by Spike Lee, and he takes no prisoners in letting you know that the spilled essence of blaxploitation all over this celluloid is to egg you into knowing that this story is 100% true…and crazy. The mere fact that David Duke is literally cheerleading for the current President of the United States should scare us all and wake those who are not. Watching actor John David Washington portray Ron Stallworth, the real-life cop who slyly infiltrated the inner workings of the Klu Klux Klan 40 years ago. After signing up for the Colorado Spring PD, he realises the lack of trust in the 98% Anglo-Saxon workforce, as he’s thrown into monitoring the goings-on of any Black Panther student situations. Eventually, he takes up with a guy on the force that he can dig called Flip and played to skilled excellence by the oddest of lookers Adam Driver. Basically, the plot follows the twosome, as they tag team the aforementioned white supremacist movement, Ron being the voice and Flip being the wingman as they start an investigation on grand wizard bastard himself David Duke, played to troubling perfection by Topher Grace, evoking all of the calmness and utter sociopathic tendencies of a man reviled by most yet revered by still too many. And watching this taut film and how it rolls through such a daunting story with comedic aplomb and vicious realness gives you goosebumps. That said, as the film gets toward its ending, is when Lee gives you the goods when he flashes to scenes from the crazy Charlottesville, Virginia, riots, AntiFa protesting and subsequent death of Heather Heyer, may she rest in peace. God Save the World…and Amerikkka.

2. Fahrenheit 11/9  Premiering a few weeks ago here in Spain at very select cinema screens across the country, this is the first documentary in some time by Michael Moore that could play across an international landscape and should be required viewing on any critic’s or person’s list. The titular oddity refers to the day after we all woke up across the world in shock and awe that Donald J Trump had won the Presidency of the USA. Even if this is not Morre’s best film to date, it is undoubtedly the one that holds the viewers’ feet to the fire and calls for them to fight the nasty funk of this administration. But, it’s when he takes it back to his roots, to Flint, Michigan, and ends up involving all local and state politics, that we start to see the more sinister undertakings happening amongst conservative parties, ideals and societies. When you add in the fact of the Parkland High School shooting and the way Moore later fuses footage of Hitler and his minions and followers with a rally speech made by the current occupant of the White House, it becomes all too obvious that things are exactly as we think they are (A HOT MESS!) and we have very little recourse rather than claiming truth. (now available On Demand and DVD)

THE St. Jordi BCN Film Festival ’21 FILM REVIEWS, VOL. II: What’s Fine…and not!

by Lucas Avram Cavazos

YOUR #VOSE take on upcoming international cinema premiering in Catalonia & Spain soon!

Hotel Coppelia by Jose Maria Cabral ###-1/2

As I screened Hotel Coppelia at this year’s festival, I was rather taken aback by how little I knew about the history behind the Dominican Republic and the US involvement/engagement/disruption of the island country. It is 1965 as the film commences and the ladies of the bordello and hotel, Coppelia, attend to their clientele with razor sharp precision and beguiling ways that aim to keep a roaring crowd coming back to fill the coffers, run by the icy and fierce bish, Judith (Lumi Lizardo). While the film mostly follows young server/performer Gloria, played with mild perfection by actress Nashla Bogaert, it’s the intermingling of the ladies at the brothel that aids in building an emotional response to the characters rather quickly. And when the US army invades the coastal town and ensconce themselves within the confines of the hotel to “fight the communists,” we see yet another heinous example of why so many despise the guise with which the US army lies with it appearance of helping by taking with force. This, incidentally, is exactly how every modern power on Earth has taken their stance to get to whatever they perceive they are. Hotel Coppelia, and a new student I’m teaching, has made my new history study a waltz around this incredible island, rumoured to be where Columbus actually landed as his furthest Northern reach. Lovely and necessary film…

Where to watch: TBA

Penguin Bloom by Glendyn Ivin ###-1/2

Not knowing what to expect with an Aussie film with the word ‘penguin’ in it, I was mostly moved to screen it because who doesn’t dig Naomi Watts? But what a lovely if heartbreaking tale of truth turned celluloid treasure with this unexpected, wee gem of a film. Oscar-nominated actress Watts plays Sam Bloom, a mum vacationing with her family in Thailand when a terrible accident leaves her paralysed from the waist down. Feeling like a burden to her husband (Andrew Lincoln) and her kids, when one of them rescues a little magpie chick and the parents decide the kiddos can keep it, what ends up happening is a bond between the depressed, defeated mother and the little bird with a broken limb. You can probably imagine what happens but the easy nature of this true tale leaves you feeling grateful, happy with perhaps a few tears of joy rolling down your lovely cheeks.

Where to watch: will be in local cinemas 10/9/21

Wild Mountain Thyme by John Patrick Shanley ##

I really can’t begin to explain how much I couldn’t believe I was watching Emily Blunt cop to an attempt at an Irish accent in this blasé, Nicholas Sparks-style romance. Starring Blunt and Christian Grey-typecast character actor Jamie Dornan, this film tells the story of the selling-off of an Irish family’s farm to a wealthy US-American nephew (read: the asshole and he is Jon Hamm...yum yum) instead of the family’s son (Dornan). What I also found most odd was watching Christopher Walken try and feign being an Irish patriarch. Could we not cull together Colm Meaney or Brendan Gleeson or ANY wonderful Irish actor above 65 to play this role? At one point around the middle juncture of the film, I actually found myself counting cliches of too many modern romance dramedies, and I eventually became perplexed as to how this was greenlit in the first place for production and why Blunt and Dornan would have signed up for this trite shite…absolutely no idea.

Where to watch: in local cinemas 23/07/21

Blithe Spirit by Edward Hall ##

Part of the comedy lineup at this year’s BCN Film Festival, Blithe Spirit is based upon the like-titled 1941 comical play by Noel Coward. Screening the film on a smaller room at Cines Verdi BCN, I really did find it strange that top actors’ actors like Judi Dench and Isla Fisher would sign up for what turned out to be a sad sap of a film. Telling the story of Charles (Dan Stevens) who’s a wealthy writer embroiled in a bad case of writer’s block who takes his wife (Fisher) to see a medium (Dench), whose performance goes madly awry and so Charles decides to commission the older medium to perform a session in his home, but this seems to summon Charles ex-wife (played beyond annoyingly so by Leslie Mann). Jokes that fail, overacting and weak scripting made this particular comedy a dud on arrival.

Where to watch: in local cinemas on 22/10/21

Last Call by Steven Bernstein ##

This film marks a moment when an accomplished cinematographer finally brings a long-desired project to fruition and onto screens. Director Bernstein has been working behind the scenes for over 35 years on innumerable movies, but he actually released an unfinished draft of this film entitled Dominion and also starring Rhys Ifans and John Malkovich back in 2016. With Last Call, a full-length feature film starring the aforementioned actors come together to tell the story of the final hours of Welsh poet Dylan Thomas’ final day. It’s a grim day where he downs eighteen shots, chats up a myriad of people, who may or may not be there, and that is until the seizure that eventually brought about his death. What Bernstein serves up however is a choppy story with certain scenes that throw continuity to the wind, but you can tell the director is a true fan of the poet and desired to create a testament to the man for whose name ‘Bob Dylan’ was transformed from Robert Zimmerman. Alas, no wannabe deep conversations or great actors can save this MEH! piece…sorry!

THE St. Jordi BCN Film Festival ’21 FILM REVIEWS

VOL. I: What’s Good!

by Lucas Avram Cavazos

YOUR #VOSEng take on upcoming international cinema premiering in Catalonia & Spain soon

To begin with, for a fellow who has for years been used to screening or viewing hundreds of movies annually, thereby spending hella time in cinemas, a global pandemic has been a true shock to the dork’s system. It has been a testament to the mindset of ‘the show must go on’ to see so many of our local and other European film festivals pushing back against the virus and powering through what could be deemed a safety issue by many. But basta! For starters, temp checks and hand sanitiser stations plus mandatory mask wearing have made a true return to movie going a half-wonderful respite. And so many thanks to Conxita Casanovas, Marien Pinies, David Mitjans, Cines Verdi BCN, Institut Francaise, and Casa Seat plus ALL the industry, press and movie lovers for making one of my favourite film festivals back to life for the half-decade anniversary. And I’m not just saying that for shits n’ giggles.

As an educator and broadcaster, history not only steeps itself within the confines of my classes, sessions and weekly radio/livestream shows, but every single one of us are literally living and walking and thriving through history, even as I scribe. So congratulations to anyone reading this, because you are Destiny's Child’ing it all over this place like drum n’ bass! On to the festival and cinema though please…

The St. Jordi BCN Film Festival revolves around the celebrated St. George’s/Day of the Book holiday here in Catalonia and so all the movies are based upon literary and historical works and facts. Red carpet moments and celebrities also make up the soirees and this year proved even better than others, with the likes of Johnny Depp and Isabelle Huppert being hosted by Cines Verdi, Institut Francaise and Casa Fuster. Depp, dressed as his character (I believe!) from his latest premiere Minamata -reviewed below- even mentioned that he would have loved to stay longer if he could keep Casa Fuster all to himself. And the day after her premiere for Mama Weed -also reviewed below- Huppert was seen being gorgeous at another film screening and then meandering about Gracia. But let’s speak about some of the movies that piqued my interest and will hopefully do the same to yours.

Petit Pays by Eric Barbier ####

Winner of Best Film at this year’s festival awards, Petit Pays tells a quasi-true story of family struggle during the Hutu vs Tutsi massacre that befell the gorgeous countries of Burundi and Rwanda in the early-to-mid 90s. But that is just the mere slice of what the plot truly entails. Focusing on little Gaby (Djibril Vancoppenolle) and his wee sister Ana (Dayla De Medina) as they make their way through childhood/pre-teen years, the plot thickens when the genocide starts to spill over and touch their lives, hectically lived with their Belgian father (Jean-Paul Rouve) and Rwandan mother (Isabelle Kabano, winner of the Best Actress award at this year’s festival). Truth be told, they do live in the lap of African middle class pleasantries, but as the film tenses up, reality sets in for all involved, including us viewers. The harsh reality that director Barbier fuses into the novel adaptation by French-Rwandan rapper/author Gael Faye seeks to display to the audience the truth of a genocidal history and how the sins of the parents always come back to burden or visit the children.

Where to watch: debuts in local cinemas 28/05/21

Promising Young Woman by Emerald Fennell ####

Oscar-nominated and local premiere hit Promising Young Woman had a stellar reception at this year’s festival and what a tour de force it turned out to be. The film plot revolves around medical school dropout Cassie Thomas (Carey Mulligan), who turns 30 and passes her time working at a trendy coffee shop but completely unmotivated whilst also continuing to live with her increasingly-worried parents. Years after her best mate killed herself, Cassie drags the guilt and loss along with her…until a blast from the past shows up, gets his coffee spat in and then falls head over heels into what will turn into a revenge tale beyond one’s craziest notions. A tale of loss that touches on modern themes in a frighteningly understandable way is few and far between these days. Fennell’s work here puts her on the map for sure.

Where to watch: in local cinemas NOW

Minamata by Andrew Levitas ###-1/2

This year marks 50 years since a collective understanding by world powers finally began to comprehend the enormity that factories create against Mother Nature and living creatures. It’s New York and 1971 when we find W. Eugene Smith (Johnny Depp), Life magazine photo journalist and one awash in a realm of problems. Then, adding to that drama, we find him suddenly embroiled on a task and mission that is presented by a couple of his fans, without his awareness that he has also stumbled onto a truth beyond wills. Environmental devastation affecting the innocent in Minamata, Japan is where we eventually spend the plurality of the film, and if you can get through the end scene of it without tears or shame of what mankind has wrought, you’re a tougher kid than I.

Where to watch: in local cinemas as of 30 April

Mama Weed by Jean-Paul Salomé ####

I cannot even begin to explain how much I absolutely enjoyed screening this film by the gifted and curious director Salomé, but it is without a doubt the tour de force work of ageless French star Isabelle Huppert that summons one to watch and compels them to laugh and engage. Undoubtedly, adapting any work of art from literature is never an easy undertaking, but the bringing to life of Patience Portefeux, a judicial interpreter for France’s investigation division, turns out to be crown jewel by Huppert. Serving up comical thrills, blithe acting when under insane pressure by duel forces and fierce Arab queen fashions, this film will have you white-knuckled, perplexed and laughing, all in tandem. THIS is an early-in-the-year film that deserves some attention!

Where to watch: in local cinemas NOW

My Salinger Year by Philippe Falardeau ###-1/2

Based on the like-titled autobio novel by Joanna Smith Rakoff, the movie stars Margaret Qualley as Joanna, an aspiring writer and young upstart in an NYC lit agency, whose tasks include many things, including answering the many fan mail letters that come for the agency’s fave writer J.D. Salinger, he of the oft-loved US American coming-of-age novel Catcher in the Rye. Even this guy connected to Holden Caulfield as a youth so when Joanna one day fields a call from Salinger and then gets caught trying to find endearing manners to respond to these grand fans, an incident leads to a coming-of-age awareness experience for Joanna and we the audience are the ones who are all the better for it.

Getting a chance to screen so many horror films just before and as these ‘harvest moon’ holidays push us even closer to Las Fiestas serves as a reminder that this ‘covid19-awareness’ life most of us lead, has not been great for anybody, no less for cinemas, filmmakers, distributors, and the like. It also helps a reviewer like myself see how damn near anything can get a green light if the mood and money is right. Take, for example, the first film I screened this year at the Sitges Film Festival ’20, Black Water:Abyss. Looking like a good idea does not always spill out so astutely on celluloid, and this brave attempt at a sequel to Aussie cult fave Black Water (2007), where a giant croc terrorises a battered group of stranded folks, now serves us a group of spelunkers in search of a gnarly body of water deep within a cave. Note: The Descent this is not, and although there are a few scares and startled moments, a good dose of the drinky-drinky is quite in order to make this one remotely as fun and palatable as the original. ### (release date TBD soon for Spain/Catalunya)

Hosts is at once mesmerising in its brutality before devolving ever so steadily, mid-way through the film, into a maddening tour de force of heinous ways to try and knock a family off. What can certainly be said is that directors Adam Leader and Richard Oakes have done well by bringing the human element and emotional connection to the viewer about the family-at-hand. When a family invites their neighbours over for holiday dinner, what commences is something so brutal yet telling, it is very hard not to be driven into the darkness of the movie in hopes of perhaps seeing the perpetrators meet a grisly end. But, after all of that, much is just left blowing in the wind like an ill-fated song by Kansas... the group, not the US state. ###-1/2

Relic…is this where such a lauded name in Australian stage and screen winds up? YES! And grandmother Edna, played by Robyn Nevin, slays her performance in this creepy if a tad bit lacklustre haunted house film. Also starring Emily Mortimer in an annoyingly stealthy yet oddly unfulfilled role as mother Kay, the film starts slow initially. When grandma disappears without a trace, mother and daughter (Bella Heathcote) team up to find her only to then discover elements of hoarding and intense senility. And then, there is…the other house! While director Natalie Erika James certainly brings a different view to ageing-in-a-horror-movie fare that have dotted the cinematic landscape in recent years like Goodnight Mommy, Paranormal Activity (3) and The Visit to name a few. That said, there is still much to be desired, but despite the formulaic semblance of irritating scenes, we do get a few thrills and decent acting to boot.  ###-1/2 (release date TBD in Spain though some screens do play it in France…if you can travel [inject maniacal laughter here])

Can we say FUN, because this film was perfect oddball fantastical horror-comedy…is that a genre? Starring yet another Stranger Things alum, this time John Reynolds with Sunita Mani as Su, his hilarious and cute girlfriend, Save Yourselves! is, for all intents and purposes, going to become a cult fave by select, prime dorks in years to come…a quasi-playbook for millennial horror-comedy, if you will. Because then we have the killer pouffe-ball. Out of nowhere, what starts to happen is the demise and takeover of the world by alien invaders, apparently in the form of destructive pouffe-ball interlopers. Camp as all hell, with a few thrills and jumps and a barrel of laughs thrown in, this film was a pleasure to watch and slightly begs for a sequel. (Film now streaming on Movistar+ and some RakutenTV outlets, as well) ###-1/2

Vicious Fun takes a dollop of fun and spins it on its axis, taking a sharp knifing to bounty killers by placing them in some therapy-styled comic tale. Minnesota 1983 and Joel (Evan Marsh) has a hankering for his roomie, but she is mos def not on that tip, so a drunken bar encounter then leads to taking part in the aforementioned self help group for killers. Director Cody Callahan and debut writer James Villeneuve paint a self-actualising group of nut cases in a sharp, witty scripted plot and presses PLAY, and we the audience get to sit back at the silliness and gore and take part in the festivities of the socio-psychopathic mind. ###-1/2

Post Mortem takes a little-discussed fact in history and begs some modern day questions, such as What?! and Why? and basically WTF?! After the First World War, it was also notably an age of pandemic, where the 1918 Flu began ravaging the world and the stark notion of Hungarian director Ptere Bergendy’s usage of the occasional bag-mask and the macabre idea of post-death photography with staged corpses to enliven them one last time before burial is stunningly off-putting. So, when Tomas (Viktor Klem) survives the war and makes his way back to his little Hungarian village, he comes across little orphan Anna (wee actress Fruzsina Hais) who, it soon becomes clear, sees dead people…just as Tomas does, and not just because he takes to becoming a post mortem staged photographer. The usage of historical aspects to set a tone, the stark scenery adding its own aplomb and actors who know how to creep an audience out helped this slightly dragging film keep its mystical, ghost-like clasp on me. ###-1/2

For starters, a couple of docs that skirt socio-cultural issues but are right up this critic’s alley…history. The Quiet Revolution: State, Society and the Canadian Horror Film looks at just how social and political tensions of the 60s and 70s within North America differed between the US and Canadian territories, and that aided in the creation of on-fleek horror film traditions from then until the present day in Canada but obviously beyond, as well. Think Montreal in those times and know that it bred a revolution in French-language cinema. Throw in filmmakers like David Cronenberg, whose son won Best Film this year at Sitges 2020, and we start to see that the difference between US horror and Canadian horror has distinctly been shaped by the differences in the state from which they are helmed. Nice touch with bountiful shards of film clip examples to illustrate for dorks like myself. ###-1/2

Be Water tells the story of Bruce Lee but in such an unexpected treasure kind-of-way, as so much unseen and long time not-seen footage of Bruce and his family makes the film rife with historical depictions. I never knew that he was a kid actor star for Asian cinema devotees across the globe AND that he was born in San Francisco. The documentary title is derived from one of Lee’s core philosophical beliefs and it must be clearly stated that water being fluid as it is, smooth and crystalline as it is and yet hard as anything else, capable of breaking down dams, walls and even presidencies. Superb and informative if not definitive. ####

Ahhh Becky…such a lauded name these days with Beyonce fans and the like…Telling the tragic story of lil Becky (young horror film maven Lulu Wilson) who, after losing her mother a year or so before, is doted on by her loving father (US comic actor Joel McHale) who, one day, takes her away for a respite to a) continue the healing process in nature; b) assure her they will keep their country home; and c) let her know that his now girlfriend is about to become her new mommy…with lil brother in tow. Insert a common theme in the US (the world?) right now and white supremacism rears its scary-ass head in the name of some scary, escaped convicts (led by chunky-and-charming King of Queens star Kevin James) and the hit gets real...really quickly. The unexpected force? Tween kween Becky and her boiling pre-teen angst/anger. Chil’! This film gives good thrills! ###-1/2 (now premiering on Movistar+)

There was a moment whilst screening Catalan director Lluis Danes’ interesting La Vampira de Barcelona where I felt a sense of deja vu, a sense that I was back in the 90s watching an intriguing arthouse film documenting a little remembered piece of history. At times it felt like a mix between a low-budget Age of Innocence mixed with a sincere element of Ferrara’s The Addiction. Detailing the story of Enriqeta Marti i Ripollés, known as the Vampire of the Raval or Vampire of Barcelona as the film title suggests, it has nothing to do with blood sucking and much more to do with the fact that she had connections in high places and made deals that provided children for the sexual pleasures of men amongst the rankings of high society. This spanned over years and allegedly claimed the lives of over a dozen pre-adolescent children. Some researchers have disputed this claim and deemed her merely a mental case, but this film takes the necessary steps to analyse the documented case. Winner of the Audience Award for Best Film at this years’s festival, the film opens in local cinemas on the 20/11/20. ###-1/2

Spree was a superb piece of celluloid to screen for this year’s Sitges film festival and is yet another social reflection of how the demented realm of youngsters without scruples but plenty of social media contact make for a bleak AF future. The movie tells the story of Kurt Kunkle (Stranger Thing’s Joe Keery) who is beyond obsessed with social media stardom and concocts a way to attain that by attempting to coerce a kid he used to babysit (and who is now a social media influencer) to aid him grab more live stream viewers. But what ends up happening is a slow, maddening yet funny descent into a psychopathic spree of death or near-deaths that border on all-too-real yet achingly not-real tidbits of modern reality, especially for this under 20! Superb as a thought piece, creepy thrill ride and post-modern drama. The film is now streaming on some international Amazon Prime platforms but should also see an indie cine release by early next year. ####

The Old Man: The Movie was so much fun to screen! It was like going into the millennium-style, sardonic and sarcastic humour that I so gravitate to and spinning it through an Estonian milk to butter churn. Helmed by Estonian filmmakers Mikk Magi and Oskar Lehemaa, this animated (personal fave) film goes off telling the fabled Estonian story of how cows explode and wreak havoc when doing so if they are not milked every day or so! Apparently, this tale is told to kids in Estonia and is brought to life with the story of farmer/milkman, Grandpa, whose three grandkids come to visit for the summer, only to learn a valuable lesson or two when their trusted dairy cow goes missing. What ensues is such a silly laugh riot, and yet it also touches on human emotions and fantasy at the sane time and in such a wonderfully unique way. Though released in its native Estonia late last year, it is still hard to come by and I’m grateful to have screened it this year! ####

While I was screening Polish director Lech Majewski’s latest odd offering called Valley of the Gods, it was hard not to feel an overwhelming feeling of otherworldliness. The feeling of deja vu was too true, with a tinged air of Lynch mixed with the opulent director’s-eye of Sorrentino and a dash of Kubrick-style art-rendered-reality...even that might only start to begin to explain this piece. Telling the story of a man’s breakdown due to love’s labour lost, we follow John Ecas (Josh Hartnett) trying to break free from his sadness by immersing himself into the work of a man who is an old trillionaire (John Malkovich) and documenting his life story. What enraptures the audience (if they’re able to be, that is) is how director Majewski captures the odd reality of the original US-Americans, native American tribesmen like the Navajo here, set against the realities of modern USA. Unexplainable in a way, this film either grows on you or you walk the hell away wondering, ‘WTF!’ the film opens in local cinemas on the 20/11/20. ###-1/2

How does one even begin to describe Europe's famed and favourite horror & fantasy film festival during a time when the very nature of a pandemic is like a theme for one of the films being screened? The dark irony was certainly not lost on me over the last two weeks, and as I traversed quieter Sitges streets this year, there was a sense of longing mixed with trepidation and goodwill that could best be summed up as everyone doing all they could do in order to muster and try to still have a-ahem- killer good time. Gone were the copious amounts of vendors and 'frikis' selling wares, gone was the lauded Zombie Walk, and gone were the annoyingly long lines and chipped shoulders as reality did its job. That job, for me any way, this year was to make a few decent contacts (score!), interview actress and Sitges Queen MC Melina Matthews (done...watch that fab interview here: https://www.facebook.com/watch/?v=824908928247997 ) and screen a helluva lot of movies (20 and counting so far...thank you Online Vampire Press Pass 2020 AND Five Eye countries' pre-releases already screening!) As it stands, the cinema industry is reeling from its worst economic and setback labor annum in its history. Undoubtedly, film distributors and companies are, at best, besotted by that gnawing, iffy feeling that things may remain stagnant. Release dates are on hold and cinemas have been mostly closed for months and perhaps more to come.

The films to be reviewed here would normally be scheduled for release between their premiere at Sitges Film Fest and the new year but with the aforementioned industry stagnancy, it's most likely that many are destined for a later release date or, even more likely yet, a release on streaming sites that have taken over the entertainment world over the past half decade. On with the movies! 

2020′s Best Film winner Possessor Uncut marked Brandon Cronenberg's (yes, his daddy is David Cronenberg, so go figure) triumphant return to Sitges FF after winning the Noves Visions award eight years ago. I personally felt a wee bit underwhelmed with the sci-fi/ horror genre mix's rich take on elite assassins and a future where probes and dials may actually control our emotional wellbeing. You see, 'possessors' are assassins who have their consciousness implanted into others and then thereby are programmed to carry out whatever hits or rub-outs are needed. The film starts with a bloody bang and it cannot be understated that the intensity of the action sequences, the studious eye of Cronenberg (like his poppa) and the visuals he lays out for us are top notch and are a testament that filmmaking runs deep in his roots. Sure to find rapid international distribution, I was none too surprised by the film's win...nepotism has its favours after all! #### A Perfect Enemy (Cosmetica del Enemigo) is an oddly intense, wannabe mind-fuck of a film and the well-played annoyance of main actress Athena Strates takes centre stage, even despite a collective audience desire to slap the ish out of her. Or was that just me? Like any post-drunken, young, cute floozy of a girl, her character Texel Textor aids in the missing of not only her own flight but that of the unsuspecting architect shmuck Jeremiasz Angust (how apropos his surname is), who picks her up on the way to the Tokyo airport, one of his own designs. What ensues is a forced conversation that ends up delving into a story that must be followed to be believed. Based upon the novel 'Cosmetique de l'ennemi' by Amelie Nothomb, this latest work by Spanish director Kike Maillo is gripping and tense if a tad fastidious. ###-1/2 Mandibules skirts the genre of fantasy/comedy so well that when the film's main co-actors Gregoire Ludig and David Marsais won Best Actor(s) at this year's Sitges Festival Palmares ceremony, I was not surprised and immediately started laughing and clapping, because they stole the bloody show. Mandibules tells the story of two losers out to finish a heist so as to come into some much needed money, but what these two eerily engaging twits embroil themselves into is an absurdist fest. Stealing a car after a busted trial and error move, they discover that a huge, nearly meter long fly is stashed and thirsty in the boot of the stolen Mercedes! They end up foiling plans, destroying property and plotting a course that eventually leads to a bit of money and a lot of hilarious hijinks drama along the way! ###-1/2 There have been so many screenings done from the comfort of my own home so when I got to screen the new instalment sequel to Train to Busan, I was stoked. Not only was that original piece one of the finest celluloid tellings of zombie horror, but it breathed a wave of fresh eyes onto South Korean cinema. This new film is called Peninsula, and that's where they should have left it. Having seemingly little to do with the emotional original, this piece of experimental non-originality follows the aftermath  four years after the intense zombie apocalypse and takes place over in Hong Kong now. A guy ( a tad funny to be sure) named Jung-Seok joins a mission to return to a quarantined peninsula to salvage $20 million dollars left in a deserted food truck. What befalls is, you guessed it, another zombie attack followed by an ambush, resulting in another bloodbath but for what? I honestly don't see why, though... There is a joining of forces with a rag-tag team of ambush zombie assassins that plays some relief for Jung, but the lack of real human condition story, the addition of guilt actions mixed with dark humour and gore should be enough to placate the hungriest of pandemic-stricken horror lovers...but it’s not. Alas, for me, this was a Sitges FF letdown though the film is racking up the bucks in open cinemas worldwide. ##-1/2