Just A Little Bit Random

Alternative Christmas Film Advent Calendar 2019 – Brazil

The idea for the Alternative Christmas Film Advent Calendar (there’s probably a much simpler title out there) is simple; a film each day in the build up to Christmas that isn’t your standard Christmas film. Not like The Muppet Christmas Carol, Elf or Die Hard (that’s an argument for another day, or year), but one that might be set at Christmas but the holiday isn’t a major factor in the story of the film, or it’s simply mentioned a couple of times and made reference to throughout.

We’re roughly half-way through this week of alternative Christmas films, and as most places have finished work for Christmas now what better way to spend the spare time, aside from last-minute shopping, than with another festive treat. The offering behind todays calendar door being none other than Terry Gilliam’s Oscar nominated Brazil.

For those who have seen Brazil it might not exactly seem like what you would think of when you think about the standard, good-humoured, slightly charming enjoyable Christmas films that you normally turn on each December. In fact it’s most notable for being one of the ‘Gilliamesque’ Terry Gilliam features there is. Filled with it’s deeply vivid sense of imagination, set against the backdrop of a futuristic, and therefore, dystopian world, and mixed with the largely grey and darkened colour palette there’s a strongly looming sense of darkness around the film. All of which act as a form of repression on central figure Sam Lowry (Jonathan Pryce), with his constant dreams of being a heroic, winged figure in a world that seems extremely far-fetched and dream-like, especially compared to the one in which he lives in. Clearly showing why the initial title for the film was 1984 1/2, until a film version of 1984 was released the year before.

It’s this, what some might see as, slightly downbeat nature, and the general ideas that run throughout it, that made the film troublesome for some when first released; or rather, just before being first released. While being released as the Gilliam cut in all other countries across the world America was the only place not to have released the film. Universal had people working behind-the-scenes the make a new edit for American audiences, something which Gilliam greatly protested against. Gilliam’s irritation, to put it lightly, grew so much that he sent a letter to Variety, which then got published as a full page, simply saying “Dear Sid Sheinberg [the head of Universal at the time] When are you going to release my film, ‘BRAZIL’? Terry Gilliam”. However, the version of the film was still kept hidden away. That was until Gilliam’s cut won Best Picture, Best Screenplay and Best Director at the Los Angeles Film Critics Association awards. Soon after a release of this original edit was put into U.S. cinemas, and while it wasn’t a box office success it did go on to receive a Best Original Screenplay Oscar nomination, alongside one for Best Set Decoration, and has gained a relatively strong cult following over the years, as have most of Gilliam’s films.

So far the sell for this as an alternative Christmas film has made it sound anything but festive, especially from the opening lines of this piece. And, admittedly this is far from the type of Christmas film that we’re used to, even by Die Hard standards. However, this is partly where the idea of an alternative Christmas film comes into play. Christmas is mentioned every now and then over the course of Brazil, in fact the film is set at Christmas. Decorations can be seen thinly laid out on occasional, filthy, littered work-spaces in a handful of scenes alongside the odd Christmas tree and simple reference to the holiday. The sense of hope, peace and people coming together contrasts strongly with the ideas of selfishness, greed and control that the film presents, if anything going towards and heightening these. Thus making the satirical tones that little bit more humorous, adding to what could otherwise be a highly depressing film.

The film’s opening scene, leading into the chaos, mistakes and misjudgements that lie throughout the rest of the run-time, is the one to most prominently display this. A calm Christmas scene, a family together enjoying themselves, quietly reading A Christmas Carol. Until a government group, seemingly running some form of military operation, burst in and the tone completely changes. All while the theme of Christmas, the decorations, the music, etc still remains. The idea of gift-giving, receiving, yet always feeling that something is being taken away or

When everything comes together this is a truly imaginative film – after all Gilliam refers to it as the second in his ‘imagination trilogy’ (also featuring Time Bandits and The Adventures Of Baron Munchausen – almost telling a story of imagination changing with age. Gilliam also considers this to be the first in a trilogy of dystopian satires, also including 12 Monkeys and The Zero Theorem; the latter of which shares a number of themes and ideas with Brazil). One that’s filled with humour, perception and, of course, a slightly dark and sinister tone that creates a fine mix for a highly ‘Gilliamesque’ feature that needs to be seen to be properly understood and, most importantly, believed. And it’s truly worth the watch. Many consider this to be Gilliam’s best film, for me it’s his second best, although I consider Tideland – his hugely divisive 2005 feature – to be his true masterpiece. Nonetheless, Brazil is a genuine experience, one that stays with you and while not being your conventional Christmas film is definitely alternative, and the slight hints of Christmas add that little bit extra to its impact, effect and general tone.

Brazil can be watched in the following places:
Amazon
iTunes
Sky
Or it can also be available via the medium of DVD, Blu-ray and maybe even VHS or Laserdisc (if you have either of those knocking about, and something that will play them), etc, and of course it may be on other streaming or rental platforms; always worth the search.

Cats – Review

Cert – U, Run-time – 1 hour 50 minutes, Director – Tom Hooper

The Jellicle cats meet for the annual Jellicle ball where one cat will be chosen to restart with a new life.

What is a Jellicle cat? What makes a cat a Jellicle cat? How does a cat become a Jellicle cat if it isn’t born as one? Can cats be born as Jellicle cats? These are all questions that the smash hit West End musical Cats never answered. For those going into this high-budget film adaptation of one of Andrew Lloyd Webber’s most famous works you won’t find them here either. In fact you may come out with more questions that you entered with, all part of the baffling, confusing, headache-inducing experience that is the film version of Cats.

There’s no denying the success that the original stage musical had, after all it spent over 20 years in the West End, and is one of the most successful musicals of all time, even if it does only have about one good song, doesn’t make sense and has, for some, become something to poke fun at when it comes to certain musical based jokes. So, it was only going to be a matter of time until a film version was made. In the musical cast members are dressed up in hairy costumes, with heavy make-up to give the impression of the common feline housepet. However, this film takes a slightly different approach. Giving the alleged cats human faces, hands and feet (and bodies – the female cats have breasts). It all makes for something that looks rather disturbing, during the opening sequence when central character Victoria (Francesca Hayward) – who does nothing but watch and stand in amazement at all other performances around her – is thrown into an alleyway by what was her owner various cats crowd around her singing about Jellicle cats, while never explaining what one is. The general look and feel of this sequence is one akin to an even more horrifying Pink Elephants On Parade, just with more fur.

The look of the characters of the film was criticised from the trailers, although many of us gave the film the benefit of the doubt due to the fact that the CGI probably wasn’t completed at the point, not that the new look looks any much better. In fact it’s lucky that the script and songs, which make up about 105 minutes of the 110 minute run-time – even for a musical this seems a bit excessive? – is filled with cringeworthy cat puns, almost one every five or so minutes, to remind you that these are cats, not weird humanoid figures in some form alternate universe. “Don’t mess with the crazy cat lady” explains Rebel Wilson’s Jennyanydots, a tabby cat who eats a group of humanoid cockroaches, to a disturbed response.

Ideas such as this bring an extra layer of confusion and bafflement to the film. Both of which, alongside the fairly poor and equally nonsensical songs, add to the headache that the viewer experiences during this loud film. Potential energy is simply transferred into hectic dance numbers, loud chorus’ that lead to the words not being properly heard or understood, not that many words need to be used to get the idea that James Corden’s Bustopher Jones is fat and likes to eat. Such simple points get three or four minute musical numbers before we see Idris Elba as Macavity, somehow transporting competition to an island with Ray Winstone – who is easily the best and worst thing about this film, a character that just needs his own film, not just a thirty second musical spot and growling – whose character is aptly named Growltiger.

So far this review has contained barely any mention of plot, and that’s because there isn’t one. The Jellicle cats meet at the Jellicle ball so that one can be chosen to go to restart with a new life. This is almost two hours of introductions, characters describing who they are and what their basic background is. From set-piece to set-piece we go, from naked cat body to furry coat wearing cat the general look of the sets, using large props and heightened sets to give the true impression of size, is something to be slightly admired, however much of the sets are darkly lit or aren’t seen for very long, so there isn’t much to be fully immersed in. Leading to something that creates a lack of connection with the viewer and something that’s very difficult to keep up with, especially with so many characters, songs and so little plot.

There’s a lot going on in Cats, yet at the same thing barely anything at all. When mixed with the musical numbers and the constant changes between scenes and ideas, some of which go on for too long, it’s difficult to keep up with the almost dizzying and confusing nature of the film. At the end of the day the designs are the least of the problems – even if you would genuinely forget that these are meant to be cats if you weren’t reminded every so often – the lack of plot, explanation and sense is. And therefore the film is brought down and simply can’t be enjoyed as much as the all-star cast (and director Tom Hooper – making something rather different to his Oscar hits Les Miserables, The King’s Speech and The Danish Girl) might hope that you would. It’s certainly an experience but it’s unlikely to create any lasting memory, or at least not one that could possibly fuel the odd nightmare.

The character design is at times questionable, and so are some of the alleged gags that run throughout, however Cats biggest flaw is its lack of plot, even still creating something confusing and headache inducing. Never properly clicking, or giving time to be immersed in what could otherwise be a detailed and decent looking world.

Alternative Christmas Film Advent Calendar 2019 – Anna And The Apocalypse

Today marks the day that makes this alternative advent calendar a trilogy. So, what better way to mark that than by opening the door to a completely unique and original film? The musical-comedy-horror-zombie apocalypse film that is Anna And The Apocalypse.

It’s highly likely that there isn’t, and may never will be, a film quite like Anna And The Apocalypse. A comedy musical set at Christmas during the zombie apocalypse, and that only just touches the surface. It sounds ridiculous, like something that was meant to be rejected by got put in the acceptance pile, totally bonkers and out there, as if it just won’t work. But, somehow it does, and it’s perhaps one of the most enjoyable Christmas films of recent years.

Following an ensemble cast, mostly playing students in their final year of school before going onto the next stage of their lives, whether it be work, university or something completely different the group seem to be, the film focuses on Ann (Ella Hunt), a girl with her own relationship troubles, despite not actually being in a relationship, alongside struggles with what she’s going to do with her future – her views contrasting with her father’s (Mark Benton). Meanwhile friend John (Malcolm Cumming) is struggling to tell Anna of his feelings for her, Chris (Christopher Leveaux) is being told that his film projects aren’t personal enough, Steph (Sarah Swire) is trying to get her social justice reporting past the heads of the school and Nick (Ben Wiggins), taking the form of the school bully, is simply making life harder for everyone. It sounds like your basic set-up for some musical numbers within a mild high-school comedy. Except, as already mentioned, this has zombies.

If anything the zombies help the film, leading it to be far from conventional, and thus far more interesting. There’s no denying that the inclusion of such a threat amongst modern musical numbers and teenage school dramas makes for an intriguing and creative blend. With it all set at Christmas the contrast of themes and genre makes for something utterly enjoyable. Helped by good performances, and a number of lively musical numbers (including a dirty Santa fantasy in a school hall and a teacher singing about his dislike for kids as all hell breaks loose, Mr Savage (Paul Kaye) being one of the true highlights of the film) there’s no denying that this is an apocalypse packed with energy.

One of the main review quotes that featured in much of the advertising for the film was “Shaun Of The Dead meets La La Land”, and in many ways this is a fair comment. The ‘average-person takes on zombies’ idea mixed with outbursts from characters to simply convey they’re inner emotions and feelings; with some equally enjoyable and energetic dance routines thrown in for good measure.

When it comes to how heavily Christmas features within the film, while some moments feature fairly heavy reference to the holiday, and while giant candy canes are used at times as defence weapons as a whole this could almost be a very similar film if it weren’t set at Christmas. Nonetheless somehow the group coming together in such a situation, mixed with the various chuckles that are raised over the relatively quick run-time, creates a mildly Christmassy vibe, likely sprouted due to the time of year the film is set, and the occasional references to the festive season.

There’s no denying that Anna And The Apocalypse is a potentially niche film, with a lot going on. However, it’s also undeniable that it’s a lot of fun and definitely very enjoyable. Highly entertaining and wonderfully unique it’s very much the definition of an alternative Christmas film.

Anna And The Apocalypse can be seen in the following places:
Amazon
iTunes
Google
YouTube
Sky
NowTV
Or, on DVD, other physical film watching formats or potentially other streaming services and purchase platforms.

Alternative Christmas Film Advent Calendar 2019 – Trading Places

Day two of the alternative Christmas film advent calendar (that’s right this really wasn’t a joke) reveals another festive comedy – although a much lighter one than yesterdays. Today’s film is, of course, Trading Places.

1983’s Trading Places saw Dan Aykroyd, as a rich, spoilt and sophisticated managing director of commodities brokers Duke & Duke, and Eddie Murphy, in his second film role, and still very much a rapidly rising star, as a poor, homeless street hustler trying anything to get money. In an early scene he’s seen pretending to be blind and without legs, hilariously wheeling himself around on a small cart. The Duke Brothers decide to hold a wager based on swapping the lives of the two figures, from polar opposite ends of the social ladder, to see what the results are, whether they would survive and cope with lifestyles that neither has ever come close to encountering before.

While examining ideas of the relationships between different classes – when kicked out of his high-class life Aykroyd’s Louis Winthorpe III finds himself feeling as if his whole life is over, fearing for it even more when he finds himself in a run-down area of Philadelphia after befriending and beginning to live with Jamie Lee Curtis’ prostitute Ophelia, Curtis was initially protested against being cast by the studio who only thought that she could do horror, after films such as The Fog and three Halloween films – there’s much of Trading Places that also examines race relations. Initially, when being made as a project for Gene Wilder and Richard Pryor, the film was titled Black And White. Many claim that such themes and representations still have much relevance today, understandably so. In fact the contrasts against the background of the build-up to Christmas very much add to the points that the film makes in regards to such themes. The greed of the Duke brothers, obsessed with making millions more dollars while there are many other struggling on the streets.

To an extent some of the points and ideas that the film makes are based around certain stereotypes which helps to emphasise such points, developing the plot and the overall tone of the film. Maybe without such stereotypes the film might not be as funny as it is, or have the same effect, maybe it would have turned out as a serious drama. What would this film have turned out to be like if Murphy’s Billy Ray Valentine constantly restraining himself from dropping the F-bomb, using his money for his own gain, to show off and bring people closer to him, or trying to keep his view of upper-class behaviour and lifestyle in check. Or without Aykroyd’s constant worrying about having no money, frequently relying on it and having a low point of view of anyone that isn’t from his background. Trading Places is a film about stereotypes viewing everyone else as stronger, much more different stereotypes. Another point that could be made in the case of the relevance that the film has is the fact that in 2010 a genuine rule was made in regards to the actions of the Duke brothers, through congress for the financial market. After coming into effect the regulation was labelled as “The Eddie Murphy Rule”.

The film takes place in the build-up to Christmas, and New Year. A number of key scenes, and themes, help to heighten the sense of festivity throughout, alongside certain points that the film raises, all while never forgetting to bring about the laughs. One moment in particular as a dishevelled Aykroyd, dressed in a dirty Santa costume at a Christmas party, tucks large portions of food into his large costume. Many have compared the basis of the film to that of The Prince And The Pauper, sometimes a feature of panto season during the festive period, at least in the UK (even if Trading Places is an American film). Nonetheless, the general themes seem to resonate with a certain feeling at Christmas, and various other Christmas films and narratives, many of them somehow finding a link, even if a relatively loose one, back to Scrooge. Either way, there’s something about the comedy amongst what could easily be something serious and dramatic, and the tinge of the time of year that makes Trading Places an entertaining, funny and overall enjoyable alternative Christmas film.

Trading Places can be watched in the following places:
Amazon
Sky
iTunes
Google
YouTube
NowTV
Or, on DVD, Blu-ray or other forms of physical media, and potentially other streaming platforms.

Just A Little Bit Random Audience Best Films of 2019

It’s that time of year again! As the year comes to a close and awards season begins to heat up I ask you the audience/ listeners/ readers of Just A Little Bit Random to vote for your best films of the past year.

All you have to do is vote via this poll by 5PM on Wednesday 1st January, when the review of the year show will be broadcast, with what you thought the best film of 2019 was. It’s as simple as that!

From the heights of record-breaking comic-book adaptations Avengers: Endgame and Joker to Netflix hits like Marriage Story and The Irishman. All amongst the likes of smaller British films such as The Kid Who Would Be King, Bait and Beats, or simply some of the great films that have stayed with us through the year such as Rocketman, Us and Midsommar, all for different reasons, almost every film from the last year is listed in the poll. (These are all done by UK release date, hence why films such as The Favourite, Vice and Green Book are on the list and the others such as Jojo Rabbit, A Beautiful Day In The Neighbourhood and The Lighthouse – all of which are released here in January – aren’t there).

Make sure to spread the word and share the poll around so that as many people vote as possible. Results will be announced just after the review of the year show on Wednesday 1st January!

Alternative Christmas Film Advent Calendar 2019 – In Bruges

Opening the first door of this alternative advent calendar we find Martin McDonagh’s feature directorial and writing debut, In Bruges.

Colin Farrell and Brendan Gleeson play two hitmen (Ray and Ken), sent by their boss, Harry (a gloriously sweary Ralph Fiennes) to Bruges after a job goes wrong. There they must spend time acting as tourists, despite there being few sights apart from the local pub, until instructions arrive. While Gleeson’s character somewhat begrudgingly accepts Bruges, being the first to suggest visiting the top of the tower, Farrell’s unthoughtful, uncaring figure has no time for the area, with nothing taking his interest. Or at least not until he meets Chloe (Clémence Poésy), an actress on a film being shot near the hotel that the pair are hiding out at. It’s not long until Ray finds himself making conversation with the woman who seems to be the only good thing about his trip to Bruges, the more he sees her the more intrigued he becomes, the same going for the cocky American dwarf actor he continuously sees on a daily basis.

However, it’s not long until things begin to get much darker when they take a turn for the worst and the sinister world of crime and gangs is revealed in the most unsuspecting place. Allowing for McDonagh’s style of wonderfully funny dark humour to flow through with full effect. For a debut feature screenplay, having previously written a number of plays, McDonagh received an Oscar nomination for Best Original Screenplay for this film, winning the BAFTA in this category, alongside also being nominated for Best British film. The screenplay is razor sharp, smart and, as already mentioned, very, very funny. Pushed further by the performances that truly bring the piece to life, Gleeson received a Best Supporting Actor BAFTA nomination for his performance in this film. Wonderfully getting across one of the greatest insults in cinema history, Ralph Fiennes getting the other in this same film (you’ll know them, and hopefully love them, when they come along). Similar awards success would be seen with McDonagh’s third, and most recent, feature Three Billboards Outside Ebbing, Missouri.

When it comes to the Christmas themes that lie throughout the piece the film is set at Christmas. Decorations can be seen all across the traditional, almost still medieval, city and its buildings, even if the holiday isn’t mentioned often. Ray’s arc over the course of the narrative almost has a slight familiarity to that of Scrooge – while he might not quite have the same change of heart he definitely has a slight difference in attitude as the film proceeds, and he spends more time with Chloe, or at least this appears to be the case at one point.

In many ways with the general style, tone and themes of In Bruges it could be viewed almost as the opposite of the standard Christmas film. Not quite giving the standard feeling of warmth, joy and charm that many have come to expect, and want from most films centred around the festive season. In Bruges is dark, slightly cold, sweary and violent. However, it does house some of the common themes and conventions of other films set during the festive season. That and the fact that it’s deeply funny and highly entertaining. Very much making it an alternative Christmas film.

In Bruges can be found in the following places:
Netflix
Amazon
Sky
Google
YouTube
iTunes
Or, you may very well already have it on DVD, Blu-Ray or some other form of physical film viewing.

Jumanji: The Next Level – Review

Cert – 12, Run-time – 2 hours 3 minutes, Director – Jake Kasdan

When Spencer (Alex Wolff) decides to return to the world of Jumanji his friends decide to follow in the hope of saving him, and helping him to complete what seems to be an almost entirely new game.

2017’s Jumanji: Welcome To The Jungle, the sort of sequel- soft-reboot of 1995’s Robin Williams starrer Jumanji was well-received by critics and audiences alike. Being an enjoyable, star-studded film to end the year on, and ended up becoming one of the highest grossing films of the year. Now such stars return, bringing more along with them, to the video game world of Jumanji when Spencer (Alex Wolff) is tired of his life away from his friends, being on “a break” with girlfriend Martha (Morgan Turner), after coming together at the end of the first film, and ignoring the group chat with fellow friends Fridge (Ser’Darius Blain) and Bethany (Madison Iseman) in, isolating himself to his life at university. Spencer wishes to be back in the body of video game character Dr Smolder Bravestone (Dwayne Johnson). It’s not long until his friends suspect something wrong and find themselves taken back into the game, along with, accidentally Spencer’s grandfather, Eddie (Danny DeVito) and his friend Milo (Danny Glover).

However, the group find themselves not in the same bodies as before. Fridge finds himself taking the form of Jack Black, Eddie that of Dwayne Johnson, Milo being Kevin Hart, the zoologist with the weakness for cake, Spencer takes the form of new cast member Awkwafina (Ming – an expert pickpocket and thief) and Bethany becomes a horse, due to no other characters being available. In fact the only person in the same body is Martha, again taking the form of Karen Gillan. With the switched-up characters the group find themselves with new skills, weaknesses and climates to tackle, as the game appears to have changed. They’re new objective being to find Jurgen The Brutal (Rory McCann), a medieval style villain who poses the stone that can take everyone back to the real world.

Unfortunately it appears that with two elderly men being a part of the game things are going to be even more difficult and deadly than they already seem. Milo’s long-winded answers and lengthy pauses make for a zoologist character that takes far too long to get to the point – bringing the group to a number of near-death situations. Whilst Eddie finds himself constantly confused as to what’s going on, never properly grasping the fact that he’s in a video game, thinking that he’s actually died, and loving his new body with hips that move properly. And this is about as far as the gags in this sequel go. While the first film was commended for its wit and humour that managed to find success with a variety of audiences this return has one joke, and that’s Dwayne Johnson and Kevin Hart are old people. Something which might be amusing in the trailers, or done in the past, but not now. The joke quickly wears thin, to the point where it seems as if it’s just a thing that’s happening instead of a joke, when the idea’s repeated multiple times throughout each scene.

Scenes that begin to feel like cutscenes from a video game. Extended, lengthy ideas that begin to seem to go on for a bit too long. While The Next Level feels more like a video game than Welcome To The Jungle, which did have its elements. Possibly the sense of adventure and the general look of the piece, which is as detailed as before and helps to bring the viewer into the world. From desert landscapes to icy mountain climbs there’s much more to this film than just the jungle in terms of location and it helps to flesh the piece out and keep the viewer slightly engaged. However, with some scenes going on for slightly too long, and the few jokes quickly wearing thin you might feel like you’re in the world however you never properly feel involved with the characters of the unfolding actions on screen. Meaning that the film as a whole begins to fall.

Admittedly there are some enjoyable ideas and moments scattered throughout, some of the fight sequences are fairly well done, even if there isn’t major sense of threat or tension within them, and there are one or two slight chuckles – probably only about one or two. For what it does offer the film is relatively well-paced and if it were to raise more laughs then it may be a more satisfying piece. However, despite all the other elements working, and the case clearly having a good time returning and making this film it’s not as fun for the viewer due to the lack of laughs and therefore major entertainment factor that the film tries to get across during a number of scenes. Leading to the film failing because of this missing key detail

Jumanji: The Next Level takes many of Welcome To The Jungle’s elements and develops them further. Unfortunately the predominantly one-note humour does begin to drag the film down leading to a lacking feel in the otherwise high potential entertainment factor.

LFF 2019: First Love – Review

Release date – 14th February 2020, Cert – N/A, Run-time – 1 hour 48 minutes, Director – Takashi Miike

A young boxer (Masataka Kubota) runs in with a drug addict (Sakurako Konishi), and soon finds himself involved in a deadly drug-smuggling operation which includes corrupt cops, assassins and the yakuza.

Cult Japanese director Takashi Miike has become known for his rather outlandish, blood-soaked films, of which he often releases multiple a year – since 1991 he has directed over 100 projects. However, his latest project, First Love, might not quite be on the same level as Ichi The Killer – which in many countries was, if not banned, heavily edited just to be acceptable for release – or Yakuza Apocalypse, but there’s still a fair deal of violence held within the film. Violence which almost seems to have been pulled straight from a cartoon as if to help match the almost comedic nature of a number of the scenes and ideas.

Once Miike presses the button to start the film’s action there’s no way of stopping him, or the film as a whole. From the moment an old woman not only gets punched, but completely smacked to the floor, to someone jumping out of the window of their flat as it explodes behind them this is a nonsensical completely absurd feature. As protagonist Leo (Masataka Kubota), a young boxer who’s been told that he’s got a brain tumour, finds himself, after meeting drug-addicted sex slave Monica (Sakurako Konishi) he finds himself thrown into a world of drugs and gang violence, with assassins, the police and even the yakuza on his tail. The scale and absolutely off-the-wall bonkers nature of the film is enough to simply bring a big grin to the face of the viewer as they just forget how ridiculous the film is and begin to embrace the absurdity – which at times has hints of Ben Wheatley’s Free Fire, especially during one of the final set-pieces.

Amongst all of this there’s very little room for an overall narrative. Everything seems to just happen as the action does, with no major sense of direction, only a sense that stuff is happening and it’s forming a loose narrative around it, something which is pushed further by the fact that the film as a whole doesn’t really make any sense. Something which at some points does get a bit too much – you do begin to almost want some form of order in the hope of knowing what’s actually going on amongst all the occasional hallucinogenic (genuinely, for Monica at least) tangents, some of which do begin to disconnect the viewer from the piece.

There’s not a great deal else to be said about the film. It’s slated Valentine’s Day release date is one that seems to be ironically used considering the general tone of the film, and the mostly lacking nature of romanticism amongst all the violence that the film holds. The film is all over the place, bloody and violent to create a further energy and sense of ridiculousness and it just about manages to get away with what it does and keep the audience in the absurd off-the-wall world for most of the run-time. Even if that does involve some potentially unintentional laughs.

Utterly ridiculous and unashamedly violent – with some slight hints of Free Fire thrown in just to add to the absurdity and chaos – it might not make any sense most of the time, and might just be completely bonkers, but First Love for the most part is a perfectly enjoyable, if deeply nonsensical, ride.

LFF 2019: Uncut Gems – Review

Release Date – 10th January 2020, Cert – 15, Run-time – 2 hours 15 minutes, Directors – Josh Safdie, Benny Safdie

A New York jewellery dealer (Adam Sandler) makes a number of high-stakes bets that could lead him to a huge windfall, however if won he must get around a number of forces to get the money.

Sitting down ready for Uncut Gems, the latest feature from Josh and Benny Safdie – following on from their acclaimed thriller Good Time – me and another critic began to discuss the career of Adam Sandler so far. She stated that “he’s just a lazy actor”, something which I myself agreed with slightly – it does seem like most of his choices in films have been those where he can play the same man-children and go on holiday at the same time. But also the point is in place that while Sandler’s audience grew up he, or at least his characters, never have. And while his comedy performances have often been relatively the same his rare dramatic performances have something else to be said for. Punch Drunk Love, which I consider to be his best film, and indeed performance, is a fantastic piece of work. And while I wasn’t a fan of the film many praised his performance in The Meyerowitz Stories. Sandler can do drama – proven by the fact that there’s already a fairly strong Oscar campaign around him for Best Leading Actor for this specific performance, even though when the offer first came to him to do this film in 2009 he rejected it.

Sandler plays Howard Ratner, a New York jewellery dealer always looking to make more money, which as sprouted a slight gambling obsession. He buys to sell and sells to gamble to make more money, often through very high-stakes and unlikely odds. In fact much of the film revolves around a number of Howard’s highly specific bets, which could lead him to one of the biggest windfall’s of his life. However, there are various groups against him, some he owes money or products to, others who simply want something from him that he sells in his small , brightly lit store – contrasting with the dark nature of his office.

While initially it seems like Howard/ Sandler does nothing but shout and drop the f bomb, as the narrative begins to develop, and actually show itself, his performance does too. Forming into something much more complex and detailed, bringing the viewer into a world of high risk tension and unpredictability. The Safdie Brothers – who write and direct this feature – play with lingering on the nature of the film, how the narrative could go absolutely anywhere, not helped by their frantic, almost dizzying central figure. Forming a large, swirling cocktail of energy, stress and tension that almost leads the viewer into a sweat as they try to keep up with everything that’s going on, and the forces that surround the, what could be referred to as, antihero – if he even is any form of hero – of the film.

Amongst all of this there’s plenty of room for dashes of humour to be spread throughout. While the more direct attempts at gags don’t quite work the blunter, more conversational, quick-witted bursts do get a response. And that’s not to say that the other elements of comedy don’t always work, on particular scene set in an auction room is one of the pure highlights of the film, and allows Sandler to almost unleash the closest thing to his standard style of comedy, while still managing to raise some laughs through the desperate tension and panic of the scene slightly twisted for comedic effect. In fact it seems that once it properly kicks in there are almost no faults in Sandler’s performance, and the general flow of the film; the only thing he can’t seem to be able to do is dramatic/ serious crying.

Throughout the film Sandler’s character states “It doesn’t matter until the final minute” – in reference to a basketball game that he has multiple bets on. However, when it comes to the general shape and feel of the film this couldn’t be further from the case. Carrying on from the tension and rapid nature of Good Time the Safdie Brothers form a world of fast-paced nerves. Everything feels risky or as if it could lead down an even darker route. All this combining to create a purely enjoyable ride. The comparison of a film to a rollercoaster is definitely overused, however if there is one film for it to be used it’s this one. A genuine thrill ride that’s sure to get the heart racing and the viewer almost breathless by the end of it.

At the end of the screening, as the credits had rolled for a minute or two, the critic I was talking to beforehand turned to me and as we were discussing our thoughts on the film she said “I think that’s the best thing he’s ever done”. While I still think that Punch Drunk Love is Sandler’s best film and performance this is definitely close, and maybe on a re-watch would be better, it strikes as a film that rewards re-watches, potentially having missed a lot from being caught up in the racing nature of things as they quickly unfold. What starts off as a potentially questionable selection of ideas and a shouty, sweary performance, turns into one of the most tense thrill rides in years and a wonderful performance from Sandler. After all these years what he’s needed is character and direction – who would have guessed?

After the first 10-15 minutes the Safdie Brothers immediately snap their fingers and the audience are in for a brilliantly tense and unique experience. There’s nothing quite like it narrative and there certainly won’t be anything quite like it in terms of scale and stress any time soon. Wonderfully written and directed, just see Sandler’s performance for proof of this.

LFF 2019: Miles Davis: Birth Of The Cool – Review

Release Date – 13th October 2019, Cert – 15, Run-time – 1 hour 55 minutes, Director – Stanley Nelson

Documentary looking at the life of jazz musician Miles Davis

“For him, not playing is like not playing anymore” says a friend of Miles Davis, arguably one of the most influential jazz musicians of all time, let alone the 20th Century, as he talks about the trumpeter’s second period of drug problems. Davis himself said “I put down the thing I love most, my music, and found myself falling deeper into darkness”. Birth Of The Cool – which shares a name with one of Davis’ albums – tells much of Davis’ life over it’s nearly two hour run-time. From childhood to death, via multiple run-in’s with drugs. There’s a lot that gets covered and often a fair deal of it leads to the film feeling longer than it actually is, beginning to drag as the focus is refined to one man’s entire life.

Much of the film is built into stages and sections of Davis’ life, mostly through each of his albums. The creative process that went into them, the build-up to the release and the impact that it had on his career. The decision to break this story down into such stages helping to make the film slightly more digestible overall. There’s a lot to show and there are some elements that are rather interesting, especially within the final hour as we see the gradual fall and eventual slight bounce back of this musical icon, something which the film really seems to want to try to get across. It almost seems at times like the creators don’t want to say a bad word about Davis, and so stray more to look at his albums and music rather than his personal problems – in fact it’s for such reasons that the film itself has a somewhat by-the-numbers feel to it.

In fact much of Davis’ music – whether through his own bands or those that he was a part of – features heavily throughout the film. Lining almost every minute. While the music itself is, of course, quite good the feeling can’t be escaped from that sometimes it simply feels unnecessary or out of place, especially during the more laid-back moments detailing the more emotional stages of Davis’ life. When this is the case the music often simply feels too upbeat to properly capture the tone that the film feels as if it’s trying to convey, alongside the fact that it feels overused, being used in the background almost all the way through the film, never really being given a break and sometimes beginning to feel intrusive.

Davis’ life is one that can’t quite be confined to one film – at least one documentary such as this, especially when done in a rather basic, by-the-numbers way. There are some interesting moments, especially in the final stages of the film as the various interviewees begin to properly reminisce about the final stages of their friend and colleague. However, overall there’s a lot missing from the film, and some things – such as the music in every scene – that could be used a bit less. But, for what it is the film is a perfectly fine piece, maybe for those less aware of Miles Davis and looking to know more about him, or just for casual watchers. But, fans of the iconic musician may feel that there’s something slightly lacking in this seemingly made-by-fans documentary.

Miles Davis: Birth Of The Cool is perfectly fine for what it does. While being relatively generic it does make some slightly interesting points, most coming from Davis’ own words, though his music does seem somewhat overplayed and unnecessary over the course of the almost two hour run-time of the piece.