Just A Little Bit Random

LFF 2021: Red Rocket – Review

Release Date – 11th March 2022, Cert – 18, Run-time – 2 hours 8 minutes, Director – Sean Baker

Washed-up porn star Mikey (Simon Rex) returns to his small town Texas roots, trying to start his career back up while getting caught up with his ex-wife (Bree Elrod) and teenage doughnut shop worker Strawberry (Suzanna Son).

With Red Rocket, Sean Baker once again takes a look at the dramas of those away from the mainstream, or rather those next door to it. We see washed-up porn star Mikey (Simon Rex) return after years in LA to the Texas town which he used to call home, to a brick-wall response. He hasn’t thought that turning his back on everyone in his life would cause them to hold grudges against him. Including his ex-wife, Lexi (Bree Elrod), who he ends up living with again while he tries to set his career back up. He’s waiting for his second big break, but doesn’t know where to find it. Until he meets seventeen year old doughnut shop worker Strawberry (Suzanna Son). His initial attention, and frequenting of Donut Hole – almost as much as the builders across the road – begins to switch to his own thoughts of jumping back into the porn industry, with her help. She could be the person to save him and pick him back up in multiple ways.

This relationship between the pair, which becomes more prominent the more Mikey focuses on getting back to California, could so easily become uncomfortable, particularly with the various raunchy (to put it mildly…) discussions that take place between them. The thought does enter your mind that it might begin to reach a point that’s a step too far, however Baker manages to just about restrain things by not making the relationship the core of the film. In fact Red Rocket isn’t even always about Mikey and the way he interacts with the world, more the way the world; and the people within it, interact with, and behave around, him. It forms a set of events with no largely overarching plot, although characters (particularly the comedically determined protagonist, excellently performed by Rex who manages to bring about a fair few chuckles throughout the piece) do have their own personal hopes and goals, and it passes well in this way.

Through Baker’s now distinct cinematography we see the various locations in a hazy, almost dizzying for the characters, light. As they each get caught up in each other’s stories; trying to get used to a new life while attempting to continue on as they once did before, although change can properly be brought about for good, there’s plenty to see and be involved in. Amongst the, somewhat light feeling, dramas there’s a fair handful of humour dashed throughout the piece that keeps things going and certainly keeps you in place as Mikey’s ambitions begin to overinflate and overtake even himself, while never quite seeming unlikeable due to coming across as egotistical.

It’s as events change because of Mikey’s not properly thought through dreams that the various incidents to bring the film to a close arrive. Much of the third act feels somewhat tacked on to the rest of the film, generally heightening the already existent feeling that things could be cut down a bit. Much like the central figure the film almost begins to get ahead of itself and, while not an entirely different piece, does feel as if it’s gone through something of a shift to match the on-screen panic and desperation in what becomes a true last-ditch attempt to leave the perceived emptiness of small town life for good. Rex is still on great form as his character and his hopes are brought more towards the centre at this time, but the film as a whole begins to sway as it introduces and brings back elements to wrap itself up. It’s a slightly drawn out set of events that pushes the run-time beyond the already lengthy two hour mark and begins to somewhat disengage you from the piece as a whole. There’s still something good playing out, just of a rather different pitch and tone to that which was jogging along beforehand.

By bringing in some laughs, thanks to a great ensemble cast, particularly an excellent Simon Rex, Red Rocket manages to stray away from an overly heavy, or uncomfortable, feel. However, its run-time feels stretched, particular in the shift of, what feels like, the tacked on third act.

Rebecca Rogers Interview

Something a bit different for this site, I spoke to TikTok/ social media’s Rebecca Rogers to discuss how she came to the app, classroom inclusion, creating places of safety online, fidget toys and more.

You can find and follow Rebecca on her various social media platforms including: TikTok, YouTube, Twitter and Instagram.

If you want to listen to any of Rebecca’s song requests you can hear them by following the links below:
I Did Something Bad – Taylor Swift
Love Story (Taylor’s Version) – Taylor Swift
Mr. Perfectly Fine (Taylor’s Version) – Taylor Swift

LFF 2021: Ali And Ava – Review

Release Date – 4th March 2022, Cert – 15, Run-time – 1 hour 35 minutes, Director – Clio Barnard

Romantically lonely souls Ali (Adeel Akhtar) and Ava (Claire Rushbrook) spark a surprise relationship which appears to create familial rifts as they grow closer.

There’s a highly down-to-earth naturalistic nature to writer-director Clio Barnard’s Ali And Ava. It removes a ‘will they, won’t they’ feel from her romantic drama as you simply watch the relationship between the two initially romantically lonely souls grow. The pair have had their fair share of relationship troubles (to put it mildly). Ali (an excellent Adeel Akhtar) is a landlord with a passion for music, collecting money from his various tenants, who he appears to be on very friendly terms with – seemingly the case with everyone he meets, greeting them with a courteous smile. Meanwhile, Ava (Claire Rushbrook) is a softly-spoken, mild-mannered classroom assistant and caring mother, still recovering from her abusive ex-husband, and a tense relationship with her son, Callum (Shaun Thomas). The pair meet after a chance encounter when Ali is picking one of his tenants kids up from school in the pouring rain, just as Ava is about to begin walking home herself.

It’s an initial click that starts the snowballing effect into a friendship and beyond. The pair natter and discuss and set off on very friendly terms with each other. It’s a close friendship that has clearly been missing from their lives for a fair while and it’s certainly interesting to see it develop in some of the quieter conversational scenes between the pair. However, on discovery the bond between the pair is met with frustration and anger from Callum, going for the attack on Ali, who himself is trying to hide his connection to Ava from his soon-to-be-separated wife Runa (Ellora Torchia) and family as a whole, and vice versa. It’s such moments that lie within slightly longer scenes with perhaps a bit less connection to than those holding the bonding of the central friendship, and eventual romance.

In general the themes are well handled and they fit the short 95 minute run-time well, and with little complaints, however the feeling is present that one or two do feel slightly extended. Things don’t completely stray into ‘this could be a short film’ territory, and this is perhaps largely down to the run-time and the two central performances that are at the heart of the film – capturing the fine, naturalistic bond that acts as the core of the piece in the first place. While the friendship feels more developed than the more romantic side which is introduced later on; perhaps because of the engaging scenes of bantering and bonding over music and general conversations and observations on life, in the simple setting of Ava’s cluttered living room, there’s still enough to keep you engaged in the film as a whole and get you to the end.

It just all gives the ending a slightly rushed feeling as with everything developed, particularly between Ava and her son, adding potential dramas and tensions to the titular pairing. After a handful of longer and slower scenes making up quiet observations throughout the film the final stages almost feel as if something is missing, you’re almost waiting for further development from the quick-feeling ending. Perhaps there’s a want for certainty for the viewer towards the characters after everything we’ve seen them endure and go through. There’s not exactly a growth so to say, but a re-gaining of something they both knew was missing from their lives, having acknowledged and lived within that gap every day. It’s a point made and felt in a handful of scenes, particularly as the relationship begins to grow and we see things develop with interest. There’s a mild warmth between the well-performed Ali and Ava and it certainly helps to heighten the coldness of some of the drama. Some of these elements simply feel slightly drawn out, and engage you further in the perceived light of the initial friendship.

The titular Ali and Ava are brought to life by two excellent central performances who understand and fill the gap in the others life. While some dramatic elements feel slightly drawn out there’s enough within the central relationship, particularly the initial bonding, to keep you in place for the short run-time.

LFF 2021: The Souvenir Part II – Review

Release Date – 4th February 2022, Cert – 15, Run-time – 1 hour 47 minutes, Director – Joanna Hogg

Student filmmaker Julie’s (Honor Swinton Byrne) graduation film becomes a lookback in multiple ways as she attempts to capture her past relationship, after her partner passed away from an overdose.

2019’s The Souvenir perhaps gained something of an eventually mixed reception. It focused on the relationship between student filmmaker Julie (Honor Swinton Byrne) and her older partner, Anthony (Tom Burke). A number of their conversations revolved around art and film, particularly when his friends became involved. In this intended second part to writer-director Joanna Hogg’s semi-autobiographical story we see Julie using her experiences as the basis for her graduation film, however her real world experiences begin to overlap with her creative vision, causing frustrations for her cast and crew.

While she wants to make a perfect film, a good final product to prove herself, she’s striving to make an accurate depiction of events that demonstrates what she’s been through – almost as an act of therapy. We see her struggle trying to piece things together, especially with a very tight budget, with her stresses flowing in her everyday life – her slight doubts and worries felt in each scene. Occasional meetings with Richard Ayoade’s more present Patrick don’t always help. His strive for perfection in his big-production musical, and indeed his own life, aren’t always sources of consolation for Julie – all finely displayed within a strong central performance from Swinton Byrne.

While perhaps mostly for those who have seen the first film, The Souvenir Part II concerns itself deeply with the creative process. The forms of expression in which Julie concerns herself with when it comes to making her film as perfect as possible. She’s both got full control and yet appears to be losing it as realism is aimed for. There’s a shift as we reach an almost unexpected turn into dream-like sequences which eventually act as some of the most engaging points in the film. Capturing something new within the piece overall and the central character. It captures your attention with an almost unpredictable nature as to where this will take the film and the character as a whole, particularly at a pivotal point in the creative process of the work that Julie and her crew are producing. All floating within the swirl of the conflicting words “just make what makes you happy, what you like, what you’re interested in, and it’ll work”.

There’s perhaps more to hook onto and engage with in this sequel, particularly for those who may have been more lukewarm, or even generally negative, towards the first film. It feels different, matching the new stage in the life of the protagonist, and while initially similar to the original and holding some slightly scattered ideas things manage to draw you in as it delves into the conflict of creativity and personal experiences and accuracy that’s being experiences at the heart of the film. Acknowledging what the past may have actually been like, what was went through, instead of potentially sugar-coating it like before – especially when told “I’m coming up against your idea of him, rather than the reality of him” when trying to cooperate within the actors bringing to life her remembrances in the cramped and tightly-built set.

It’s interesting to see where the film reaches and where Julie, as a character, goes over the course of the narrative. There are plenty of engaging notes, not just within the scenes involving the film production and creativity. Even scenes involving Tilda Swinton and Julie’s mother, Rosalind, have a sense of thought, and slight calm to them – this is Tilda Swinton in the role of a caring mother, after all! (Forming a number of brief and emotionally ranging highlights within her scenes).

Once all is pieced together and Julie’s relationships throughout the film are established, as she’s opened up to the world outside of her past relationship, there are a handful of points to help bring you in to The Souvenir Part II. Mostly revolving around the progression of the well-performed central figure, and the film she’s trying to make – whether it be semi-autobiographical narrative, or documentary style-recreation. Such feelings are present within this sequel and they blend well together to tell a form of dual lookback; acting with personal and creative confliction that help to bring you in further. Swinton Byrne’s character has been allowed to open up into the world, but is almost closing herself off to her vision of the past. This is a film of a handful of strands and subtleties that build up overtime, developing into something quietly engaging and interesting, all down to the detail and thought of the central figure’s personal arc.

The Souvenir Part II is largely concerned with the personal and creative conflict and unity of its well-performed central figure. Details expand overtime, helping to bring you in, and lead to further engaging surprises that work well for both Hogg’s and Swinton Byrne’s central character’s visions.

LFF 2021: Belfast – Review

Release Date – 21st January 2022, Cert – 12, Run-time – 1 hour 38 minutes, Director – Kenneth Branagh

Nine-year-old Buddy (Jude Hill) finds the future of his family in their Belfast home thrown into uncertainty when the Troubles break into his neighbourhood.

As the effects of the Troubles create dividing tensions within the working class neighbourhood of nine-year-old Buddy (Jude Hill) the street where kids once freely played and parents casually chattered has become littered with rubbish, rubble and conversations in which tension hangs in every word like a loosely wrapped threat. The setting appears to become darker, greyer in terms of the black and white nature in which writer-director Kenneth Branagh captures this late 60s throwback of sorts. Yet, amongst the fear that the Troubles cause and the rifts that emerge within the neighbourhood the film largely follows young Buddy as he tries to go about his daily life. There’s a warmth of innocence – brought about by a stunning performance from Hill in the leading role – that washes over each scene as he tries to play and the Troubles, to him at times, almost feel like a background element to the course that he takes.

The effects are certainly shown on his already struggling parents (played by Jamie Dornan and Caitriona Balfe), who while struggling for money are having circulating conversations about moving to the seeming safety of England – where Dornan frequently travels to for work. The family unit feels natural and brings you in to their mixture, as if placed at the same table (or living room) during many scenes. None more so than when Judi Dench and Ciarán Hinds are on screen as Buddy’s Granny and Pop. Both performances bring about a fine sense of warmth and humour and almost act as the true escape from everything going on in the outside world, while still being the greatest givers of advice and thought to Buddy as his biggest worries are still how he can get to talk to a girl he likes at school. Through each strand and figure the heart of Branagh’s film is increased and when blended with an excellent soundtrack there’s a true piece of work about a child simply growing up and living his life, while never dampening the extent of the various dramas at play.

Everything comes across with a fine sense of care and ease. Branagh looks back with a thoughtful nature that feels far from self-indulgent. There may be a personal story here, yet he opens the world out for everyone, by showing events through Buddy’s eyes; particularly the loud chaos and confusion of an impactful riot scene which he gets caught up in. Branagh puts himself into the craft and look of Belfast. The way in which it’s shot and edited, both finely constructed and helping to tell the story and engage the viewer further, emphasise the details and the way in which he wants you to see the film. Making sure you notice the struggles which Dornan and Balfe (and indeed the rest of the tightly-packed estate – intensifying the rising tensions later on) are facing and fighting through, while still focusing on the personal story of a young boy finding his place in the world, and potentially having to move away from it; after having spent his whole life there and largely loving it. You just have to see simple scenes such as walks home from school or family outings to go and see Chitty Chitty Bang Bang for proof of this.

What we see over the just over 90 minute course of the film is something of a time capsule. An early shift from the colour of modern day Belfast to the initially light black and white of the late 1960s puts this feeling into place. There’s a story being told and unfolded that the characters live through, and its easy to get caught up in and form a connection with them thanks to the naturality that almost every moment comes with. This isn’t as much a coming-of-age film for the young protagonist, but one where we see him acting out his life against the darkness of where he lives. This is as much a family drama, with its fair share of heart and laughs, as much as it is something about the Troubles. All finely balanced and depicted by Branagh who opens up his story book and guides his camera through the pages, bringing the viewer along for the ride as they observe a childhood acted out against the backdrop of the Troubles. There are fine performances to bring the piece to life – especially a pitch perfect Jude Hill in the central role – and capture the natural feel of each scene. It’s hard not to fall for, and in to, Belfast. A thoughtfully and caringly told story of family and childhood.

By placing an excellent Jude Hill at the centre of his piece Kenneth Branagh’s Belfast is a tightly-edited piece on childhood and growing up, set against the finely tuned and balanced tensions of the Troubles the gradual changes in the world never hinder the innocence and familial warmth that’s on display from the supporting cast.

Scream – Review

Cert – 18, Run-time – 1 hour 54 minutes, Directors – Matt Bettinelli-Olpin, Tyler Gillett

When her younger sister (Jenna Ortega) is attacked by a new Ghostface killer (Roger L. Jackson), Sam (Mellissa Barrera) finds herself seeking the help of ‘legacy’ survivors Dewey Riley (David Arquette), Gale Weathers (Courteney Cox) and Sidney Prescott (Neve Campbell) to find the new killer.

It takes a while for us to finally hear Roger L. Jackson’s voice once again say “Hello Sidney”, but when that almost iconic horror line is spoken it’s hard not to feel a slight rush of excitement as we know that Neve Campbell’s Sidney Prescott is truly back in Ghostface’s world and traps. However, in the case of this latest entry into the Scream franchise Prescott is far from the central figure. She’s a noted ‘legacy’ character, alongside her fellow survivors from the previous four films – Courteney Cox’s Gale Weathers and David Arquette’s Dewey Riley. Instead the new Ghostface killer is largely being hunted down by newcomer Sam Carpenter (Melissa Barrera). After Sam’s younger sister Tara (Jenna Ortega) is attacked by the new masked slasher her entire friendship group is put at risk, uncertain of how to survive apart from using previous patterns and the now long-running (and apparently tired) Stab franchise. It’s here that Sam decides to bring in the ‘legacy’ characters to help her find out who the new killer is.

Scream has been known for its convention poking, both in and out of its own franchise. It started out as a kind of slasher-parody after all. However, here writers James Vanderbilt and Guy Busick take things to another level. There’s a truly meta and self-aware nature to this ‘requel’ – something which it acknowledges and runs with; like an extended version of Jamie Kennedy’s horror-sequel explanation in Scream 2 – this knowingly being titled Scream instead of Scream 5, for example, is just the tip of the iceberg. It makes for a funnier feel to some of the previous films in the series and means that in many ways the parody truly comes to the fore. In fact, it’s as it properly begins to kick off – and the legacy figures come more into play – that the narrative truly takes off and brings you with it, after a somewhat slow and gradual build-up.

Yet, amongst all the parody the horror is truly still in place. This is perhaps the most intense Scream film yet in terms of the horror and attacks that the new Ghostface killer acts out. The levels of blood and gore brought in co-directors Matt Bettinelli-Olpin and Tyler Gillett’s previous feature Ready Or Not are also present here, while never bordering on the feeling of being sadistic or simply too much. It adds to the overall style and nature of the film, adding a sense of darkness and allowing the attack sequences to become the highlights of the film, not to mentioning warranting its 18 rating. Pushing the threat that this new killer poses. One who, as we know, will likely be unmasked at the end. And the film further leans into this within the narrative, making a point of the mystery; bringing the viewer in to play along like a truly dark, twisted, horror-tinged murder mystery. It greatly moves on from the strong (perhaps intentional) 90s feel of the majority of the first act (opening scene/ recreation aside) and brings you into a familiar world with one or two different central faces, many of whom we know will be bumped off at some point.

The film makes note of all of this, makes us aware that it knows what it’s doing and that we just know that. Pointing out its conventions and commentaries and simply picking itself apart as it moves along. It does this with a fair sense of ease as it eventually moves along quickly, once having established itself, and allows for the new characters to simply try and track down (or in some cases be tracked down by) the new killer. There are plenty of thrills along the way and some finely tuned moments; particularly those involving returning characters, David Arquette in particular delivers a fine performance that truly sets the tone for the return of Cox and Campbell – both of whom enjoy their moments in the spotlight, while never being crowbarred in for too long, it’s clear that this is not their film but they play pivotal roles in the outcome.

Everything is laid out for the viewer yet there’s still plenty of mystery and suspense along the way, all working well with the overall parody nature. This latest Scream film takes plenty of the elements that has made this franchise a firm favourite for many people and emphasises them to ramp up the overall intensity and nature of the humour too. All moulding together to create a fine continuation that certainly feels like a Scream film, is almost unmistakeably a Scream film, and brings you in to feel at home within the run-time while still bringing in the senses of tension, horror and unease. There’s a fine film here that knows what’s it’s doing and is all the better for the fact that it lets the audience know just this while avoiding a feeling of smugness within its personal and wider dissection, not to mention each brutal slash and stab.

Ghostface is back and brings with them a self-aware set of characters and events who make for plenty of meta parody and effectively intense attacks and killings. Once things truly get going there’s a fine mix throughout the film of such tones, alongside the balance between new characters and welcome, well-used legacy figures.

Hotel Transylvania: Transformania – Review

Cert – U, Run-time – 1 hour 28 minutes, Director – Derek Drymon, Jennife Kluska

Dracula (Brian Hull) and Johnny (Andy Samberg) travel to South America to find a crystal to power a machine which has reversed their human and monster forms, while those back at Hotel Transylvania are dealing with their own human troubles.

Towards the end of my review for Hotel Transylvania 3: A Monster Vacation I stated that it’s perhaps time to put the nail in the coffin for this franchise. Not that it’s been in any way bad, however the feeling of repetition certainly began to settle in, particularly in terms of echoes of conventions from outside of the franchise. Yet, here we now are with a fourth entry that has been sent by the studio direct to streaming (through Amazon Prime). The case very much feels the same as we once again see Dracula (now played by Brian Hull doing a rather spot-on performance, instead of Adam Sandler) attempting to bond with daughter Mavis’ (Selena Gomez) human husband Johnny (Andy Samberg). It’s after he backtracks on his decision to hand his beloved century and a quarter old hotel to the couple when he fears that Johnny will transform it into an unrecognisable health spa of colour, instead of the gothic castle which it currently is.

After being told that the reason is simply because he’s not a monster Johnny receives help from Jim Gaffigan’s monsterfication ray wielding Van Helsing. However, while Johnny is happy in his dragon-like body things go wrong when Dracula and co are given human form – something which they must revert by finding a crystal to replace the now broken one which lies in the ray. Much of this happens within the first 15-20 minutes of the rather short 88 minute run-time – particularly within one lengthy opening scene. It’s clear that the film wants to set itself up quickly and get into the plot, but the general feel begins to come across as something like an extended TV episode rather than that of a fully-rounded feature film. While this somewhat fades away once the father son-in-law pairing travel to South America to find the crystal it lingers when jumping back to the titular hotel as the supporting set of characters (Frankenstein (Brad Abrell), wolfman Wayne (Steve Buscemi), invisible man Griffin (David Spade) – often the literal butt of the joke when it’s revealed that he’s been naked all these years – and mummy Murray (Keegan-Michael Key)) find themselves dealing with their own human transformations.

We see occasional tangents to the supporting figures, who it seems like the screenwriters aren’t quite sure what to do with for most of the feature, yet still feel obliged to include them. They wander around the hotel trying to hide from their respective partners in emphasised cartoonish manners (largely displayed in the animation style) in the hope their transformations aren’t discovered. It’s a set of sequences that, much like the core narrative, doesn’t overly hold a lot of laughs; but does manage to be something fairly watchable and harmless for the time that it’s on. Perhaps this is the film in the franchise most targeted towards kids rather than the family as a whole, with its standard narrative and occasionally emphasised Saturday-morning cartoon style.

When it comes to the course of the central narrative we’ve certainly seen it before; both within this series and out of it. It’s a recognisable one, but there’s just about enough within the film and its slight simplicity that helps hold this up and allow things to not feel completely tired and dead in the water, generally making for an easier watch overall. There are one or two chuckles (perhaps just that) and the cartoonish style to the animation helps move things along and excuse some of the more uncertain moments. While there may not be anything completely original here what we do get is done well enough to make for a passable and watchable feature that’s not too taxing and certainly doesn’t feel like a struggle. All feelings helped along by the fact that the film feels overall unpretentious. Not trying to be anything masterful or beloved by generations to come. It feels as if it’s simply trying to amuse people for the time it’s on in that moment. It’s a fairly standard entry into a franchise which may be becoming known for its more standard output.

We’ve certainly seen the lines that Hotel Transylvania: Transformania travels along before, both in and out of the franchise, but it’s just about held up by its emphasised cartoon style, particularly during uncertain scenes involving side-characters, and lack of pretentiousness.

The 355 – Review

Cert – 12, Run-time – 2 hours 3 minutes, Director – Simon Kinberg

CIA agent Mace (Jessica Chastain) assembles a team of agents from some of the world’s biggest intelligence agencies in order to track down a device which could start World War 3 by hacking any other device in the world.

The 355 sets itself in stone when it ticks the “we have a common enemy…” box. After a brief scrap the faces of Jessica Chastain, Lupita Nyong’o, Diane Kruger and Penélope Cruz team up to track down a device with deadly potential. That potential being that it can hack into any other device in the world, and in the wrong hands could start World War 3. The hands which want it most belong to Jason Flemyng – although this is sometimes forgotten as we see so little of him throughout the film. It’s often his henchmen sent out to retrieve what he wants, although often ending up having their faces kicked (or shot in) by the central team, made up of figures from some of the world’s biggest intelligence agencies.

While it may take a little while for the central team to actually assemble there’s still some form of mild entertainment to be found within the action sequences that co-writer (alongside Theresa Rebeck) and director Simon Kinberg captures. While what we get may not be anything revolutionary we don’t always need a film to do this. Sometimes all we need is some decent action that’s easy enough to follow. It might not have many thrills, but at least there’s a handful of spills to keep the flow of things going. And while building up to the formation of the central team such sequences keep you interested in the gradually unfolding narrative – which takes bigger steps in the second half of the piece – where there’s still time for some lengthier punch-ups, and some quite fun moments; including a well-used ‘perfume bomb’.

Where the film slightly loses you is within its quieter moments; looking into the more personal sides of its characters. While throughout we frequently hear Cruz mention that she’s a mother, just as often she can be found Facetiming her family, there are hints and details of the relationships the rest of the titular agent ensemble but perhaps not enough to form a proper connection with them. It’s perhaps this lack of connection to the characters that adds to the overall middling feel of the film. While what we get certainly isn’t bad it does more often than not feel like a relatively middle-of-the-road spy/ action flick that, while decent enough viewing for the time that it’s on, may be forgotten about shortly after watching it.

Yet, while watching it, the action is still enjoyable enough and is often well used to progress the narrative that’s being told, particularly building up to a worthwhile finale. And it’s often the action and extended sequences that keep you placed within the film, over the slower, more personal beats for the characters. It knows that its strengths lie within the fight skills and tact of its central team and largely uses that to both advance the narrative and heighten its better moments. As a whole what we get might not be anything brilliant, but it’s certainly not bad. It’s a decent enough middle-of-the-road action-thriller. Perhaps forgettable, but not without its likable moments that make for good viewing when watching.

A thriller with a few more spills than thrills there are still some engaging moments, focusing more on the fights and tact of its central characters than anything else throughout, within The 355’s longer sequences that keep you in the mostly middle-of-the-road arc of the film.

Boiling Point – Review

Cert – 15, Run-time – 1 hour 35 minutes, Director – Phillip Barantini

Staff tensions run high when a restaurant experiences its most stressful, and overbooked, night of the year.

“We’re the good guys, we’re here for you” head chef Andy (Stephen Graham) finds himself told by patronising former boss, and celebrity chef, Alastair Skye (Jason Flemyng). It’s words that are hard to believe on a stressful and overbooked night where the critical figure, alongside food critic friend Sara (Lourdes Faberes). Throughout one shot we follow the restaurant’s staff as they put up with rude customers (the dreaded Table 7 – which causes stress and tension at even its mention), improperly noted allergies, menu changes and; perhaps the worst of the lot, Insta-pillocks. The kind of people who believe that they can get what they want simply through the fact that they allegedly have 30 thousand followers on Instagram, who they must livestream their whole lives to. It’s these figures who perhaps create the most frustration in the film, as soon as they request that the ‘not very us’ menu is altered for them so they can have steak and chips – not helped by simply agreement from manager Beth (Alice Feetham).

Each new element, sequence and stress is wonderfully captured in what still manages to feel like a new individual scene or moment that contributes to the overall feel of the piece. The real-time aspect allows for everything to come at once and put the viewer into the heat of the kitchen, while still giving chance to have the occasional look at the bar staff or waiters. During such moments – such as looking into brief conversational interactions at the tables – also help to push the natural working environment feel of the workplace, an extra layer of authenticity and naturalism to the piece as a whole. Thus allowing for there to be what feels like little asides and tracks of other characters to separate locations just so something can be setup behind the camera – particularly in the first half – as sometimes feels to be the case with such one-shots.

Helped along by a series of great performances – all demonstrating a strong, tightly-held ensemble nature with all cast members supporting each other – the staff stresses are bubbling up to heated outbursts and arguments right in front of the busy tables of paying customers. However, there’s always uncertainty as to when such a moment will explode, especially as everyone is trying to keep their cool and stay calm amongst the regular chaos of their jobs. A stunning rant by chef Carly (Vinette Robinson) – who practically runs the kitchen and manages the staff herself – brings every to a crashing halt as your held in suspense with every word she screams at her employer. The camera glides back and forth between them to show gradually shifting reactions, multiple things at once while never losing focus of anything in the scene – and all other figures working and eating in the building.

It’s a shame that after this point the film then begins to build into some form of resolve. While not complete resolve – the evening still has its frustrations – the final half hour manages to shift its tension into effective fear and worry from the characters about their futures, and relationships with those who they work with. This tonal shift certainly brings about a different feel to the film, and while it still works and has you engaged it takes a bit of time to properly settle in to it. There’s still a flow and the film as a whole still works, it just feels rather quickly different due to the change in tone which suddenly takes place after the highlight rant. The film still works and has you involved in the well-caught and tracked world, just not as much as it did in the escalating stress of the almost perfect first hour.

While the final half hour makes for a slight tonal shift, transforming the existing stress and tension conjured by the fine ensemble cast and crew into effective worry, the fluidity of Boiling Point’s first hour brings you in to the busy and impactful restaurant environment.

Just A Little Bit Random Audience Top Ten Films Of 2021

In a year where blockbusters came back, and largely appeared to thrive, we were still met with plenty of stories of the equally successful indie scene. There was plenty of conversation around smaller films, particularly in the earlier months of 2021 when we were still mostly indoors, and even with the return of the scale of the big screen there were clearly many films that stayed with us throughout the year. It’s shown in the results of this year’s audience vote for the best films of the year. The latter half of the top ten appeared to change almost every day, while the race occurring between the top four was tightly fought, and a tie for a large segment of the voting period. So, from the smaller-title awards successes to the major franchise names, here is what the readers, listeners and visitors, and people who just wanted to take part in the poll, of Just A Little Bit Random named the top ten films of 2021 (by UK release date).

10. House Of Gucci

While The Last Duel found favour in the later months of 2021, once landing on Disney+, it appears to be Ridley Scott’s other release which found favour amongst the voting audience. With its multiple arcs featuring a series of major A-List actors, not to mention the various costumes that line the piece, there was clearly plenty for people to find themselves involved and engaged in over the course of the film’s narrative.

Following the course of the romance and marriage between Maurizio Gucci (Adam Driver) and Patrizia Reggiani (Lady Gaga) the film also follows the downfall of the Gucci family empire as it was at the time. A decades long course caught in a developing landscape with few shifts in change and style in order to keep up; there’s a twisting want for power and influence from Patrizia (Gaga still in conversation as a potential Leading Actress contender in this year’s Oscar race). Her performance, and general character, adds to the general weight of the drama in the various strands that the film explores for each of the characters, all while still finding moments to almost satirise the Gucci brand and fashion houses at the time.

Jared Leto (who certainly received mixed responses for his performance to say the least) and Al Pacino could almost be a comedy double act with their performances, as they increasingly struggle to keep up in the fashion world, and have their voices and influences heard over those who are beginning to take over. It simply adds to the blend of figures and feuds within the Gucci dynasty that unfold and find themselves explored by the film over the course of the narrative. It clearly provided plenty for people to engage and find interest in, as it’s found its way into the top ten for 2021.

9. Nomadland

The clear favourite, and eventual winner, in this year’s Best Picture Oscar race, Nomadland also found wins in the Best Director and Leading Actress categories. It’s a stripped back, personal piece that allows the characters to speak for themselves as each event is lead by thoughtfulness, consideration and grief. There’s something new to notice with each viewing, and each time you’re simply guided by the subtleties of Frances McDormand’s central performance and Chloe Zhao’s calm direction as they guide you on a wandering journey through the American plains.

With the help of Joshua James Richards’ stunning cinematography you’re given a front row seat to the often pastel-like colours of the sweeping landscapes through which the film travels. Giving fine backdrops to the unfolding conversations about identity which enhance the lives and stories of the characters – most of the cast being non-actors and nomads themselves. During such moments it feels as if time has been stopped as you’re simply brought into the conversation and each figure is given time to think, breathe and speak.

There are plenty of elements of Nomadland which can undeniably connect to the past two years. Themes of loss, isolation, grief and community, which still continue to echo and have an effect on many people, are highly present and add to the personal connection to the film for both the characters and the viewer. Perhaps it’s such themes and elements which had the most effect on audiences – plus the fact that it’s simply a very well-made film – and brought thekm to voting for it as one of the best films of the year.

8. Barb And Star Go To Vista Del Mar

Perhaps one of the most gloriously silly films of 2021, the title of Barb And Star Go To Vista Del Mar is enough in itself to make me personally chuckle and smile. The film as a whole was clearly one of the funniest, and best, of the year for many people with its ZAZ, and occasionally Pythonesque, style humour, riffs and parodies (who can forget Jamie Dornan passionately singing to a seagull).

There’s something oddly engaging and believable about the stereotypical mid-western American 40-somethings that are Barb (Annie Mumolo) and Star (Kristen Wiig) that bring the various dumb jokes, and musical numbers, around them to life. Perhaps it comes from familiarity with the characters from their role as screenwriters, but even moments such as an entire plane journey being taken up with a conversation, and then discussion of an entire backstory for a person who doesn’t exist, about the name Trish has plenty of chuckles within it.

Jamie Dornan as well, playing against type, ditches all seriousness as conflicted love interest Edgar. Working for the film’s villain (also played by Wiig, imaging Millicent Clyde played for laughs) who wants to send a swarm of deadly mosquitos to Vista Del Mar. Even in this strand, aside from the fun and joy of the central holiday and high-pitched discussions, there’s plenty of silliness to be found within the parody that the film lines itself with. The absurdity is often pushed with this blend of elements, and the styles of humour – verbal, visual and musical – also increased. There’s simply just a good time to be found within Barb and Star’s chaotic trip to Vista Del Mar.

7. Don’t Look Up

A late release in the year, particularly when landing on Netflix, but Don’t Look Up was a clear favourite of voters. With its mixture of drama and satire there’s a true ‘unfortunate’ nature to it and the way it shows a very believable reaction of modern society to a trending world-ending threat.

Adam McKay’s satire has been noted as breaking a number of Netflix records within its first week of release, and there was plenty of discussion to be found about it on various social media platforms. Although none of which quite sparked the divisions shown in the film, with those depicted largely being political divisions. It’s lucky that as a whole the film, and its performances – even Meryl Streep as an undeniably Trump-inspired President and Jonah Hill as her son and Chief of Staff – manage to avoid falling into a state of complete parody. It adds to the dramatic stakes of the film, as Leonardo DiCaprio and Jennifer Lawrence become increasingly frustrated at the ignorance of the world to the fact that a comet, which they discovered, is going to hit the Earth in a short amount of time an likely wipe out all life on it.

As their rage and anger, particularly DiCaprio in the second half the film, increases there’s a real sense of suspense and tension that begins to set in – making for a stirring mixture in the final, and truly uncertain, stages. It’s a film that shines a mirror for better and worse and manages to find the right balance in terms of how to show certain subjects and points throughout its run-time and which tones to strike. Further fuelling hr tension and worry that still comes in hand with the dramatic stakes and the glimpses of humour and satire present in various scenes. It’s a seemingly accurate mirror to the world in a number of cases, and quite an unfortunate one at that.

6. Another Round

Many have said that one of the best scenes, and perhaps the best ending, of the year belongs to the finale of Another Round. The pure energy that runs throughout Mads Mikkelsen’s free-spirited dance routine to Scarlet Pleasure’s What A Life sums up the more positive sides of the film. A film which manages to find a balance within both its comedic, dramatic and tragic depictions of a mid-life crisis created through worrying about a mid-life crisis.

While successfully holding plenty of humour as the four central teachers (Mikkelsen, Thomas Bo Larsen, Magnus Millang and Lars Ranthe) – all of whom form a tight ensemble – experiment with booze and blood-alcohol levels there’s a real sense of thought that comes into play as the drama is introduced. Looking into themes of relationships and rejuvenation as the narrative develops, as each of the central figures becomes increasingly drunk – some falling into addiction. A clear personal strand for each of the cast and crew, particularly writer-director Thomas Vinterberg who lost his daughter four days into filming and re-worked the film to make it more about “being awakened to life”.

The final stages of Another Round, particularly the final scene, certainly hold this feeling, especially after the course that has come before it. It connects with you and creates an engaging, enjoyable, care-free and, perhaps, slightly tipsy nature to summarise the events that have come beforehand, as a true sense of pay-off. It’s a great ending and look back at, what many clearly believe to be, a great film.

5. Shang-Chi And The Legend Of The Ten Rings

Shang-Chi And The Legend Of The Ten Rings has been largely praised for its visual style and the nature of its fight scenes – for me, the smoothly choreography fight-cum-dance between Tony Leung and Fala Chen in the opening stages of the film is one of the scenes of the year – not to mention Simu Liu in the leading role. However, it also takes a slightly different step in terms of introductions and ‘origins’ for characters within the Marvel Cinematic Universe. It feels different thanks to the fact that the central character is already aware of their abilities and powers. Where the film then takes this idea is by introducing the easily likable Shang-Chi (posing as Shaun) to us through his being brought back into a life he managed to escape, and coming to terms with his potential destiny, and father (Leung).

There’s a compelling family story at the centre of the film, with perhaps the most initially everyday heroes in the MCU since (maybe discounting Tom Holland’s Spider-Man) leading it. Yet, it is the fight sequences that have largely been the most discussed part of the film. Each stylised sequence manages to bring you further into the world, something different from the rest of the MCU, and shows off the creativity of the filmmakers as events unfold and feel as if they could truly be a part of a legend – not to mention the dragon, and Morris!

It was a film that had plenty of surprises and unique offerings from other entries into the franchise – and perhaps, for a number of viewers, caused it to stand out from the studio’s other releases this year; amongst many other reasons. Not to mention the pandemic box office success that it was and being one of the films that brought some audiences back to the cinema, even if just for the one film or viewing. It was clearly something that meant a lot to a number of audiences in terms of representation and also succeeded in providing a strong action/ superhero film in the process.

4. Dune

Dune was perhaps the box office success that not many of us expected. There were certainly those who thought that it would do well, and those who hoped that it would so that we could get the sequel, adapted from the second half of Frank Herbert’s classic sci-fi novel. Denis Villeneuve’s vision matches the scale of Herbert’s work and fills the big screen with stunning visuals to truly immerse you in the futuristic world of desert planet Arrakis.

Simply in terms of the visuals the film is a triumph, thanks to the scale and scope that it achieves. It’s understandable reading reviews and thoughts on the film where some suggest it to be a new Lord Of The Rings, at least in terms of scale. The film manages to use its handful of narrative beats to explore the world and the various figures and elements within it, which build up to the now greenlit sequel. From towering sand worms to the simple use of red flashes to show a strike on a protective suit there’s plenty o engage you in the film, alongside the gradual development of the narrative, particularly as the drama and action picks up in the final 45 minutes of the piece.

There’s a lot going on in the film through the individual scenes and sequences that form the progression of central figure Paul Atreides (Timothée Chalamet), and the plans of litt-eseen; yet still enjoyable, villain Baron Harkonnen (Stellan Skarsgård). And Villeneuve manages to keep you in place for much of the two and a half hour plus run-time without it being felt. It’s testament to the action and detail held within Dune (:Part One) and just how caught up in it all you find yourself. All thanks to the initial impressive visual spectacle which it unleashes onto the audience and makes what has proved to be for many a memorable cinematic experience.

3. West Side Story

Despite a positive reception to the trailers there was still a fair deal of trepidation for many going into Steven Spielberg’s remake of classic musical West Side Story. The question was in the air of how do you improve upon something as acclaimed and loved as West Side Story. Well, it seems the answer is you get Steven Spielberg to direct it. His take on the musical has all the traditional Hollywood studio flourishes and yet opens the song and dance numbers out into the world, to take full advantage of the space for a true celebratory feel that runs throughout the film. Not to mention the slight tweaks and changes to introduce some more modern sensibilities to the piece, while still highlighting the relevancy of the original production.

The infectious energy that a number of songs provide with their fluidity and general nature, especially Gee, Officer Krupke and America (led by a scene-stealing Ariana DeBose), are further pushed by Spielberg’s gliding and effortlessly sweeping camera. All combining to truly bring to life the idea that “tonight, tonight, the world is wild and bright. Going mad, shooting sparks into space”. There’s plenty of detail to be found within the joy of each of the songs that line the musical, all pushing the general style that each moment is aiming for, working as a true ensemble piece while also contributing to the wider film as a whole.

Yet, aside from the joy and energy there’s still space for the dramatic tension and feeling of eventual/ foreboding tragedy within this Romeo and Juliet inspired love story. You certainly feel the bond between Tony (Ansel Elgort) and María (Rachel Zegler) as they sing the first rendition of Tonight, growing from something quiet to something with a powerful effect – much like the film as a whole – and it makes for a grander effect overall that shapes your reaction to many events throughout the rest of the film. For many trepidation was easily moved aside on seeing Spielberg’s take on West Side Story. Some consider it better than the 1961 adaptation, some just as good, others almost as good. Generally, though, the film received plenty of crowd-pleased acclaim, enough to bring it to be voted as the third best film of the year in what became a very close race between the top four.

2. Spider-Man: No Way Home

With each new trailer, poster, advert, fan theory and piece of new speculation Spider-Man: No Way Home increasingly became, for many people, the most anticipated film of the year. And such hopes and expectations were seemingly not let down. The film, with it’s multiverse opening narrative and re-introduction of villains from previous iterations of Spider-Man, was a hit with both audiences (you may have seen some of the reactions online of screening rooms going wild over certain shots, revelations and plot beats) and critics alike.

There are certainly a number of bold steps taken within the film, perhaps most notably juggling multiple villains while also trying to progress the Spider-Man/ Peter Parker narrative for Tom Holland’s iteration of the character, and carry on from previous entry Far From Home (voted as the sixth best film of 2019 – where Avengers: Endgame came out on top). Yet, the film succeeded in pretty much all of these, while also managing to provide plenty of action and spectacle along the way – particularly involving Benedict Cumberbatch’s Doctor Strange.

Perhaps where the film most succeeds is in not only providing plenty for fans of all forms of Spider-Man, and the MCU and comics, to enjoy and hook onto, but also not alienating those not aware of characters featured in previous movie versions that followed the titular superhero. Managing to easily fill the two and a half hour run-time, while never feeling too full, there’s plenty to enjoy, get caught up in and be thrilled by within the universe expanding course of the piece. One which has clearly pleased plenty of fans, and more casual viewers, easily becoming the highest grossing film of the year – smashing pandemic box office records – and even now getting an Oscars push after receiving such mass acclaim and success. The wait was worth it for a film packed with plenty of surprises, after successfully keeping much under wraps, which met, and even went above, many, many expectations to become one of the most acclaimed, and undeniably successful, of 2021.

1. No Time To Die

Continuing the idea of films being worth the wait, No Time To Die has been largely labelled as the first film to truly come along and save UK cinemas, despite one or two mild hits beforehand. The much delayed return of James Bond was an action-packed blast with plenty of the traditional Bond elements for fans and casual viewers alike. Daniel Craig’s final performance as 007 is one that reflects on what has made his iteration of the character so different to those before him. A punchier, grittier 21st century Bond. Yet, No Time To Die is perhaps also his most traditional outing, and seemingly intentionally so.

The film observes Bond as a character, allowing Craig to bow out with his best performance in the role, and gives him a proper emotional arc over the course of the nearly three hour narrative – managing to fill it with plenty of engaging action and spectacle to keep you in place. Looking back on his course over five films and fifteen years, the relationships that he’s had and how it’s impacted him. And yet, we still have what crucially feels like a James Bond film thanks to the inclusion of the standard elements. There are, obviously, differences to the rest of the series and director Cary Joji Fukunaga knows how to bring these about through the strong visual style of the piece.

Yet, amongst all of this there’s still plenty of time for each of the supporting characters to have their chance to shine. Whether it be Lashana Lynch’s new 007, Moneypenny (Naomie Harris), Q (Ben Whishaw), M (Ralph Fiennes) or new addition Paloma (a delightful, if one-sequence, Ana De Armas) there’s plenty to like about the supporting cast who each play their role in progressing the narrative and pushing Bond forward, certainly not alone. It’s a fine look back at he character as a whole and indeed Craig’s iteration of him. The relationships that have been built up, and lost, and forming a true arc over five films and this one alone.

Clearly having an impact, and a strong emotional response from audiences, it was what brought many back to the cinema, particularly after strong box office success and word of mouth in its opening weekend (particularly in the UK). The many delays and pushbacks (from November 2019 to September 2021 – not all delays because of COVID) seemingly made the film and everything that it held in store worth the wait. Leading it to be a firm favourite of many from the new releases of 2021, as it’s been voted the best film of the year by the Just A Little Bit Random audience.