FISHERMAN'S FRIENDS (BFF2019)

Ten fishermen from Cornwall achieve a Top 10 hit after they are signed to Universal Records by a cynical London music executive.

Fisherman's Friends is the sophomore directorial feature for Chris Foggin (after 2015's Kids in Love) and is based on a true story about a group of Cornish fishermen from Port Isaac that like to sing sea shanties. Realistically speaking, there isn't a lot to this story. It's basic, straightforward, and even with unnecessary extraneous subplots being added to the script, there is nothing that stands out.

That isn't to say that the film has no appeal, though. There is a definite homely charm to Fisherman's Friends thanks to the acapella performances incorporated into the film. The actual male singing group were involved in the film both as cameo appearances, and singing with the actors to ensure that the signature sound was present. Full of energy, rhythm, and some gorgeous harmonies, the music feels undeniably masculine and ancestral. 

The overall tone is light-hearted with the expected style British humour, coming across in a similar vein to Swimming With Men (another biographical film that from 2018). With all members of the real-life group consulting on the screenplay, there is a clear direction in the development and portrayal of the characters that make this a conflict-free and inoffensive film like Bohemian Rhapsody, rather than a more honest exposé (like Rocketman) that utilises the ups and downs.

This is apparent in the very one-dimensional portrayal of the characters. Stereotyped to an almost caricature level, only two of the group getting any form of backstory (which is unfortunate, considering the real Fisherman's friends had 14 members in its ranks over the years. There have been proper tragedies in the band's history, but they are relegated to an offhanded summary of future events prior to the end credits.

This lack of development of the band itself is what leads to the need for extra subplots, This is not an origin story, so there is less of the group's history on show. With the inclusion of what could be best described as a love letter to pubs and an unnecessary romantic interest, the story of the Fisherman's Friends ends up being pushed to the background, used more as a framing mechanism for the other dramatic elements

Still, this will appeal to those audiences that enjoy that family-friendly, community-driven sense of nationality. There is little to entice the youth, but for the more mature audiences, the music alone will be enough to bring a smile to the face.

THE LODGE (2019)

The Lodge tells the psychologically chilling tale of a woman (Riley Keough) and her new stepchildren isolated in the family’s remote winter cabin, locked away to dredge up the mysteries of her dark past and the losses that seem to haunt them all.

Before the Terror-Fi Film Festival begins its nationwide tour, I managed to make it to an advanced screening of Veronika Franz and Severin Fiala's latest directorial release; the psychological thriller, The Lodge. The piece manages to pull off many aspects that create effective horror-thrillers, but ultimately, lets the audience down in enough other aspects to leave the viewer feeling conflicted.

The first two acts of the film are prime examples of a slow burn, but it is effectively done. We move from houses with vibrant, vivid colours, to the lodge, which manages to feel restrictive and claustrophobic despite a much larger floor plan. Darkness is used as a prop, filling up much of the empty space in the set designs, pushing our main characters in and out from between thin shafts of natural light, and the all-encompassing blackness that obscures much of the scenes.

This use of black is brilliantly framed in a way that continually generates increasing amounts of tension and suspense as the film progresses. While the colour palette creates a dirty, unkempt atmosphere (greatly accentuated by the pristine whiteness of the snowy environments that surround the lodge), the darkened shots are not lightened through overuse of colour grading, adding a sense of authenticity to the film.

Chilling (both physically and metaphorically), The Lodge uses an unhurried, measured pace, alongside some nice cinematography (awkward camera angles, slow pans,frequently changing POVs, and tight close-ups) to try and visually probe into the effects of isolation and psychological trauma while using ambiguity to blur the lines between what could be the reality and what could be a psychotic break. Moments of action are sparse and few between, further emphasising the significance of the mental element of the story.

This is where things start to take a turn, with certain story elements that's are explained far too early in the film and are never developed further. The audience is robbed of the satisfaction of reveal, and end up being submitted to a very slow and repetitive second act. There are some quite creative attempts made to divert the story, to add misdirection and red herrings, keeping the audience questioning what is going on, but it fails to follow through. The screenplay fights tooth and nail to escape the tropes and formula, but step straight back into it voluntarily, much to this reviewer's chagrin.

The pacing comes off feeling inconsistent, with the third act managing to rush through its climax, and again reduce the impact and scale of satisfaction that the audience can achieve. There are a number of elements of the premise that are genuinely intriguing, but The Lodge refuses to develop those storylines, leaving all of those nagging questions unanswered.

When it comes to the location and weather patterns, there is a definite resemblance to The Shining, and when you see Alicia Silverstone in the opening scenes with specific props, one cannot help but want to compare it with Hereditary. 

Overall, The Lodge does a great job creating an isolating and warped atmosphere, but disappointing choices in the direction of the screenplay will likely leave the audience feeling conflicted and nonplussed.

THE DEAD DON'T DIE (2019)

The peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves.

The Dead Don't Die is a zombie flick with an extensive cast list that includes Adam Driver, Bill Murray, Chloë Sevigny, Steve Buscemi, RZA, Tilda Swinton, Tom Waits, Danny Glover, and Selena Gomez. It seems like all the ingredients are there, that formula for success, and yet the viewing experience is rather uninspiring. Written and directed by Jim Jarmusch, his back catalogue is heavily biased towards the musical spectrum with music videos and documentaries, which explains why there are so many musicians cameo appearances.

When it comes to feature-length films, however, Jarmusch's directing and writing style tends to utilise slower, measured pacing, something that is rarely used in the zombie genre. The trailer comes across at a higher pace than that of the full film, which will no doubt lead to some rather disappointed audience members that will be caught off-guard by the unhurried stride that the story has. 

The pacing works to heighten the satirical deadpan comedic stylings of Driver and Murray, with their apathetic reactions juxtaposing what should be a frantic situation. In what ends up being a double-edged sword, the loitering tempo also highlights the lack of a narrative direction. In a similar style to that of Quentin Tarantino, The Dead Don't Die accumulates a wide selection of subplots. In a very unlike Tarantino fashion, the majority of these subplots have little (if anything) to do with the main storyline.

It creates a disjointed narrative that rapidly depletes the effectiveness of the comedic elements. In a move that comes across as a complete waste of time, relationships are forged, events are set up, but there is no payoff. Unnecessary dialogue, redundant subplots, and superfluous cameos make The Dead Don't Die an unsatisfying viewing.

Driver and Murray are the linchpins that make the film at all watchable, incorporating fourth-wall-breaking self-referential meta humour alongside the dry wit and sarcasm that sets the tone. It does, on the other hand, mean that any scenes that lack these two actors will feel like something significant is missing (apart from a lack of direction in the story). To its credit, the film is full to the brim with easter eggs and pop-culture references, many revolving around George A. Romero's Night of the Living Dead.

This is a zombie film, so of course, there is a fair amount of gore. There is a reasonable mix of practical and digital effects, though the CGI is quite noticeable.

The Dead Don't Die is a very different style of zombie movie. The deadpan satire stylings get some good laughs initially, but as the film progresses through its 104-minute runtime, the returns diminish entirely without that strong foundation in the story. Lines of enquiry lead nowhere, and the climax of the film is unpredictable because it isn't set up at all. There is a definite attempt to create something that goes against the mainstream expectations, but the end product is largely unpalatable and a massive letdown.

THE YOUNG CANNIBALS (2019)

Seven friends are tricked into eating burgers made of human flesh.

A horror based around a creature that hunts and feasts on cannibals. It's quite an original and creative premise, that helps to build up some curiosity within the viewer in the first act. The Young Cannibals has three sets of opening scenes to introduce the antagonists, introduce the central protagonists, and to bring in the other meat for the metaphorical grinder (...I mean protagonist's friends). 

The three scenes have drastically different tones, from survival horror to crime thriller (think about Guy Ritchie's films like Snatch or Lock, Stock and Two Smoking Barrels) to family drama. It's not until all of the characters come together that the extent of the premise is revealed and the film picks up the pace as a slasher horror flick. 

There is a certain amount of suspension of belief required to truly enjoy the film as it is full of plot holes and easily rectified problems. This isn't totally surprising from writers and directors Kris Carr and Sam Fowler, with The Young Cannibals being their first full feature film. Script issues such as characters knowing information that they weren't present for, personalities suddenly changing to force conflict into the film, or the central protagonist not being properly developed.

The very slow reveal of information around the central protagonist is detrimental to the audience's enjoyment of the film as this is the one character that they need to properly connect with. In this case, there is visible conflict and contentious issues abound, but without any reveal until later in the film, there is no idea on who the viewer is meant to root for. Especially in slasher horror films, a strong emotional investment is make-or-break.

The direction of the film is quite interesting. There are some clear influences from the likes of The Blair Witch Project, Predator, and The Descent to the point where the original premise starts to be let down by tropes that we have seen many times before. The lack of overexplaining in relation to the creature works to the film's advantage, with the lack of "boundaries" and limitations adding suspense and mystery. 

The creature itself has an interesting character design and has a somewhat nautical twinge to it. It still has an unreal texture to it, but for a low budget film, the amount of practical effects and gore incorporated is impressive. The cinematography itself is well-executed with some great depth of field, and intense, tight close-ups.

The real flaw to the film comes from its one-dimensional human characters, who bring nothing exciting to the story after they are introduced. Despite an around-average runtime for a horror flick (100 minutes), it still feels like it drags in the final act. Without any other form of character development to fall back on, the amount of time the audience is willing to sit and watch these characters being hunted is pushed to the absolute limit and then pushed well beyond that, with three potential spots for the film bypassed.

The bones of a good horror are certainly present; an original premise, good practical effects, and a surprisingly engaging score. The script simply could have done with a few more revisions and the direction could have had been more original, rather than trying to replicate the style from other successful films. 

Still, a good effort with a solid foundation, for a debut on a budget, shot straight out of film school. 

3 FROM HELL (2019)

After surviving a furious shootout with the police, Baby Firefly, Otis Driftwood and Captain Spaulding are behind bars. But pure evil cannot be contained. Teaming up with Otis' half-brother Winslow "Foxy" Coltrane (Richard Brake), the demented Firefly clan are back to unleash a whole new wave of death and depravity.

3 From Hell is another film written and directed by Rob Zombie, and is the third film in the Firefly story following on from 2003's House of 1000 Corpses and 2005's The Devil's Rejects. With the large expanse in time between the second film and this latest release, one has to wonder why the film was made. Coming out 14 years later, 3 From Hell has had a major logistical hurdle in the screenplay, and that was the health of Sid Haig, which prevented him from being able to have a large role in the film, effectively forcing Zombie to write him out of the screenplay (Haig sadly passed away a month ago just after the films US release).

From a narrative standpoint, The Devil's Rejects had ended the duo of films on such a strong endpoint, that it seems a poor choice to undo that ending for the sake of an unnecessary sequel. It is unfortunate to say that the film treads the same territory as its previous instalment, and can feel incredibly familiar, altering the tone from horror, to more of a crime drama.

The issues that came from the film being made so much later did allow for some intriguing character developments, however. Everything begins with a documentary-style prologue that explains what has happened to our core trio of characters since the events of The Devil's Rejects. The various styles in cinematography, imagery, and interviews are mixed together in a well-executed manner that feels like a true-crime show. After this prologue, we jump forward in time and introduce a new family member.

The time passing and the new character brings with it new interactions and allows for greater development of characters. A decade behind bars has had a serious effect on the psyche of Sheri Moon Zombie's "Baby" Firefly. Baby has jumped head-first into that metaphorical ACE chemical vat and become a ferociously twisted Harley Quinn personality. Bill Moseley's Otis, on the other hand, seems to have mellowed out, with less of a domineering streak; a less controlling character than what we have come to expect, instead, most of his interactions come from conflict with the new member of the team.

Visually, this has all the stamps of a Rob Zombie film. A lot of natural colours, slightly blown out and worn in the sunlight, with some gritty colour grading that has been sharpened to accentuate the time that has passed. Interjected are several arty, psychedelic scenes utilising mirror effects and vibrant colours.

The narrative is rather straightforward, moving in a linear fashion, apart from some unusual editing choices during some of the violent scenes. Perhaps one of the most compelling violent scenes had its effect greatly reduced by showing the conclusion first, then jumping back slightly and carrying on to the conclusion, then jumping back further, completing this style of constant repetition slowly revealing more, which has the opposite effect of removing all tension and suspense from the scene.

In general, however, violent scenes are looked after in the same manner that we have come to expect; with great emphasis placed on them. All aspects of gore and violence are always framed to make sure they are front and centre, often with slow-motion used (alongside some cheerful music).

The third act comes with an interesting choice to change location, and spend time introducing new characters, and suddenly an antagonist. It's a peculiar choice as it marks a shift in tone from the first two acts, it lacked a proper set-up, and attempts to turn the Firefly family into protagonists that we are meant to root for. 

Ultimately, 3 From Hell is a fun flick. It doesn't quite meet the quality standards of The Devil's Rejects because it spends too much time retreading the same ground we have already seen. Seeing those two films, one can't help but think that 3 From Hell would have better served the trilogy as the middle instalment, leaving The Devil's Rejects to be the final piece. 3 From Hell still provides the nudity and violence that one has come to expect, but lacks that satisfying payoff at the end. Still worth a viewing, but lower those expectations a bit.

3 From Hell is showing at selected cinemas for a single screening on Halloween

THE LAUNDROMAT (2019)

When her idyllic vacation takes an unthinkable turn, Ellen Martin begins investigating a fake insurance policy.

The Laundromat is the latest film directed by Steven Soderbergh, who has had quite a varied filmography to date (Oceans 11, 12 & 13, Logan Lucky, High Flying Bird, Magic Mike, and Unsane). Known for his experimental styles of directing (Unsane was shot entirely on an iPhone 7+), Soderbergh attempts another change of pace, directing this financial anthology based on the 'Panama Papers' scandal.

The style of film puts it in the same vein as Adam McKay's niche of political and financial educational dramatisations (ie. The Big Short aiming to explain the 2007-8 financial crisis, and Vice which showed how Dick Cheney became one of the most powerful vice-presidents in US history).

McKay's films are well-executed, using a singular narrative, and pausing whenever necessary to "dumb down" the terminology, using analogies and metaphors to ensure that everyone is able to follow what is going on, no matter how complicated it actually is. This use of meta-commentary is a clear and effective method of education and is helped further with the inclusion of balanced comedic elements. This sense of balance is something that McKay has gotten down to a fine art. The same can't be said for Soderbergh.

Soderbergh attempts to differentiate The Laundromat by utilising multiple narratives and turning a select few characters into our only fourth-wall-breaking sources of exposition. With a deeply complicated and convoluted scandal, the film would have benefited from a more direct storyline that followed one set of characters from start to finish. Instead, there are perhaps five individual stories, some which we view in one go, others that are split up across the film's 96-minute runtime. Jumping from one story to another disconnects the audience, and ends up making this confusing scandal no less confusing. 

Gary Oldman and Antonio Banderas play the role of our hosts and narrators throughout the film, trying to make light banter around what is going on throwing empty justifications at the audience with some thick accents that make understanding the exposition even more difficult. The Laundromat spends far too much time focusing on aspects that are unrelated to understanding the financial scandal, instead, choosing to spend time on marital affairs and infidelity. It suffices to say that the audience was on board that these were bad people long before these unnecessary scenes.

The end result is a film, that turns the main source of narrative direction into a subplot, limiting the amount spent focused on it, to a point that the exposition becomes cumbersome and uninteresting. The production is absolutely fine. Nothing wrong with that aspect at all, but the direction of the screenplay was sloppily executed, and the majority of attempts at humour fell flat.  

The Panama Papers scandal is something that needs to still be talked about, and those taking advantage of the system need to be held accountable, but The Laundromat does a poor job at explaining the ins and out of how this all came about. Meryl Streep puts on a convincing and sympathetic performance, but it cannot save The Laundromat from being an uninteresting and uneffective attempt at educating the masses.

JOJO RABBIT (2019)

Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend -- Adolf Hitler -- Jojo must confront his blind nationalism as World War II continues to rage on.

Where does one start? Taika Waititi is back with his highly controversial Hitler movie. A lot of the disgruntled comments that the film has been received prior to its release come from the jovial and fun portrayal of Adolf Hitler by Waititi himself in the trailers. So it's probably best to mention right up front that in this satire, Waititi's Hitler is not an attempt to humanize the man that brought on the deaths of millions of Jewish people. Waititi's Hitler is Jojo's imaginary friend. He is but a means of visually describing Jojo's personal image of Hitler, thanks to years of indoctrination and propaganda by the Nazi party. Anyway, Hitler is not a large part of the film; only popping up once in a while.

As you may start to realize, this is not an Iron Sky level comedy. It's not here to provide controversial laugh after laugh. Jojo Rabbit is a dark drama that is lightened by elements of comedy. It could be considered the Blazing Saddles of the millennial generation, with its seemingly exaggerated tone around the Nazi fascists, to serve as a reminder that while they are incorporating humour into this racist belief structure, at no point are they condoning it.

What makes this film work so well, is the mature plot. This isn't just a bunch of physical gags like the trailer may have led you to believe. The story is based on a novel by Christine Leunens called Caging Skies (which has also been adapted into a theatrical stage play), and it ensures that there is a moving character-driven story behind the laughs. Waititi's screenplay does create a bit of an inconsistent tone in the first act while the characters are being set up, and while the dramatic portion may turn off some members of the audience, it gives Jojo Rabbit much stronger staying power as a film.

Because this story is not about Hitler. This story is about Jojo, a boy who has believed every piece of propaganda that his government and schools have given him about Hitler and the Nazi party. The film looks at how that worldview is challenged by his interactions with a Jew hiding in his house. The concepts of acceptance and tolerance are at the forefront, and young Roman Griffin Davis does a stellar job showing the inner conflict that Jojo is feeling.

Thomasin McKenzie, on the other hand, has a surprising performance, oozing an unexpected level of confidence despite her situation. Her interactions with Davis form the foundation of the film, and the duo is able to convincingly show off their two opposing standpoints effectively. Archie Yates is another great child actor (he plays Yorkie), who has very little to do in the film but serves as a comedic foil that manages to hit the funny bone every time.

There are so many great roles, with Scarlet Johannsson pulling off a very sympathetic performance that brings such an emotional weight to set up one of the most dramatic scenes of the film. From the comedic side of things, Sam Rockwell was the standout performance, with an outlandish performance that is able to get the laughs but also hits hard in the serious moments. With my own musical tastes, I can't help but feel like Rockwell's character was somewhat influenced by the lead vocalist Till Lindemann, of the German rock band, Rammstein. The flair and charisma the Rockwell exudes are infectious, but it's his underlying good nature that keeps you invested in his character.

From a visual standpoint, the film has some good colour grading that brings that warm yellowing colour palette we have come to expect from period pieces. The cinematography seems quite subtle, but is in fact very impactful, turning interesting focal points into deeply tragic moments later in the film. 

Jojo Rabbit is a compelling examination of what leads to the spread of hatred and racism. A look at that turning point of discovering the lies, and the challenge of pitting the laws and rules against morals and ethics. Rockwell, McKenzie, and Davis' characters all undergo some powerful character development (and as a consequence, so does Waititi's Hitler, as loyalties become misaligned). Through effective framing, the violence is communicated without the need to visually show the graphic nature of it. Waititi successfully manages to balance all of these elements, combining satirical, fantastical comedy, with emotionally devastating drama. 

It was very different from what I was expecting, but wow.

WOUNDS (2019)

Disturbing and mysterious things begin to happen to a bartender in New Orleans after he brings home a phone that was left behind at his bar.

After Eli left me feeling conflicted, I was intrigued to receive an email from Netflix recommending another horror-esque film. This film (which interestingly is also streaming on Hulu in some countries and Netflix in others) involved some pretty big names in the cast; Armie Hammer (The Social Network, Hotel Mumbai, On the Basis of Sex, and Sorry to Bother You), Dakota Johnson ( The Social Network, the Fifty Shades franchise, and Suspiria), and Zazie Beetz (Joker, Deadpool 2, High Flying Bird, and Geostorm) filling out that cast lineup.

I referred to Wounds as horror-esque as it includes many horror elements, and director Babak Anvari uses cinematography to create suspense and tension brilliantly, but in the end, this is a drama. To call it a horror, is to mislead the audience as to the pacing of the flick. As a dark, psychological drama, Wounds is quite well executed for the first two acts (84 minutes of the runtime). Unfortunately, the film cuts off before the expected payoff, ending the film a mere ten minutes later. Yes, Wounds sticks to the usual hour and a half time-frame for a horror, despite the film having an initial two acts that lend itself to a longer structure (110 minutes would suffice, but 120 minutes would ideal).

There is an intriguing narrative that is teased throughout the film, like a game of whack-a-mole, where the audience doesn't know what, where, when, how, or why anything will happen. Similar to Eli's final act, there are a lot of genuinely exciting visual elements in the first two acts of Wounds, but ultimately there is no payoff. Where Eli used every light trick and jump scare trope to try and distract from the lack of story, Wounds has a lot of super-effective spooky visual elements that hold the interest of the audience. Unfortunately, these elements aren't paid off. At most, there is one story thread that ends, the rest are left in various stages, unresolved.

That final scene ends with such conviction and conciseness that it will likely trigger those fans that cried out in disharmony after the way that The Sopranos ended their finale. One cannot necessarily place the blame on the director or cast, because the film is faithful to the source material. Wounds is based on Nathan Ballingrud's short story, The Visible Filth. The 86-page doesn't really answer any of the big questions either, so it's going to come down to the taste of the viewer, whether they would be happy with an open-ended mystery horror.

There is still a good film in here, though. Hammer and Beetz do a brilliant job with the script they were given, and though this film certainly isn't passing the Bechdel test (Dakota Johnson's role in this film is literally to be the emotionless shell of a girlfriend to Hammer's character), Beetz gains more charisma and onscreen chemistry with every role she does, and Hammer pulls off a pretty convincing (albeit inconsistent) descent into the mouth of madness. 

If it had an additional 20-30 minutes at the end of the film this would have been something stunning. Instead, it attempts to subvert expectations by ending right when things start to climax. The human drama is good, and the creepy elements keep you invested, but it fails to leave you with a sense of satisfaction. The great acting, competent score, smooth cinematography, and practical effects are all let down by a conclusion that felt like the director ran out of money at the start of the third act.

It could definitely lead to some interesting conversations around how one would end the story, but the story is so overwhelmingly uneventful. The horror aspects (no matter how competent) ended up serving as a distraction as the scant attempts at explaining the lore leaves much to be desired.