Wild Rose – Film Review

Jessie Buckley caught everyone’s attention in this year’s Beast as a shy young woman who is awoken by a boy from the wrong side of the tracks. In Wild Rose she is no shrinking violet and the tracks are on the other foot(?) this time. She plays Rose-Lynn, a single mother fresh from 12 months behind bars who dreams of becoming a country star in Nashville. Unfortunately the realities of life, living in a dingy flat with her kids and an ankle tag in Glasgow, make those dreams seem impossible.

Rose-Lynn is supported, and brought back to reality, by her mother, Julie Walters, who has held the fort while Rose-Lynn was in prison and the children’s father was noticeably absent. Starting a new job as a cleaner Rose-Lynn finds her dreams indulged by her boss, Sophie Okonedo, and starts leading a double life. At work she is a single young woman with a unique talent that could take her anywhere, whilst at home she is struggling to relate to her children and can’t leave her flat past 7pm.

The film excellently shows Rose-Lynn’s internal struggle as she bounces between her two realities and the conflicting advice of her mother and her boss. Her mother’s advice coming from years of working class struggle and experience, and her boss’s from a few years of struggle and then middle class utopia. What is achievable in the sending of an email for one is a fantasy for the other.

Wild Rose is a beautifully messy story about figuring out life’s priorities. I kept expecting the film to put a foot wrong and offer up a trite ending but it stayed the course beautifully.

LFF 2018 Day 6 – Wild Rose | Holiday | Believer

The theme of day six was me constantly second guessing my choices before each screening and then thoroughly enjoying every film I saw. I also made a great curry when I got home but that’s a topic for a different type of blog.

Wild Rose

Jessie Buckley caught everyone’s attention in this year’s Beast as a shy young woman who is awoken by a boy from the wrong side of the tracks. In Wild Rose she is no shrinking violet and the tracks are on the other foot(?) this time. She plays Rose-Lynn, a single mother fresh from 12 months behind bars who dreams of becoming a country star in Nashville. Unfortunately the realities of life, living in a dingy flat with her kids and an ankle tag in Glasgow, make those dreams seem impossible.

Rose-Lynn is supported, and brought back to reality, by her mother, Julie Walters, who has held the fort while Rose-Lynn was in prison and the children’s father was noticeably absent. Starting a new job as a cleaner Rose-Lynn finds her dreams indulged by her boss, Sophie Okonedo, and starts leading a double life. At work she is a single young woman with a unique talent that could take her anywhere, whilst at home she is struggling to relate to her children and can’t leave her flat past 7pm.

The film excellently shows Rose-Lynn’s internal struggle as she bounces between her two realities and the conflicting advice of her mother and her boss. Her mother’s advice coming from years of working class struggle and experience, and her boss’s from a few years of struggle and then middle class utopia. What is achievable in the sending of an email for one is a fantasy for the other.

Wild Rose is a beautifully messy story about figuring out life’s priorities. I kept expecting the film to put a foot wrong and offer up a trite ending but it stayed the course beautifully.

Wild Rose screens at the festival on 15th, 16th, and 20th October before being released in the UK on 19th April 2019.

Holiday

Isabella Eklöf’s directorial debut is not an easy watch. The film centers on Sascha (Victoria Carmen Sonne), the painfully young employee/girlfriend of Michael (Lai Yde), a Danish drug lord. When Sascha goes on holiday to Turkey with Micheal and his motley crew she expects days full with lazing in the sun wearing complicated swimsuits and nights filled with drinking, dancing, and drugs. She is right for 90% of the time. It is the other 10% that made me wince.

When Michael is happy then Sascha’s vacation meets her expectations. When Michael is upset, by some miscellaneous drug trade gone wrong or his girlfriend flirting with another man, then things get unpleasant quickly. Michael turns against his trophy in violent and sexual ways that we are forced to watch in single, unflinching takes. Even when the violence has abated a sense of tension pervades the quieter moments of the film and even people or places that seem like safe spaces fall foul of the film’s simmering aggression.

A beautiful and grotesque portrait of toxic masculinity in the sun.

Holiday screens at the festival on 15th, 16th, and 17th October.

Believer

A film of this length rarely rattles along at quite the pace that Believer achieves, a film which starts off jogging for a few minutes before sprinting away for the next two hours. Won-ho (Cho Jin-woong) is a narcotics cop on the hunt for the mysterious Mr Lee who nobody has seen but who runs a major drugs operation in South Korea. After Mr Lee’s senior staff are blown up in a meth lab, Won-ho gains the confidence of the explosion’s sole survivor Rak (Ryu Jun-yeol), a drug runner on the lowest level of the drug empire.

With Rak’s help Won-ho and his team quickly infiltrate a world of million dollar (billion won) drug deals to slowly work their way towards Mr Lee. This journey begins with a spectacular set piece where Won-ho impersonates both sides of a high level drug trade on different floors of a hotel, in the first meeting picking up the mannerisms he would then have to replicate in the second. From here the film kept moving so fast it was up to me to scramble to keep up and I think I just about managed it.

Believer is a big, bombastic Korean thriller that never pauses long enough for you to worry about whether it makes sense or not. This is a silly film that takes itself very seriously and I had a lot of fun.

Believer screens at the festival on 16th, 17th, and 19th October before being released in the UK on 19th April 2019.

Brooklyn – LFF Review

Brooklyn

“Calm and civilised and charming” is how Eilis Lacey (Saoirse Ronan) describes her hometown in Ireland after returning for a visit from Brooklyn but she could have easily have been describing the very film she was in. Brooklyn is a beautiful and sentimental film set in the 1950s when Eilis moves from Ireland to start a new life in Brooklyn. At first she struggles with being so far from home but eventually love and a career start to blossom and Brooklyn feels more and more like home. Upon returning home for a visit for a few months Eilis becomes conflicted and must decide where her home, and her heart, truly lie.

All sounds delightful doesn’t it?

What Brooklyn captures well is the feeling of moving far away from home to a more exciting place that is initially much more lonely. Saoirse Ronan is a sympathetic lead, and refreshingly Irish for a change, and easily gets the audience on her side and rooting for her in the big city. Helping her out in Brooklyn are Jim Broadbent and Julie Walters in relatively small roles but both exuding the warmth they so naturally bring to the screen. I almost shed a tear as she sat crying over letters from home. It was all very moving, beautifully shot, and winningly acted.

Brooklyn 2

The film as a whole was very sumptuous to look at. It felt like watching an advert for some indulgent premium confectionery. This is all very pleasing to the eyes but had the effect of removing me somewhat from the emotional side of the film. There are some pivotal relationships involving Eilis but I could not buy into them fully. The golden sheen of the film smoothed out any real intimacy between those involved. The climax of the film involves Eilis making a choice but the outcome felt inconsequential as I was not invested in either option.

Brooklyn is calm and civilised and charming. It is easy to get swept up in its chocolate box charms but I defy you to truly get invested in any of the romance. Saoirse Ronan is a strong actor and capably leads the film but the limitations in Nick Hornby’s script hold her back.

Good but not great Brooklyn is the kind of film the whole family can watch on a cold autumn evening.

Brooklyn airs on the 12th, 13th, and 14th October and tickets are still available to buy.

The Harry Potter Retrospective – The Adults

While the younger cast of the Harry Potter series may well have been works in progress, the adult roles were filled with pretty much every working actor in Britain with a familiar face. It was these actors who initially kept us coming back for more, without whom we may never have learnt to love the boy wizard and his chums. Below we run through our top fifteen of the adult performances across the eight films in alphabetical order. We tried to whittle it down with no success.

Alan Rickman as Severus Snape
Alan Rickman as Severus SnapeWe start with an actor whose performance has ranged from the sublime to the ridiculous, and often in the same film. As Harry’s most consistent antagonist Snape offered up an ambiguous character, often seeming to be more evil that he was. What makes Rickman’s performance legendary are his epic pauses and dangerously slow delivery, as if trying to get as much screen time as his brief dialogue will allow. In the final film Rickman delivers both his slowest speech and his most moving performance. There are few better in this list.

David Bradley as Argus Filch
David Bradley as Argus FilchIt’s hard to believe that in the earlier films the major danger was being caught out of bed by Filch, a far cry from the fantastical battles the franchise concludes with. While often a menace to our heroes, Filch was ultimately a fun character bringing two of the biggest laughs in the finale and a warm nostalgic feeling with them.
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The Harry Potter Retrospective – The Films

You may remember that last month we spent two nights at the BFI IMAX watching all seven Harry Potter films over the course of two nights. (Thanks BFI IMAX!) We finished our journey through the franchise on Monday night as we watched and scored Harry Potter and the Deathly Hallows: Part 2. What follows is a run down of all eight films, written using the increasingly brief and incoherent notes we made at the time. Spoilers lie ahead.

Harry Potter and the Philosopher’s Stone
philosophers stone

In which Harry Potter learns he is a wizard, goes to Hogwarts School of Witchcraft and Wizardry and defeats a teacher harbouring the evil wizard Voldemort at the back of his head.

We start the franchise with an over-long film with terrible acting, odd prosthetics and scenes bordering on pantomime. From the initial scenes with the Dursleys playing out as a knockabout comedy to the final showdown in which a man completely disintegrates, Christopher Columbus produced a completely uneven film which relies mostly on reaction shots for laughs. Horrible acting from the kids is made up for by sheer cuteness and ultimately the film is a bit better than you remember. 6/10

Harry Potter and the Chamber of Secrets
chamber of secrets

The series continues with Harry hearing voices and writing in a diary which writes back. Turns out that pesky diary was Voldemort again.

As the kids seem to have experienced a growth spurt since the previous film they are less cute and their acting has improved slightly to compensate. Early scenes at the Burrows with the Weasley parents are great but even Julie Walters can’t make exposition work properly. Jason Isaacs and Kenneth Branagh are pretty awesome but Christopher Columbus again fails to make anything remarkable happen. With students being attacked (but surviving) the series begins its journey into becoming “dark”. 6.5/10
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Harry Potter and the Deathly Hallows: Part 2 – Review

For the past three hours I have actively avoided writing this review, struggling to stay objective and discuss the film as if it were any other. Harry Potter and the Deathly Hallows: Part 2 could have been just another children’s fantasy adventure, yet another sequel and an adaptation of a previous work, but subjective sentiment and a decade of fandom aside, this is one hell of a film.
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