Way Too Indie has been very excited for the release of Erik Peter Carlson’s The Toy Soldiers (our review) since pre-production a year ago and we are very pleased to hear of it getting its US Premiere next month at the Dances with Films festival where it has been chosen as the closing night feature.

A film to be celebrated world-wide The Toy Soldiers is a topical, controversially captivating story that will keep you hooked from the beginning right through to the powerful thought-provoking finale.

Watch trailer for The Toy Soldiers

Erik Peter Carlson’s début feature Transatlantic Coffee was a visually stimulating observation of one man’s story of isolation from society and his overwhelming desire to be loved. With The Toy Soldiers Erik Peter Carlson has once again conceived an authentic and universally relatable saga that demands serious recognition.

Within the opening moments of the film we are taken on a reflective emotional rollercoaster. A montage of distressing scenes showcase the characters that will each play a part of the brutally sincere journey we’re about to experience which brings you almost to tears before the story has even unfolded. Nothing can truly prepare you for how this night will end, all that you can do is take a leap into the unknown and let The Toy Soldiers illustrate to you their melancholic yet captivating stories.

An elderly narrator is heard over the introductory sequences, he could be perceived as being one of the boys from the story in future years. The man is talking into a recorder about life lessons, hardships, uncontrollable situations, mental illness and emotional experiences. These significant moments that we all share at some point in our lives correlate with the disturbing scenes shown in the background. The man ends his speech by saying, “It might sound like I’m preaching, or delivering a sermon, that’s because I am. Sometimes shit happens, this shit needs to happen. If it didn’t, we wouldn’t evolve as individuals. As your councillor and someone who has been through these different steps for many reasons I can assure you the real world does have its pleasant moments, you just have to know when you’re living them.” – cue The Toy Soldiers.

On the eve of the imminent closure of popular hangout “The Toy Soldiers Roller Rink” five stories that detail stages of grief, courage, love and drama will change the lives of its protagonists forever. As we discover more about each character, it becomes increasingly apparent that the film is not focusing on one particular person, but instead draws our attention to and highlights the question everyone, past and present, fears to ask themselves – “who am I?”. However with that said, it should be stressed that every individual actor played a huge part in creating this deep, well written and accurate commentary on a society that seemingly hasn’t progressed a great deal in 30 years. Their acts of bravery in spite of everything happening around them is what makes this film incredibly special, every character demonstrates heroism more than ever when luck isn’t on their side.

The Toy Soldiers must be congratulated on its distinctive style and vibe. The cinematography, lighting, clothing and set designs, location choices and especially the music collectively enabled an energetic and colourful dramatic success; a Hollywood film on an indie budget, fired by genius in other words. The importance of the themes covered and how well they were handled – homophobia, mental illness, abuse and the imperfections of humankind, cannot be understated or overly applauded. The cast was remarkable, each giving stellar performances; Chandler Rylko (Elliot Harris), Constance Brenneman (Mary Harris), Samuel Nolan (Jack Harris) and Nick Frangione (Steve), for some this was their first lead performance in a feature film yet there was not a single frame where they showed it.

Erik Peter Carlson grabs controversial topical subject matters by the horns and steers them into such a brilliant direction you can’t help but absolutely admire his continued efforts to delve deeper than the norm. A phenomenal personal achievement for the director and an outstanding accomplishment for his cast and crew. The Toy Soldiers is nothing short of extraordinary.

The One I Love

The One I Love is a genre-bending psychological, comedic (in some parts), dramatic romance story that follows Ethan (Mark Duplass) and Sophie (Elisabeth Moss), an unhappily married couple seeking new thrills through their couples therapy sessions. The story is well written and the film is excellently executed. Duplass exemplifies the emphatic character with his extremely likeable mannerisms and familiar character traits. The dramatic reflection of married life is well paced and had the audience emotionally invested as their story progressed. Using only one location, Duplass and Moss were able to express a very personal experience to the unlikely implications of a relaxing “weekend away” to rebuild their relationship. In the end, The One I Love is a surreal, surprising, and enjoyable fantasy version of marriage counseling.

RATING: 8.7

Little Accidents

Pinpointing the exact reason why this film is worthy of this rating is difficult, there are so many. Little Accidents is not only a beautifully shot film, but it also had the collectively incredible cast whom were unwavering in their individual performances to portray isolation, betrayal, heartache, and the wonder of the human spirit in the face of sorrow. Elizabeth Banks, Boyd Holbrook and Jacob Lofland are the films driving force and carry the weight of their character profiles extremely well. Little Accidents is a heartbreaking story of loss and the pressure of a society that has conformed to a poverty stricken way of life. The towns inhabitants work their fingers to the bone and some are at risk of life threatening conditions all to put food on their tables and a shirt on their back.

Little Accidents was shot entirely on location in West Virginia and has a very convincing authenticity about it. The grey, misty atmosphere, the natural forest backdrops and rundown neighborhoods are all suggestive that what you’re seeing is real. It’s easy that this traumatic event had a lasting effect on the town.

RATING: 8.8

The Voices

The town of Milton is home to pink overalls, pink trucks, pink forklifts, and a population of 4,000 including one disturbed young man named Jerry (Ryan Reynolds). This endearing, yet mentally unstable, factory worker initially tries his very best to blend in to society–volunteering to help organize the office party, doing his best to always wear a smile. However, as unfortunate events occur, Jerry loses his ability to lead a normal life and becomes increasingly more involved and allied to his psychosis and is unable to identify what is reality.

The Voices aims to bend the rules of the psychological comedy genre by featuring a unique storyline. Reynolds plays a fantastic l”oveable” psycho serial killer and the comedic values he brings to this film are brilliant and welcomed. The film is a tremendous accomplishment. I’m sincerely optimistic for it to have a universally enjoyed worldwide release.

RATING: 8.9

They Came Together

They Came Together states straight away that the story contains obvious romantic comedy clichés. Molly (Amy Poehler) and Joel (Paul Rudd) are dining with their friends Kyle (Bill Hader) and Karen (Ellie Kemper) discussing when they first met; “It’s a long story” they say, and boy was it! Using split screen techniques (much like You’ve Got Mail) and long shots above the NYC skyline (…every romantic comedy based in NYC) we are introduced to Molly and Joel living separate lives who nearly run into each other everywhere they go. With cliché shots and narrative throughout, They Came Together never once takes itself seriously and acknowledges to the audience its satirical attitude towards romance every chance it gets. The film is a continuous barrel of laughs, highly recommended for those wanting a mashup between Parks and Rec and You’ve Got Mail.

RATING: 7.7

Hits

The film plays its first joke from the very beginning when the voice of Ellen DeGeneres is heard interviewing a celebrity, before realizing that it’s actually Katelyn (Meredith Hagner) sitting in her car imitating her fantasy. Then we are introduced to Katelyn’s father, Dave (Matt Walsh), who is listening to a government rant on the radio while driving home from his job. Dave is a lonely man whose obsession with “corrupt” local government has taken over his entire life, devoting all of his energy in bringing an onslaught of complaints to the town halls attention.

Katelyn and Dave are two very determined individuals who will go to any lengths to achieve their goals. One dreams to be famous while the other just wants to have his pot holes filled by the city. However, neither one of the character are fully developed. I’m not exactly sure on the what genre David Cross was going for; comedy/drama seems to fit the bill, however, the film had much fewer laughs than I think Cross was aiming for.

RATING: 7.5

Memphis

There was only a short amount of time that Memphis was actually able to grab my attention. The film was little more than just a montage of mood pieces to depict the life of Willis Earl Beal, a singer who loses his mind before recording an album. From start to finish, the film is a long mishmash of beautiful, but unimportant imagery with an inconclusive storyline. The experimental arrangement made it nearly impossible to decipher what was going on. After the screening, another member of the press took the words right out of my mouth, describing Memphis as “a tedious, meandering character study which offers little insight into a city, the music business, and a society”.

RATING: 4.9

Returning to the Sundance London Film Festival this year, I’m excited to witness the big hits that Park City’s Sundance Festival brought us. Some of which are: Frank, Memphis, Fruitvale Station (UK Premiere) and Blue Ruin. Although Sundance London is still quite small, the lineup is nonetheless impressive. Some of the stars and filmmakers in attendance this year are: David Cross (Hits), Ryan Coogler (Fruitvale Station), Sara Colangelo (Little Accidents), Michael Fassbender (Frank), Ryan Reynolds and Gemma Arterton (The Voices). Below I have highlighted my 5 most anticipated films that will be playing at Sundance London 2014.

#5 – Hits

David Cross makes his directorial debut with a comedy about a paranoid municipal worker named Dave, his The Voice obsessed 19 year old daughter, a wannabe teenage rapper and their neighbours in a small, working-class town in New York. Hits is a satire towards the absurd nature of the Internet age through a collective cast of some of the funniest comedians around at the minute. I’m very optimistic about this comedy despite some of the negative feedback it received at Sundance in January.

#4 – They Came Together

After briefly hearing of this film in January, They Came Together looks to be a homage of the romantic comedies of classic American cinema. With hilarious cameos throughout, I have high hopes that David Wain (We Hot American Summer) will be able to truly capture the art of modern American Comedy.

#3 – The One I Love

Staring the director of one of my all time favourite films (Jeff Who Lives at Home), Mark Duplass plays the husband to Elizabeth Moss’s character Sophie, both of which are trying to recreate their magical first night together due to the drudgery of their current unhappy marital state. The One I Love looks to put a lot of focus on a highly relatable modern love story.

#2 – The Voices

The Voices consists of a mix match of genres including: comedy, crime, horror and thriller aspects which features the names of Ryan Reynolds, Anna Kendrick, Gemma Arterton and Jacki Weaver. Jerry (played by Reynolds) is mentally ill and has been avoiding taking is prescribed anti-psychotic medication which instigates severe hallucinations in the form of his cat telling him to be a serial killer. That’s enough synopsis to make this a most anticipated film.

#1 – Little Accidents

This debut feature by Sara Colangelo is supported by lead actors Boyd Holbrook and Sundance London alumni Jacob Lofland (Mud) and explores the intricacies of small-town social order. The film also illustrates how in times of tragedy, we find the unlikeliest of places. The main reason this film is at the top of the list is due to the uniqueness of the story. From what I can tell (without reading any spoiler reviews from Sundance in January) Little Accidents includes a superb cast who are able to carry the dramatic narrative that is suggested.

God Forgive Us is the debut feature film by Director Michael Bachochin. The film is described as being “a dramatic collision of four strangers struggling through drug addiction, existential suicide, terminal illness and death.” Possibly not something for everyone, but certainly for those with an open mind and a willingness to understand the downfalls and imperfections of humankind.

This feature looks to be a stylistic and interesting insight into the troubled mind drawing upon religion to understand why the world is what it is and why we do the things we do, let’s hope that it will accomplish what it has set out to.

God Forgive Us trailer

Blue Ruin is a thriller focusing on the life of a curious man who returns home to claim vengeance upon hearing the news of a recent release of a prison inmate. After proving himself to be an amateur assassin, events conspire to have him fighting to protect his estranged family.

First screened in the Directors’ Fortnight section at the 2013 Cannes Film Festival where it won the FIPRESCI Prize, Blue Ruin then screened again in the Vanguard section at the 2013 TIFF, writer/director Jeremy Saulnier started a successful Kickstarter campaign in order to continue production on the film.

Blue Ruin trailer

Wes Anderson, known for his distinctive visual and narrative style in such films as Moonrise Kingdom, Fantastic Mr Fox and The Darjeeling Limited, will be releasing his latest quirky comedy The Grand Budapest Hotel.

The adventures of an infamous concierge at a well known and well frequented hotel between the world wars and Zero Moustafa, who becomes his confidant and trusted friend are detailed with this all star cast. Anderson loves to work with familiar faces and The Grand Budapest Hotel is no exception; Jude Law, Bill Murray, Tilda Swinton, Willem Dafoe, Owen Wilson, and Adrien Brody are all listed as cast members. The film looks to be quite the dramatic comedy with the charm and flare we know Wes Anderson films to behold.

The Grand Budapest Hotel trailer

It is hard not to have absolute admiration for independent filmmakers for their courage, style, and ability to look beyond their production obstacles and see the bigger picture in their work. The fact that Tom Ryan’s Irish indie film Trampoline was made with a budget of just €1000 is a feat in of itself. Budget aside, Trampoline is one of the more relatable, honest, and encouraging films that I have seen in a while.

Angie (Aoife Spratt) is a young girl traveling back to her hometown of Tipperary from the college she attended in London. Traveling home on a coach, you could see that this young girl carried a lot of weight on her shoulders. Whether she was glad to see the back of where she was, or whether she was anxious about where she was going, we do not know.

Standing in as a supply teacher at her old high school, she takes a relaxed approach to educating the young minds of her English class by trying to relate to them on a teenage level, which is easy to understand seeing as Angie is very young herself. However, as pupils start to truant her classes, she realises this was the wrong approach and begins to feel the strain of failing at her job. There are many moments in this part of Angie’s story where as a recent graduate myself, I understood everything that she was going through. Director Tom Ryan really captured the essence of what many people all over the world experience when they leave University or college and have to face the world without direction or confidence.

For her debut onscreen appearance, Aoife Spratt beautifully portrayed the characteristics of a young adult struggling to find her place in the world unlike anything I’ve seen before. Her performance was a real and honest struggle that had me relating at every corner she felt trapped in, every deflated exhale she sighed, and every pretense she applied to mask how she was truly feeling.

Trampoline is an unique and truth baring tale of the realities of leaving the education system without help or guidance on where to go next. On top of that, it shows how you to still must face each day with societies forever watchful, judgmental glare upon your back pushing you and telling you to achieve more. Aoife Spratt had the confidence and ability to capture every single real emotion will prove to be an invaluable trait for her future work. My hope is that this is not the last time we see Tom Ryan behind the camera and that he continues his efforts on making indie films in the future.

Trampoline trailer

I’ll refer you to Dustin’s Cannes review of Like Father, Like Son where he sat amongst a ‘teary eyed’ audience and witnessed this huge festival success from 2013, and now in 2014 it’s allowed its big screen moment. I unfortunately missed its UK release back in October 2013, however from the reactions of festival-goers from around the world, it’s a story that has been seen as universally relatable regardless of its very traditional Japanese core.

Although Like Father, Like Son looks to play around with many different issues and hardships, it’s focus looks to be the choice to choose bloodlines or the primal importance of bonding with a child. Like Father, Like Son comes to US screens on 17th January.

Watch trailer for Like Father, Like Son

Having taken a short break from independent films for a short while, I was able to watch Nothing Without You with a fresh set of eyes and an eagerness to get back to the indie scene. What Xackery Irving has accomplished with a small budget and crew is extremely impressive and is understandable why Nothing Without You has received such positive acknowledgment from the independent festival circuit (check out our interview with Xackery for more details).

Nothing Without You is a gripping suspense drama focused on a mentally unstable woman’s path to proving her innocence and freeing herself against a crime she is determined she did not commit. All the odds are stacked up against her and with only the help of her troubled Psychiatrist Dr Charles ‘Charlie’ Branham (Keith McGill), does she find the courage to continue searching for answers. It is whilst pursuing the people who are framing her for the murder of Counsellor Michael Greenwood’s wife that she also finds herself embarking upon a journey of self discovery and personal acceptance.

Jennifer Stidger (Emily Fradenburgh) is a psych-patient who has been in and out of hospital for many years, and committed more recently for being arrested regarding an obsession with a man. Michael Greenwood (Joshua Loren), a local Counsellor with a lot of money and connections meets Jennifer whilst she is undergoing treatment – he takes an interest in her, which she notices immediately. Her energy and attention is from then on out, focused towards him and getting him to see her as a beautiful woman, rather than as a needy troubled basket case.

Once she successfully lures him into her capture, he cannot resist her efforts to seduce him. When she wakes up alone after spending the afternoon in bed with him, she cannot fight the urge to leave him alone and decides to stalk his every move, find out more about him, and watch everything he does. It is from doing this that she witnesses the murder of Greenwood’s wife to which she is inevitably framed for. Her willingness to prove she is not guilty knows no limits. Her determination to bring down the real killer and find the answers as to why his wife was killed and why she is being set up for her murder, is unstoppable.

This beautifully shot film, captured on the RED camera, is a fantastically written and directed story with an outstanding performance by Emily Fradenburgh. She was able to bring to life the character of Jennifer Stidger, so that the troubled yet clever and cunning woman she was written to be is as connected to the audience as much as possible. In doing so, her performance leaves you completely emphatic to her ventures, all the while not knowing whether you can trust her at all. Her commitment to the role is certainly seen.

After watching Nothing Without You I look forward to seeing more from Xackery Irving and I will definitely keep my eye out anything featuring Fradenburgh, I hope great things come to both.

There’s really not much you can say about Tarantino that most film fans don’t already know–he is one of the most famous names in Hollywood, and for good reason. Even though his incredible eye for detail and storytelling are unbelievably good, his work would not be as prominent or industry celebrated if it not for the actors who bring his notorious characters to life. In this month’s feature the staff had as easy time coming up with 13 of our favourite characters from Quentin Tarantino’s films, many of which were synonymously ranked. Interestingly, Django Unchained, Pulp Fiction, and Inglorious Basterds each had three mentions that made it into our list.

So have a look for yourself and judge where you’d have put these characters in among your favourite (maybe some wouldn’t make it?) and see if it’s similar. We’d love to hear your thoughts and if you want to tell us your favourite Tarantino legend then just drop us a comment below!

13 Amazing Quentin Tarantino Characters

#13 – Max Cherry (Jackie Brown)

Max Cherry (Robert Forester in the role of his life) is far and away my favorite Tarantino character, and for me, the one that has the most depth. Cherry is a bail bondsman who, for the lack of a better word, bails out Jackie Brown (Pam Grier) after she is pinched for smuggling a load of money and cocaine into the country (she’s a stewardess for a low rent Mexican airlines). Grier is great, but to me the film is owned by Forester. Tarantino’s dialogue and the beats that Forester hits combine to create a character that has years of sadness hidden behind his old squinty puppy dog eyes. Cherry seems to always be ahead of the game, even when he seems to be acting aloof. Everything we identify with his through Cherry’s eyes. He hardly has to say anything and we totally understand his point or his motivations. His interactions with Grier (particularly the final scene of the film) and especially Samuel L. Jackson are pitch perfect. Forester deservedly walked away with an Oscar nomination for his work here and in my opinion he should’ve won. Max Cherry was the role Tarantino was born to bring to the silver screen and the role that Robert Forester has been waiting his whole life for. [Blake Ginithan]

#12 – Lt. Aldo Raine (Inglourious Basterds)

Brad Pitt’s accent aside, there are some seriously enjoyable aspects of Aldo Raine’s personality. Firstly, he’s straightforward, bringing us simplicity without stupidity; he doesn’t mince his words and this gives him an air of trustworthiness and reliability. Secondly, he’s a natural leader – he inspires others and isn’t afraid to take charge and get things done. And thirdly, but certainly not least, he’s hysterically funny. Granted, much of the humour we get from him isn’t intentional on his part – whether it’s his poorly accented “Arrivederci” or simply his entire look, Tarantino’s taken extra measures to make sure we laugh. This isn’t just a simple joke, however, as it provides some much-needed lightness in the face of Aldo Raine’s unshakeable desire for Nazi scalps. In the end, Pitt’s whole-hearted performance ensures that even Tarantino’s signature gore isn’t enough to put us off feeling endeared toward his character. [Pavi Ramani]

#11 – Shosanna (Inglourious Basterds)

Inglourious Basterd’s Shosanna may not be as industrious a revenger as Tarantino’s Bride from Kill Bill, but she’s just as bloodthirsty. As a child, having witnessed her family’s murder at the hands of Nazi “Jew Hunter” Hans Landa, she narrowly escapes the same fate. She is given opportunity to enact revenge years later as the now owner of a cinema, armed with plenty of flammable nitrate film. The perfect setting for Landa, and the Fuhrer himself, to hold their film premiere and end up in flames. Shosanna is hard-edged and hell-bent. As she smokes her French cigarettes and endures Landa and his strudel-loving smugness, her hatred seethes through. She’s also given one of Tarantino’s best montages as she prepares to look her best for the night’s bloodbath to the tune of David Bowie’s Cat People (Putting Out Fire). A French Jewish woman taking down the Nazis? Makes for a satisfying historical rewrite. [Ananda Dillon]

#10 – Butch Coolidge (Pulp Fiction)

For a man who’s used to fighting with his fists, he sure knows his way around a samurai sword. Bruce Willis turns in the performance of a lifetime as Butch Coolidge, Pulp Fiction’s boxer-on-the-run whose most prized possession is his daddy’s watch. What’s great about Butch is his staunch sentimentality and reverence for his father, fueled by his hot-headed rage and tough-guy demeanor; he’s a man, but he’ll always be his father’s little boy. His basement salvation of Ving Rhames’ Marsellus Wallace is one of Tarantino’s very best scenes. [Bernard Boo]

#9 – Stephen (Django Unchained)

Who would have guessed that Django Unchained would have given us Samuel L. Jackson’s best performance in years? The last time Jackson had a significant role in one of Tarantino’s films was well over a decade ago in Jackie Brown (with some sly cameos in Kill Bill and Inglourious Basterds), so it was easy to assume that he wouldn’t have a major part in this film. But the real shock came when it turned out that Leonardo DiCaprio’s sneering Calvin Candie wasn’t the true villain after all. It was Jackson’s role as Stephen, Candie’s house slave, that turned out to be the real antagonist in the movie. A man born and raised in slavery, Stephen turns out to be smarter than any of his masters, but unfortunately his role of servitude has made him use his strengths against his own interests. Instead of reducing Django Unchained to an ‘Us vs Them’ revenge fantasy, Tarantino cleverly used Stephen to subvert expectations and expose a side of slavery that the public isn’t accustomed to. It was smart, unexpected and shows how much Tarantino has matured over the years as a filmmaker. [CJ Prince]

#8 – Vincent Vega (Pulp Fiction)

It may be easy for Vincent Vega to get overshadowed by his extremely vocal partner (played by Samuel L. Jackson), but Vincent’s cool, calm, and collective demeanor perfectly balances out the duo’s equilibrium. The audience sympathizes with his character when he is given the difficult task of killing the bosses wife and then with all the mistakes he makes along the way. When Pulp Fiction was first released many people believed John Travolta’s career had become stale with ever since his early dancing days of Saturday Night Fever and Grease, but Vincent’s wonderful character revived his career (and was still able to showcase some of those dancing moves in a scene). [Dustin Jansick]

#7 – Mr. Blonde (Reservoir Dogs)

It’s always the quiet ones. The rabid-hellhound-off-the-leash of the Reservoir Dogs, Mr. Blonde (Michael Madsen) propels Tarantino’s non-heist movie constantly forward with his psycho-killer swagger and unpredictable bursts hyper-violence (both off-screen and on.) His sadistic “cop-mutilation-two-step” to the super sounds of Stealers Wheel’s “Stuck in the Middle With You” is arguably as, if not more, iconic than Vincent Vega’s (Blonde’s Tarantino-verse brother) Jack Rabbit Slim’s twist-off scene. Mr. Blonde is such a vital character because he’s a deadly wild card, a ticking time bomb scary enough to make a band of professional criminals–and us–feel helplessly out of control. “Are you gonna bark all day, little doggy? Or are you gonna bite?” [Bernard Boo]

#6 – Jackie Brown (Jackie Brown)

Pam Grier seemed to never get the respect she deserved as the original female action star (she predates Sigourney Weaver’s Ripley, the one who gets all the plaudits, by 7 years). Grier’s portrayal of Jackie Brown is essentially if one of her action characters from the 70’s retired from ass kicking, had no money and had to resort to smuggling money and drugs for a lowly Manhattan Beach drug dealer. Tarantino gives Grier the role of career as an aging female stewardess who is barely making ends meet and has nothing to fall back on. Grier is more than up for the challenge. She’s street smart. She couldn’t tell you what E=MC2 is, but could easily hustle you out of half a million dollars. Grier and Tarantino team up to create a character that is smart and sexy. Jackie Brown is an action star that doesn’t rely on using violence to solve her issues, but her wits. 35 years after Grier burst onto the screen, Tarantino finally gave her a role that she deserved and one that had mainstream audiences cheering from the rafters. [Blake Ginithan]

#5 – Calvin Candie (Django Unchained)

Those same icy blue eyes Leonardo DiCaprio uses to capture female hearts in many of his early films sparkle with a sinister energy in his role as Calvin Candie. Owner of Candyland, the plantation where his slaves toil away, Candie trains slaves as Mandingo fighters and then forces them to kill or be killed against other slaves. This spoiled brat of a villain is the bully whose toys you’d never want to steal, which is precisely what our hero has set out to do in Django Unchained. Candie’s exuberance and energy throughout the film are what keep him terrifying, a truly loose cannon. When the ruse is up and Candie realizes he’s being conned, his condescending and malicious lesson in phrenology to Django and Dr. Schultz is terrifying, and that’s before he’s even begun shouting and smashing the dinnerware. A pompous bastard ‘til the end, his yellow-tooth-grinned insistence that Dr. Schultz shake his hand leads to a most satisfying demise. Shot through the badge of his foppery, a white carnation over his heart. [Ananda Dillon]

#4 – Dr. King Schultz (Django Unchained)

Dr King Shultz’s character has, at its core, something that appeals to all of us – the ability to be undeniably badass (he shoots baddies!) whilst also having a moral compass of gold. Indeed, there’s no aspect of him that was designed to be even slightly ambiguous about his lovability. But the reason he’s such a fantastic character goes further than this; he does it all with a flare and charm that we’re instinctively drawn to. Much of this comes from Tarantino’s lines – he’s just as much of a “silver-tongued devil” as he accuses Django of being – but Christoph Waltz, as always, brings a certain whimsical quality with him that propels him from the realm of enjoyable characters to that of irresistible people. With his compassion for the vulnerable and his impeccable speaking style, I think it’s safe to say most of us left this film wishing we were a little more like King Shultz. [Pavi Ramani]

#3 – Jules Winnfield (Pulp Fiction)

Samuel L. Jackson is blessed with some of the best lines of dialog in Pulp Fiction with his role as Jules Winnfield, which is now a rather iconic role. Jules is a vociferous hitman that you find yourself starting to fall for during his infamous rant about how the French call the Quarter Pounder with Cheese a Royale with Cheese. In typical Tarantino fashion, the character is filled with quirks, like insisting on getting into character before busting in to kill the target and fixation of the bible verse Ezekiel 25:17. Yeah, Jules is a real bad motherfucker (just check is wallet) whose foul-mouthed monologues and erratic behavior make him a quotable wild card of a character. Playing Jules Winnfield is without a doubt Samuel L. Jackson’s finest performance to date, one that is truly unforgettable. [Dustin Jansick]

#2 – The Bride (Kill Bill)

Uma Thurman’s portrayal of Beatrix Kiddo or “The Bride” is one of the most memorable performances among Tarantino films, and if you’re a big Tarantino fan, then you’ll probably have The Bride in your top 10 favourite characters of all time. Driven by nothing but revenge, Kiddo’s journey spans over two films (or volumes) and takes you down the remorseless path of Beatrix’s desire for destruction and overwhelming hate. Her passion to kill those that tried to kill her is limitless and she will not stop until they are brought to a violent end. I have nothing but admiration for the Samurai skill and theme that Tarantino brings to life–it’s such a different take on the “seeking revenge” plotline. Kill Bill is one of my all time favourite films and The Bride stands proudly next to her Hattori Hanzo in my eyes as being one of the greatest single characters Hollywood has ever seen. [Amy Priest]

#1 – Col. Hans Landa (Inglourious Basterds)

Despite an underwhelming reaction at its Cannes premiere (a consensus that proved to be completely off-base), Inglourious Basterds got unanimous praise for what is easily the best part about the entire film: Hans Landa. A Nazi detective nicknamed “The Jew Hunter”, Landa is the perfect movie villain: Smart, evil, charming, clever, scary and truly entertaining to watch. The opening scene, where Landa interrogates a French family hiding Jewish refugees, shows that Landa is just too damn good at what he does to let anyone slip by him (and, later on, that turns out to be very true for some chatacters). What separates Landa from other villainous Nazis in film is how his bad behaviour is fueled more by self-preservation than a sincere belief in the Nazi ideology. It comes as no surprise that by the end Landa manages to weasel his way out of certain death, but it shouldn’t come as a surprise given everything we’ve seen beforehand. Hans Landa was the first collaboration between Tarantino and Christoph Waltz, and it proved to be a fruitful one. Waltz won Best Actor at Cannes despite having a supporting role, he went on to win almost every major acting award that year and his career has skyrocketed as a result. All of it was deserved, and it should come as no surprise that Hans Landa is our favourite Tarantino character. [CJ Prince]

Sat in Granary Square in central London (just a few minutes away from Kings Cross/St Pancras Station) I meet with Director Mark Lobatto to discuss his recent short film Silent Treatment.

Silent Treatment is a “boy meets girl story where actions literally speak louder than words” – set in a dark and dingy waiting room where the characters are “sinking with gloom, two strangers are compelled to connect with each other.”

Mark talks to us about how he got into filmmaking, the problems UK and universal filmmakers face in a tight fisted industry and how he winds down from the stresses of a production.

When did you first start getting into filmmaking?
Quite early on I guess, from about 15/16 I just started trying to get work on very small shoots just helping out, lending a hand, writing, production running, making teas and that kind of thing. I then went to University to do a non-vocational degree but through the summers I tried to get more work and more ambitious roles. Off the back of that I tried to spread myself across a few different departments over the years with the end goal to make something myself, but I wanted to get like a shorthand dialogue and know the different departments and know the ins and outs a little better.

Do you feel like you’re influenced by any other directors?
For this short in particular I’m not sure. I’m a big fan of the Coen Brothers, Wes Anderson and P.T. Anderson, but like most directors, you pick up stuff that you like. You watch so many [of their] films it’s hard not to take references.

So where did you find the inspiration for Silent Treatment?
It came about quite quickly, in that I’d written three other overly ambitious short films that were going to be done in different countries actually. I had to some funding that sort of came and didn’t come through for a couple of them, one was going to be in Japan, the other in Eastern Europe shooting for the mid states of America and then it kind of dawned on me that I was perhaps shooting myself in the foot too early. I needed to reel it in and do something local that I could handle feasibly. So I wrote it quickly and sent it to Lilly (who I’d worked with on Wrath of the Titans) and she was really interested. So from there it got off the ground really quickly.

The chemistry between to the two actors was really quite cute, did it take you a while to cast?
Well I came across Lilly whilst working on Wrath of the Titans, [but] with the smaller roles it took me a while to circulate. The role that ends up with Bart [the main male lead], we saw a few people but it was actually Lilly’s recommendation as they’d worked together a few years ago. I think they went to the same drama school a while ago, so it was nice that they knew each other. They hadn’t acted with each other in a while, but it was definitely a lovely chemistry.

What were your intentions for the films message?
I wanted to do something that was about a single encounter rising up from a bleak world and a sort of heightened reality place where things are very dower and miserable and this one connection can pull you and it’s a new start from that. Chloe, our production designer, did a great job because it was quite a shell of a building so we put a lot of work into trying to bring it to life. We took some inspiration from Brazil and their industrialism.

Did it take you a while to find the location?
It did actually. Mostly because it physically takes you a while as I was doing a lot of the search myself and it takes a lot of time to go across London. The Council Borough’s were actually really helpful in the end. I managed to get in touch with a few people that specialised in finding locations within their areas. Once I set my budget, it narrowed it down a great deal.

The end of Silent Treatment feels like it could be open to a feature – is this your intention?
Definitely wasn’t what it set out to be. I’ve got aspirations to make features, but not off the back of this story. It’s open ended in the sense that it’s a beginning for them, but I’d like to leave it as a question mark than take it further.

Is your plan to hit the festival circuit with Silent Treatment this year or next year at all?
Well, it’s the tail end of this year by the time we start hearing back. But maybe from October onwards we’ll know something. It’s new to me and everyone has so many specifications. But yes, hopefully.

Mike Figgis recently stated that he feels UK filmmakers find it impossible to film their productions because the BFI doesn’t have any room to be creative and therefore, filmmakers feel quite stifled in their reach for funding – have you found that to be true in your experiences?
Well, my experiences have been extreme. Meaning that I’ve worked on some very big budget, mostly American films, so they haven’t gone through the same system. Trying this on my own has been okay due to the network of people I know as UK independent filmmakers, but there is definitely a struggle. The film bodies are there but a certain proportion of that money will go to the already established filmmakers rather than emerging ones. If you’re able to use favours with people there are other ways to get money, but it is always a struggle.

Did you hit any barriers that jeopardised the production schedule?
On the whole it was pretty smooth. There were only three shoot days and we had a lot of shots to get in. We were able to get them done thanks to my first AD and the cinematographer who did a great job getting everything looking good. Finance was the biggest hurdle, trying to finance the film myself and getting as much as we could out of every department was difficult. In post-production, it was all favours so it was working to everybody’s different time tables rather than your own. So it might have been on the festival circuit earlier if I’d had a surge of money.

Movie making is quite a time consuming job, what do you do for your hobbies?
A great deal of my time is spent watching good TV and films and I’m a big fan of the city, I like to explore new parts of London. I’m also a big art lover. I like attending galleries and every now and then try to read a book. I also enjoy travelling. Like everyone, I’m just trying to fill their time well and not feel guilty about procrastinating until the next thing comes along.

Finally, do you have any other project lined up for the future?
Yes, the next one is another short film, but it’s going to be a weightier, longer short around 20 minutes. [The film] will be about the feeling of anticipation when you’re expecting someone to arrive and you keep checking. It’s very different to Silent Treatment. It’s set in 1940’s London in a doss house and all the residents are under house arrest, it’s an interrogation process. It’s written and I’m in the early stages of finding funding so I can take it to the next stage.

Silent Treatment trailer:

I’ll admit that the main reason I was interested in The East was due to it starring Ellen Page, though the story did also appeal to me. I had not seen Zal Batmanglij’s previous thriller, Sound of My Voice, so I went in blind in regards to his style. However, I was thoroughly impressed. The East is Batmanglij’s second Sundance release and I’d recommend almost everyone to see it, but don’t go expecting epicness as you may be disappointed, instead acknowledge that it’s a morally complex ‘we are the revolution’, gripping and profound film featuring an tremendously talented and convincing cast.

Sarah Moss (Brit Marling) is a private intelligence operative hired by a firm titled Hiller Brood. Her first big mission set by her power hungry boss (Patricia Clarkson), requires her to infiltrate an anarchist group called The East. Her main objective is to convince the members she is a genuine supporter of their movement in order to extract names, locations and their personal agendas in order to shut them down before the FBI gets involved.

To me this was a very different take on the ‘undercover special ops’ typical plot that I’ve seen previously in films – you believed Sarah’s intentions were innocent and that she was there to stop these individuals from being sent to prison, rather than exposing the group as hardened criminals. The way in which Batmanglij approached this was to study Freeganism (the practice of reclaiming and eating food that has been discarded) alongside co-writer and actress Marling as to further understand and deepen the actors that portray the anarchist’s, commitment to an anti-consumerist lifestyle. By doing so, you get a real sense of truth and dedication from the cast towards their cause, which brings to light the difficult moral choices Sarah and the audience have to make throughout the film.

Benji (Alexander Skarsgard) who is the founder of The East is very hesitant to give Sarah responsibility in the tasks that they set themselves (referred to in the film as ‘jams’). Initially, Benji does not believe Sarah is as free as they need her to be in respect to how she lives her life, and that her reasons for being around is not to support their movement. One thing leads to another and Sarah is asked by Izzy (Ellen Page – Benji’s second in command) to perform duties to help secure the successful completion of a major jam – one close to the members hearts. In order to play a part in this mission however, she is not allowed to know the details about what they will be doing, only that she has to distract a certain man. When the night is over the group commend her for her efforts. As they begin to trust Sarah they end up explaining to her what they do and why they do it.

Throughout the film The East demonstrates an outstanding ability to take you on several different emotional journeys and intense adventures. There may be a few flaws within the narrative structure, where there seem to be missing sections of information in certain scenes. In some cases this is a good thing, but here it made the film feel a little off balance. Overall, The East did not disappoint my expectations and actually exceeded my expectations on almost all accounts. I left the cinema with a thousand things to talk about and nearly all were very positive. Also, the soundtrack was amazing, something I should have mentioned earlier, but I’m saying it now!

The East trailer:

Containing an all-star cast including, Meryl Streep, Julia Roberts, Ewan McGregor and Juliette Lewis, comes a dramatic comedy based on the play by Tracy Letts. The film will be produced by George Clooney and Harvey Weinstein (amongst others) and distributed by The Weinstein Company. The trailer balances the contrasting seriousness and comedic values very well. What has me intrigued the most about John Wells’ August: Osage County is the assortment of characters and the actors that play them. The film seems like it will be very character driven, hopefully they will be developed enough for us to really invest in their emotional family drama.

Watch the official trailer for August: Osage County:

With its global distribution earlier this year, Warm Bodies seemed to be just another one of Hollywood’s pumped out blockbusters, and I myself skipped it at the cinemas due to this exact reason – “it was just another cliché teenage zombie film, nothing out of the ordinary” and in most places it was. However, what I enjoyed most about this modern take on an “end of the world” narrative is that it rejected the norm for the most part and found itself changing the ending to a zombies ‘life’ by flipping the bird to death.

After the apocalypse many of the zombies that took over a city are shown to congregate mostly at a nearby airport where they spend their days wandering around aimlessly, much like the typical lifeless un-dead…but then we meet, R, (Nicholas Hoult) a zombie with a conscious mind that is almost intact. R finds himself trying to remember what it felt like to be alive and to try and figure out who he was before he turned. Warm Bodies ends up being a story through a zombie’s perspective – a seemingly different and refreshing angle than most apocalyptic storylines.

We’re introduced to Julie (Teresa Palmer) who finds herself trapped and surrounded by zombies whilst on the hunt for survival gear with the rest of her team. R, stops eating part of a brain and realises Julie’s beauty, and feels an incredible rush of ‘aliveness’. He then makes it his priority (the best he can; being a zombie, covered in blood and looking dead) to show Julie he will protect her and that she should follow him to avoid being eaten, without any other alternative Julie agrees.

Their relationship strengthens as the scenes unfold. Julie attempts to escape multiple times but is always rescued by R. Because of this she leans into the idea that this strange, confusing zombie is different from the others she has encountered, and begins to feel safe around him. On the flip side, R becomes increasingly more aware of his feelings and can feel the infection beginning to leave his body. This realisation also affects the other zombies at the airport and unfortunately puts them all in grave danger as zombies are not the only dangerous predator that have risen from the dead. In an effort to show humankind that they are beginning to get better, the zombies join teams with the humans in their ultimate fight for survival.

Towards the end of Warm Bodies the audience can somewhat guess how the final few scenes will play out, as the Hollywood undertone kicks in. Nevertheless, you are not left feeling let down or that the film has led you to an anticlimactic ending. What you feel is actually a little more optimism about what could happen if the world was to someday become what today’s sources of entertainment seem to be preparing the world for; a zombie apocalyptic future. Teaching zombies to love and to feel alive again may just save us all!

Since having the privilege to see Rachel Marie Lewis’s debut film last year (Transatlantic Coffee), I had high hopes to witness her diversity once again as an actress with this new psychological thriller written by Blu de Golyer entitled, House of Good and Evil. Lewis lived up to my expectations and surpassed them, as did the film.

The introductory scenes are very well sequenced together in order to tell the tale of a dysfunctional and abusive couple who argue with their fists instead of their words. The tone of the film is set straight early on, even if it is a little slow to get there. It is realised that the main character Maggie Conley (Rachel Marie Lewis) has a miscarriage, suggested by her screams and the blood on her hands, as a result of fighting with her husband.

What works well for House of Good and Evil was that it hooks you in right from the start, though it was difficult to see which direction the film was trying to go for. The storyline has you believe that the argumentative couple have left the claustrophobic city life in favour of the deserted countryside in order to escape their old habits and perhaps learn to control their bad temperaments and destructive personalities in an effort to save their marriage.

It was most intriguing to me about House of Good and Evil is that throughout I could never quite grasp a full understanding of the developments that were played out; it was as if the director took great joy in playing with both Maggie’s character and the audience’s emotions. When Chris leaves Maggie to begin training for his new job as a fire-fighter in the city, you gather that it is also an effort to get some space away from his wife considering just how terrible their relationship is going. And it is evident that Maggie also realises this as well.

House of the Good and Evil demonstrates the psychological effect that severe isolation, loneliness, and grief has on a person. The film does so by portraying a female’s experience of losing her unborn child and being left alone in a large empty house with only her temperamental, yet disillusion, mind-set for company. This leads her to experience the disturbing outcomes of her imagination which are borderline horror genre worthy to witness.

This all leads up to an incredible shocking ending, which knocked me for six. There were many things that worked really well for House of Good and Evil; the acting, the location, and the near flawless script. My only criticism would be that the first few scenes seemed way too slow paced compared to the rest of the film. The slow building up of suspense could very well have be intentional though, it all depends on which genre category you place the film into. Without a doubt House of the Good and Evil was an overall solid indie film directed by David Mun and is well worth the watch, especially if you fancy something that is a little different than your run-of-the-mill horror/thriller.

Lynn Shelton’s Touchy Feely has, so far, gathered mixed reviews and unfortunately I got to see why. I went into the film very open minded and came away feeling confused and largely disappointed. Nevertheless, there can be a lot said for the powerful depiction of energy and balance within life and relationships, something that Shelton has always done a great job with in her films.

Abby (Rosemarie DeWitt) is a massage therapist whose world is enriched with the need to find balance within all aspects of her life, and her brother Paul (Josh Pais) seems to be the complete opposite, with an uptight personality who comes across as extremely emotionally stunted.

At a dinner held at the house Paul and his daughter Jenny (Ellen Page) share, we are introduced to all the characters that the film focuses on, each with different but strong personalities and each involved within the shift of energy and balance that occurs. Paul is dental practice owner whose business is failing yet it would seem he is in denial. During the dinner Abby advises her brother to see Bronwyn (Allison Janney) who is a Reiki healer and a personal friend of hers.

From the very beginning you get a sense that Touchy Feely is about something bigger than the characters within the film and that energy and balance are two factors that will play a large part in how the story will take shape. Abby develops an aversion to bodily contact and is unable to perform the duties required of her within her profession as well as the ability to share the passion she once had with her partner (Scoot McNairy). This obviously affects her well balanced lifestyle and how she deals with her new found fear is where this film would have focused on – or so you would have assumed.

What I found confusing however, was that the individual paths the characters went down seemed to be very separate from our initial expectations of the films intentions. We presume that from the Touchy Feely poster of Abby and that the entire sequences of events that occur are related to this character’s lifestyle – that Touchy Feely is about her. Yet once the credits role, I felt that it highlighted her brothers personal progression and even his daughter Jenny’s development so much more than any other – that Abby’s final ‘realisation’ was a mere after thought. If this was what the film intended, that the whole storyline and focus would shift along with the balance of energy, then it would seem to make a lot more sense. If this were the case then Touchy Feely would have done well to spend more time on tightening this idea rather than giving Abby somewhat confusing additional storylines, for instance the five-ten minutes she experienced the drug ‘ecstasy’ seemed utterly disconnected from the film.

What an incredible experience Sundance London Film Festival was. The line-up was so exciting and I knew right away I was in for a brilliant week, that I would be able to witness some of this year’s worthy hits.

The festival was primarily focused on the films they were showcasing, and their schedule also included some fantastic panel events that film fans and press were invited to attend. Sundance London is not just about the films however, they also provide live music events, which unfortunately I did not really have any desire to attend. The Sundance institute has always been about films and their filmmakers; they promote independent filmmaking and moreover, they’re very good at it. Introducing a sub festival for music at the London event seemed slightly disconcerting and even though I did not take part in this aspect I don’t believe many people understood its connection with Sundance.

A.C.O.D Panel Event

If it is the Sundance Institutes intention to focus on music as well as film at its London festival then it may need to work on why they are doing so and what relevance it has with Sundance. Aside from this minor criticism, the festival was a wonderful experience and being hosted at the hugely popular o2 arena, I believe it will only grow and improve over the years. With this all said, it is worth noting that this was only the second year of Sundance London and that it is too early to judge the festival’s success, but what I will say is that I had a fantastic time and that I will be attending again next year – unless between now and January some miracle happens and I’m able to jet off and attend the Utah experience!

Sundance London Stage

Top 3 Films From Sundance London

In a World

What I loved most about In a World was its ability to really involve the audience. The comedic relationships and witty one liners were so incredibly well written that you cannot help but love Lake Bell’s directorial debut. There was nothing at all that I could fault or criticize throughout the entire film, I simply loved it.

Emanuel and the Truth about Fishes

Francesca Gregorini’s depiction of the hardship of losing loved ones and dealing with life’s uncontrollable curve balls was so wonderfully visualised. It had such a personal feel to it that you could not ignore that the director’s heart and soul were being laid bare for the world to see. She did so with such taste and beauty that many of whom I spoke with after shared my love for what we had just seen. Emanuel and the Truth about Fishes is truly a cinematic achievement.

Mud

I was totally taken aback by Mud as I had not known what the story was about at all, I had just heard that it included stellar performances and an intriguing narrative. They were not wrong – it was without a doubt one of the best films to come out of Sundance this year. Mud displays beautiful friendships and an alternative love story, giving Matthew McConaughey, what critics are describing as the performance of a lifetime and I’d have to agree.

In A World

What a fantastic, honestly hilarious comedy. Perfect in every sense of the word, In a World defines my idea of funny. This is the directorial debut for Lake Bell, and yet you really would not know it – she brought to the table a vision and with that a solid script; which deservedly won the Waldo Salt Screenwriting Award at Sundance, Utah in January.

Carol Solomon (Lake Bell) is a struggling vocal coach, teaching actors how to speak with different accents. This is how we are introduced to Bell’s character, she receives a phone call asking if she could work with Eva Longoria to develop her cockney accent – the auditorium is in fits of laughter as we hear Longoria trying to pronounce “slapper”, just a few seconds into the film. From then on, almost every scene has you involuntarily bursting out laughing as Bell knows exactly what the audience finds funny.

Though lacking in confidence, Carol seems to get lucky in scoring her first big ‘gig’ and attempts to pursue a career in voice acting, something she has always dreamed. Her father, Sam Sotto, the reigning king of movie-trailer-voice-over artists, has never wanted her daughter to follow in his footsteps and becomes insanely jealous of her success.

Dealing with issues of sexism, Bell highlights the hardship women can face in a male dominated industry, however this is not the focal point of In a World and during a Q&A at the end, she described it as being something she wanted to include but never to force onto the audience.

In a World is a wonderfully charming and extremely witty comedic gem directed, written and starred in by Lake Bell – I look forward for its international release.

RATING: 9.5

Touchy Feely

Lynn Shelton’s Touchy Feely has, so far, gathered mixed reviews and unfortunately I got to see why. I went into the film very open minded and came away feeling confused and largely disappointed. Nevertheless, there can be a lot said for the powerful depiction of energy and balance within life and relationships, something that Shelton has always done a great job with in her films.

We presume that from the Touchy Feely poster of Abby and that the entire sequences of events that occur are related to this character’s lifestyle – that Touchy Feely is about her. Yet once the credits role, I felt that it highlighted her brothers personal progression and even his daughter Jenny’s development so much more than any other – that Abby’s final ‘realisation’ was a mere after thought. If this was what the film intended, that the whole storyline and focus would shift along with the balance of energy then it would seem to make a lot more sense.

Stick around Way Too Indie for a full review of Touchy Feely coming soon.

Emanuel and the Truth about Fishes

Sitting in the 9am screening of Francesca Gregorini’s Emanuel and the Truth about Fishes, I was surrounded by sleepy film fans and people uncertain of what to expect from what they were about to see. Myself, I had taken an interest in Gregorini’s film as soon as I saw the synopsis hit the Sundance web page late last year. I then watched the interview with her on the Sundance YouTube channel and became increasingly eager to see her story.

Emanuel and the Truth about Fishes was an incredible artistic, poignant and heartfelt tale drawing upon Gregorini’s personal issues about loss, guilt and pain whilst focusing on the courage to overcome individual trauma. The narrative also highlights the strong emotional connection humans can hold for each other, and in Emanuel’s case (portrayed by Kaya Scodelario), the effects on a troubled child longing to find a mother figure in her life.

Emanuel meets Linda (Jessica Biel), the mysterious lady who moves in next door, she is a new mother it would seem and Emanuel is instantly intrigued by this woman. Their relationship grows when Emanuel volunteers to babysit Linda’s newborn baby, and develop an affectionate bond towards each other.

Kaya Scodelario is the heart of this story, her emotion is so unbelievably real throughout the entire film – if not lead astray by Hollywood, her career will only continue to progress and her performances, excel. Many closed-minded men may disagree as the film was extremely feminine and focused on trauma only women can really relate to. Others that may focus more on dialogue could find faults within the screenplay as some criticized it as being very “written after attending a screenwriting seminar” feel. However, Emanuel and the Truth about Fishes is overall a fantastic achievement for Francesca Gregorini and an absolute pleasure to watch.

RATING: 9.4

A.C.O.D

Going into this film I undoubtedly had expectations in regards to it being a comedy, as the chosen cast were renowned for their humour. Adam Scott and Amy Poehler work as such an amazing comedic couple in Parks and Recreation that knowing their characters were the complete opposite of that in A.C.O.D, where Poehler is now Scott’s stepmother – I expected hilarity to ensue. Ultimately I was very disappointed with the lack of overall chemistry of the cast. That said however, I did enjoy A.C.O.D as it was a ‘good’ comedy; it just didn’t utilize the actors’ comedic potential enough.

Carter (Adam Scott) was unknowingly part of a research study focusing on observing Children of Divorce when he was younger; in fact the woman investigating this study, Dr Judith (Jane Lynch) wrote a book about him and other children involved. As Carter’s brothers wedding in announced and the preparation commences, Carter is responsible for getting his parents to be civil towards each other ready for the ‘big day’. This results in extremely comedic scenes and Carter eventually getting in touch with his old therapist, Dr Judith.

Scott was the perfect guy to represent the awkwardness of Carter’s character as his blunt and dry self-conscious sense of humour really highlights the effects of the trauma he is undergoing through his parents messy relationship.

Although A.C.O.D was not my favourite film of the day, nor is it one likely watch again – I’d certainly say it’s worth seeing at least once. It gives you the chance to see the diversity of Adam Scott’s abilities as an actor as they really shine through, and there are some real classic comedic moments that shouldn’t be overlooked.

RATING: 7.6

Mud

Mud is a story focused on a compassionate fugitive deserted on a lonely island surrounded by the Mississippi Rivers. This is until two adventurous young boys stumble across this rugged man whilst trying to salvage a lost boat. The two boys, Ellis (Tye Sheridan) and his best friend Neckbone (Jacob Lofland) are hesitant when they first meet Mud, as he is an unkempt looking man, whose sun dyed skin and worn out appearance gives them reason for caution – that and the fact he has a pistol tucked into his trousers. Mud introduces himself and tells the boys that he is waiting for a woman to meet him and asks if they could bring him food the next time they visit the island.

Tye under the impression that Mud is undergoing this hardship for love wants to help him and Neckbone being his best friend agrees to assist Tye in doing so. There are certain scenes that highlight the personalities of these two young boys and these are what made the film – their chemistry and on screen relationship has been likened to the young boys in Stand by Me.

Illustrating immersive imagination and extracting impeccable performances from all members of the cast, Jeff Nichols did a fantastic job representing a carefully constructed Deep South dramatic feature. Mud will do extremely well through it festival experiences, and will, without a doubt make it onto the big screen with huge success.

RATING: 8.6

Running From Crazy

The Hemingway family have always been “Running From Crazy” – their dark roots connected to Ernest’s suicide and their long history of mental illnesses caused depressive tendencies within every member of the family, even today. This unwaveringly honest account of the Hemingway family’s turmoil’s is delivered by actress Mariel Hemingway herself.

The documentary details every dark and beautiful aspect of the lives of the Hemingway granddaughters. Mariel, Margaux and Muffet each had their stories told and bought to life by Barbara Kopple’s direction, and the emphasis on suicide awareness and mental health evaluation were highlighted throughout.

The structure in which the documentary followed was slightly disjointed and hard to follow at times. It was sometimes hard to understand which sibling we were focusing on and what relevance that particular back story had on the topic but what defined this documentary was its ability to bring you closer and closer into the hearts of the Hemingway story. The last ten minutes were extremely touching and incredibly poignant to what Mariel wanted to achieve with this documentary; that nobody is perfect and it’s in the journey of life that we shape ourselves and understand who we are.

RATING: 7.7

Metro Manila

A touching story filled with depth, courage and sacrifice, Metro Manila tells the story of an out-of-luck family trying to survive the hardship they are being dealt. With no money and no food the family leave their province in the Philippines and travel to the metro Manila region to look for work.

As soon as they arrive in the city, their luck turns from bad to worse, until Oscar (Jake Macapagal) lands a job working with the armoured truck company delivering “boxes” to different clients – “one of the most dangerous jobs in the city”, explains Ong (the superior officer) during his preliminary interview. With no other option available to him or his family, Oscar takes the job and begins training with Ong. As the risk of robbery is high, the two drivers are always on alert and Ong constantly asks Oscar if he “has his back”, putting the audience also on edge.

The story also shows the suffering of Oscar’s wife Mai (Althea Vega) trying to provide for her family by working in a sleazy go—go bar. We’re able to see how much she cares for her children and how disturbed and unhappy she is by having to perform these duties whilst at work, giving us an understanding of the type of person she is.

Metro Manila was an incredible film about desperate times leading to desperate measures; with an extremely heartfelt ending you realise the severity of the struggle in which this family suffered. The production value was flawless in attention to detail with every bit of information displayed through extraordinary imagery and sincere performances by its cast- it will do well with ‘at-home’ distribution.

RATING: 8.2

Being from the UK with only a select few film festivals to attend each year, Sundance London offers British film-fans the chance to access the UK premiere of the fantastic films that were premiered in Utah earlier this year. Redford himself will be attending the press conference this morning at 11am as will Festival Programmer John Cooper, I am very eager to hear their welcoming messages. All films that will have their UK premiere have their maker in attendance at the festival this year. So we will be hearing from Lake Bell, In a World, Lynn Shelton, Touchy Feely and Francesca Gregorni, Emanuel and the Truth about Fishes and more.

Today, the 2nd Sundance London Film and Music Festival opens its doors to the press. Londoners and films buffs from all over the UK are given the opportunity to be a part of the Sundance experience starting tomorrow through the 28th.

This festival introduction includes my top three films I am looking forward to seeing at Sundance London

Touchy Feely

Sundance regular, Lynn Shelton had her third film premiered this January at the festival and will be screening again in London at the end of the week. Shelton’s Your Sisters Sister of 2012 was one of my favourite films of the year so I’m extremely eager to see recurring actress Rosemarie DeWitt take the lead in Touchy Feely. As Dustin said in Way Too Indies Top 10 Most Anticipated Films Playing Sundance – “If it is anything like her previous films, we should expect a film with less script thus more natural feeling dialog, which helps maker her films so genuine”.

In A World

Coming away with the Waldo Salt Screenwriting Award: US Dramatic in January, In A World “brings us into an idiosyncratic world where one woman fights the odds and family finds her voice”. This is Lake Bell’s directorial debut and showcasing her incredible talent also wrote and stars in this comedy. The story delves into the world of the Hollywood voice over talent with Carol Solomon a (Bell) a struggling vocal coach who is both irritated but pushed by her renowned famous voice over artist father, Sam Sotto. Pursuing her dream to be a voice-over star, Carol lands her first voice-over gig which entangles her in a web of dysfunction, sexism, unmitigated ego, and pride.

A.C.O.D

Stuart Zicherman’s A.C.O.D (Adult Children of Divorce) is a comedy whose cast includes some very familiar faces, including Adam Scott (Parks and Rec), Amy Poehler (also Parks and Rec), Jessica Alba (Sin City) and Mary Elizabeth Winstead (Scott Pilgrim).

Adam Scott’s character becomes aware that he was once a participant in a study about children of divorce and is sought out to undergo a follow-up study as an adult. His participation in the present-day is where the comedy ensues as his younger brother is getting married which brings his divorced parents back together, causing a lot of awkward friction.

Reviews at present for A.C.O.D have not been kind, judging it as an “amusing but formulaic man-in-crisis comedy” (The Guardian) – however, I am keeping an open mind and very much looking forward to seeing some of the fantastic Parks and Rec actors together in a feature film among others.

It can be stated right from the start that this film is technically adept, masterfully shot and uses blindingly beautiful colour; Benny Loves Killing is one hell of a picturesque indie film.

There have been some very powerful phrases to describe Ben Woodiwiss’ first feature film, with Look/Think Films themselves declaring their work as “A difficult beauty… [it] is both a love letter, and a bullet, to the cinema”. After carefully trying to put together a response to this, my opinion would be that I agree…to some extent.

Benny Loves Killing is a narrative focused very closely upon a young student studying film in London, with her thesis being to produce a horror film. She clearly identifies herself as a filmmaker and holds that very close to her, shaping her personality to fit various characters and seeing the world differently from others. Pursuing this overwhelming desire to be a filmmaker, Benny (Pauline Cousty) finds herself dealing with a tremendous amount of turmoil. Her mind is unfocused, she is constantly trying to escape reality and her lifestyle inevitably suffers.

The deep narrative that is suggested through the plot and the use of claustrophobic camera angles makes things slightly confusing when combined together. The script, however, is dead on. There are some very smart pieces of dialogue where we can recognise that Benny understands film like an expert and we can see that she has potential to become a great filmmaker – “When you’re watching a horror film and the camera is in the eyes of the killer, who do you identify with? The mind of the killer whose eyes you’re looking through or the girl you’re looking at? Both? You sympathise with the girl you’re looking at not with the eyes you’re looking through, that’s the kind of way it works”.

Benny is an uncomfortable, disturbed character with a very unsociable demeanour, yet from some scenes that have her talking to herself in front of a mirror the storyline hints towards her inner desire to be confident and strong and through wearing a wig it allows her to change who she is, giving her the strength to become someone else, someone who stands up for herself and what she believes in.

Focusing now on the conclusion of Benny Loves Killing, it saddens me to say how disappointing it was to have this colourfully dark storyline end so abruptly and without the necessary closure the audience needed in understanding Benny’s self discovery. Looking back it feels like ninety minutes of this one hundred minute film were close ups to focus on and create Benny’s identity and then the tail end of the film allowed for the characters’ realisation, which in most cases if done correctly, is the right way to organise the narrative. However, the last scene came so quickly I do not feel it gave the rest of the storyline a justified ending.

Regardless of that opinion, Benny Loves Killing was flawless in its cinematography design and the quality in acting by Pauline Cousty was outstanding; she really showcased her diversity and ability to portray several different emotions and due to these established qualities, Benny Loves Killing will be an indie hit throughout its festival endeavours.

North Atlantic

After you see this short you can understand why it’s spent three years amid the film festivals official selections, the BFI London Film Festival, Seattle International Film Festival both played host in 2010 and 11 to the North Atlantic short. The film also won the Audience Award several times over including at the Milan International Film Festival in 2011. It is a wonderful, haunting short film, with extreme potential to be made into a feature.

To rave reviews and great public response North Atlantic is a gripping short film; which lasts just 15 minutes but leaves you begging for more. The story is based on true events and sees a young air-traffic controller discover a lost plane giving off a transatlantic emergency signal. As the situation worsens and help does not seem like it will come, the pilot is aware his chances of survival are low and so is the air-traffic controller. A comforting friendship grows between the two however you soon come to realise it will not last throughout the night.

The style, quality and cinematography were all perfect, and really captured the emotion of the event that took place; director Bernardo Nascimento chose a faultless cast to balance the severity of the situation and yet the compassionate and emphatic emotion humans can express when called upon.

Finding anything in North Atlantic to criticise was hard, the only thing that disappointed me was the films length, but being a short – I’m not really allowed to complain!

Head Over Heels

When the alarm clock goes off in the morning, Walter and Madge wake up in separate beds, despite (or perhaps because of) being married for many undisclosed number of years. The aging couple go on about their day without communication and seem to have lost some of their old romance, which is represented with a picture of the couple on their wedding day that resides on their wall. They have grown so far apart over the years that their lives are completely upside down from one another; he lives on the floor while she lives on the ceiling.

One day Walter stumbles upon an old pair of shoes that were worn by his wife on their wedding day. These shoes are in rough shape, hanging on by just a thread, much like their relationship. Thus by fixing up the pair of shoes to look like new again, he is simultaneously aiming to fix their broken relationship.

The visual representation of a relationship in turmoil makes this short stop-motion film so brilliant. Head Over Heels literally shows that sometimes in relationships the other person sees things completely different from you. Love is all about finding the correct equilibrium and that takes work. Head Over Heels is funny, it is whimsical, it is endearing, and it makes the most of its ten minute runtime.

Grow Up Already

Grow Up Already is a charming “coming of age” story which stars a number of familiar faces, including Johnny Simmons (Perks of Being a Wallflower), Jim O’Heir (Parks and Rec) and Ethan Suplee (My Name is Earl).

The film is first introduced with a brilliant animation accompanied by acoustic music which sets the tone instantly. Andy (Johnny Simmons) is unfortunately being dumped by his girlfriend Winnie (Odette Annable) for being “a big baby”, to which Andy protests, however due to his appearance we have to side with Winnie! When reflecting their break-up sat on his mothers’ lap being tickled he finally realises he is “a big baby” and decides to move out and live with his “play mate” Bunky (Ethan Suplee). The two decide to shape Andy up so that he doesn’t lose the woman he loves. The scenarios that follow are both delightfully comedic and deliver the story well.

This stunning short film is a pleasure to watch and is extremely pleasing to the eye. Director Richard Keith hits the nail on the head when it comes to quality in filmmaking and storytelling.

If you’re a filmmaker with a short you’d like us to consider for a review in our feature, you can submit your film here. Be sure to include a synopsis, promotional materials (preferably a photo or poster) and a link to your short film

I wasn’t sure what to make of Wild Girl Waltz to begin with; I was hesitant to say I liked it but at the same time I didn’t want to dismiss this indie comedy directed by Mark Lewis. Therefore I sat back and simply watched, intrigued as the comedic scenarios unraveled – and I have to say that even though the quality was not perfect, I could certainly say the effort was there.

We’re introduced firstly to Angie (Christina Shipp); she’s walking along the road side, minding her own business and enjoying the nice weather. Next minute she’s drenched in strawberry milkshake after a drive by window toss from two immature pranksters. This act alone might not have had you belly laughing, but Angie’s reaction gives you the comedy needed just two minutes into the opening scene. Whilst milkshake-soaked Angie flips out, we then meet Brian (Jared Stern) and Tara (Samantha Steinmetz) who are playfully arguing in their pine lodge kitchen. The chemistry between these characters is evident right from the start. Male lead Jared Stern acts with such strong charisma he is able to bring us back whenever the comedy dips into dead-pan territory.

Wild Girl Waltz does extremely well in keeping the comedy flowing, with a dynamic comedic duo and best friends Angie and Tara always giving us reason to laugh. The story is shaped around their decision to take ‘goofie pills’ and Brian (the boyfriend to Tara and the brother to Angie) has to deal with the consequences that ensue. Throughout, Brian gives off the impression that it’s a chore to look after the pair as their personalities, decision making and spontaneity are a little overwhelming, however, there are moments when the audience gets to see that he is enjoying the experience, even if the girls don’t.

The choice to use country music throughout Wild Girl Waltz was a brilliant idea and very fitting to the feel of the film. It works perfectly to capture the essence of the storyline and as most of the film is shot as the group are riding through the countryside, there are many picturesque moments that coincide with the style of music and carefree attitude of the afternoon.

As the day unfolds there are so many little comedic gems that simply just ‘happen’, mainly through the sharp dialogue written by director Mark Lewis. Occasionally the events can take you by surprise – a specific scene has Brian commit a controversial act – you’ll know the one I mean when you see it for yourselves; it was done remarkably well and due to great plot timing you find yourself on his side and almost rooting for him!

Overall, Wild Girl Waltz is a good indie comedy with great entertaining moments, although it is not without its flaws. The quality is a little off and shots were a little shaky and over exposed, but filming on a very sunny day – it’s to be expected. I enjoyed the 82 minutes Wild Girl Waltz delivered and it will be placed amongst my list of indie favourites.

Awesome, just – awesome. This short documentary, The Naked Zinester, explores the life and work of Aaron Tsuru and from Jon Nix’s directorial style we get to go up close and very personal with the man behind the camera. As the documentary is being filmed there are sequences where Cherry La Voix, Aaron’s main model and close friend, is being shot whilst the photographer is videoing her undressing and moving provocatively against the wall. This indicates just how personal Turnstyle Films got in order to accurately document Aarons work.

The pace of the documentary is perfect, the narration and the images were all interesting and never was there a moment you thought too lengthy or irrelevant. Aaron describes his life and his work on a very intimate level throughout the eleven minutes and Jon Nix captures everything about his personality very well. Due to the photographer being true to his word about seeing women for how beautiful they are, his models are not ‘models’ in the traditional beanpole thin sense, they’re real. An interview with Cherry La Voix demonstrates this, she is honest and straightforward when she talks about her life and not for one moment do you perceive her to be anything else.

Music and editorial style can be highly complimented as both were in sync and kept the rhythm of The Naked Zinester constant and upbeat. The cinematography was remarkably without fault and so were each camera angle. A very interesting documentary exhibiting a fantastic photographer who sees women for what they are and captures their imperfections and shows them just how beautiful they really are.

The Naked Zinester detailed a fascinating and hopefully soon-to-be highly recognised artist whose work “walks a fine line between art and porn, but it’s a line that is fun to walk along, exploring and challenging our held definitions of beauty and sexuality…”

Watch The Naked Zinester here:

Undocumented Executive is a bizarre story of a Mexican man wanting more from life than what his sister endures. His luck ensures that he turns up sharply dressed for the wrong interview, but being the ‘right man’ for the job; he is hired. The film introduces several different characters that push the story to delve deeper into its’ intended genre. Although it takes a while to kick in, Undocumented Executive lives up to the comedy standard – but only that. There are some awkward moments that doesn’t make sense for some particular moments, however, the dialogue continues to keep you watching.

The film opens with a montage of Jesus Gutierrez (Tony Guerrero) coming across the border from Mexico. We get a glimpse of the main character’s confident but slightly overbearing personality; his venture to the States is to pursue the American Dream. We are also introduced to his hard working sister, Rosa (Doris Morgado), who is employed as a maid for an uptight rich lady and already living in the US – she looks frustrated and exhausted but feels that this type of work is all that’s available to her and her brother. When the two meet after Jesus clambers off the bus with an excitable attitude towards living out his dream of becoming a businessman, Rosa tries to bring him to reality. Jesus’ somewhat dim-witted characteristics carry the main comedic value of the story for the entirety of the film, but the narrative seems like it has to try hard to make you laugh.

Undocumented Executive is irresistibly funny, but at the same time it has difficulty keeping the entertainment aspect alive. It alludes to the harsh reality of business politics in which employees of major corporations can be submitted to. I’d also like to point out that the ‘casual’ racism that is voiced throughout the film from all characters is quite unsettling and slightly off-putting. This said, even though there are several flaws in the film, you learn to appreciate each character’s own qualities or personalities.

Jesus Gutierrez and his assistant and partner in crime, Anita Vasquez (Melissa Ponzio), become somewhat of a force to be reckoned with, when the story and plot begins to kick in. Unfortunately, that is not until the last half an hour or so. Undocumented Executive delivers laughs on several occasions and for the most part keeps us entertained, as almost every scene is set up to do. The film does not lead you down any false paths and you eventually come accustomed to the director’s technique. However, the ending seemed very rushed as the conclusion is a little far-fetched and comes out of nowhere as the buildup just wasn’t present. Undocumented Executive ended up being an enjoyable light hearted, endearing indie comedy, but may have been better served as a documentary.

James Choi’s Faith in Destiny looked to be an interesting and complex film about a man struggling with the misfortune and temptations life throws at him; instead this beautifully shot film was let down by a poor narrative and awkward dialogue. I do feel, however, that even with that harsh criticism it’s definitely worth a watch.

From the very beginning you come to the conclusion that it is going to be a slow paced film. Because of the short sharp sentences and very little chemistry between the actors, the characters seem to be lonesome, separated from society and without much back story. Despite these flaws, you do feel inclined to carry on watching, as the quality of the filmmaking is almost without fault. With a budget of just $4,000 and a crew of just one, you get a sense that the film is very personal to its maker – every frame and every scene is arranged perfectly. James Choi eases you into each new location and progresses the story well. The neo-noir design the director went for really highlights the tone and mood of Faith in Destiny and you can very easily set aside your own reality of knowing where the film is going.

During the course of Faith in Destiny we are able to understand the mind of Killian (Keith Neagle) who this story is focused on. Killian constantly quotes thought-provoking ideology which suggests that coincidences set the path for your ‘destiny’. This proves to be the underlying objective of what James Choi wanted to show throughout the narrative. You have high hopes for the film to give you what it was capable of giving, a serious film about a string of bad luck and unfortunate scenarios. Regrettably, what it gave instead was a cliché.

I’d say from a filmmakers point of view, this was a great example that demonstrates what digital film can offer. There are some beautiful shots that highlight the essence of each scene and each emotion the director aimed for. Unfortunately, his over-reliance on using cigarette smoke to create an atmosphere does spoil the aesthetic on occasion. The direction in which James Choi decided to take Faith in Destiny was primarily focused on demonstrating beautiful shots alongside superb colour and dramatic atmosphere, to which he succeeded admirably. What Faith in Destiny lacked in gripping storyline it made up for in quality. Each new scene was thoroughly diverse and almost never the same – quite a feat considering just how small the budget was and for a film that lasts 1 hour 20 minutes.

The idea of neglecting this film because of its uncomfortable storyline should not be something you contemplate. It’s a storyline that begins, progresses and comes to a conclusion, but it’s one you may have seen coming. Either way, you’re left a little dissatisfied and uneasy. If you can appreciate the film for its aesthetics, which I hope many of you will, you will understand and appreciate the effort and determination to showcase a neo-noir style and high quality filmmaking from director James Choi.

When you first watch this story of trickery and deceit, you may perceive it quite differently as you would following a second viewing. After seeing Burn After Reading for the first time in 2008, I was compelled to hate everything about it. I found it hard to enjoy the events that occurred, I was unhappy with the character arcs that Joel and Ethan chose and I was dissatisfied with the ending. Having recently watched it again, however, I was willing to retract my previous judgement and declare that I was quite taken with the quirky, deceitful scenarios that rolled out.

Burn After Reading is a story based upon the idea that when people want something badly enough, they can sometimes go to extreme measures in achieving it; and the Coen Brothers once again demonstrate different ridiculous outcomes to the everyday circumstances these characters endure.

Academy Award Winner, Frances McDormand (Fargo) – a Coen Brothers/Amy favourite, plays as Linda Litzke, a woman who is absolutely determined to undergo plastic surgery to reshape her body and uplift her life. The whole film is molded around Litzke’s unwavering focus on her desire to reinvent herself, and mishap after mishap ensues as her schemes become increasingly reckless (and as a result a lot more dangerous). Initially disheartened by her insurance company refusing to cover the surgery; Chad (Brad Pitt), discovers a disc containing what he believes to be “high quality information” that he presumes will help her money issues. What unfolds thereafter is a series of events that leads up to you finally thinking “so what did we just watch?” It is not a bad movie as a result of this, I enjoyed the fact it gave me time to reflect on what I had just sat through: a story full of real feelings, real emotions and a narrative that never leaves you wanting to drift off face first into your popcorn.

McDormand’s character portrayal is not the only one I wish to comment on, as Brad Pitt’s character Chad, was one of his most versatile performances to date. Playing an energetic yet comically naive personal trainer for a fitness centre, it gave Pitt a chance to step back from his alter ego Rusty Ryan/Tyler Durden persona. Chad’s simplicity gets him in a lot of trouble during the course of the film, but his optimism for life never falters.

Each scene leaves you thinking “what is actually happening” as the story continues to take us in many different directions. Subplots divide and multiply as the film unfolds, yet all are interwoven. You’re not necessarily confused with what the characters are up to, but more so why they’re perhaps building a reclining sex chair or chasing fitness instructors with an axe. There are characters that you’ll come to love or hate, but on some level you’ll secretly empathize with each and every one of them.

Joel and Ethan Coen have such a rich history in filming excellent and unforgettable movies, such as Raising Arizona (1987), Fargo (1996), The Big Lebowski (1998) and more recently No Country for Old Men (2007) and True Grit (2010), that anything they make is classed as unique and creative; and Burn After Reading ticks both those boxes. Because of how interesting the storylines for each character are and how entertainingly painful they are to watch, after every scene you’re constantly questioning yourself as to whether or not you love or hate the film.

The quote that the movie went for, “Intelligence is Relative”, fits perfectly to the references to the CIA, where “Intelligence” is paramount, every character, including those government officials, are clueless as to what is happening within their own lives let alone anyone else’s. It’s a great quote to summarize the plot and the characters alike – that there can be no stupid questions, only stupid answers; cue Burn after Reading.

I’m going as far to say that this was one of the best short films I have ever had the pleasure to watch. Even with only 4 minutes of footage, you are 100% gripped from the beginning with goose bumps running all over your body throughout the entirety of the film.

Based on the poem “Nirvana” by Charles Bukowski this indie directed by Patrick Biesemans captures each feeling and sentiment from every line of the poem. The beautiful visuals and artistic imagery depicts the essence of “Nirvana” as the narrator reads alongside the scenes. The music, the snow, the beautiful picturesque environments including the diner where this short film was set and the poem based upon. Each characteristic of this short film are all so fitting to Charles’s idea of nostalgia and loneliness and with the diner itself historically known as “a beacon to the lonely American night” you understand so emphatically every emotion of the poem.

Please give this short film the time of day; its 4 minutes are gripping, breathtaking and wonderfully poetic. I’d recommend you keep an eye out for future films by this director as his previous short The Southern Belle which we reviewed last year (8/10) also received great praise.

Watch Nirvana here

I will begin by saying, this is a must see film; an absolute must see film. If you’re confused by my recommendation on your first viewing of Eternal Sunshine of the Spotless Mind, then watch it again, but this time – really see it. Follow every line, and understand every visual, take it all in and let the film run away with your mind. Eternal Sunshine is without a doubt an extremely polished film that delivers on all fronts; it ticks all the boxes.

The storyline is complex and totally far fetched, but is utterly unique and something very beautiful. Joel Parish (Jim Carrey) is an ordinary guy with an ordinary existence. When we’re first introduced to his character he starts the day off with the aim of going to work, but whilst waiting for the train, something out of the ordinary happens to Joel; he runs across the platform and jumps on a train to Montauk – a completely spontaneous act. Whilst Joel walks across Montauk beach he sees a girl with an orange sweatshirt on, also walking along the sand. Clementine Kruczynski (Kate Winslet) introduces herself on the train and that is where their story begins or so you would believe.

Eternal Sunshine of the Spotless Mind is anything but ordinary. The film takes you down so many different visual paths that you find it difficult to place each scene. You find yourself understanding Joel’s anger towards what has happened in his life but you also feel the pain of his past when he’s confronted by his memories. Early on Joel decides to undergo a ‘new-age’ therapy that will eliminate all the memories that cause him pain and betrayal he felt during his relationship with Clementine; we find out soon enough that he regrets this decision.

Clementine is a character that can be defined by her own words “Too many guys think I’m a concept, or I complete them, or I’m gonna make them alive. But I’m just a fucked-up girl who’s lookin’ for my own peace of mind; don’t assign me yours.” This speech she gives to Joel is one of the most realistic and direct definition of what women like Clementine are portrayed as through film. She doesn’t pretend to be another ‘Ruby Sparks’ or ‘Allison’ (from Yes Man! also starring Jim Carrey) – she isn’t the girl that breathes life back into the empty chests of men without colour or direction to the world they live in. Clementine is simply a girl who makes mistakes and is looking for some direction of her own.

Opposites surely do attract in Eternal Sunshine. Joel is “boring” and Clementine, “impulsive” – quite a clash in terms of the chemistry within a relationship. Due to their conflicting personalities, harsh realisations are made apparent and the couple are left to deal with the emotions that are brought to the surface. During the course of the film we get to see both sides of their relationship through various memories Joel is reliving. Through this we get to see the good, the bad and the downright ugly; yet when their relationship is good, it’s beautiful. A memorable scene that demonstrates this is when Clementine describes a deep rooted childhood memory to Joel, from where she first decided she was ugly; Joel begins kissing her and tells her she’s pretty over and over again until they fade into a new memory. With fantastic use of cinematography, the director (Michel Gondry) and the DOP (Ellen Kuras) produced phenomenal shots and scenes (including the one just described) by using light, colour and intense intimacy between the subjects, they bought to life the powerful emotion of each memory. This is outstanding filmmaking.

This said, I must also give credit to Carrey and Winslet for their performances as both were out of their comfort zones. Carrey, more known for his humour and comedic roles and Winslet for her super serious Britishness – both delivered fresh and very realistic portrayals of what two people in a dysfunctional relationship are like and how they survive through the love and understanding they share for one and other. Eternal Sunshine of the Spotless Mind is a breath of fresh air when it comes to on screen romance and I rate it highly among the films I adore.

When I saw that Drew Barrymore directed a film starring Ellen Page, I couldn’t wait to see what they would accomplish together. After being a fan of Drew Barrymore for years, and loving Ellen as Juno, my first instinct was that I would either love the film or have my hopes for something epic dashed by a poor storyline or bad supporting actors. However the screenplay, adapted from the novel Derby Girl by Shauna Cross, gave Page the perfect character to portray and a great narrative to support her. With an awesome storyline about a teenage girl fighting against her mother’s wishes to become a beauty queen by joining a roller derby team, I did have high expectations about what would be produced. I am pleased to say that Whip It did not disappoint, despite what box office figures may have said.

The film begins with Bliss Cavendar (Ellen Page) dying her hair blue while her mother (Marcia Gay Harden) waits anxiously for her to appear on stage at the latest beauty pageant she has entered Bliss into. When she finally emerges, the crowd of pageant-goers and contestants all fall silent, troubled by the sight of her. She does not seem to appear affected by the judgement she is receiving, more uncomfortable to have to endure unnecessary attention.

On a shopping trip with her mother, Bliss encounters three roller derby girls flying past her leave a flyer to promote their first match of the season. Bliss, and her best friend Pash (Alia Shawkat), eager to escape their small town drudgery, head over to Austin to witness a night of kick-ass entertainment. Confronted with a world so different from the one imposed upon her by her mother, Bliss immediately falls in love with the spectacle of roller derby; a world much more in tune with her personality than beauty pageants. Approaching Maggie Mayhem (Kristen Wiig) of the Hurl Scouts roller derby team at the end of the game, she admits that they are her “new heroes”. Maggie tells Bliss that she should try out for the team so that she can be her “own hero”.

Whip It depicts a girl struggling to break free from having to conform to her mother’s fifties female idealism, and of course Ellen Page is the perfect rebellious figure to portray such a character. With the words of Maggie Mayhem encouraging her, she attends the try-outs and successfully achieves a place on the team. At first Bliss is quite timid and doesn’t grasp that roller derby is a ‘contact sport’ – she shies away from confrontation and aggression. However, determined to be accepted as part of the team, her courage and skill improves and the team nickname her “Babe Ruthless”.

After Bliss is christened into the group her confidence to challenge the nuisances in her life almost consumes her entire personality. Nothing holds her back from telling or showing people how she feels about them. Bliss meets Oliver (Landon Pigg), the guitarist and singer for a local rock band, and falls head over heels for his musical talent and boyish charms. Her relationship with Oliver offers one of the most unique moments of beautiful choreography during the film. The happy couple dive, fully clothed, into an abandoned indoor swimming pool. Bliss and Oliver embracing underwater gave has a wonderful energy as they playfully undressed – dancing to a melody only they understand.

Despite Bliss’s awakening, her mother’s staunch idealism is ever-present and she constantly meets opposition from her parents’ due to their expectations. When her mother discovers that rather than fulfilling her own dreams as a beauty pageant queen, she has been pursuing her own dream as a roller derby pin up girl, their disapproval of her new identity as “Babe Ruthless” leaves her little choice other than to leave home. At this point, Bliss’s life goes from bad to worse; her disobedient attitude towards almost everything causes her to experience a lot of hardship.

Throughout the film, Bliss undergoes harsh realities and severe consequences for her new-found care-free attitude, but with this life experience comes comedy, friendship, and confidence building, not only for Bliss, but the audience as well as we relate to her. Page’s dry humor, first seen in Juno, is well-suited to the role and her enthusiasm makes one want to dust off those old skates and hit the streets.

Drew Barrymore has assigned Ellen Page a perfect character; Ellen defines ‘Girl With Attitude’ to the point of pure awesome and thus everything about Bliss just screams Ellen. While I don’t believe Ellen Page was typecast from Juno, there are many similarities between the two characters. Characteristics that are played to perfection by Ellen Page.

Roller derby, a sport I’d never experienced in film before, provides the perfect backdrop to this coming of age tale. Drew Barrymore and Shauna Cross’s depiction of how amazing, energetic and full of adrenaline life can be in a pair of skates is absolutely wonderful. This movie is one I will cherish, and will be added to my list of films to watch when confused about the meaning of life or how to raise my kids.

From the first few seconds into the opening sequence of Transatlantic Coffee, I was hooked. The beautiful shots, the soulful melody of Alix Paige and expert use of lighting all blend together perfectly in setting the tone for this wonderful New York original.

We notice right away that the man sitting in a carefree New York City blues bar is troubled. His edgy disposition accompanied by jarring images of distant or recent memories flash on and off screen against the tempo of the music, portrays a man burdened with repressed thoughts that are invading his mind. As the opening sequence ends with a very high pitched drawn out noise, a speeding train races past a block of apartments, sharply bringing us back to Alex’s morose reality.

The film begins quite slowly, establishing Alex (Kevin Pinassi) as a depressive, drunken man whose choice of employment, (providing entertainment as a clown), contrasts with his disdain for life and sullen nature. His longing desire to find someone that will allow him to escape from the constant loneliness he has submitted himself to, is where his story begins.

Over the course of this film, we’re given the opportunity to tread in the footsteps of this lonely man’s quest to feel love again. Set just a month after 9/11, Alex’s story serves as a metaphor for the trauma New York citizens dealt with after the attack. The city itself; grey and in stasis, Alex also seems somewhat out of touch from reality. His hostility towards life, towards his family and his only friend are a result of his disconnection from society.

Early into Transatlantic Coffee we discover Alex has met a teenage girl from London online and has asked her to stay with him in The Big Apple. Mandie (Rachel Marie Lewis) is a high spirited stripper with a lust for living life to the fullest; a juxtaposing element to Alex’s depressive lifestyle. Nevertheless, the couple spend several weeks together, bonding over different aspects of each other’s personalities, and things begin to look up for Alex. The film however, constantly reminds us of how conflicting the individuals are.

A very poignant scene shows Alex and Mandie sat awkwardly making small talk to break the ice after weeks and weeks of relying on the social barrier of internet messaging. Alex, not wanting to give much of himself away, is hesitant to talk. Mandie on the other hand, makes herself comfortable as soon as she enters his apartment. As the airy tension between them rises, the music in the background becomes more dominant and Alex begins to describe how he associates music to memories, he feels that “music is the one way you can capture a moment” – this, to me, is just the epitome of his character and of the film. Music is very apparent in Transatlantic Coffee; it consistently sets the tone, the atmosphere and the mood of each character and each scene highlighting how Alex sees each moment of his life.

Alongside the usage of musical and visual cues, Transatlantic Coffee also utilizes the concept of individual perception to explore another predominant theme; that of Alex and Mandie’s attraction to one another despite their rather overwhelming differences. Alex, during a memorable moment whilst they stand looking over Manhattan at night, tells Mandie he is colour blind. Mandie responds with “I’m so sorry…it must be horrible living in a city like New York and not being able to enjoy the colour and vibrancy of it all” to which Alex states, “Not really, it’s all I’ve ever known” – from this brief conversation we get to understand the characters a little better. With Alex’s depressive nature and Mandie’s colourful outlook on the world, they are ‘different in their own way’.

As the film progresses differences melt between the two. Mandie paints a picture for a close friend back home in England, when Alex sees this painting he realizes he can see colour. He associates this new profound ability with the love he holds for Mandie and is therefore awakened from his black and white world; this reinforces Alex’s need for her to be a part of his life.

The sexual tension between the two characters is admitted very early on, however Alex is hesitant to act upon his desires. The film pushes you to feel how real every situation is throughout the story and how the relationship shared between the two, is full of genuine emotion. Every glance, touch and embrace feels so honest and meaningful that all your senses tell you it’s real.

Transatlantic Coffee is a beautiful independent picture directed and written by Erik Peter Carlson. It focuses on visual energy and atmosphere created by spectacular cinematography, scenic locations, choreography and costume designs. The script highlights how beautiful life can be yet with the help of a well-structured narrative; the storyline illustrates the ugliness that sometimes can creep through. The subtle flashbacks from Alex’s memories and out of place lines were suggestive to the films conclusion, nevertheless they were almost unnoticeable. An almost flawless motion picture, Transatlantic Coffee is an independent wonder, enriched with fantastic colour, unforeseen twists and occasional eroticism.

For a film based upon a dysfunctional family’s struggle across America to enter their daughter into a beauty pageant – Little Miss Sunshine should go down in history as a modern classic; an absolutely wonderful cinematic release. With an outstanding cast, Little Miss Sunshine hit home with an original storyline that delivered humour, real emotions and heartfelt relationships between the characters. By the end of this film you will have laughed and cried, gotten emotionally involved and maybe a little confused – and it’s one of my favourite films.

At the very beginning of the film the family sit down for dinner, Olive (Abigail Breslin) finds out that she has been given a place in this year’s Little Miss Sunshine beauty pageant – she lets out a scream of joy and runs around the house getting things together to take with her. Olive’s mom, Sheryl Hoover (Toni Colette) and her dad, Richard Hoover (Greg Kinnear) argue how they are to get there due to not being able to afford travel expenses. After a heated discussion they finally settle on driving the 1000 miles in their minivan.

During the course of the family’s road trip the family experiences are both laughable and heartfelt, being comedic yet sometimes sad, you begin to fall in love with each character and relate to them on different levels. Little Miss Sunshine focuses on pushing forth the idea of living the American Dream – with Richard trying hard to become a motivational speaker, but failing – ironically, since his speeches are about winning. Olive is striving to become a beauty queen with the help of her WWII veteran, heroin addicted grandfather. Olive’s brother Dwayne (Paul Dano) has taken a vow of silence until he achieves his dream of becoming a RAF pilot and their uncle, Frank (Steve Carell) is being forced to stay with them whilst he recovers having just attempted suicide.

The inspiration of the story came from an article Michael Ardnt (who wrote the film) read in a newspaper, where Arnold Schwarzenegger was quoted speaking to a group of high school students: “If there’s one thing in this world I hate, it’s losers. I despise them” – Ardnt then began to develop the story for Little Miss Sunshine on this principle: “I thought there’s something so wrong with that attitude…I wanted to…attack that idea that in life you’re going up or you’re going down. So to a degree a child beauty pageant is the epitome of the ultimate stupid meaningless competition people put themselves through”.

Dwayne towards the latter part of the film memorably says, “You know what? Fuck beauty contests. Life is one fucking beauty contest after another. School, then college, then work…fuck that. And fuck the Air Force Academy. If I want to fly, I’ll find a way to fly. You do what you love, and fuck the rest.” – a speech that Ardnt will have made sure, made its way into the script in order to emphasise the entire meaning behind the film in a very subtle but obvious way.

Little Miss Sunshine was nominated for several Academy Awards, and came home with Best Original Screenplay for Michael Ardnt and Best Supporting Actor for Alan Arkin. “Grandpa” played by Arkin was well deserving of this award, however all characters played a vital role in the films success, each character being so important to the story and understanding the different relationships between the family.

I love Little Miss Sunshine, it’s a fantastic independent epic that demonstrated not only a shocking realism to dysfunctional family relationships, behaviours and hardships, but demonstrated it in such a way that it wasn’t miserable, it wasn’t depressing – it was moving, smart and very funny.