Playing like Donnie Darko crossed with half-baked Coen brothers sensibilities, Buster’s Mal Heart feigns complexity and depth to hide a relatable, yet tedious story about a man trapped in his mundane reality.
The mystifying nature of The Missing Sun works well in maintaining a certain level of captivation since no developments nor actions are alluded to in any noticeable way. There is an unpredictability to it all that is able to keep interest levels piqued. Although, there is a sense that that same fog of stimulation slowly condenses over time, occupying and obstructing the path to insight through obfuscation. Which opens the door to questioning the ambiguity present; its structure, an appearance that once indicated careful construction starts to look more hurried in its creation and semi-neglected in its development as the film moves forward. That the ambiguity that sustained interest in the beginning was not cultivated nor curated with consideration but more so a happenstance formation born out of narrative absences.
If you thought John Hillcoat’s post-apocalyptic drama The Road was a little too upbeat and light, then Stephen Fingleton’s feature debut, The Survivalist, will be right up your alley. In what could be the feel-bad movie of the year, Fingleton presents a gritty future, where the world’s oil supplies are depleted and the population has dwindled. We’ve seen this backdrop several times before but not in such an unflinching and graphically real way.
After an extensive run on the festival circuit Alice Waddington’s debut film, Disco Inferno, has made its’ way to the general public; now available through Amazon and Vimeo On Demand. It’s not often that a director gets the ability to showcase their debut - let alone one that also happens to be a 12-minute short - in front of 63 individual, international festival audiences. Not to mention, being awarded on 10 separate occasions on top of those 63 inclusions. What’s even better is the fact that those 10 awards amongst 63 inclusions are justifiable considering the talent on display within those 12 minutes.
From its ominous, yet beautifully shot opening - a super-slow-motion tracking shot of girls playing on a playground - it’s quickly evident that we’re in for an intense experience with Ben Young’s feature debut, Hounds of Love.
While lacking in much substance, Like Me acts as a visually arresting social commentary, which is not about a hypothetical dystopian future but instead about a future we’re already living in that, for better or worse, is something we need to accept.
As the world of videogames and cinema inch closer together, from time to time I’ll play a game that I think is worth discussing on this site, and the recently released What Remains of Edith Finch happens to be one of them.
War is a nasty, dirty, ugly thing, and Simon Dixon’s directorial debut, Tiger Raid, conveys this hell on earth by telling the story of two despicable mercenaries on a mission to perpetrate a kidnapping in Iraq.
There’s a good movie living somewhere inside The Circle, but it’s been incessantly recut, switched around, shortened in the wrong places and extended in other wrong places, and then all mixed up and served in one perplexingly bland concoction.