Whiplash

Miles Teller Whiplash

When an aspiring drummer, Andrew (Teller), registers at a world-renowned New York music school, he fast realises that his drum kit isn’t the only thing that requires a thick skin.

Nothing sounds more like vanilla than a film about drumming. Drums are the Steady Eddie of instruments; the “not cool enough to be featured on our Unplugged album” rhythm-keeper of all bands. Spending two hours with drums and/or a drummer sounds like something I would checkout of post-haste. It is for that very reason that I am surprised that Whiplash has a strong chance of remaining top of my Film of the Year 2015 list.

My surprise was short-lived, however, because Whiplash was not really a film about drumming. The instrument was the vessel through which the story was told, and this was a story of pain, perseverance and the pursuit of perfection.

Much of the narrative was focused on the relationship between Andrew and Fletcher; the young student vs the bastard tutor (and bastard is a light word in this context), similar to the character dynamics in Full Metal Jacket. Teller’s characterization of the quiet, socially awkward protagonist should have been recognized in this year’s Oscar nominations, especially considering J.K. Simmons was given the nod as Best Supporting Actor. Both of these actors gave standout performances, their relationship dissected with nuanced excellence. Teller usually plays the wise-cracking jock, yet this role was a complete departure for him as he showed a tense vulnerability on screen.

The last film directed by Damien Chazelle, Grand Piano, also dealt with a talented protagonist playing a musical instrument, but instead of a vacuous plot carrying one-dimensional characters, Whiplash bears the hallmark of greatness, which is also a theme that is deeply explored in the film. Andrew has engulfed his life in drumming. Rather than developing relationships with family and friends, he sacrificed everything in an effort to be the greatest drummer of his generation; he opted for CDs over conversations; his sticks over a girlfriend. Every literal and metaphorical knock back drove him harder to prove the greatness he desired, which at times became cringe worthy to watch. At times the movie became a little far-fetched from a plot perspective, however the events helped to act as a visual metaphor for Andrew’s unrelenting drive to be the best.

Clearly a film about a drummer needed to have scenes of drumming, and they absolutely delivered. There was a wonderful adventurousness to the camera, with the drum kit and the drummer being shown from all angles, and the editing had a kinetic feel to it that reminded me of the music video to The Chemical Brothers – Star Guitar. At points I felt myself simultaneously gritting my teeth, nodding my head and tapping my feet.

Even if Whiplash is usurped as my Film of the Year, the movie about a drummer, which isn’t about drumming, will remain long in my mind. La La Land, Chazelle’s next movie, released later this year, is a piece of cinema on which I will be keeping a very close eye.

Advertisements

10 Reasons why the critics have got it so wrong about Gone Girl

gonegirl

Last night, to dust off the writing cobwebs formed after a long summer of football, festivals, house moves and holidays, the Framerates team went to the cinema to see the highly-anticipated, critically-acclaimed, David Fincher directed, adaptation of the Gillian Flynn novel Gone Girl. With the screenplay also by Flynn, and a top cast that included Ben Affleck and Rosamund Pike, our hopes were high. Could Fincher channel his immense talent to create a chilling, intelligent thriller that echoed the intensity of Se7en and Zodiac?

In a word: no.

To our surprise, though, Gone Girl is seemingly a hit with many critics. Here are ten reasons why we feel that this critical reception is a case of mass “drinking the Fincher Kool Aid”.

This article contains spoilers.

1) A faithful, unfaithful adaptation

Despite a screenplay from Flynn herself, the tense, psychological, emotionally engaging tone that is captured in the book fails to fully translate onto the screen. Flynn has faithfully stuck to the narrative laid out in the novel however without the continuous stream of thought from the characters the movie feels shallow and the characters motivations and emotional arcs unclear. This is no more apparent than in the final act of the movie where we see Amy heartlessly slaughter Desi Collings. This played on screen like the calculated acts of a horror movie psychopath whereas in the novel, despite Amy’s deplorable moral compass, the reader understands that she is left with little choice.

2) Tone issues

Perhaps Fincher added flecks of humour throughout Gone Girl to provide comic relief, and to heighten the darkest moments of the movie. However, when characters are making the stupidest decisions left, right and centre, unfortunately, the humour intended as light relief was actually just a series of snorts at the movie’s ridiculousness. An absurd movie this was; “an absurdist thriller” this was not.

3) Pacing. Pacing. Pacing.

I felt I was watching three episodes of a TV programme that were cut together by an amateur YouTube editor. I do believe that the movie got caught somewhere between police procedural and Stepford Wives thriller, and there was such a blatant division between the three acts of the film, which resulted in an extremely jarring watch.

4) Direction

Was Fincher deliberately telling his cast to act on the same level throughout the film? Everything was so flat, it felt like the director was intentionally channeling Frank Underwood and the entire feel of House of Cards, but with a mixture of Prisoners thrown in for good measure. It was very disappointing that this didn’t feel like a Fincher movie, but maybe that will act in his favour when people finally remove their tongues from his arsehole.

5) Acting

A flat tone, jarring pacing and seemingly misguided direction in Gone Girl all results in some rather underwhelming performances from the leads. Pike as Amy does a good job as coming across as cold, sharp and intelligent but fails to fully round Amy as a character- arguably this is in large part down to the lack of distinction between the opposing Amy’s (see point 7 for more). Affleck has always been a firm favourite over here at Framerates.net as an actor, as well as a director, however the stoic nature of the character of Nick required a nuanced performance that depicted an internal dialogue, instead Affleck at times felt vacant and the emotional weight was lacking.

6) Team Amy vs Team Nick

Fincher himself has said that people will leave in either a “Team Amy” or “Team Nick” camp. If the director has acknowledged that fact, there are clearly flaws in the way his characters are represented. One can claim “misogyny” towards Amy, or “men’s rights” at Nick, until they’re blue in the face, but the fact of the matter is that all of the above factors have contributed to a film that leads us beautifully into Point 7.

7) Failing to define the character roles.

The single most important element of the movie to get right was the clear and apparent differences between the two Amys. ‘Cool girl’ Amy, the Amy created for Nick, and the real Amy. Fincher makes no distinction between the two opposing personalities. Without this we don’t understand Nick for falling in love with Amy and equally we don’t empathise with Amy and the façade she is forced to display. Instead of creating a compelling insight into two flawed characters, who we both empathise with and despise, or making a coherent point about gender roles and feminism, the movie leaves us with two people who we neither understand very much and who represent very little.

8) It looks beautiful, but what is below the surface?

When you look at a movie like Zodiac, you can literally peel back the nuanced layers within the frame, the acting, the cinematography and plot. In Gone Girl, because the characters were so unrelatable, it was hard to get fully immersed into the world that Fincher is normally so great at building. Gone Girl left me with a similar feeling as The Girl with the Dragon Tattoo, which is a movie referenced in another 10 things post from last year.

9) No one shags in a library after 3 years of a relationship

After 1095 days together, you’re lucky if you get your genitals get but a fleeting glance when you’re out with your other half, let alone being balls deep in a dark corner of a public library. I will suspend my disbelief for many things, but this is not one of them.

10) It’s just really not as good as people are claiming

All-in-all, the film was over two and a half hours long and after half an hour I was feeling frustrated and bored. The word flat has been used many times in this article to describe elements of this film and that’s exactly what the overall experience left me feeling. There was no excitement, intrigue or desire for any of the characters to succeed in anyway. Unlike Se7en, Zodiac or Fight Club, which are intense, thrilling and heaped with personality, Gone Girl is as grey as the colour palette it displays.

The LEGO Movie

tlm2

Imagine drinking eight cans of cola, snorting a line of cocaine and standing on the roof of a skyscraper during a hurricane whilst listening to heavy dance music. That is what it feels like when watching a movie by Phil Lord and Christopher Miller, the million-miles-a-minute, comic genii behind this year’s surprise smash hit, The LEGO Movie.

Everything is awesome in the life of an ordinary LEGO construction worker, Emit. That is until he accidentally stumbles upon a plot by the evil, Lord Business; a lover of conformity, Business wants to put an end to life as LEGO knows it. Can Emit and his band of merry pop culture references save the day, and the LEGO universe, forever?

I will put my cards on the table now and say that, as a child, I was a huge LEGO fan. There was something so compelling about having the freedom to create whatever you wanted out of the small plastic bricks, even when it never looked as good as it was on the box. It is for that very reason that, after 5 minutes of watching The LEGO Movie, I was sold. The way the directors have incorporated, what feels like, every type of brick was extremely satisfying (even the little translucent fire!) It felt as if I was watching two drunk guys build the movie in front of me, talking to each other, saying “dude, what about this piece? And this piece? Oh man, that would be awesome to use that piece for the car! And the fire! Let’s use the fire on his hair! Haha, awesome; pass me another beer”. The film, while having all of the pop culture references and humour one would expect from Lord and Miller, felt very playful, which made for a great cinematic experience.

Ironically, even though it is in vogue with these directors’ style, one thing that may put some people off is the pacing. While the characters are hilarious, the story is compelling and the visual design is wonderful, the pacing is ridiculous. There are many occasions when the imagery is literally flying past the camera, so if you don’t mind the risk of seizure then you should be okay. I did find the humour hitting the mark for most of the movie, but the times when the jokes failed to hit the mark was mainly due to me being unable to register that it was a joke before we were onto the next one.

Aesthetics aside, the movie also contains a contemporary allegory that is concerned with conformity and independence. Much like the best animations – and greatest movies in general – one can read something from the narrative that teaches one something. For the first two acts, The LEGO Movie teaches us that conformity, rigidity and not getting out of one’s comfort zone is not good for creativity, or for culture and our society; the world in which Emit lives is rife with awful TV shows, annoying songs and friends who don’t see the real you. The independent thinkers out there are the one’s who influence change it says, however, for a movie that purports this message for 80% of its run-time, as we get to the climax, the message gets diluted by references. As evidenced by the last half a decade, it is easier to package an allegory within the threads of your movie without the presence of humans. Unfortunately, when Ferrell and his child share the screen time with Emit in the real world, even though it was a decent change of pace and I thought it worked in a superficial context with the story, the message gets lost in the saccharine; this is a shame because it was doing a satisfying job commenting on the vapid nature of entertainment culture.

Now that I have taken off my ponsy film school hat, it’s not everyday you get transported back to your childhood, yet, Lord and Miller have done it to me again. After watching The LEGO Movie, even though the ending didn’t quite hit it out of the park, I have to admit, mostly everything, really is, awesome.

 

140 words: Bram Stoker’s Dracula (1992)

OldmanDrac

Abraham Stoker’s 1897 gothic novel, Dracula, has been adapted for screen more times than I can count while at work. A story of blood-sucking Transylvanians and naive Victorian Londoners, the book packs a subtext of repressed sexuality, yet delivers that with mindless parasitic violence and uncanny death. Coppola’s Dracula, while being a movie that is steeped in atmosphere and Gothic imagery, is far too self-aware; each scene dripping with filmic techniques (frames within frames; film layered dissolves) to take seriously as a Dracula film. Gary Oldman as the titular character hams his way through each scene, and for some reason, rather than being a blood-lusting, mindless monster, is a little bit too concerned with his broken heart. Hopkins and Ryder were just passable, however Keanu Reeves’ English accent was piss-poor. It has to be said….Universal did this story better in 1931.

 

The Sacrament

aj

When a Vice documentary crew discover that one of their own’s sister has fled the US, they embark on a journey to a remote jungle in an undisclosed location to find her. Once they are on the ground in “Eden Parish”, their initial warm reception soon fades away, revealing something entirely more sinister.

In the past I have not hidden my love of Ti West’s style and directorial ability. The way he manipulates his audience with camerawork and sound is second to none in the horror genre, and I would definitely class him in the school of “soon to be auteurs”. That is why, when I discovered he was directing a found footage movie, I was slightly shocked.

The Sacrament, on paper, is certainly West’s most conventional movie. There is no vintage 80s aesthetic (The House of the Devil); there aren’t any ghosts (The Innkeepers) and we actually get to see some plot, unlike his short in The ABCs of Death. Instead of the lingering self-awareness he has shown in the past, we are treated to the traditional structure and pacing one would expect of a found footage movie. Maybe in the hands of another director that description could be used to show the film in a negative light, however West’s direction brings to The Sacrament a touch of class rarely shown in found footage movies. Not only are the performances of A.J. Bowen and Gene Jones absolutely stellar, but the story is entirely believable. Other commentators have pointed out the undeniable similarities between the infamous Jonestown Massacre and The Sacrament, which, upon researching, seem to be more than poignant, however these parallels should take nothing away from how this movie is constructed.

From the outset you can feel a creeping dread hanging over the film, even when things appear to be going well for our protagonists. The silence seems deafening at points, especially as the film beginnings to ramp up towards the final act. The way West marries his use of silence with his camera, to dictate pacing in scenes, is extremely compelling; we are treated to static mid shots cut with frantic steadicam chase scenes that all feel very organic. One particular scene in the final act is framed beautifully despite its shocking content. We also get treated to “film school shots” but they never feel pretentious within the context of the film; instead it just appears that West knows exactly how to create mood with form.

Another aspect of the movie that is very politically relevant at the time that this review has been written, particularly in Britain, is the topic of religious fundamentalism and extremism. Both of these terms denote acts of brainwashing the vulnerable, which is a theme that runs thick in this film; long, compelling speeches from the mouth of “the Father” seem to have everyone hanging on his every word, which, in the climactic scenes, proves horrifying and chilling (I really cannot do justice to how brutal, yet real, the end of The Sacrament is).

Beyond what has been discussed, I think the similarities The Sacrament has to Jonestown will either put people off or drive them to learn more. I knew of the event by name but had no idea the history of Jim Jones, and I do feel West has made a film that will prove a gateway into further reading for a lot of people. As for West, I am in no doubt that this director will go on to make a serious name for himself, not only in the horror genre, but in film as a whole.

 

All Is Lost

robert-redford-all-is-lost

PSA: At Frame Rates, we don’t like to reveal spoilers in our reviews. However, in the case of All Is Lost, it is impossible to discuss the movie without giving away the premise. Therefore, the following review will talk about the premise in detail, which in itself is a spoiler, but will not give away the finer plot points of the film.

After his boat collides with a stricken freight container, a seasoned sailor must not only battle the elements, but also fight the acceptance of mortality, in body and mind.

After 480 minutes of burning mind calories at work, one of the last things I want to do on a Monday evening is spend time questioning my own existence and attitude to mortality. Thankfully, rarely does a movie with such a delicate approach to storytelling deliver such a powerful message as the one I drew from All Is Lost.

The main thing to point out about All Is Lost, aside from a monologue at the beginning, is the complete lack of dialogue throughout. It is a bold move from writer/director, J.C. Chandor, and while his direction is precise, and his writing is compelling, it is because of Robert Redford’s on-screen gravitas that the silence works; he is called ‘Our Man’ in the screenplay, and his isolation begins to provide a insight into his nature. He is able to convey the smallest nuances of emotion by just literally existing in front of us; when his boat starts flooding, he goes about fixing it, and this happens throughout the film. By revealing nothing of his character, he actually reveals so much because we are made to think; about his past, why he is out on his own in the sea, and so on.

Some have commented on the movie’s lack of sailing realism, or complained about the seafaring techniques of the film’s protagonist. Only the most cynical of movie viewers would not accept the finer, more subtextual, aspects of the movie, and I feel these commenters have completely missed the point of this film. It’s not a film about sailing, but a story of survival and mortality that actually discusses its themes more successfully than Gravity; despite being absolutely gripping, the story and screenplay was the weakest aspect of Cuaron’s latest release. All Is Lost manages to say so much more about human perseverance, and the strengths and weaknesses of the human spirit, without actually saying a thing.

One of the greatest achievements of All Is Lost is the fact it played entirely with my expectation of action/disaster movies. I was constantly second-guessing the story, thinking that we’d have a twist or that there would be a Hollywoodised moment of peril, but the realism on screen was refreshing. Every movement, every action taken by Our Man was logical. As we got further into acts two and three, I began to understand the character’s intelligence as he found ways to keep afloat; it was like watching a machine work.

The technical aspects of the film were fantastic, and definitely complimented the clever, mature storytelling. As there is no dialogue, the camerawork, cinematography and post-production (editing and CGI) have to be compelling; All Is Lost had some excellent uses of first-person perspective to convey distance, underwater shots, and some majestic long shots of schools of fishes dancing below Our Man’s boat. The sound design was also absolutely superb; I felt genuinely cold during the storms, and appreciated the moments of silent tension being cut through by the delicate sounds of water colliding and lapping against the innards of the stricken boat.

The Oscars have been and gone, but it surprises me that this movie was overlooked in more categories (it did receive a nomination for Best Achievement in Sound Editing). At 77, Redford should have been nominated for Actor in a Leading Role, if not solely for putting his body through the runners in this film. I do think this is not your average action movie, and is more art house in style and tone, but I do recommend it regardless, as it reached into the deepest corners of my own fear of dying, and made me consider the lengths to which I would go to stay alive.

The Square

the-square-film-poster-netflix

You know that feeling you get when you watch a movie for the first time and the phone gets put down, you get tunnel-vision and it feels like you’re floating? The Square did that to me.

Documenting two years in Cairo, from the beginning of the revolution against Hosni Mubarak until the last year’s troubles with Mohamed Morsi and The Muslim Brotherhood, The Square was a very powerful and moving piece of documentary filmmaking.

One of the great things about this film was how it balanced seemingly truthful objectivity, all while presenting a very cinematic arc for the story. We are introduced to the main protagonists, which the film followed from January 2011 until August 2013; Magdy, Ahmed, Khalid (who is a British-Egyptian actor), Ramy and Ragia. They were a small part of hundreds of thousands of demonstrators who peacefully protested at Tahir Square in Cairo in early 2011 – this was the epicentre of the Revolution to overthrow Hosni Mubarak, a dictator that ruled Egypt with a tyranny unfortunately common-place across North Africa and the Middle East at the time.

To say that The Square was harrowing, powerful and deeply moving is an understatement; this film barreled along at an amazing pace, but still managed to touch on both the hope of the revolutionaries, as well as the heinous crimes committed by the army and gangs of thugs against peaceful protestors, with enough maturity and candidness for it to be very effective; there was nothing cloying about what was seen and heard, it’s just raw emotions that really jump out of the screen.

The revolution in Egypt, and the whole Arab Spring in general, was a defining moment in the history of North Africa and the Middle East, as well as being one of the most important socio-political events of this millennium. What really shone through here was how the camaraderie between the revolutionaries rapidly descended into rival factions, all with different ideologies, fighting each other; the people united against one tyrant and ended up with a situation in which the country felt a violent power vacuum. All of this – all of the horrific imagery of brutality and death – was captured by a camera crew on the frontline; nothing was censored, and it was painful seeing how the Army swore they wouldn’t use violence against the peaceful protestors yet ended up doing exactly that, and with deadly results. Furthermore, what is seen proves that the daily news outlets we read and watch everyday are sterile, agenda-ridden mouthpieces that avoid the finding the truth; it’s testament to the filmmakers that they present the real story of Tahir Square, the revolution and the real people and what drove them to fight; they just wanted democracy and were willing to die for it.

The Square was a fantastic, emotive experience, is fully deserving of its Oscar nomination for Best Documentary, and is streaming for free on Netflix.

 

Film Podcasts: who listens to them and what are your favourites?

Podcast

As film bloggers, we have decided to commit ourselves to spending an inordinate amount of time watching movies and writing about them. However, there is another group out there equally as crazy as us; these are the people who spend time watching movies and talking about them instead. So, for the first time on our homepage, here are some of our favourite film/movie podcasts!

Film Fandango (< these are all links, btw)

Hosted by English comedians, David Reid and Marek Larwood (and Buddy the dog), Film Fandango is a refreshing mixture of easy-listening banter, silly accents and some occasional high-brow navel-gazing. The show used to be broadcast on Absolute Radio (in Britain), hosted by the aforementioned pair as well as Danielle Ward, but she left recently to do something on Broadway.

Slasher Cast

My five favourite middle fingers; the guys over at Slasher Cast are an…honest…bunch. Not for everyone (read: explicit), this horror podcast is released week-on-week, and has recently celebrated a 2nd birthday. I have spent far too many hours listening and re-listening to the musings and rants of Jack, Mike, New Jersey Nick, Dave and Ted, and I always look forward to Tuesday mornings when I can listen to the newest episode. Honestly, some of my biggest laughs in the past year and a half have been as a result of listening to this show.

A Damn Movie Podcast

Talk about a perfect blend of low-brow banter and high-brow super-analysis… Broadcasting from Salt Lake City, Utah, Adam Palcher and Adamn Sherlock have reviewed a huge amount of classics (and Battlefield Earth), and, without fail, manage to make me smile with their back-and-forths. It makes me laugh when I hear the next beer can open, and if I had to hazard a guess, I’d go with Sherlock being the culprit.

How Did This Get Made?

This podcast is literally bananas.  HDTGM, not to be confused with HIMYM (fuck those guys), delves deep into the pit of awful movies, pulling out some forgotten gems – Mortal Kombat is the latest offering – for some brutal analysis and balls-out commentaryAlways hilarious and occasionally enlightening, this podcast hosted by Paul Scheer with regular guests June Diane Raphael and Jason Mantzoukus, plus a different guest each week, is a refreshing take on the film podcast. Crude, slightly insane, but an undeniable comedic chemistry between the hosts makes this one of my faves.

Film Junk

With humour drier than the Sahara, Film Junk and its Canadian hosts tear through current releases like it’s going out of fashion. They also have a really decent website, and some premium podcasts with in-depth analysis of some of the biggest blockbusters and franchises in cinema history. Also, sometimes it’s good listening to some hate, which is always a possibility with Film Junk.

Bloody Good Horror

Words of the day; beers of the episode; stories; letters; film reviews; bloody good laughs. This show goes above and beyond what I would expect from a podcast, and it’s up there with my favourites. A giant in the horror podcast world.

The /Filmcast

Probably the most populist show to which I listen, The SlashFilmcast touches upon all the newest releases in an easy to digest manner. I love their guests, especially Laremy Legel, and they have great chemistry. Much like Slasher Cast and Film Junk, it’s good to hear a podcast that doesn’t always agree. Also, /Filmcast had one of the best debates I have heard on the topic of streaming movies, Netflix and the future. Really great stuff.

Wittertainment: Mark Kermode and Simon Mayo’s Film Review

Flagship film show; The Good Doctor; Matthew Mahogany; BA in History and 100m swimming certificate; flappy hands; The Code of Conduct; totes emoshe, dead amaze; colonial commoners; Floyd and Boyd; oversized microphones; all-star guests; Kermodean rants; high brow, low brow; fart guns; top tens; long time listener- first time emailer; film of the week; TV film of the week; album of the week – Nick Lowe, Jesus of cool, David Morrissey and Hello to Jason Issacs.

If all that has left you scratching your head, listening to the podcast for the first time may have the same effect. Stick with it, however, and you will learn to wear your Wittertainee status with pride, as well as smugly congratulating yourself at how smart and knowledgeable you are about mis-en-scene and Japanese animation. A cacophony of in-jokes sandwiched between genuine banter, the best film analysis on the radio and truly impressive guests, this podcast is a must listen for wannabe film buffs.

So, fellow film lovers, what are your favourite movie podcasts? Does anyone listen to any of these? Also, if you have a podcast, drop a comment below!

Robocop (1987)

rb87
Dead or alive, you’re coming with me.

With the impending release of the Robocop reboot, I thought I would pop my nostalgia boner and revisit the 1987, Paul Verhoeven original. Oh, and spoilers for a 26 year old movie. Though you really should have seen this…

In a dystopian and crime-ridden Detroit, a terminally wounded cop returns to the force as a powerful cyborg haunted by submerged memories. (Source: IMDb)

One of the main reasons I absolutely love this movie is the amount of horrifying brutality, and almost Manga-style violence and gore throughout; a cop gets shredded with a shotgun and his head blown apart; a perp gets shot in the the genitals; and my favourite kill…a gang member ends up doused in radioactive material, after which his deformed and sagging skin and body explode on impact from Robocop’s car. I remember watching this as a child and feeling a huge void, and almost nauseous, when Peter Weller (Murphy/Robocop) gets ripped apart in a hail of shotgun blasts. Oddly enough, I still feel a little bit repulsed upon viewing it today, but that’s quickly overridden by my love of horror movies and fictional gore.

Despite Robocop being an 80s, macho-action flick, I always enjoy the way the film deals with memory, repressed or submerged. It’s interesting that the relationship between man and machine is implicit in the resurrection of Murphy, with their manipulation if his memories going wrong later in the film, and resulting in some rough justice. Also, allegory-wise, Verhoeven confirmed it was a modern day telling of the story of Jesus, which can be confirmed in this set of pixels and by this 2010 quote;

It is about a guy who gets crucified in the first 50 minutes, and then is resurrected in the next 50 minutes, and then is like the supercop of the world. (source: Uproxx)

It’s important to note that, apart from the visuals on the displays as well as Robocop’s HUD, the look of the movie stands up on viewing even today. Detroit probably looks better than it does today, the cinematography is gritty and set design has the standard Verhoeven playful-cum-dilapidated aesthetic seen throughout his dystopian sci-fi products. And much like Total Recall, this movie also has an amazing, industrial soundtrack, and one of the best theme tunes for any character in 1980s cinema.

Onto the reboot; I agree with Verhoeven that it is going to lack the soul that is obviously present in this version, which will mainly be due to the over-reliance on CGI. That and it won’t half as gory!

Robocop is an action/sci-fi classic, which not only has an interesting allegory (and fantastic style), but contains an awesome amount of horrific imagery, which should tickle the bloody-bones of any horror fans out there.

The Wolf of Wall Street

new

Based on the true story of Jordan Belfort, from his rise to a wealthy stockbroker living the high life to his fall involving crime, corruption and the federal government. (Source: IMDb)

Martin Scorsese’s latest movie, The Wolf of Wall Street, has certainly caused a stir among the critical masses. On one hand, this tale of excess – both mental and physical – has been lauded in certain circles; it has earned a Best Film, Best Director, Best Actor and Best Supporting Actor for DiCaprio and Hill respectively, as well as Best Adapted Screenplay nomination for Oscars 2014. And then on the other hand, a number of dissenters have pilloried the movie for being misogynistic, vulgar, navel-gazing and ‘boring’ (last one being Mark Kermode, 2014).

I am not sure if this says something about my personality, but I found The Wolf of Wall Street and, more significantly, Jordan Belfort, immensely compelling. Even when he is acting his most debauched, there was a part of me that felt a modicum of fist-pumping machismo for the character. Perhaps it is my fondness of DiCaprio that I only strayed from the side of the protagonist once – during a scene with his daughter – yet that is not to take anything away from a performance that would in any other year be a dead-cert for Best Actor; unfortunately for Leo he is up against Ejiofor in 12 Years a Slave. The energy DiCaprio brings to the movie is nothing short of incredible. In the past, he always embodied his characters, but there was the ‘he was Jack in Titanic‘ aspect to his on-screen presence. It’s thanks to his talent and Scorsese’s direction in The Wolf of Wall Street, that I feel this Leo’s coming of age role, and now he can be considered as one of the modern greats. Turns from Jonah Hill, Naomi Lapaglia (in her first role), as well as Rob Reiner and Jon Favreau were all brilliant, and there was even a fantastic cameo from a certain favourite around here, Matthew McConaughey, as Belfort’s career role model, Mark Hanna.

At three hours long, one could expect oneself to go on a mental stroll, however the pace, biopic-nature and playful yet dark tone of the movie is very reminiscent of Goodfellas, a comparison which has undoubtedly been drawn, but is relevant nonetheless. There are scenes of cringeworthy humour, shocking drug misuse and abuse, and a lens that falls often on bare naked ladies (no, not the 1990s pop band). However, I don’t for one second feel that Scorsese’s camera is any way misogynistic; the excess of Belfort’s life is a literal orgy of naked flesh, drugs, and money, with one capitalist fist-pumping scene after another. Yet, even though there are some women in this movie that are tools for Belfort’s pleasure, I feel the leering ends up being at Belfort while he is of his face on drug cocktails (and more drastic these scenes become), and not at the breasts on screen; they are very matter of fact breasts, if you will.

The Wolf of Wall Street was a fantastically fun movie to watch. It ticked all my taboo boxes, one of which I didn’t even know I had, and albeit for one scene of genuine darkness and abyss-staring, it was a romp and a half. It won’t win any of the Oscars for which it is nominated, but in an ideal world, 12 Years would have been released this later this year and Leo would get the recognition he truly deserves.

IH

Founder’s Day trailer

As with Crying Wolfhere at Frame Rates we love being able to provide a platform to any independent filmmakers. That’s why we are proud to present the trailer for the forthcoming horror flick, Founder’s Day!

MainFrame Pictures is proud to announce the release of the official concept trailer for their forthcoming feature film Founders Day.

The quaint, suburban town of Fairfield is shaken by the shocking murder of high school student, Melissa Thompson. The prime suspect is jailed, and the residents look to the town’s bicentennial celebration to provide a sense of strength and normalcy. When more bodies turn up, however, the citizens of Fairfield grow increasingly suspicious of one another. With no clear motive, everyone is a suspect.

Founders Day is written, directed and produced by Erik C. Bloomquist, a Connecticut-based actor and filmmaker. His recent film, Midnight Brew, starring Kyle Edward Cranston and Greta Quezada, played the Trinity Film Festival and took home the Screener’s Choice Award. Another project, Laundry Night, will soon enter its third year on international television on ShortsHD TV.

Bloomquist and his team expect to shoot Founders Day in Connecticut in Autumn 2014 and release the film in Autumn 2015.

External Links

Official Website: www.FoundersDayMovie.com
Facebook: www.Facebook.com/FoundersDayMovie
Twitter: www.Twitter.com/FoundersDayFilm
Instagram: www.Instagram.com/FoundersDayMovie
YouTube: www.YouTube.com/FoundersDay

The Frighteners, Pet Sematary, Scream 3 (Ernie’s Horror Compendium #1)

Compendium1

The Frighteners

frighteners

…is the film that put Peter Jackson on the map, but not my favourite Peter Jackson horror (stand up and be counted, Brain Dead). Before Parkinson’s Disease really fucked over MJFox, he starred as Frank Bannister, a psychic con artist that finds himself in the centre of a serial killer’s posthumous killing spree. It’s rare for a horror comedy to be both horrific and comedic, and while some of the humour comes from mild stereotyping, the mid-nineties CGI had my nostalgia boner popping, and watching this was a fantastic way to spend an hour and a half. Great stuff!

Pet Sematary

Despite having one of the best New York-based punk rock theme tunes, Pet Sematary also possesses an uncanny narrative and one of the most gut-wrenching scenes of loss in horror history. There are numerous scenes in this adapted Stephen King novel that are very creepy, and while I wouldn’t call it ‘scary’, it goes beyond your average treatment of horror movie families; I would hate to be the dad in this, put it that way. Some of the practical effects hold up to this day, and Pet Sematary is definitely one to add to your list if you are a fan of classic horror.

Scream 3

Sidney

What’s your favourite scary movie? Because I would say Scream is up there in at least my top 10. Unfortunately, Scream 3 doesn’t come close to the brilliance of the original. That’s not a detraction from the film, as it is still a lot of fun, but there comes a point when your self-referentiality has gone full circle at least twice and it gets very contrived. I felt this was a lot more action-based, and the kills were somewhat half-arsed, especially compared to the first in the franchise, but I still enjoyed the 3rd installment as a genre movie. I will get to Scream 4 sometime in the near future!

12 Years A Slave

12

One of the front-runners of this year’s Oscars is 12 Years A Slave, Steven McQueen’s latest attempt at the marriage of art and narrative film. The movie is based on the true story of Solomon Northup: an artisanal son of a freed slave, who finds himself kidnapped, taken to Georgia against his will and sold into slavery to a number of slave owners.

The fact that this story is true (and apparently not the only occasion someone was illegally sold into slavery at the time) is shocking enough, but McQueen does not shy away from showing the true brutality and undignifying existence for black slaves in the 19th Century. There are a number of scenes that are so harrowingly realistic, and acted upon a knife’s edge, that they will have you turning away out of respect for the victims of the torture. There is more genuine, effective horror in this movie than in any lowbrow torture porn flick and it is very difficult to watch.

A huge factor in how difficult the film is to watch can be attributed to a fantastically nuanced performance from Chiwetel Ejiofor as the protagonist, Northup. Ejiofor changes how Northup holds himself throughout the film; he is a proud violinist with a loving family at the beginning, and by the end he’s a complete shell of his former self, hunched and invisible when white people are around. There were some great turns from Nyong’o, Cumberbatch and Dano, but I am not sure Brad Pitt worked in his role. I also felt that sometimes, the main antagonist, Epps (Michael Fassbender), was played too much like a Disney villain, which may have been a decision on McQueen’s part to create a foil to the nuanced Northup. Whenever he explode in a fit of entitled white Christian rage it felt like the movie was trying to fit into generic narrative conventions of good vs bad, which cheapened the movie for me somewhat.

As with any McQueen movie it is shot beautifully; we get the lingering mid shots and close-ups of peoples’ faces for which the director is known. Whereas other another director would chose to end a scene when an audience would expect, McQueen managed to draw out the rawest emotion by having the nerve to leave the camera rolling just that little bit longer. In a movie such as 12 Years A Slave – a movie that is so deeply-seated in visceral emotion – this technique worked extremely well. If Shame was McQueen’s breakthrough movie, then 12 Years A Slave is his masterpiece, and I very much doubt his marriage of art and narrative cinema will ever be as popular.

12 Years A Slave is not a film into which you should go lightly. The subject matter lends itself to some graphic brutality and devastating realism that is not for the feint of heart, however the central performance from Ejiofor is definitely a reason this should, and needs, to be seen by everyone.

Resolution

RES

When Michael (Peter Cilella) decides to intervene to save his friend, Chris (Vinny Curran), from the throes of methamphetamine addiction, he chains him to a pipe in a cabin to induce withdrawal. However, as the days pass, the pair begin to question their collective sanity after some uncanny events.

Resolution might be the most thought-provoking horror movie I have seen in a very long time. Many commenters point towards films such as The Shining or OldBoy when discussing ‘thinkies’, but I feel that Resolution more than deserves its place among these classics. Nevertheless, my eulogising of this independent horror film should come with a warning; Resolution is not for everyone. In fact, I’d argue the paths which the film take might put this in a micro-category of its own.

Artfully shot, fantastically acted, and completely void of music, this creepy meta-tale of friendship, loyalty and absolution will be hard to digest for some. Unconventional is a word I will use to describe the final act of the movie, and when the credits appeared, my initial thoughts were ‘is that it?’. However, I have been thinking about this movie since Wednesday, and I would group this with Primer, insofar as I am still trying to piece together the mystery and story.

Throughout the movie there is a thick, heavy sense of dread, which intensifies as we hit the third act, yet the ‘monster’ is not ever truly established or revealed. Glitches on screen are used to alienate the audience, which is postmodern in style; the director has knowingly employed clichéd genre tropes to a stunningly original effect.

[Spoilers paragraph]

Over the course of the movie, the pair begin to see into the future via a series of video clips and audio recordings, at each time managing to avoid their impending murder. Throughout this story, Chris is adamant he will not go into rehab when they get out of the situation; the character arc is satisfyingly rich and brilliantly acted by Curran.  When the final conflict occurs, he decides that he needs to turn his life around and check into rehab. As this happens, the glitches we have been seeing over the whole movie flash and a shadow appears over the characters. They look directly into the camera and state something along the lines of ‘…have we done it wrong? Should we do it differently?’. I believe that this line turns the audience into the monster, and that the director is making a statement about horror movies and our relationship with the archetypal characters with whom we are all so familiar. At each step, Chris and Michael make decisions based on logic, while at the same time learning about themselves and each other. It’s possible to forget you are watching a ‘horror’ movie at points, yet the feeling of dread undercuts moments of humour and drama, which keeps reminding us of the horror genre and it plays on our expectations; by addressing us directly I believe it’s an admission that we were expecting them to die due to the nature of the genre. It’s a play on the ‘give the audience what they want’ type of thinking in movies.

[Spoilers over]

Resolution was a difficult beast to dissect and I feel I have only scratched the surface of this postmodern, meta-horror. It was funny, tense, wonderfully shot and excellently scripted (despite an overkill amount of the work ‘fucking’). I don’t want to come across as a hipster for liking this movie, because it honestly is not for everyone, but if you watch it, you’ll definitely have something to think about for a long while.

Frame Rates Movies of Our Year 2013

HNY

Belatedly, it’s that time of year where we should have a retrospective on the past year’s releases. However, as we don’t explicitly keep up-to-date with every current release on Frame Rates, we are going to offer up our individual winners from a selection of categories pertaining to our own 2013 movie viewing; think of it as a Frame Rates Year-End Review. So without further ado… (click on the films in blue to read our original reviews)

Ian’s Picks

A 2013 Top 3 [That I’ve Seen]

1. Gravity

2. You’re Next

3. Mud

mud

It’s official: Matthew Maconaughey is a great actor. Gone are his leaning days, and in has been ushered an era of convincing, humble, compelling characters and a likability that makes him even more believable. Even though he was the whipping boy of Hollywood for many years, it was all for the best, as now his resurgence is epitomised by his role in Mud. A fairy tale of love, redemption and friendship, I was completely on board throughout, I was touched by his relationship with the young protagonist, and thrilled until the very end by the perfectly-toned action and adventure. An entry into MM’s best roles, and certainly one of my films of the year.

I’ve Already Watched it Twice

Blackfish

My iTunes Rental of the Year

The Loved Ones (2009)

Surprise of the Year

The Conjuring

I Wish I Hadn’t Bought It

Only God Forgives

ogf

2013 was the first year in which I let a man jerk off in my face for 90 mins. Obviously I am talking figuratively, and about the boring, ultra-violent, collage of red and pink in Only God Forgives. Winding Refn’s oeuvre is beautifully shot, brutal and very easy on the ear. Drive rightfully deserves its place among the best films of 2011 and is certainly his best work. Unfortunately, Only God Forgives is littered with awful dialogue, horrible pacing, and if it weren’t for the saving graces of the woefully under-used Kristen Scott-Thomas and the aforementioned cinematography, I would have turned this off after 20 minutes. I couldn’t even get behind the violence and gore, and that’s the main reason I stuck with Homeland beyond episode 6 this season. Very disappointing indeed.

I wish I’d Seen it at the Cinema

V/H/S/ 2

vhs2

There are very few sequels that stand up to the original, but boy does this go against that particular grain. V/H/S/2 was something I didn’t get to see at the cinema, so when I watched this exciting, bat-shit insane, gorefest in HD, I couldn’t help but think I should have cancelled all those plans I had during its cinema release to see it on the big screen. ‘Safe Haven’, one of the shorts, might be one of the best pieces of horror cinema I have seen. Honestly, if you are into copious gore, robot eyes, cute dogs, weird cults, and exceptionally good found footage horror, check this out. You won’t be disappointed.

Worst Film

Now You See Me
Fuck this movie. Seriously.

Lauren’s Picks

A 2013 Top 3 [That I’ve Seen]

1. Gravity

2. Behind the Candelabra

3. Despicable Me 2

despicable-me-2-gru-is-kidnapped

I think its always a risk, however inevitable it seems these days, to make a sequel when a film is as good as Despicable Me, so I was understandably wary going into Despicable Me 2. Ten minutes into the film I let out a sigh of relief. The characters were funnier, more charming and all the elements of the first film that we liked and wanted to see more of had been piled on and ramped up; basically more minions and more fart jokes. The introduction of a love interest for Gru added a new layer to the story and allowed the development of the family unit to play out, keeping the story fresh and interesting. Gags, stunts, gadgets, villains and the cutest animated infant since Boo from Monsters Inc. meant this really was a joy to watch.

I’ve Already Watched it Twice

Blackfish

Sorry same choice as Ian!  I have watched this twice now and have high hopes for this as we go into the 2014 awards season. This film is changing public opinion in a big way, a testament to how fantastic this film really is.

My iTunes Rental of the Year

Gone Baby Gone

Surprise of the Year

The Impossible

I wasn’t the one to originally review this film back May and I won’t attempt to better Ian’s wonderful write- up but I think its worth mentioning my reasons for selecting it as Surprise of the Year. When the marketing campaign for The Impossible was rolled out around Xmas of 2012 I couldn’t have been more disgusted with the lack of taste and sensitivity of the films subject matter. In my eyes it was too soon and any attempt at dramatising the 2004 Boxing Day Tsunami was mercenary and exploitative. Boy I couldn’t have been more wrong. This is a beautiful film that emotionally grabbed me and did so in a way that memorialised the victims and put into perspective the realities of the disaster.

I Wish I Hadn’t Bought It

21 & Over

I wish I’d Seen it at the Cinema

Star Trek Into Darkness

star-trek-into-darkness-enterprise

Yeah Star Trek! Yeah J. J. Abrams! Yeah Benedict Cumberbatch! Love love love love. Building on the strength of the first movie (first reboot – yes I know Star Trek has been around for as long as Christianity) Star Trek Into Darkness capitalises on the friendship of Spock and Kirk and tests the crew of the Enterprise with a deliciously evil foil in the form of Benedict Cumberbatch. Star Trek for me is going from strength to strength as Abrams develops and moulds his imagined universe. The action sequences are exciting – hence the regret I watched this on a 5 inch phone- and the dialogue pitched just right to be both funny and dramatic. Great film.

Worst Film

Pacific Rim

PACIFIC RIM

I love Sci-Fi and the thought of giant robots/nuclear powered war machines fighting giant sea monsters fills me with all sort of glee, which makes this disappointing as well as dire. The dialogue in Pacific Rim is some of the worst I have ever heard, the acting is over the top and hammy, and the CGI monsters have no depth or substance to them at all. I hated this the entire 2 hours it was on and I’m still angry now. I wouldn’t be surprised to see a tank of manatees credited as Scriptwriters. Guillermo del Toro I expected better. Although nice to see a former EastEnders actor getting a big break. Shame he was butchering an Australian accent and ruining every scene in which he appeared….

Classics reviewed by a 13 year old: Citizen Kane

CK

Ugh. So my stupid dad thought we should spend some time together this weekend, so he dragged me to the BFI in London to watch a really this crap black and white film called Citizen Kane. I don’t know why he was so excited because all I saw was like 3 hours of talking and nothing else. On the poster is said it won some Oscars, but that was like back in the Victorian times, so it doesn’t surprise me. Literally all they had back then was coal and bad teeth. That’s what I learnt in history anyway.

Anyway, so the film was about a rich man in America who dies and then it’s like a flashback to when he was poor. THEN NOTHING HAPPENS for the whole time. There is this crazy search for some roses for the whole film (why didn’t they just buy some), and then more talking. Then he becomes rich and there are newspapers flying around everywhere (I think that was then), and then he dies again. All of his stuff gets burnt and then for some reason the film ends looking at a stupid snow sled. Sorry, but that’s just a terrible ending in my opinion. Can you believe that people were clapping the film when it ended? #Idiots.

To conclude, if you want to watch a film that has no point at all, watch Citizen Kane. The black and white colour was a poor choice from the director because it was too dark sometimes, there was too much talking, and they didn’t even find the roses that they were looking for for the whole stupid film.

Devil’s Pass [The Dyatlov Pass Incident]

face

When a group of documentary filmmakers set off to the Ural Mountains in Russia to investigate a 50 year-old mystery, surviving in the freezing landscape becomes less and less likely, as they discover something sinister lurking beneath the snow.

Renny Harlin, director of Die Hard 2, returns with Devil’s Pass, a found footage horror that feels slightly out of place, and late to the party, among recent releases; The Tunnel and Lake Mungo spring to mindBoth of these horror films were different, exciting and contained great elements of horror, resulting in a rewarding cinematic experience. Right from the outset of the film you can see what Devil’s Pass was going for in its tone. Unfortunately, this promise falls apart quite quickly.

Harlin has constructed a visually compelling piece, capturing the beautiful snowy vistas as well as tying in some good post-production effects, however it was confused storytelling that caused this movie to fall flat. There are a number of changes in tone, at the beginning of each act, which are quite jarring. The beginning of the movie was presented in a similar way to the aforementioned The Tunnel, which was a clever hook. Nevertheless, this ended, and the found footage in the second act came across as too polished and glossy, unlike the news reports prior. We also visit some themes in the third act that question the very use of found footage as a storytelling device, and made me wonder why this wasn’t a conventional fiction film, rather than ‘found footage non-fiction’.

The acting is decent, and there are some tense moments of natural peril, but again, once the third act hits and the antagonists are revealed, I couldn’t help but laugh at its impotence as a horror. And then there is the final, almost confusing aspect of the movie: it has almost nothing to do with the Dyatlov Pass incident upon which the film is ‘based’. The beginning of the movie has the standard ‘based on a true story’ spiel, and then throughout we are drip-fed information about the real story, but the Wikipedia page is actually more interesting than anything seen in Devil’s Pass; the final mystery twist feels about as tepid as monsoon rainwater and it’s all just very silly, for want of a better word.

Unfortunately, while being competently made, Devil’s Pass has too many huge storytelling flaws that result in the movie being only slightly better than your average 5/10 found footage horror.

Now You See Me

scren

The FBI and Interpol assign detectives to investigate a team of magicians – the self-proclaimed ‘Four Horsemen’ (Eisenberg, Fisher, Harrelson, Franco) – who perform elaborate bank thefts in their shows and repatriate the money that they steal to their audiences.

Now You See Me, a movie that tries so desperately to be this generation’s Ocean’s Eleven, is one of the most boring, inconsequential and utterly preposterous movies I have seen this year [no hyperbole]. This confused, half-arsed mess of a film is over-stylised and heavily post-produced, presents completely dislikable characters that do sod all, and has zero story arc. Zero. Nada. Nothing. Zilch.

The film has a singular, long, flat, dull act that trudges along in first gear and barely makes it to the finish line in one piece. No amount of lens flare (of which there is an obscene amount), or Isla Fisher flying around in CG bubbles, or Jesse Eisenberg being the jive turkey cunt he plays so much of late, or Dave Franco shooting CG flames out of his sleeves, can save this movie. It’s absolutely awful.

One of the huge problems I had with this movie was its tone. It’s nestled somewhere between magic shows in which they try to present the magic as ‘real’, yet has scenes filled with CG effects that aren’t magic at all, where it’s basically a fantasy narrative. The Prestige, a movie also about magic, barely relied on CG effects to deliver its scenes of wonderment. Now You See Me used a computer to execute card tricks, which was a complete insult to the entire concept of magic.

Another issue was the writing and the story itself. The screenwriter felt compelled used Basil Exposition in the character played by Morgan Freeman. The only scenes in which we see the Four Horsemen (which should be Four Horsepeople on account of Isla Fisher) together are when they are on stage or about to go on stage. There are no character dynamics explored, nor is there an explanation of motivation for the great mystery revealed at the end of the first act, which as discussed, is at the end of the film.

The final nail on the coffin for this movie was how the crowds were reacting to each trick. In the final scene, whole swathes of people, chant and whoop for these characters in a similar display to the people of New York City in Ghostbusters 2. It was such a strange departure from the tone of the rest of the movie.

I could go on and on about it’s utter failure as a movie, but it’s not even worth my time. Now You See Me, the movie which if you do what the title says, you’ll be bloody annoyed you did.

First Look: British horror comedy “Crying Wolf”!

2014 is going to be a year with more bite than bark.

Crying Wolf, a British horror comedy from the mind of Tony Jopia (Deadtime, Cute Little Buggers), tells the story of macabre and gruesome events in the quaint English village of Deddington. When a local girl, Charlotte, gets ravaged by a mysterious beast, teams of desperate reporters, crazy detectives and revenge-seeking hunters try to uncover the truth before it is too late.

Crying Wolf stars Caroline Munro, Gary Martin, Joe Egan, Kristofer Dayne and Ian Donnelly, it is released in March 2014 and you can check out the trailer and first pictures here!

We are both very excited by this low budget movie. From the trailer it seems to be perfectly toned as a British horror comedy, clearly has a sense of knowing, and some great makeup, CG and gore effects. Watch this space…we certainly are.

twitterfacebook

 

How much would you pay for an Internet cinema ticket?

1002138_1396407007244633_1863424876_n
This isn’t an Internet cinema ticket, but we all have imaginations.

Regardless of what you thought of the film A Field in England, it did something extraordinary on its release; it was put out at cinemas, on DVD, on various VOD services, and played on terrestrial TV on the same day, all of which cost different amounts to watch, some of them being for free (SHOCK!).

Being not a tech dinosaur, I absolutely loved this because, as we all become more savvy to technology, we are becoming curators of how we consume our content; I rented the movie from iTunes and watched it on my flight to San Francisco…yes, I paid when I could have watched it for free on the TV a week earlier. No longer are we passive in media consumption; we have DVRs; we create playlists of tracks from different albums on services that offer pay monthly models; we save articles from different news sources to read later; we are members of streaming services that offer myriad films of all genres for less than a ticket to the cinema per month. And the amount of screens we have in our lives are increasing; here in the UK, 12m adults over the age of 18 own a tablet, which is almost 30% of the adult population. While all this innovation is happening in technology and media distribution, most movie studios, their distributors and subsequent big cinema chains, bar the absolute minority, are woefully behind the times. I say most because there are a few cinemas that have seen the shift in mass market media consumption and are now offering Home Cinema passes for individual films; http://www.curzoncinemas.com/film_on_demand/.

At Curzon, they aren’t offering Category A releases (your blockbusters, ‘director’ releases, etc), but some of them aren’t available on VOD yet, which is great…until you see the price. £10.00 ($16.00), I think, is a high price to pay to watch a new movie from the comfort of your own home. Let’s list a few of the reasons for this being too high;

  • Joe Public doesn’t have a digital projector and a 50 foot screen, onto which they can project a 4k version of the film, in their living rooms
  • No one has a cinema standard sound system in the same living rooms
  • I am sure a large number of people would be renting on a laptop, an iPhone or iPad, any other tablet, etc, which is not the most engaging way to watch a movie, but we all still do it
  • The whole point of charging a premium at the cinema is because there are other amenities, such as food halls, shops, pubs, etc, in the area, out of which you can make a Friday night

Truth be told, if the movie was a new release, such as the up-and-coming JGL movie, Don Jon, I would probably pay £10 and watch it at home because most cinema audiences are quite annoying, but that’s besides the point. If studios want to move with the times and be seen as innovators of their product, asking people to pay exorbitant rates does more harm than good from the outset. Personally, and we are talking ballpark here, £5 is a massively reasonable number to pay for home cinema release of a new movie. Obviously, this would be alongside a wide cinema release, where you pay normal rates; people will still go to the cinema for exactly the reasons discussed above. I don’t think the skeletons that run Hollywood have the guts to change their legacy economic models, which means they will undoubtedly make up their margins by charging a small fortune, but this is not how it should be done. If they are going to develop home cinema releasing, they should take a risk and treat a new movie release like a premium rental on VOD! Let’s face it, if someone falls in love with a movie, they will always pay for it in the end (I have three copies of Shaun of the Dead!).

So, how much do you think a home cinema ticket should be? Do you think it would harm multiplex cinema chains? Do you care if it does harm multiplex cinemas as long as movies are still economically viable and keep being made? Do you think the film industry needs to move with the times and start catering for their audiences’ needs rather than those of the banks?

Happy Monday, everyone! And if you’re in the UK stay safe and out of the storm!