I have to first start of by saying, sometimes reviewing a film is difficult. It’s easy to look at someone’s hard work, then critique it from the safety of your own computer. Not taking into consideration what they may have had to go through to get their vision made. Studio cutbacks, poor acting, time conflicts etc. I’m sure even with the same budget, time constraints, actors/actresses, I wouldn’t be able to pull off something even close to this. But as they say in Hollywood, The show must go on!
Where do I begin with this film.. I initially was intrigued by the cover and the synopsis of this piece.
Set in a world where demons live among us, this exhilarating vitrine of effects and action sees a hard-boiled demon named Vine confronted with the ultimate choice between the salvation of his own kind and the life of an innocent human girl.
This film begins with sort of a “Shock and awe campaign” but immediately falls short and just comes across creepy. And not in the this is scary and could get good sort of way, more of a what the hell am I watching sort of way.
Fire City then goes quickly from a gory, rapey, demon movie, to a CSI of apartment dwelling demons. And yes you heard me correctly, a CSI of demons. Most of which come across on screen like super low budget Star Wars spin off.
The movie follows Vine, a demon who has found his place on Earth as the feeder of other demons in his apartment complex. The demons feed off of the misfortune and misery of the humans who live there. Suddenly Vine awakens to find that everyone has found happiness and peace. There mysteriously is no misery in the world around him. As the demons begin to starve, Vine realizes he must unravel the mystery of what is causing this to happen. Hence the CSI.
The movie takes some twist and turns, that only lead outside of this apartment building one time.
I was confused most of the film as to what was going on. The question you might be asking yourself is, “Why didn’t you just turn it off?” The answer is simple. I actually began to find it funny. I know Director Woodruff was not going for a comedy here. But if you actually look at it as such, it becomes a decent film. The ending of this film doesn’t do much to help you understand what you just witnessed. But It definitely stays true to itself. Being that its confusing, and kinda silly.
If you want a laugh, or are into this sort of thing, by all means check it out. But if you are like me and maybe just expect a little more out of an Indie film, please do not and I mean do not put yourself through it.
Zola Review | An Imaginative, Darkly Comedic Adaptation
In October 2015, A’Ziah “Zola” King’s 148-part saga of a trip to Florida took Twitter by storm. The viral story was hilarious, suspenseful, and disturbing at times, all told through Zola’s compelling and singular voice. It brought about a new kind of storytelling via social media whose influence lives on in Twitter and newer platforms like Instagram and TikTok. Film is certainly not a new medium but Janicza Bravo’s feature based on the thread offers an experience so fresh and imaginative, it feels like a new form.
Zola (Taylour Paige) befriends Stefani (Riley Keough), a patron at the restaurant she works at. Despite Stefani’s unapologetic use of blaccent and over-the-top ratchedness, the two women (one black and one white) have an instant connection after bonding over stripping and frenemy activity on social media. When the two are together, their surroundings fade as they appear alone in a beautifully lit hall of mirrors. The chemistry between the characters during their first encounters is not unlike the meet-cutes of the rom-com genre. Mica Levi’s music box-like score, along with the film’s shiny visuals, convey a dreamy setting at the beginning that soon becomes a nightmare as the story unfolds.
Stefani invites Zola on a “hoe trip” to Florida, where their plan is to dance and make a ton of money. The women are accompanied by Stefani’s boyfriend Derrick and her shady “roommate” X, played by Nicholas Braun and Colman Domingo. Both characters are contrasting figures in Stefani’s life, with Derrick being hilariously weak while X is terrifyingly controlling. Domingo’s enigmatic performance and flip-flopping accents further prove that he is one of the best character actors working today.
As soon as the four arrive in Tampa, it is clear that this trip is not what Zola expected and we watch her navigate through a dangerous weekend that, as she says, is “full of suspense.” Bravo gives us a brightly colored palette and Twitter sound effects to capture the outrageousness of the twisty story. Still, it’s Paige’s performance that keeps the film grounded. Paige can adeptly deliver Zola’s sharp wit in Bravo and co-writer Jeremy O. Harris’ script but it’s her more silent moments that give the movie depth. Twitter gave us Zola’s funny take on a night gone wrong, but Paige and her expressive eyes show us her at her most vulnerable. Keough has the difficult task of portraying a woman that will make you laugh, cringe and even feel sorry for her despite all of her wrongdoings. It’s a bold performance (particularly when the movie changes its POV for a bit), but Keough is able to give the character balance and avoids becoming a full blown caricature.
Not only does Zola tell an entertaining and raucous story, it also exposes the facade of social media presence. Vibrant costumes, candy-colored visuals, and even a car ride turned mini music video all give the impression of a fun and sensory experience but under the surface is a dark story. People’s real lives are different from what they put on their social media accounts and Bravo uses contrasting elements to shed light on the duality of online and offline lives. Zola also breaks down another facade in the form of Zola and Stefani’s interracial friendship. Stefani immediately endears herself to Zola but eventually, her bad intentions come to light. Stefani’s blatant cultural appropriation is played for laughs in the beginning but her betrayal toward Zola is a reminder that in modern society, there are still strides to be made between white women and women of color. Just like Zola says, “the same bitch that wanna smile in your face be the same bitch that gonna come for you later.”
Zola is now playing in limited U.S. theaters and will be released in UK cinemas on August 6th.
Together Together | Review
In Together Together, the main character creates an app named Loner where users can view strangers’ photos without ever having to contact them or see them again. It’s an incisive commentary on how social media and dating apps have allowed us to engage with someone for as long as we want and just as easily move on to whoever is next. But what happens when you genuinely connect with someone even though you know the connection cannot be permanent? That’s what happens when two people meet via a gestational surrogacy arrangement. Together Together, Nicole Beckwith’s refreshing and touching dramedy breaks free from the trappings of the rom-com genre by focusing on the power of platonic relationships.
Matt is a forty-something, single man ready to become a father who enlists Anna, a 26-year-old barista, to be his surrogate. The pair make for an unlikely duo not just because of the age gap but also in their difference of temperament. Ed Helms’ Matt is a well-meaning but overbearing father-to-be, while Patti Harrison’s Anna is dry, witty, and a bit cold before opening up as their friendship develops. Throughout the pregnancy, they begin spending much of their time together during doctor appointments, dinners, and eventually, overnight stays. As the two grow close, audiences might expect to see romance blossom, but writer-director Nikole Beckwith seems to have no interest in the will-they-won’t-they story here.
There are certainly elements of a typical rom-com like witty banter and the sweet getting to know each other conversations. Still, Beckwith consciously chose to spotlight the rarely-portrayed platonic love between a man and woman rather than a romance. Anna and Matt are not only connected through surrogacy but also as people living life “alone.” In a poignant scene, Anna asks Matt why he is having a child alone, and he says he needs to move forward and it just so happens that he’s doing it by himself. He mentions a previous long-term girlfriend, but the film smartly does not delve into his failed relationship or the background of his decision to become a single father. Matt’s unconventional choice is shown to be a bold and earnest one rather than one of desperation.
Anna’s journey through surrogacy is also portrayed in unexpected ways. As a young woman who is not currently in contact with her family, she unwittingly finds herself growing attached to Matt even as he crosses the boundaries of a typical surrogacy arrangement. He drops by her work unexpectedly and questions her about her sex life. While Matt is open and excited to connect with the woman carrying his child, Anna is initially resistant and for a good reason. Anna’s friend and coworker Jules (played hilariously by Julio Torres) reminds her that this time is finite and whatever Anna and Matt are will have to change after she gives birth. Harrison adeptly plays Anna’s heartbreak of knowing this special time in her life will end soon while Matt’s has just begun.
Together Together’s clever and awkward humor and a deep bench of supporting comedic actors (Tig Notaro, Nora Dunn, Fred Melamed, Sufe Bradshaw) are what get the film going, but it’s the genuine tenderness between the protagonists that sustain it to the end. We see this in the film’s seemingly abrupt but fitting final scene. After intimately capturing Anna and Matt as partners in surrogacy, the camera focuses solely on Anna for the concluding shot as we see relief and sadness wash over her face. It’s a reminder that even the most meaningful relationships in our lives aren’t always meant to last forever.
Together Together is now playing in limited U.S. theaters and will be available on VOD on May 11th.
Blood and Money | If You Admire Tom Berrenger, You Should Of Course Watch This One
I just want to get out there and bag my buck.
If you start watching this movie without any prior knowledge, you’d swear it was a flick from the 80s. A film period in which Tom Berenger also played in old-fashioned crime pictures such as “Someone to watch over me” or “Shoot to kill”. I’ll always remember this actor as Sergeant Barnes (the ruthless soldier with a hideous scar who wanted to kill all Vietnamese, no matter what age) from the legendary Vietnam film “Platoon”. It’s true that this all-rounder was a lot younger in this war movie. Tom Berenger has reached the blessed age of 71 this year. But that didn’t stop him from stumbling through the icy landscape of Allagash (a town in the North Maine Woods region) in search of game.
An old man with a heavy mental burden.
And you can take that stumbling literally. Not only is he an elderly man. Apparently he also suffers from a disease that causes him to cough up blood from time to time. So for Jim Reed (Tom Berenger), it’s a tough job to move through the thick snowpack. In addition, Jim also carries a very heavy mental burden. As the film progresses, this dark secret is revealed little by little. The fact that you see him attend an AA meeting gives you an idea of what’s the source of all his woes. An event that caused this ex-Marine to lose a beloved family member and the rest of his family refusing any contact with him. Actually it’s something similar that Rayborn is going through in “The Silencing”. Coincidentally a movie I’ve seen only recently.
Oops, wrong deer.
“Blood and money” is a terribly slow film. In the first part, we get to know Jim who’s hunting for deer in the vast nature reserve. You witness the solitary life he leads in his converted camper. And the friendly relationship he has with the not so unattractive waitress Debbie (Kristen Hager) in a diner. A desperate woman who would like to leave that godforsaken place and who also has her domestic problems. And then there are the occasional talks with a kind of forest rangers who register those who enter or leave the nature reserve. In short, little to get excited about. Until Jim spots the deer he’s so desperately looking for. He aims and fires a fatal shot. Unfortunately, there won’t be a juicy piece of deer meat on the table during the Christmas season. Because he accidentally shot and fatally injured a woman. And when turns out she’s a member of a gang who just robbed a casino and Jim finds a gym bag full of dollar bills next to her body, you expect the movie to get more action-packed and exciting.
Well, that’s what you expected. Right? Forget it. That’s only partly true. It won’t become an impressive or spectacular movie after all. In the first place, you can’t expect a retired hunter with walking difficulties to behave like a crafty, in-shape kind of Rambo. I also had the impression that he always traveled the same route on a limited square kilometer. The advantage is that you can enjoy the idyllic snow landscape immensely. But I’m sure most viewers expected a different kind of entertainment than beautiful “National Geographic” footage. And secondly, you can expect really idiotic bad guys who, provided they had a certain amount of intellect, could have easily overpowered this old guy. The way they were tricked by him sometimes, was downright laughable. Besides finding the bag of dollar bills, Jim isn’t exactly born for luck either. You’ll figure that out every time he manages to capture a weapon.
It was kind of mediocre.
“Blood and Money” won’t leave an everlasting impression. The story itself is nothing new. Only Tom Berrenger makes an impression, given his age. A character role pur sang. Unfortunately, they were unable to go into his personality deep enough. What happened to him in the past remained rather vague. Furthermore, the action part seemed rather amateurish. So it felt like a mediocre film. If you admire Tom Berrenger, you should of course watch this one. However, there are better thrillers that also take place in a snowy landscape.
My rating 4/10
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