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Boiling Point | Review

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Films like 1917 and Birdman get talked about frequently for being all in one take despite the fact that they weren’t entirely filmed in one long shot. They were stitched together using digital trickery from a number of shorter shots- albeit still longer than the average movie shot length- to give the illusion of being shot in one take. However, there are very few films, of which Boiling Point is one of them, that were actually shot in one take.

The film takes place over the course of a single night and it’s one of the busiest nights of the year for commanding head chef Andy Jones (played by Stephen Graham) in his high-end restaurant in London. The film opens with the health inspector docking their hygiene rating down from 5 stars to 3 and it only gets worse for Andy from there. The restaurant is overbooked and they’re running low on food all whilst trying to cater to the ridiculous demands of the customers.

What follows is a tense and stressful experience following Andy trying to get the restaurant and its staff to do the right thing at the right time and it being all in one take helps to put us inside the restaurant and to feel that same sense of claustrophobia and anxiety that all the staff are feeling in the film.

It’s crisis after crisis coming at Andy as everything he’s worked for is on the line and Stephen Graham does an excellent job in the lead role. Not only does he give a performance that would be worthy of high praise in any regular film but the fact that he gives this incredible performance and continues to keep it up over the entire 90-minute runtime in the single take is even more of a remarkable accomplishment.

The film was shot in the UK in March 2020 and due to the escalating scale of the pandemic and not wanting to keep too many people in close proximity to each other, the planned 8 attempts that were going to be made to film it, twice per evening for four days, had to be cut in half to just four takes over two days. In the end it was the third take that was used as the final film but nonetheless it’s an incredible feat to shoot a film in just one take, an even greater achievement when they did it in half as many shoots as expected. But the greatest thing of all about this is the fact that Boiling Point is a great film.

The one shot never feels gimmicky, and the film stands on its merits even without the one-shot aspect. It always felt necessary. The camera was never moving purely for the sake of it but every movement felt motivated and it felt like it added to our experience watching the film. It put us right there in the restaurant making it one of the most stressful films of the year.

Whilst on the whole, the film is incredibly tense and stressful, there are a few moments in which it’s clear where certain plot points are going. For instance when one customer comes in with a nut allergy that’s not been noted down on the booking and isn’t in the system, it’s fairly obvious that this nut allergy is being mentioned for a reason and there may be something that happens a little later down the line related to said nut allergy.

Boiling Point boasts stunning cinematography and camerawork as well as a fantastic lead performance from Stephen Graham, presenting a one-shot film that is thoroughly engrossing and incredibly captivating. Who knew that 90 minutes inside a restaurant could be so gripping and stressful?

Boiling Point is released in US cinemas on November 19th and on digital from November 23rd and in UK cinemas on December 31st.

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Disney

Disney’s Latest Star “Wish”

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Ariana DeBose as Asha in Wish (Disney)

Plot

Walt Disney Animation Studios’ “Wish” is an all-new musical-comedy welcoming audiences to the magical kingdom of Rosas, where Asha, a sharp-witted idealist, makes a wish so powerful that it is answered by a cosmic force—a little ball of boundless energy called Star. Together, Asha and Star confront a most formidable foe—the ruler of Rosas, King Magnifico—to save her community and prove that when the will of one courageous human connects with the magic of the stars, wondrous things can happen.

Ariana Debose as Asha in Wish (Disney)

Movie Review (no spoilers)

The film is inspired by Disney’s centennial, which ties together a central theme across most of the Disney-related stories — of wishes and dreams coming true. One can view it as the origin story for the wishing star, albeit a funny star. Disney delivers a feel good story filled with humor and the occasional teases and links to other Disney-related works. Ariana DeBose braces the big screen as the hero, Asha who discovers a sinister secret about King Magnifico and his use of the wishes.

Ariana’s performance performance is amazing and I enjoyed listening to the songs she performed. I foresee “This Wish” topping the charts at Spotify soon.

This Wish by Ariana DeBose (Spotify)

Chris Pine plays the part of King Magnifico and delivers a good performance as the villain. We hear him sing a song alongside Ariana, At All Costs.

At All Costs by Chris Pine & Ariana DeBose (Spotify)

The story delivers the usual fun characters that Disney brings along in all stories, amazing graphics of a magical world, and an amazing song library for everyone to listen to. This movie is excellent for young and old, delivering a feel-good movie for all. Wish is yet another treasure in the world of Disney.

I’m really excited for the next 100 years of Disney magic. The movie Wish has the potential to become a sequel, or even provide potential spin-offs exploring the wishes and dreams of others in the magical Disney Universe.

My wish is for more many more years of movie magic from Disney. What is yours?

My rating is a 4 out of 5 for Disney’s Wish. Watch at a cinema near you and join in the Disney centennial celebrations!

Wish Official Trailer (Disney)

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Reviews

‘The Holdovers’ Review | Paul Giamatti, Alexander Payne Reunite For This Year’s Most Beautiful and Poignant Comedy

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Paul Giamatti and Dominic Sessa in 'The Holdovers' (Focus Features)

“They don’t make them like that anymore” is one sentence that we hear a lot when it comes to cinematic brilliance. Most of the times, it is used for titles that might be considered a classic. Sadly, this sentence is being used too often these days and even for those projects, that might not even qualify. However, Alexander Payne’s The Holdovers is undoubtedly one of the movies that deserves to be called an instant classic and I can wholeheartedly say: “They don’t make them like that anymore.”

The holiday season has arrived and audiences want to see movies that makes them feel that holiday spirit. Although it is very rare to see both these qualities in the movies these days, ‘The Holdovers’ has quietly gained popularity among cinephiles this holiday season, emerging as one of the year’s best films among audiences.

The movie is set in a boy’s boarding school in New England in 1970. Paul Hunham is a stern yet brilliant professor who refuses to give passing grades to rich students just because their parents are some of the school’s biggest donors. He is firm and doesn’t let these brats take advantage of him. On the other hand, we have Angus Tully, who is the son of wealthy parents attending the school who tends to ready the students for top universities. It’s Christmas time and everyone is going home, but things take a wild turn for Hunham when he is forced to babysit for children whose parents are unable to let them return home for the holidays. Eventually, Tully ends up being the only child in Hunham’s supervision. As the two begin to spend time with each other, they slowly begin to know much more about each other and understand why they are how they are.

Dominic Sessa, Da’Vine Joy Randolph and Paul Giamatti in ‘The Holdovers’ (Focus Features)

There is no doubt that Paul Giamatti’s role as Paul Hunham is one of his most compelling roles. Make no mistake, Giamatti has given several amazing performances, but Hunham turns out to be a role that makes audiences realise how truly amazing he is as an actor. The way he insults people in this movie is hilariously brilliant. It seems Giamatti had a lot of fun while shooting this film and went down the memory lane to prepare for the role. Giamatti is just breath-taking in this role. On the other hand, Dominic Sessa is truly a revelation here and delivers a performance that touches everyone’s heart. In the beginning, you might not like his character but as the story moves forward, you understand why he is like this and Sessa completely nails it.

Da’Vine Joy Randolph delivers a deeply heartbreaking performance as a grieving mother in the film. Randolph gives a detailed performance showing both deep sadness and moments of happiness. It’s a portrayal of grief that feels very genuine and touching.

Even though there are moments that makes the film touching, ‘The Holdovers’ is hardly a serious drama. It’s a very welcoming holiday movie that doesn’t shy away from being funny and absurd. These characters have faced sadness, loss, and pain. However, the movie bravely allows us to laugh alongside them, as their humorous shortcomings transform a typical holiday stay at home into unexpected hospital visits and adventurous trips spanning multiple cities. For many people, it will be nostalgic to see this old-school sweet holiday movie that they must have seen in their youth and takes them to a time where people cared about feelings.

All in all, THE HOLDOVERS is a moving, bittersweet comedy drama that instantly becomes a Holiday classic. A story where you’d think how emotions don’t change even though life has.

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Reviews

‘Nightingales In The Cocoon’ Review | A Captivating Tale Celebrating Hope and Joyous Shared Moments

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Official poster of 'Nightingales in the Cocoon' (Unchained Pictures)

Nightingales in the Cocoon is a vivid and heartwarming portrait of transformation and connection in a bustling city. The short beautifully captures the essence of hope, resilience, and the power of shared experiences. In just five minutes, this story carries a profound message that transcends its simplicity. Dharavi, often characterized by its challenging environment, serves as the backdrop for the story’s beginning. It sets the stage for two children’s life-altering decision to break free from their past. This decision, in itself, is a testament to the human spirit’s resilience and the pursuit of a better life.

The symbolism of leaving behind what is perceived as “trash” is a powerful metaphor for shedding the burdens of the past. The discarded keyboard, seemingly insignificant, becomes a symbol of forgotten dreams and overlooked opportunities. As fate would have it, two young kids in Navi Mumbai stumble upon this abandoned keyboard, which becomes the catalyst for a heartwarming journey. The excitement and curiosity the keyboard sparks in them are relatable and heartening. It reminds us of the pure joy that simple discoveries can bring, especially to young minds eager for new experiences.

A still from ‘Nightingales in the Cocoon’ (MUBI)

The act of acquiring batteries to breathe new life into the neglected instrument is a moment of resourcefulness and determination. It’s a reminder that even in the face of challenges, a little effort can rekindle lost passions and unlock new possibilities. The transformation of the once-silent keys into a source of melodies that fill the air is a beautiful metaphor for the transformative power of art and creativity. The kids’ dance to these newfound tunes is a celebration of life’s simple pleasures and the joy of shared experiences.

This story serves as a reminder that shared moments of happiness can bridge the gaps between individuals and communities. In the bustling city where stark contrasts exist, the shared joy and rekindled dreams bring people together. It’s a testament to the universal language of music and the ability of the human spirit to find connections even in the most unexpected places.

Nightingales in the Cocoon beautifully captures the essence of hope, resilience, and the universal desire for connection and joy. It’s a brilliant and simple narrative that reminds us of the beauty in the everyday moments of life and the power of transformation and human connection.

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