Joana Hadjithomas and Khali Joreige cast a wide net when it comes to their artistic expression: making documentaries, narrative films as well as a range of other different art installations – talk about creativity!

Their latest project sees them turning their talents once more to feature filmmaking, as they write and direct new drama, Memory Box.

The film stars Rim Turki, playing single mother Maia who lives in Montreal with her teenage daughter Alex, played by Paloma Vauthier. 

Maia’s mother, played by Clémence Sabbagh also lives nearby and whilst visiting on Christmas Eve a large parcel is delivered containing a collection of notebooks, photographs and audiotapes that Maia had previously sent to her friend in France from Lebanon during the Civil War.

The box reveals to Alex a hidden history about her mother but also raises tensions between them and her grandmother, who like Maia is also reluctant to expose Alex to the full extent and truth of their past.

Scrapbooking and Storytelling

Credit: Abbout Productions

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The film begins in the midst of a raging blizzard on Christmas Eve in Montreal, with Alex and her friends discussing the treacherous conditions via a social media group chat.

This unavoidable threat restricts their plans, separates them from each other and keeps them inside their respective homes; it almost begins to mirror some of the effects, far less severely of course, that her mother would have experienced during the conflict in Lebanon.

This natural inconvenience will likely be the closest thing that Alex and her friends will ever endure that even begins to give the slightest insight into her mother’s experience, except they have the reassurance that the blizzard will subside, whereas Maia couldn’t be sure when the conflict would end.

What better way then for Alex to learn about her mother’s real experiences during this time than the first-hand thoughts and feelings she herself expressed through her correspondence with her best friend, Liza.

Hadjithomas and Joreige use a selection of their own notebooks, photos and tapes from their time living in Lebanon to create the contents of the package that is delivered to Maia and the finished project, the memory box, really is itself a work of art.

Nothing less would be expected from such creative artists but this is far more than just a visual stimulation as the scrapbooks especially greatly enhance the storytelling.

The way they are used in retelling Maia’s story of her time in Lebanon is so creative and allows the past to be resurrected by the pages of these scrapbooks, coming to life like a live-action comic strip.

They act as a gateway to Maia’s adolescence and unlock a brand new narrative, splitting into a past and a present timeline for the remainder of the film.

Memory Box is Full of Strong Performances

Credit: Abbout Productions

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In this added narrative it’s Manal Issa who portrays the teenage Maia and she contributes to a collection of excellent performances from the main cast. 

The three different generations of women featured here deliver emotional and layered portrayals of their respective characters helping to create compelling drama throughout the overarching narrative. 

Once the second timeline is introduced it takes precedence over the present-day one, however, this isn’t necessarily an issue, and the film’s final twenty minutes does see a shift back to the original narrative. 

It could be called uneven but the more defined sections work in its favour and really help to convey Alex’s deep dive into her mother’s history as the film simultaneously immerses the audience in it as well.

Ultimately the strength of the performances means that it’s easy to settle into either of the narratives, forgiving any potential imbalance and by the culmination of the film it’s clear to see how they have complimented each other. 

Memory Box is More than One Kind of Film

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Amongst the dual narrative Memory Box contains a wealth of genres waiting to be discovered within its contents, not restricting itself from the possibilities of a multifaceted story. 

This is at its heart a family drama, Alex wants to connect with her mother and her roots and Maia is able to reflect on her adolescence as well as the effect her experiences have had on her family here and now.

Of course, this is also a war film, and whilst it doesn’t necessarily expose viewers to the core of the conflict it takes its chance to show the impact of this war on civilians and also those who got drawn into the fighting.

It doesn’t stop there though as the film also acts as a coming of age drama, through the scrapbooks and audiotapes we learn about Maia’s first love, friendships and family life in the midst of a nationwide crisis. 

However, no matter which timeline the film finds itself in or what context it’s clear that everyone just wants to let go and dance to Blondie – surely that’s the ultimate freedom?

So whilst at first glance, it might appear that Memory Box is packed only with gimmicks it quickly proves its cynics wrong by using these creative techniques to craft a compelling and coherent story of a family and their personal history.

All in all wrapping up its story, spanning three generations and several decades of time in a neat fashion, complete with a cinematic bow to boot.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post Memory Box Review appeared first on Small Screen.

It’s Wes Anderson’s tenth movie, and in his quarter of a Century behind the camera audiences have come to expect certain things from the visually vibrant Texan.

The French Dispatch both meets and subverts these expectations, which will no doubt garner different reactions depending on your feelings about him.

Set in the fictional French city of Ennui-sur-Blasé during the mid-20^th Century, the title refers to a magazine supplement for an American newspaper, run by an editor (Bill Murray) who came to the country on holiday and never left.

He assembles the finest ex-patriot American writers for his staff, putting up with their unusual habits and demands in exchange for their literary genius.

The film’s plot is divided into theatrical versions of articles from the magazine – chiefly the tale of a prisoner (Benicio Del Toro) who becomes an artistic genius; a journalist (Frances McDormand) embroiled in a youthful revolution; and a food critic (Jeffrey Wright) tagging along in the pursuit of a kidnapper.

Wes Anderson is back with The French Dispatch

Credit: Searchlight Pictures

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Anderson has told stories in chapters and segments before, but rarely this segmented.

The selection of short stories is a celebration of journalism, inspired by the director’s favourite New Yorker articles but really fuelled by his fascination with the life of roving journalists from the Fifties and Sixties.

He wears these inspirations on his sleeve, dedicating the film to various writers on whom characters have clearly been based.

The enjoyment of this format will depend on how much you like Anderson’s previous work.

The visual idiosyncrasies are all still there, from the symmetrical framing to the playful use of French to the familiar company of players.

However, the segmented format allows these elements to be seen in a different way, occasionally wrongfooting you as it moves from farce to pathos.

It’s perhaps best pitched to Anderson moderates, who enjoy everything that comes with his stories, but are also open to him trying something slightly different.

We’d like to spend more time with these characters!

Credit: Searchlight Pictures

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The shorter stories mean we don’t get to spend as much time with these characters as we’d wish, and some make bafflingly brief appearances (Elizabeth Moss’ role as a copy editor is particularly puzzling).

Of the many faces that pass through, Wright stands out in a deep and heartfelt performance inspired by the great James Baldwin.

On the comedic side, Adrien Brody continues to save his best for Anderson (this is their fifth collaboration) as a snippy art dealer convinced he can make money from Del Toro’s torment; and we can always make time for the sardonic genius of Murray, playing an editor every writer will wish they could work for.

The French Dispatch is unlikely to turn Anderson haters into advocates, but it is a humble and affectionate ode to writers that opened up his world.

Expect a clear divide between the people calling it his best and those who dismiss it as his worst – the truth is probably somewhere in the middle.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post The French Dispatch Review appeared first on Small Screen.

For many movie fans, there’s a strong desire to see Edgar Wright do well.

Becoming a cult favourite in the early 2000s thanks to TV series Spaced, he made the celebrated Cornetto Trilogy, and struck a chord with his mix of British and American sensibilities on-screen.

In Hollywood, he’s endured some bad luck – 2010’s Scott Pilgrim Vs The World was not the hit it deserved to be, while political behind the scenes wrangling saw him denied his entry into the MCU when he left the first Ant-Man movie.

Still, you can’t keep a good filmmaker down for long.

Baby Driver was a rousing success both critically and financially, finding the sweet spot between Wright’s quirky storytelling and crowd-pleasing spectacle.

Four years on, he follows August’s music documentary The Sparks Brothers with new horror-thriller Last Night In Soho.

Edgar Wright is back with Last Night In Soho

Credit: Film4

Read more: Edgar Wright Teases New Last Night In Soho Trailer

Thomasin McKenzie plays Ellie, a young girl from The West Country with a sixth sense connected to her late mother.

She dreams of being a fashion designer, inspired by the Sixties music and fashions inherited from her doting grandmother, and gets her dream when she is accepted for a design course in London.

On arrival, she finds the student life a little bit overwhelming and moves from her student digs to a mysterious flat owned by a grouchy landlady (Diana Rigg, in her final film role).

It’s there that, during the night, she is transported back to 1966 and into the body of Sandie (Anya Taylor-Joy), a singer in Soho in love her with manager (Matt Smith).

As these nightly visits get darker, Ellie finds the past and present begin to crash together, leaving her struggling to find a way out.

Explore the horrors of Soho

Credit: Film4

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An intriguing premise leads to a mysterious horror set within the labyrinthine streets of London’s Soho district.

Unfortunately, the film never quite works out how you hope.

The Sixties elements are where the film excels visually and narratively, as Ellie and Sandie visually swap places, dancing through the past in rooms filled with mirrors and cigarette smoke.

It’s an intoxicating world that is intriguing even when things turn sinister.

The problem is, a good portion of the film is set in the present day.

It’s hard to switch from the swooning nostalgia of the past sequences into rather stale classrooms and murky pubs.

Key plot points seem underdeveloped, built up to a point and then fizzling out.

In particular, a subplot about the dangers women face in the past and present loses its way, particularly in the third act’s big reveal.

Characters feel two-dimensional – Ellie classmate and love interest John (Michal Ajao) is a key ally, but all we know about him is that he is unwaveringly kind, and from South London.

Equally, class Mean Girl Jocasta (Synnøve Karlsen) only pops up when there’s a snide comment to be thrown.

Wright’s Lat Night In Soho isn’t the classic it promised to be

Credit: Film4

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On the plus side, there are plenty of characters who capture your imagination.

60s legends Terence Stamp and Diana Rigg are exceptional as a Soho local and Ellie’s landlady respectively.

At 83, Stamp has lost none of his gritty charisma, while Rigg makes her final bow in a small but remarkable performance, reminding all in the audience just how good she was right to the end.

As for the leads, Jojo Rabbit star McKenzie is thoroughly likeable, making Ellie innocent but far from helpless (the New Zealander also does a great job of a Cornwall accent).

Her co-star Taylor-Joy has played characters like Sandie before, and despite not getting as much screen time as the trailers suggest, creates a satisfying arc with Smith, who is both charming and unnerving as the man who promises to make her a star.

The bar is pretty high for any Edgar Wright film, and Last Night In Soho isn’t quite the cult classic you would hope it to be.

Wrestling with itself in terms of tone, it’s an inventive but ultimately pretty standard spooky tale.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post Last Night In Soho Review appeared first on Small Screen.

Was No Time To Die worth the wait in the end – the extra eighteen months suspended release, amid rumours of an apparently cursed production?

(Yeah, that is not at all accurate.)

No Time To Die, the final film starring Daniel Craig, was finally released this month at long last.

It’s certainly one of the longer Bond films – but is it worth sitting through with cinema snacks aplenty?

Also, if you want the best possible experience of watching No Time To Die, then you have to watch it in IMAX.

Just be warned – there are significant spoilers beyond this point.

We also recommend watching all the Craig era Bond films first prior to seeing No Time To Die, too.

We Need To Talk About No Time To Die’s Opening Sequence – Especially For The ‘Jump’ Factor

Credit: Universal Pictures

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The 007 franchise is not from the Horror genre; it’s not spooky or scary.

It is also not a quest, and is not a mystery.

Arguably such an iconic franchise is genre-less as it covers so many different facets to create its own blend, its very own genre.

If you have a nervous disposition, watch with caution; the opening sequence is a jump fest that can be incredibly unnerving.

Be it the deeply unsettling masked villain or a present-day shootout at the behest of Spectre, there will very likely be hands-over-the-eyes viewing for at least some of this sequence.

It’s not as iconic in the sense of previous instalments of the 007 franchise – but it’s certainly a memorable start to No Time To Die.

It’s Niche In Wrapping Up Loose Ends – But Worth It For The Die-Hard Fans

Credit: Universal Pictures

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To understand the full plot, you will need to at least have some grounding in previous ‘Craig’ 007 films – such as with Spectre, or who on Earth Mr White is, and why that is especially relevant when it comes to Madeline Swann.

There is a lot of niche detail packed into the three hours and a bit flick – enough so that there are mentions of Vesper, and so much more.

There are a lot of loose ends that are wrapped up in this dramatic, epic finale – including the end of poor Felix, a character from previous films.

(More on him in a minute – and why we were robbed of a great ending.)

There are a lot of symbols and cryptic hints that litter No Time To Die that die-hard analytical fans will love – enough to the point that this film has come full circle, with homages to most of the previous films since Quantum Of Solace.

It’s worth it for the die-hard fans, but may be a little bit niche if you just want to watch ‘because it’s there’.

No Time To Die Needs A Better Villain And A Better Send-Off For Felix

Credit: Universal Pictures

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We need to talk about dear Felix, the other agent and friend connect to 007 – though his allegiances are placed elsewhere.

We have seen him pop up in some of the previous films, too.

His death was just…. Unexpected, in the sense that it lacked poetic justice.

Death by accident through hand to hand combat seems poorly executed and lacking in a way to send off such a character.

Felix has been around for a long time, and the character deserved something more heroic rather than tragic – to die this way in a boat that is going under while on fire.

It’s not exactly a deserved bow out with fireworks!

Rami Malek is polarising as this film’s villain.

While he was publicised and praised for not playing into terror-based stereotypes, this seems somewhat disingenuous given the use of facial disfigurement.

Right now there is a social media campaign going around that should not be ignored because this highlights a form of tokenism, as well as lacking diversity in the franchise.

(More on why No time To Die is problematic in a minute.)

The accent was… clunky, and he lacked the memorability such as from Skyfall (who can forget that casual eroticism?) And Spectre (the general creepiness.)

Tokenism? Plenty – But Getting There, Eventually

Credit: MGM Studios

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Media has a problem with diversity, and therefore tokenism.

The 007 franchise is not exempt from this – and there are some things that could have been carried out a little bit better.

For example: the stereotypes of facial disfigurements could have been left behind.

To be diverse and therefore a bit more modern, you need to be inclusive of all – and not just have someone included so you can say you have ticked that particular box.

The new 007 character is utterly brilliant; she brings a sartorial flair, some peacocking between the old and new generations.

We also see her get her own back on a racist rather spectacularly; though an important conversation, it felt a little bit too pointed and clumsy in terms of scripting.

For any femeninists reading: the next 007 has not been appointed – so calm down with your ill-placed indignance!

The direction is right, but not all steps have been fully taken – and that’s okay for now. It’s a transition.

Hugh Dennis? Seriously?

Credit: Universal Pictures

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Why has Hugh Dennis been given a cameo role in No Time To Die? Just, why?

Outnumbered has been touted so often as a cult classic BBC programme – but the content has not aged well in some respects, as well as just being generally unfunny.

Hugh Dennis sticks out too much – and while there are concerns about diversity throughout Hollywood and other facets of popular culture, this cameo could have been given to someone contributing more to on-screen diversity.

The Influence Of Fleabag – And The Problem Of Snappy Dialogue

Credit: Universal Pictures

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Phoebe Waller-Bridge (known for Fleabag) was brought on board No Time To Die, and it would be interesting to know what parts of the script she was responsible for.

There is a degree of Fleabag humour that give way to flashes of Roger Moore’s 007 – which may not be to everyone’s taste.

It works well in the sense of character development – 007 is more rounded out than being his former flashy, pretentious self.

The finale? Grand, poetic, done right, weepy, brilliant, humble. See this masterpiece ASAP.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post No Time To Die IMAX Spoiler Review appeared first on Small Screen.

As a huge fan of The Sopranos, which ended in 2007 after running since 1999 and was infamous in both its critical reception and performances from the cast such as James Gandolfini, I was both excited and sceptical for the release of The Many Saints Of Newark.

On one hand, anything further in The Sopranos timeline would be amazing to watch, even after the sad passing of Gandolfini in 2013.

On the other, it’s such an iconic series, that has had such a huge influence on television, pop culture and Mafia or organized crime-related media ever since it would be hard to live up to.

Upon sitting down to watch the film I left my expectations at the door and viewed this as a non-Sopranos fan or at least, tried to at first.

The Many Saints of Newark has huge momentum as it’s written by David Chase who also created and wrote many episodes of The Sopranos.

It was a huge coup getting Chase involved in the project and it makes a big difference whilst watching the movie.

It also brought back Alan Taylor who had directed many acclaimed episodes of the original TV series in the director’s chair.

The Many Saints Of Newark has a great cast!

Read more: The Sopranos Prequel The Many Saints Of Newark Delayed

Much of the marketing and publicity drew attention to Vera Farmiga (The Conjuring Series), and Jon Bernthal (The Punisher/The Walking Dead) being on board.

Along with Michael Gandolfini (son of the late James Gandolfini playing the young Tony Soprano) expectations were already high with a strong cast. (Not to mention Ray Liotta)

The belief going into the movie was without prior Sopranos viewing you may enjoy it based on the strength of the writing, directing and performances alone.

And that’s the mistake. Within the first 10 minutes of the film even as a fan, I was struggling to work out who was playing who. Although eventually this was made more clear.

But if a fan felt this way, what hope would a non-fan have who brought themselves along based on the strength of the trailer, casting or even Soprano’s tie-in?

The film takes place across Newark as Tony Soprano grows up from a young lad to a high school senior, but the main focus is upon Dickie (Richard) Moltisanti and his ultimate demise.

Eagle-eyed fans or readers will notice this is the father of Christopher Moltisanti whom we later meet in the Sopranos played by Michael Imperioli.

Dickie also acts as the voice over, telling parts of the story.

The difficulty…

Credit: Warner Bros. Pictures

Read more: The Conjuring: The Devil Made Me Do It Spoiler Review

The difficulty within the film both for a fan and non-fan alike is the roles are so iconic, the mythology behind the series so strong that audiences spend more time going “look there he is” when a famous character or younger version is introduced.

The direction or be it the editing is a little chaotic in points, various plotlines intertwine but at such a speed it’s difficult to focus or really gain any understanding of what is actually happening.

If there’s ever been a film that iterates that a TV series is much better as a series, it’s this film. A limited series would have given much more time and justice to the story that David Chase was trying to create.

Instead, we get a mishmash and convoluted series of scenes and characters.

Whilst some capture the character and mannerisms of their older TV counterparts very well, John Magaro is brilliant physically speaking as Silvio Dante (played in the series by Steven Van Zandt), you can’t help but look at them as characterizations.

Other such as the incomparable Vera Farmiga shine. She manages to channels Nancy Marchand so well as ‘Livia Soprano’ in her brief screen time that she steals the show.

Commendable mentions go to Michael Gandolfini who has the impossible task of living up to his father James Gandolfini as Tony (albeit a younger version). Nearing the end of the film, he delivers such a menacing presence caused by but devoid of emotion that he truly becomes Tony Soprano.

Not a Fan Of The Sopranos? You won’t enjoy The Many Saints Of Newark

Credit: Warner Bros. Pictures

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However, aside from some strong performances elsewhere, the film was a difficult watch & unless you have seen The Sopranos, I don’t think an audience would understand the film.

Or be looking out for iconic places, name drops, throwbacks or characters to enjoy the experience.

In the US the film will also release on HBO Max which is where most people will probably view it, and judging by Warner Bros. Pictures not creating any physical marketing material in the UK, they probably don’t assume much attraction from the general audience.

Vera Farmiga, Jon Bernthal and Ray Liotta are not in the film anywhere near as much as you may expect. We have some brilliant turns by Leslie Odom Jr and Alessandro Nivola but unless you are a fan the characters will struggle to keep you engaged.

The Many Saints of Newark is an absolute dream for Sopranos fans, with plenty of nostalgic throwbacks, scenes replayed that were mentioned in the series and characters returning (albeit younger).

As a result the pacing, weak structure & plot will be an allowable weaknesses. If you are heading to view this film without seeing The Sopranos, or perhaps drawn by the names Farmiga, Liotta or Bernthal alone you will be disappointed.

Not only are the 3 stars not in the film for very long, but without any prior knowledge, you’ll have no idea what is going on. And the film doesn’t welcome newcomers.

However, as a fan, it was worth a watch just once, and the ending credits will fill you full of nostalgia for 1999. 

Have you seen The Many Saints of Newark? What did you think?

Are you a Sopranos fan? Let us know in the comments below.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post The Many Saints Of Newark Spoiler-Free Review appeared first on Small Screen.

Following David Lynch’s divisive adaptation, for years it felt like Dune was one of those stories that would never make it to the big screen in a satisfactory way.

Many adaptations have whirred into production before falling apart, but if there’s one filmmaker that knows about defying the odds, it’s Denis Villeneuve. The French-Canadian director was the one who brought us back to the world of Replicants in the astounding Blade Runner: 2049, and has cited Frank Herbert’s Dune as a passion project.

Having endured a pandemic and controversial HBO Max release, the film finally comes to screens in October. Is it worth the wait?

Is Denis Villeneuve’s Dune worth the wait?

Credit: Warner Bros. Pictures

Read more: Dune Director Says Sequel Could Start Shooting Next Year

Set in the distant future, Timothee Chalamet stars as Paul Atreides, heir to House Atreides and son of its patriarch, Duke Leto (Oscar Isaac) and his concubine Lady Jessica (Rachel Ferguson).

The Duke has accepted stewardship of the planet Arrakis, a rich source of the incredibly valuable material Melange or Spice.

As House Atreides arrives on the planet to take over the Spice mining operations, Leto faces several obstacles – a resentful native people known as Fremen, and the former steward of Arrakis, Baron Vladimir Harkonnen (Stellan Skarsgård).

As a bitter betrayal unfolds, Paul realises that visions he has been having are indicative of powers that will make him a great leader, if he can only survive the planet’s deadly landscape.

This is very much ‘Dune: Part 1’

Credit: Warner Bros. Pictures

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This is a truncated explanation of the plot, which only covers half of the first book (the title screen comes with a “Part One” caption).

However, from Paul’s first dreams of Fremen native Chani (Zendaya), the scale of what is being accomplished begins to sink in.

Combining the sensibilities of an arthouse drama with the budget of a blockbuster, it’s stunning to look at.

Our character dwells in stone palaces, surrounded by desert that flows like an ocean at times.

Scenes with the giant sandworms are so epic that it’s difficult to imagine enjoying it quite the same way on a phone or tablet.

This is large scale filmmaking with a brain, and it’s absolutely fantastic.

It’s not just gorgeous cinematography, however.

Unfolding like a Shakespearean power struggle, we see a talented cast form characters that feel lived in.

Isaac is a wise leader, and has some beautiful scenes with Chalamet, particularly an early walk by the coast where the pair talk about duty.

On the other side of things, Skarsgård is revolting as the worm-like enemy, barely recognisable under a mountain of slimy makeup.

He is the darkness of Dune, while Ferguson exists somewhere in the shadows.

Her devotion to her religion, and how it relates to her son’s destiny, make her an unpredictable element as things progress, but as ever the Oscar nominee brings a lot of passion to an essential role.

Chalamet was born to play Paul

Credit: Warner Bros. Pictures

Read more: Dune’s First Trailer Has Been Released And Denis Villeneuve’s Movie Looks Epic

Some notable names pop up in smaller parts as soldiers for the household.

Dave Bautista and Jason Momoa have some memorable scenes as enforcers for either side, while Josh Brolin is all business as he teaches Paul to fight.

Zendaya is only really seen in flashbacks, and like Javier Barden as Fremen leader Sildar, there’s a sense that this is a teaser for more expanded roles in a sequel.

No matter the size of the roles, all clearly relish being part of Villeneuve’s eye-catching tapestry, and none more than Chalamet.

Where many actors would have been making kissy faces at Marvel the moment they gained notoriety, the 25-year-old has opted for an interesting career path since breaking through in Call Me By Your Name.

He’s capable of heartfelt performances, and as the wilful-yet-unsure Paul he rises to the challenge of such a large spotlight.

He forms immediate bonds with his co-stars thanks to a vulnerability that isn’t often seen in films of this scale, while still remaining a believable force in action scenes, despite his frame being intentionally slighter than his beefy colleagues.

A story about a man’s destiny is hard to follow if you don’t care about the man, and Chalamet makes sure you’re with him each step of the way.

Will it be a hit?

Credit: Warner Bros. Pictures

Read more: Dune Rumoured To Be Delayed Until Early 2021

Whether or not Dune is the arrival of a new blockbuster franchise is hard to say.

While the ending and the subtitle “Part One” make it clear this is only the beginning, the complex piece stands apart in a world filled with superheroes and death-defying street racers.

However, Villeneuve has managed to take what has often felt like an impossibly dense source material and make cinematic majesty.

Many people will encourage you to see new releases on as big a screen as possible.

With a masterful spectacle like Dune, it’s practically a commandment.

Dune is in cinemas from 22^nd October.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post Dune Review appeared first on Small Screen.

The MCU reaches its 25^th film, a little delayed but still way ahead of 007, who’s forthcoming 25^th adventure has taken the best part of six decades.

The Marvel Cinematic Universe finds itself at a crossroads, looking to move on from the Infinity Saga and establish a new set of heroes in one of the most challenging times in Hollywood history.

Step forward Shang-Chi, a lesser-known Marvel hero who is seeking to move the universe forward, breaking barriers along the way.

Simu Liu (TV’s Kim’s Convenience) plays Shaun, a young man in his twenties living as a valet driver in San Francisco, happy with an unambitious life alongside best friend Katy (Awkwafina).

However, when they are set upon by a gang of criminals on the bus, Shaun admits to a shocked Katy that he is in fact Shang-Chi, a trained assassin from China.

As a teen, Shang-Chi ran away from his father Xu Wenwu (Tony Leung), a crime boss twisted with grief at the death of his wife.

Now the patriarch has returned for him and his sister Xu Xialing (Meng’er Zhang), convinced that he has found a way to connect with their mother which involves laying siege to her childhood village.

The siblings and Katy must team up to stop him before it’s too late.

Shang-Chi is fun world-building

Read more: Simu Liu Wants Shang-Chi In Marvel’s What If…?

This is a truncated explanation of the plot, as there are many surprise appearances and an awful lot of back story to wade through.

That said, director Destin Daniel Cretton (Just Mercy) has put together an adventure that balances fun with world-building.

A spectacular bus fight grabs you early on, with Liu leaping from slacker to superhero effortlessly.

It sets the tone for a film filled with mythical creatures, super-powered fight clubs, and car chases through enchanted forests.

While the flashbacks and lore can slow the film down at times, you’re never far from blockbuster fun.

Things are also kept fresh by having a cast that feels involved from top to bottom.

Liu is the focus, but not as much as other Avengers as his allies have their own missions to accomplish.

Zhang cuts a stern figure as the sister still mad at being overlooked by her father, and promises to be a formidable ally in future sequels or even spin-offs.

Awkwafina is essential to the enjoyment – in a world where it feels like everyone has some kind of power, Katy is our focal point, an ordinary person observing all the crazy things that are happening.

She also enjoys a subtle romance with her co-star that feels more natural than most studio movies.

Shang-Chi actually has a good villain

Credit: Marvel Studios

Read more: Shang Chi Star Wants To Be In The Avengers 5

On the dark side, Leung dons many shades of grey as the bad guy.

Unlike Black Widow, which contented itself with Ray Winstone’s horrendously one-dimensional antagonist, Leung has motivations that are understandable, even if they are wrong.

Grief has sent him to a ruthless place, and that’s needed when you are trying to make the 25^th movie in a series feel engaging.

Thirteen years and twenty-five films in, one could be forgiven for dreading yet another destiny to fulfil, another climactic battle to win.

However, Shang-Chi And The Legend Of The Ten Rings gives us a reason to care, and enough breadcrumbs (stay until after the credits) to prove there are exciting things ahead for the world’s mightiest heroes.

Shang-Chi And The Legend of The Ten Rings is in cinemas now.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post Shang-Chi And The Legend Of The Ten Rings Review appeared first on Small Screen.

Skies of Lebanon is the feature-length debut from French-Lebanese director Chloé Mazlo, she’s previously directed numerous short films and specialises in animated techniques.

Her film begins in the 1950s and follows Alice (Alba Rohrwacher), a young woman who moves from her home in Switzerland to Beirut, Lebanon where she meets astrophysicist Joseph (Wajdi Mouawad).

The pair fall in love, get married and start a new life together, however, their marital heaven is threatened with the onset of war and the film tells the story of how they attempt to survive this dangerous time.  

Skies of Lebanon is Too Quirky For its Own Good

Read more: Mandibles Spoiler-Free Review

Almost immediately incorporating stop motion animation into her debut Mazlo’s expertise in the filmmaking medium is quickly made evident, however whether it really serves the narrative as a whole is another question.

Her more alternative techniques don’t stop here though as even before the animation there’s already been an aspect ratio change and she goes on to use green screen backgrounds for her exterior shots of Beirut.

Whilst this does harken back to the more old fashioned movies of Hollywood and was maybe intended to give 50s Beirut that more period feel it can’t help but come across as a little try-hard. 

As a result, audiences may miss the engagement with the more realistic backgrounds and it certainly doesn’t give much of a sense of the location, feeling like a missed opportunity to really transport audiences to the streets of the capital city. 

Within mere minutes the film feels reminiscent of a Wes Anderson production, but unfortunately, all of these gimmicks distract rather than compel and ultimately the film does little to grab your attention narratively, in fact, it’s not captivating at all.

The film’s opening is deliberately rushed, quickly taking audiences through the story of Alice and Joseph’s relationship; however this makes it harder to connect with the characters because we don’t get to see them really fall in love – we hardly know them as individuals, let alone as a couple.

So after a whirlwind of a first act and with the narrative arriving at the first hint of unrest the film shifts into the war period, bringing with it a change of pace and tone as well.

Style Over Substance

Credit: Moby Dick Films

Read more: Ninjababy Spoiler-Free Review

Regrettably, the problems from the first act of the film deeply affect the scenes that follow, as once the film finally slows down to actually tell its story there’s little for audiences to connect with.

Of course, you don’t need to know someone in any great detail to feel empathy for them but it definitely helps when these people are made up characters in a film, especially one with such surreal elements to it. 

In addition to this Skies of Lebanon never really goes anywhere, with its characters or its narrative – failing to make either compelling and subsequently causing the film to be a complete drag.

It’s a shame because the performances from everyone involved are good, it’s not their fault that audiences will struggle to be invested in the unfolding drama.

Ultimately this remaining section of the film only serves to highlight the faults already present, Mazlo’s focus on aesthetics rather than emotion and story harm the film’s chances and the cast are helpless to combat this any further.

A Showcase of Talent, Not Storytelling

Credit: Moby Dick Films

Read more: The Road Dance Spoiler-Free Review

Alienating viewers within its opening act Skies of Lebanon never recovers from its shaky start, the use of so many different and somewhat alternative techniques and mediums prohibits Mazlo from telling a story that audiences can really connect to. 

She gives herself an uphill battle when she finally allows the film to settle, but the damage is already done and not enough is achieved to redeem these more jarring early moments.

Mazlo does create some striking imagery in certain scenes – one moment sees Alice and her family huddled closely in a stairwell, sheltering from the conflict, showing just how quickly this became a normality for families across the country.

It’s moments like these that leave no doubt that she’s a technically talented filmmaker with the potential to become a wonderful storyteller able to convey emotion and thought.

With more care and confidence in her own storytelling voice, Mazlo could have made Skies of Lebanon a memorable debut but unfortunately, she hasn’t achieved this, nonetheless, she’ll hopefully use it as an important stepping stone towards bigger and better things that offer a more accurate representation of her clear talent.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post Skies Of Lebanon Spoiler-Free Review appeared first on Small Screen.

Writer-director Richie Adams’ new period drama The Road Dance is an adaptation of John McKay’s 2003 novel of the same name, set in a small island community in the Outer Hebrides at the turn of the twentieth century.

It follows one of the community’s youngest residents, Kirsty Macleod (Hermione Corfield), who longs to escape the struggles of island life and venture to America.

However with the onset of WWI and after a string of tragedies Kirsty’s struggles are only intensified further, could there be any chance of a happy ending for her amongst these bleak times?

The Road Dance debuted at the 74th Edinburgh International Film Festival and went on to win the Audience Award indicating early acclaim from viewers and showing great promise for its eventual release.

The Road Dance is Technically and Emotionally Powerful

Read more: Mandibles Spoiler-Free Review

What’s immediately striking is how the setting for the film is captured so beautifully, with sweeping drone shots of the coast’s crashing waves and the vast landscapes that frame the subsequent drama.

Similarly, the more traditional sounding score by Carlos José Alvarez offers audiences a further sensory pleasure matching the setting and atmosphere of the piece.

However, initially, the narrative content of the film fails to rival the more technical achievements in cinematography and score, as it feels too vague and without a strong purpose. 

This lack of any real hook to reel in viewers at first may be a problem for some, although it makes it all the more impressive when The Road Dance manages to surprise with just how emotional it becomes, seemingly out of nowhere. 

After its first substantial narrative development, The Road Dance should win its audiences over, proving just how powerful a story it has to tell. 

It continues to wash these tidal waves of emotion over audiences throughout the narrative,  becoming a deeply moving experience due to the overwhelming sadness present in much of the story.

A lot of the emotion comes from the fact that the story plays out like a war film, but without (bar one) any scenes of warfare – instead, it’s a war film but from the perspective of those left at home, worrying about their loved ones who they are so unfairly separated from. 

This helps to channel even more feeling into the screenplay, showing just how soul-destroying many of the repercussions of war are on those left at home.

Director Richie Adams Get the Most Out of His Cast

Credit: Sheridan Road Productions

Read more: Ninjababy Spoiler-Free Review

Adams does well in establishing the various residents of the island community in the film’s first act, laying the foundations for the character development that follows.

The cast assembled to portray the families who live in this small village includes leading actress Hermione Corfield, more well-known names such as Mark Gatiss, Morven Christie and Sean Glider, as well as a collection of younger performers like Will Fletcher, Ali Fumiko Whitney and Luke Nunn.

As a whole, the cast is really excellent and their collaborative effort in bringing this community to life is incredibly effective, crafting believable relationships and drama between each other, ultimately helping to create a convincing environment for the narrative to unfold in.

Corfield delivers a good performance further showcasing her ability as a leading star, bouncing well off her fellow cast members and carrying the weight of such an emotive performance admirably. 

If the film’s performances weren’t as good as they are, The Road Dance could have easily succumbed to the hefty emotional weight of its screenplay and longer running time but thankfully this is by no means the case and they ensure that the story never loses any of its impact.

Kirsty’s Story Will Connect With Audiences

Credit: Sheridan Road Productions

Read more: Europa Spoiler-Free Review

Overall, The Road Dance is an incredibly sad story told with confidence, in both its writing and the performances of its cast.

Admittedly, there are some moments, certainly in the beginning and in between the second and third acts where the narrative does slow down.

Shortening the almost two-hour running time might have helped remedy this, nonetheless, the story has so many unexpected developments enabling it to consistently regain audience attention just as it could begin to waver.

Viewers have already, and will no doubt continue to connect with Kirsty’s story and the film, as The Road Dance is a wholly heart-rending period drama that pushes both its characters and audience’s emotional endurance to the limit in such a cathartically captivating way.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post The Road Dance Spoiler-Free Review appeared first on Small Screen.

Two friends discover a giant fly trapped in the boot of a stolen car – no it’s not the headline of a clickbait article, but instead the plot of the latest film from French director Quentin Dupieux, Mandibles.

Dupieux’s previous films include such titles as Rubber, which is about a tire that comes to life and goes on a killing spree, and Deerskin in which a man has a dangerous obsession with his designer jacket – so for those not already familiar with his work this is somewhat of an insight into the type of stories he likes to tell.

Starring Grégoire Ludig and David Marsais as two friends, Manu and Jean-Gab, the film tells their story of discovering an oversized insect and attempting to train it with the hopes of it being able to quite literally bring them good fortune.

Mandibles is Silly Cinema

Credit: Magnolia Pictures

Read more: Ninjababy Spoiler-Free Review

The film opens accompanied by Metronomy’s playful score, establishing the tone of the movie and instantly setting the scene for the narrative that begins to unfold shortly after, not wasting any of the film’s very short running time. 

We first meet Manu (Ludig) lying on a beach having previously slept there the night before, he’s woken by another man who has a job opportunity for him, asking him to pick up a briefcase and bring it back to him for a generous cash reward. 

Manu steals a car and goes to pick up his friend, Jean-Gab (Marsais) to come along for the ride, however, it isn’t long before they realise that the stolen car isn’t empty and they stop to discover the humongous fly nestled in the boot!

Upon finding the fly the pair abandon their original mission and begin to attempt training the enormous insect, with varying degrees of success.

So if it wasn’t already abundantly clear from the somewhat far-fetched synopsis, Mandibles is an incredibly silly film and it’s best not to take it too seriously. 

However, in saying that it is refreshing to see that the effects department has put great effort into the creation of the fly, the practical effects are welcome to help bring the most basic level of plausibility to this tale of very silly proportions.

The fly looks the part and makes the whole narrative a lot easier to get on board with than if it didn’t, the strong design of this intrinsic element to the plot is one of the reasons why the film as a whole is a success.

The Performances Sell the Silly

Credit: Magnolia Pictures

Read more: Europa Spoiler-Free Review

Admittedly the film is rather one-note, alternatively, you could just say that it’s consistent in its tone. 

No doubt this will most likely vary on your tolerance for all the silliness, however, it has a level of intrigue to it that never falters thanks to the overall absurdness of the comedy. 

This of course is made possible by the two leading performances from Ludig and Marsais who maintain their characters’ dim-witted personas throughout, managing to infuse just enough charm to prevent them from ever becoming irritating.

However, despite their well-measured approach, Dupieux cleverly introduces a fresh batch of characters around the halfway mark allowing for more varied chemistry and the potential for further comedy. 

This is exactly what the film needs to keep things interesting and the new characters are introduced just at the right moment, helping to avoid any pacing issues that some of his previous films have suffered from. 

Mandibles Could Become Dupieux’s Most Popular Film

Read more: The Bright Side Spoiler-Free Review

Ultimately Mandibles is a ridiculous and whimsical endeavour that will see audiences polarised in their reactions, either taking to the wonderful silliness of it all or feeling alienated from the absurdity on show. 

It’s certainly one of Dupieux’s more accessible and easy to follow films, in that it doesn’t require a lot of effort from audiences to unpack the narrative, although if unable to connect with the comedy there might not be a lot here for some viewers.

However it moves along at a pleasant pace and includes its amusing and comical offerings at regular intervals, and it has the potential to be the Dupieux film with the widest audience appeal. 

So whilst Mandibles isn’t necessarily set to completely fly away with audience acclaim this bizarre comedy does do enough to create ample buzz thanks to Dupieux’s silly, yet straightforward storytelling.

What do you make of this story? Let us know in the comments below or on our Facebook, Twitter or Instagram pages! And if you enjoy listening to film podcasts, why not check out our podcasts, Small Screen Stories and Small Screen Film Club wherever you get your podcasts!

The post Mandibles Spoiler-Free Review appeared first on Small Screen.