Darren Aronofsky’s ‘mother!’ Is a ridiculous, fascinating and extraordinary experience that has possibly the most divided response to a film in recent memory.
mother! Follows a young woman called mother (Jennifer Lawrence) and her husband, Him (Javier Bardem) as they live in their peaceful country home an unknown couple arrives at the house setting off a string of events that cause extreme disruption.
No other film so far this year has hit me more than mother! Regardless of if you found the film good or not, relentless and unforgiving film. The movie has an allegorical narrative that is obsessed with metaphorical storytelling. From watching the trailer the film seems like a home invasion movie more than anything else however it is not that simple, it is a home invasion on another level.
Touching on the direction that Aronofsky goes for, he uses an incredible amount of close-up shots in order to give a claustrophobic feel, as we never leave the house, rarely allowing the screen audience and mother to breathe. He uses symbolism to the extreme and is remorseless in doing so; you question what the film is right the way through to the end and every single detail has a meaning behind it. Furthermore, Aronofsky has done exactly what he has set out to do; he has created a film that is vicious in expressing his voice and his view on religion and humanity.
Every single piece of acting is terrific; Lawrence clearly stands out as the majority of the shots focus on her she is needed to give a range of performances in which she captures well. Michelle Pfeiffer obtrudes tremendously, as soon as she enters the tone of the film changes, she begins to want to take control of the setting and demands the screen.
Aronofsky has created such a unique and outrageous film, challenging and merciless it has caused an incredible divide, people love it and people despise it, receiving both boos and a standing ovation at the Venice Film Festival. Regardless, the two contrasting opinions means people are talking about the film and that is always brilliant to see.
Overall, I personally loved this film and I have not seen anything else like it. Overwhelmingly disturbing and completely nuts this film can be interpreted as many ways as people have seen it. Whether you love this film or you hate it, I feel this is an experience that will be discussed for a long time.
Many have hyped the horror film ‘It’ but not many expected for it to reach the heights it has.
With tonnes of content circulating the internet about the film, it is clear that the film has caught on. Now at its second box office weekend ‘It’ has made $60 million, whilst altogether it edges to $400 million worldwide ($371 million made as of this moment).
To say it was an underdog would be fair, a film with a budget of $35 million and a theme of clowns would spark many to doubt the potential a film like ‘It’ could have. However, against some odds, the film succeeded, unsurprisingly to those that have followed the social media hype it has been getting as of recent and the fans of Stephen King, of course.
In second place at the Box Office weekend came American Assasin with $14.8 million, whilst heavily praised ‘mother!’ made a modest $7.5 million.
A pretty decent Box Office weekend for the month of September.
The combination of decorative Japanese themes and the Russian dolls make this project fun and unusual. And the best of all is that the dolls can be transformed into a drinking game with each bottom half becoming a shot glass, a roll of the dice decides the size of the doll to drink from.
After Sicario and Hell or High Water, Taylor Sheridan’s chilling and haunting mystery Wind River completes the thrilling trilogy with skill and suspense.
Set in the cold land of the Wind River Indian Reservation, U.S. Fish and Wildlife Service agent Cory Lambert (Jeremy Renner) discovers the body of a young 18-year old girl, bare foot and bloodied, lying face down in the snow. FBI agent Jane Banner (Elizabeth Olsen) comes on board to determine whether a murder has been committed. With Cory knowing the land better than anyone he teams up with Jane in the hunt for the killer.
With the battering wind and heavy snowfall offering an unsettling setting for the film, it is a new place for Jane Banner, as she has come from Las Vegas like a fish-out-of-water this part of America is new to her, as well as the characters that occupy. As the complexity of who has the right derestriction of the reservation comes into play it seems the location is a struggle for Jane, however she has Cory to help, grief-stricken by the death of his own daughter at a similar age, Cory knows he can and must help, after not being there for his own daughter, the situation acts as a redemption for himself
With Jeremy Renner and Elizabeth Olson leading the line we get two incredible performances from them, Jeremy Renner’s heartache shows clearly as he tries to hide it. He has accepted it and knows nothing can be done but the pain is there and will always be there, but he uses this to drive himself to catch the killer, he never stops and is determined to do what he does best, hunt. Meanwhile Elizabeth Olson’s character Jane enters the picture as a rookie and an outsider to someone who is understanding of the land they are on and what it means.
Furthermore, the environment acts as another character; the land itself is a friend, and a foe. The snowfall leaves tracks leading them on the right paths, however in a race against time it covers them up with constant blizzards, the -20 degrees cold air can kill anyone running through it rapidly and as the land offers nothing for miles around, it can ruin people who live in it, deathly beautiful it is an incredible backdrop. The bright White Mountains and open-air means Sheridan takes a simple approach to the film, with spectacular wide shots showing just how lost you can get and how lonely some people can be.
All in all this film is about control and family, control of the land around as it being about native Americans, control over people and having authority, the sadness of how people think they can control women and control over family and how an uneven balance can result in horror. The criminality of this is superbly shown as Sheridan has done in the loose trilogy of Sicario and Hell or High Water, the consequences are harsh and life is unfair, a common thread throughout the trilogy.
Overall, Wind River is a suspenseful journey through grief and fear, with underlying themes covering American land and its people, alongside an incredible script, great performances and an eerie atmosphere.
South London vocalist and music producer Huntar has officially released his fifteen track mixtape ‘Your Favourite Worst Mistake’
Huntar is not looking to stop growing, as just yesterday he released his latest mixtape ‘Your Favourite Worst Mistake’. The mixtape includes a total of fifteen tracks including two popular songs ‘Pony’ and ‘Anyway’. It features artists such as Gucci Mane, ILoveMakonnen, Don-E, Dr Vades and Piers James.
The beloved Cambridge Film Festival is running strong again this year, with a once again diverse lineup.
The third longest running UK film festival returns this year again, this time bringing even more diversity in their programme. The festival will include Microcinema Programme, The Family Festival, African Film Festival, Camera Catalonia Strand, New Virtual Reality strand and a partnership with the Korean Cultural Centre.
The Cambridge Family Film Festival will return on the 21st of October with a fantastically diverse programme of much-loved film and television characters old and new. The film festival will cater for all the ages from the youngest with films and shows such as ‘Moana’ and ‘Peppa Pig’, whilst adults will be able to dive into the world of world cinema.
Furthermore, for the first time the festival will be having a Virtual Reality Strand, giving us a glimpse into what the technology is about and where it can lead us.
Cambridge Film Festival runs from the 19th to the 26th of October.
Through the years the Mercury Prize has become the biggest award for the lesser known artists. This year the Mercury Award was awarded to Sampha for his album ‘Process’.
As usual, the Mercury Award had of the biggest and most diverse line-ups any music award can have. With phenomenal quality and originality, the winner was hard to pick for all the music critics, fans and musicians. Ranging from Grime star Stormzy to the unlikely nominated superstar Ed Sheeran, the Mercury Award has become an award that the world of music really cares about.
This year the winner Sampha with his album Process. The album gained great critical acclaim, with most rating it 4/5 stars. A truly deserved win.
When we think of shoes for autumn all that come to mind are comfortable shoes for women that keep us warm like boots in all kinds of heels, brogues and maybe some slip ons. Well here are some exciting trends that are perfect for autumn.
Glitter shoes
Guiseppe Zanotti Design – £570
When you think about autumn you think of colours like burgundy, oranges but also you see how subdue garments are. They are usually suede, wool something that doesn’t stand out. This shoe is going out of the normal with it being covered in glitter. It’s great to wear with some ankle grazers.
Combat boots
Lanvin – £960
If you want something that is more comfortable with a military edge then you may want to get yourself some combat boots. Also, if you love the high tops converse style but you want something that can keep your feet warm then take a look at these.
Embellished shoes
Alberta Ferretti – £1,610
It was only a matter of time that shoes would soon have embellishments. It adds some thought to the shoes, rather than just being a normal shoe. Sometimes shoes can look plain whilst for other shoes minimalism works. This would look great with plain clothes otherwise it looks like there is too much going on.
Arty heels
Dolce & Gabbana – £3,150
I love how this heel is very creative. It’s definitely experimental and new. This adds new design aspects for shoes. This is great for special occasions and events as this looks too fancy for everyday shoes.
Satin heels
Manolo Blahnik – £840
The satin fabric has been coming on trend from trousers to tops and just like the embellished shoes the trend has passed on to shoes. You see heels in a satin fabric rather than boots and it looks just as good.
Slouchy boots
The Last Conspiracy – £383
This is perfect for the autumn season as we are all about the baggy and slouchy jumpers. It’s all about having the relaxed and warm look. This can easily be paired with any jumpers from close fitting to oversized.
Shūe Matsubayashi’s The Last War is a truly moving piece of cinema. Depicting the dreadful lead-up to a global nuclear conflict, the film unfortunately finds itself evermore important today. With Frankie Sakai, Yuriko Hoshi, and Akira Takarada projecting such depth and nuance to this drama, The Last War is a hidden gem, deserving the same praise and admiration afforded to Mick Jackson’s nightmarish Threads (1984), and Nicholas Meyer’s The Day After (1983).
Frankie Sakai, famous Japanese comedian, plays Mokichi Tamura. Working as a chauffeur for a press centre, Tamura receives sporadic pieces of information about the rising global tensions between the Federation (of which Japan is a part), and the Alliance – stand-ins for NATO and the USSR. Tamura is a family man. Proud that he’s able to support his wife and children, he wants the best for their futures. In the face of world events, Tamura maintains his assertion that a war will not happen. He thoroughly believes in the decency of mankind not to blindly walk into oblivion. Tensions, however, continue to rise as aircraft from both sides fly into enemy territory, a brief conflict breaks out over the 38th parallel, and missile delivery systems malfunction. Tamura’s faith in humanity is tested – perhaps (like the global crisis itself) to breaking point.
Tamura (Frankie Sakai) and his wife (Nobuko Otowa) enjoy a drink together as the cold war worsens around them.
The Last War weaves its narrative wonderfully. The lives of Tamura’s family, including his eldest daughter, Saeko (Yuriko Hoshi), and her sailor lover, Takano (Akira Takarada), are intercut with the worsening cold war crisis. This works remarkably well to amplify the horror as the wider world context is juxtaposed to Tamura’s optimism. Whilst we witness a nuclear warhead almost launch, Tamura continues to joke about his investments in the stock market. That charismatic optimism that Sakai portrays so well arguably makes Tamura the most tragic of all the characters. His hope withstands the world collapsing around him, until there is no hope left to grasp. In a particularly harrowing moment (one which exemplifies the acting excellence of Sakai), Tamura’s faith begins to crack. Valiantly, he calls out his plans for the future to the sunset, tears welling around his eyes, as if in denial of the unspeakable reality.
Tamura longs to provide a better future for his family.
Akira Takarada and Yuriko Hoshi’s performances are also wonderful. One believes in the depth of their affections, and in turn of the loss they face even before their world is ripped from them. Both characters call to mind Commander Dwight Towers and Moira Davidson from Nevil Shute’s similarly-themed 1957 novel, On the Beach – particularly in a moment where Saeko looks on hopelessly as Takano’s ship heads out to sea.
A testament to both Hoshi and Takarada’s abilities comes in a gripping moment where neither speak. Via morse code from Takano’s ship, the pair say their final goodbyes. ‘You made me happy…we were both happy…we were happy’ sends Takano as Saeko struggles to hold back her tears. The scene ends abruptly, cutting to the family’s birdcage, the sound of the radio announcing grim details in the background. A powerful image, it wonderfully encapsulates the narrative. Though perhaps blissfully unaware until it is too late, these are caged, trapped people. Now, they can only listen and wait for the inevitable.
Staggering imagery is one of The Last War’s many strengths. Much of what we see of Tamura’s family is achieved through still shots. Without the excess of movement, we are allowed (in pseudo-documentary style) to sit and listen to Tamura, his wife, and children. We are invited to join an intimate set of relationships. When we are permitted to return to the more unemotional view of the outside world, the difference is palpable. By contrast, of note is a drawn-out hand-held shot of the interior of a Federation missile base. It appears like a point-of-view shot, yet the lack of interaction between cast and camera provides an uncomfortable feeling of detachment. We feel like interlopers in a dangerous place, with people who don’t acknowledge us. In these visual differences, cinematographer Rokurô Nishigaki depicts the spatial and symbolic distance between those who push the buttons and those who consequently suffer.
When the inevitable arrives, the visuals are indescribable. The word ‘hellish’ comes to mind, but falls short of recognising the disturbing images we are forced to take in. Eiji Tsuburaya’s miniature effects are astounding in how graphically they depict the end.
Hell on Earth erupts. World War III begins.
The Last War is a difficult film to watch. Masterful in its central performances and artful in its visuals, Shūe Matsubayashi arguably delivers one of the best nuclear war dramas ever made. The narrative speaks to the fragility of faith: in ourselves, in others, in our entire worldview. However, somewhat strangely, The Last War has a life-affirming quality to it. Witnessing the collapse of all we know and love arguably makes one aware of just how precious our existence is. Matsubayashi’s film affords only a glimpse of a horrifying reality, but that glimpse is enough to remind us of all we could lose – and that peace is worth fighting for.
Highly-hyped horror film ‘It’ is looking to become the highest grossing Stephen King film ever.
Having broken numerous records on its opening day the film is looking to take over current position holder ‘The Green Mile’ (1999). As it managed to make a massive $117 million at the box office weekend.
Currently, ‘It’ has made a total of $198 million worldwide and whilst it might seem like a long way from breaking ‘The Green Mile’ which has made $286 million worldwide, it is only $4 million away from breaking the US (domestic) record.
‘It’ has a clear advantage over ‘The Green Mile’ as it has been played in over 4,103 cinemas already, whereas ‘The Green Mile’ was screened in 2,875 cinemas altogether.
‘The Green Mile’ also opened with $18 million, whilst ‘It’ opened with a massive $123 million.
