Serving as a poster boy for every twenty-something that is now ‘rich’ enough for such lavish luxuries as paying rent and sourdough bread, Matt Okine skillfully manages to take some of the more boring elements of everyday life and make them genuinely really funny.
Audiences who trickled in for last night’s “Cheap Tuesday” offer of ‘Best of the Edinburgh Fest’, received a performance that was anything but cheap or second-rate.
[Paul Foot’s] minutely detailed rants revealed an intellectual acuity finely tooled to the deconstruction of the ridiculous habits and bigotries of polite society.
The brilliant part is that it is a different show each time, deliciously unpredictable, and its marvellous watching each skit unfold or crumble as actors navigate the rules and scenarios presented to them.
Boy meets girl. Girl and boy fall in love. Bad thing happens. Love is tested. Audience rapidly loses interest in film.
Every Blessed Day is a love story, and a sweet little one at that, about the trials and melodrama of an ongoing relationship.
Whoever said that all high-school dramas ought to be damming, finger-jabbing films with moral outrage and deep-seeded messages? Is it really such a crime to make a simple film that tells a story, without trying to convince everyone to light up some torches, grab a few pitchforks and rage against the machine?
There’s a disarming ‘what were we thinking?’ nature to some of that interview footage, crisp and HD as it is against the grainy and immediate, unfiltered news footage of the time. But it is the latter, the incredible archive stuff spun towards us with a wild metal soundtrack at times, that is the real core of this work.
It is evident that the film was made on a shoestring budget… but it shouldn’t feel like it so much.
It’s all heavily reminiscent of Meet the Parents: at its best we get a few laughs; at its worst we’re already asleep.
Stories We Tell will be suck you in, it will command your attention, and whether or not you decide that you liked it, you will almost definitely appreciate it.
Stoker has a English manor, murder-mystery feel to it. High fashion, stately furniture and classic autos dominate the screen and reinforce the repressed, privileged and secretive nature of the Stoker family.
What makes Shane Carruth remarkable as a film-maker is the level of complexity he engages with in his world building. We’re only given the barest of insights into what’s actually happening, but you can’t but feel that it all makes sense if only you would just think about it long enough.
Heckler reviews this off-beat comedy which comes with a side of B-Grade horror.
The filmmaker achieves much with what would be a very small budget, which only limits a few scenes in their scope. The film provides a wonderful snap shot into many different parts of Columbian life, contrasting the hardships of the jungle with the various forms of city life.
What the masses said