DAYS OF THE BAGNOLD SUMMER - London Film Festival review

The directorial debut of The Inbetweeners and Friday Night Dinner star Simon Bird, Days of the Bagnold Summer stars Monica Dolan and Earl Cave as a mother and son navigating their way through the summer holidays in British suburbia when the six week holiday Daniel was supposed to be spending with his father is abruptly cancelled.

Based on Joff Winterhart's 2012 graphic novel of the same name, Days of the Bagnold Summer has a similar narrative drive and tone to a Daniel Clowes book, just stripped of any exoticism you might get from an American setting and instead set in a typically boring, beige British suburbia. There's a popular strain of teenage graphic novels at the moment, including Charles Forsman's The End of the Fxxking World, that are having successful adaptations into live action. For all intents and purposes they're just like the dystopian YA novels that have birthed film franchises like Hunger Games and Divergent, but with much lower stakes and lead by pasty, socially awkward main characters. Much more relatable, don't you think?

Daniel is one of those kind of characters who, for all his supposed teenage rebellion, is crushingly normal in a way that is wholly relatable. Unlike other graphic novel characters who've made the jump to the big screen, He's never as confident as Ghost World's Enid Coleslaw or verbose as American Splendor's Harvey Pekar, but there's something about his characterisation that reminds of those characters. Neither cartoony or a normcore charicature, he's well drawn, and not just in ink. Brought to life by Earl Cave (son of musician Nick), Daniel is a moody 16 year old with long, lank hair and a Metallica hoody, just like you'd see hanging out on the corner of any suburban cul-de-sac. Quiet, shy and awkward, he says mean, passive aggressive things to his mother basically out of teenage duty to rebellion, something that he hopes to express better by starting his own metal band. As his mother Sue, Monica Dolan is simply fantastic. Trapped in a fashion time-warp that's ageing her beyond her years, she's an adorably kind natured person hoping to find a piece of happiness for herself, and Daniel. With Daniel's father out of the picture starting a new family in Florida, Sue has devoted the last few years to raising Daniel and put her own happiness on the back burner, but when Daniel's smooth talking teacher (Rob Brydon) asks her out on a date, maybe the summer won't be a complete loss after all.

I wasn't aware of the original graphic novel before seeing the film, the main draw being the potential of something great offered by director Simon Bird, AKA Will from The Inbetweeners, in what is his first directorial offering. Best known as a performer (but also the co-writer of the short lived sitcom Chickens), the characters Bird plays tend to display a sort of 'switched on' savvy nature that probably doesn't veer too far away from the man himself. With a script written by Lisa Owens adapted from the original book, it's perhaps a surprise at first that there's no characters here that could be comparable to Will Mackenzie or his friends, but it's ultimately a strength that the film hasn't tried to be a clone of something that came before it. Sure, the basic genus of the film means there's comparisons to be made from other graphic novel adaptations and Bird himself has stated that Richard Ayoade's excellent Submarine is among his cinematic influences, but any DNA this shares with other off kilter teen movies stops when we reach the character of Sue. She is as equally important to the film as Daniel is, and makes for a compelling, if unlikely, character to root for.

There's a large percentage of the story devoted to both Bagnold's doing their own thing whilst trying to find themselves over the summer, but the film is at its best when the two leads are together. Bird manages to capture the unspoken bond between Daniel and his mum, most notably during the highlight of the film when they both enjoy a family trip to the seaside that manages to be impossibly sweet without them saying to each other much at all.

On paper, both written down and drawn,  Daniel could quite easily have been a petulant Kevin and Perry clone, but Cave, best known for his brief but memorable appearance as Frodo in the TV adaptation of The End of the Fxxking World, gives Daniel a lot of warmth and heart, making him a real underdog you want to see succeed. However, it's safe to say that the real star of the show is Monica Dolan as the unassuming Sue, who makes your heart bleed for every typically normal suburban single mum out there trying their hardest for their kids without much fanfare or appreciation from their offspring. This isn't a film with dramatic confrontations or bombastic moments, but Dolan packs so much emotion into little looks and pauses that you'll want to ring your mum as soon as you finish the film and apologise for being a rotten little teenager.

A love letter to every boring suburban summer you had growing up, Days of the Bagnold Summer is an understated joy to watch.

DEERSKIN - London Film Festival review

Part of the cult strand at this year's London Film Festival, Quentin Dupieux's latest film sees Jean Dujardin's Georges become obsessed with his new Deerskin jacket, posing as a filmmaker and turning to crime in order to complete his outfit.

Dupieux, also known as Mr Oizo to fans of 90s Levi's ads, returns to behind the camera with this pairing with The Artist's Jean Dujardin to tell the story of a man who, following his separation from his wife, becomes obsessed with his new Deerskin jacket. While staying in a small French village Georges meets Denise (Celine Sciamma regular Adele Haenel), a bartender and aspiring film editor. Together they collaborate on Georges video diary that shows him forcing strangers to give up their outerwear so that his deerskin jacket is the only jacket left in existence, with Georges turning to murder to make sure the job is done.

Dujardin is fantastic as the pompous, preening Georges, forever enthusiastic about adding another deerskin piece to his outfit and looking ever more laughable along the way. The jacket in itself is a horrible looking garment, even if it does have all of its tassels intact. But Georges's cocksure belief that he's standing out from the crowd as a new fashion icon is never undersold by Dujardin, delivering a great comic performance that's tapping into the rich vein of ridiculousness that exists in fashion for men of a certain age, always ripe for parody. Admittedly, dressing head to toe in deerskin isn't a fashion choice you often see, but is it really so different than wearing a James May-esque bold print shirt?

There was perhaps an expectation that Dujardin would make a leap to Hollywood films after his, some would say, surprising Best Actor Oscar win for The Artist, but as fans of his work in the OSS 117 series will attest, he's completely at home and in his element here in this smaller, bizarre film that plays up to his charming doofus-like strengths. Dujardin plays Georges with so much un-earned confidence in himself, portraying such a clueless, self-important lunatic who's so sure that everyone is jealous of his jacket, or as Georges would put it, his "killer style".

Fans of Dupieux's previous work, in particular his sentient killer tyre film Rubber, will know what sort of humour to expect from him. This is a dark, often ghoulish comedy that revels in its unpredictability and shock value, generating lots of laughs from the sheer boldness of its character choices. As Georges falls deeper and deeper under the spell of the jacket which may slowly be exerting some sort of psychic power over him (or it may all be a figment of his imagination), with murder seeming to be the only logical next step, the weapon Georges crafts from a ceiling fan is disturbingly efficient in its creation and delivery.

There's a lot in Dupieux's work that goes far beyond the surface thrills, and Deerskin is no different. Not only is the dynamic between Dujardin's deluded killer and the much younger Denise mocking that stereotype of a man who has hit a certain age and then found himself a younger woman, the choice of Dupieux to have Georges wait outside a cinema to kill off its patrons as they leave is a comic assault on his audience, saying that if you think you're going to be safe and free from his pervasive ideas when you leave the cinema, think again.

A delightful new addition to the "killer clothing" sub-genre, Deerskin is In Fabric for men in the throes of a mid-life crisis. Less off the rack as it is off the wall, it's an absolute gem of a film.

Verdict
4/5

TUCKED DVD review

When new girl Faith (Jordan Stephens) starts as a performer at a Brighton drag club, ageing Queen Jackie (Derren Nesbitt) takes her under his wing. Having recently discovered he only has six weeks to live, Jackie enlists Faith to help tick some life experiences off his bucket list, and hopefully reconnect with his estranged daughter, Lily (April Pearson).

The world of drag is one that has seen a huge boost in popularity in recent years, in no small part thanks to TV shows like the hugely popular Ru Paul's Drag Race, but until now UK drag has been under explored. Brighton is one such place that has a thriving drag scene, with a mixture of old school cabaret clubs and newer, edgier comic performers bringing in the crowds. In Tucked, the grand old dame of the club, Jackie, sings Gloria Gaynor's I Will Survive, and walks the floor telling dirty, innuendo laden and self deprecating jokes like "I'm not fat, i'm just easier to see" and "do you know the difference between your wife and your job? After 5 years, your job will still suck", followed by the newer, glamour-puss queen Faith, whose act relies as much on beauty as it does biting wit.

Tucked may draw you in off the strip with the promise of a story about drag queens of different generations, but it's really not about that at all. This is a story about Jack 'Jackie' Collins, an old, straight man who in the evening enjoys dressing up in women's clothes and performing to a crowd, but who in the day is lonely, and haunted by past decisions that have cost him his family. His life only changes upon the arrival of Faith at the club, who after Jackie discovers she is sleeping in her car, gives her place to stay. After learning about Jackie's illness, Faith hopes to repay Jackie's kindness by helping him tick some things off his bucket list like getting a tattoo and doing drugs, leading to an awkward but funny interaction with drug dealer Steve Oram.

Brighton native Jordan Stephens, AKA one half of Rizzle Kicks, puts in a solid performance as Faith, a young queen who doesn't "think that what's between my legs defines me". This unwillingness to conform to a specific gender identity hints at aspects of Faith's life that are ripe for drama, but despite Stephens receiving top billing, I'm sure even he would concede he is the supporting player here, rightfully making space for his co-star Derren Nesbitt. A veteran actor with credits as far back as 1956 and roles in films ranging from Where Eagles Dare to The Amorous Milkman (which he also wrote and directed), he's been relegated to occasional Grandad roles in recent years but is astonishing here.

Jackie is a complex, damaged man, and the performance from Derren Nesbitt is why you should see this film. He's in almost every frame of the film and completely dominates the story with this empathetic, wholly believable character he's portraying. Although the dichotomy between his character and the much younger Faith is only touched upon briefly, and Faith's story is under-explored to say the least, the story this film tells, albeit probably not the one you were expecting, is still a compelling one.

There's a charm about Tucked that's exemplified by Jackie's club routine. Yes, some of the jokes are old hat and have punchlines you can see coming a mile off, but they're delivered with real heart and conviction, the material being elevated by the performer to another level.

Verdict
3.5/5

FLIGHT OF THE NAVIGATOR BLU-RAY review

A 1980s classic given the special edition blu-ray treatment it deserves, out now is Flight of the Navigator.

Flight of the Navigator will hold a special place in the heart of many children of the '80s, and although there's often a fear that revisiting these older films will lead to crushing disappointment, as soon as this film's opening UFO fake out is revealed to be a dog frisbee catching competition and Alan Silvestri's jumpy electronic score kicks in, you know you're in for fun. 12 year old David (Joey Cramer) has the usual things to worry about like how to talk to girls, taking his dog Bruiser for a walk in the woods and his bratty younger brother being a constant annoyance. All this changes when, after falling in the woods, he returns home to find his parents no longer live there and that he's been missing for the last 8 years, his whereabouts a complete mystery. More peculiarly, he hasn't aged a day in that time, his little brother is now a foot taller than him and his parents thought he was dead. Oh, and NASA are very interested in the star maps that now appear to be in David's brain, and what they might have to do with the giant spaceship they've found.

It's one of the all time great kid's horror "what would you do?" scenarios that's only the first act of this film. A Disney co-production released by Buena Vista but deemed too dark a set-up to bear the Walt Disney logo, in their hands Flight of the Navigator could have been a sanitised family comedy called something like My Big Little Brother, but instead it's closer in tone to an Amblin movie, full of childhood trauma, shady government officials and conspiracies. And let's be honest, the title is awesome.

About that aforementioned flight, this is very much a film of two distinct halves, firstly with David encountering this brave new world of 80s things like MTV, a robot named RALF and Sarah Jessica Parker, before his psychic bond with a super cool looking silver spaceship leads to the second half of the film, which literally soars when it kicks into gear. With effects that still look great, the mixture of practical and photographic morphing effects really make the ship come to life. Watching this now, it's surprising how clearly divided down the middle this film is, as fond memories place the scenes of David flying around in the spaceship talking to Max (the onboard computer that sounds suspiciously like Pee Wee Herman after downloading the star maps from David's brain) as the bulk of the film. That's not to say the first half is forgettable and doesn't set up an enjoyable mystery scenario, but as the title suggests, it's the Flight of the Navigator that we want to see. Boy, is it fun.

It's a film ready to be enjoyed by audiences young and old, and this new blu-ray edition from Second Sight (in a beautiful looking slipcase) has been given a plethora of extras that will answer your questions like, "how did they make the spaceship look so cool? and "I wonder what the kid in it looks like now?". Don't wait for the often threatened remake, invest in the original and go for a wild ride.

Verdict
4/5

Special Features-

- New 4K scan with restoration supervised by Randal Kleiser
- Directing the Navigator - Interview with Randal Kleiser
- Playing the Navigator - Interview with Joey Cramer
- Mother of the Navigator - Interview with Veronica Cartwright
- Brother of the Navigator - Interview with Matt Adler
- Art of the Navigator featurette
- Commentary by Randal Kleiser and producer Jonathan Sanger
- Reversible sleeve with new and original artwork

Limited Edition also features-

-Rigid slipcase with new artwork by Rich Davies
- 100 page book with original storyboards, behind the scenes photos and a new essay by Kevin Lyons
- Reversible poster with new and original artwork

MEMORY: THE ORIGINS OF ALIEN review

Director Alexandre O. Philippe employs interviews from those involved to surgically dissect Memory, screenwriter Dan O'Bannon's original title for Star Beast, his script featuring one of cinema's most indelible monsters, that eventually became known simply as Alien.

This documentary starts off in a truly bizarre way, with a dramatic interpretation of worshippers at the Temple of Apollo, somehow linked to Ridley Scott's 1979 sci-fi horror in a way that isn't immediately clear. It's a bold opening, and one that fittingly reminds of the opening sequence of the Ridley Scott created story for his Alien prequel, Prometheus, albeit in a way that might be off putting for some viewers who aren't fans of the mythology he grafted onto the story later on. Philippe's documentary has grand ideas of being a quintessential psychological study of the Star Beast and the men behind her, employing the use of lofty, literary talking heads speaking of the Lovecraftian influence on O'Bannon's work, with mixed success.

This doc largely concerns the pre-production stage of the classic film and how it came together to form the Alien film we know and love, so the absence of future lead Sigourney Weaver from the talking heads is not detrimental. Some of the contributions are archive footage, most notably from director Ridley Scott and Dan O'Bannon, but these are presented in an original and ingenious way via monitors that would form part of a control console, not dissimilar to how Dallas and Ash consult with MOTHER. Thankfully the film is not solely made of re-used interviews, with actors Tom Skerritt & Veronica Cartwright offering new material for the film (Cartwright's recollection of the Chestbusrter scene is a highlight), as do art director Roger Donaldson and, most importantly, O'Bannon's widow, Diane.

With her help, the key figure this film tries to studiously examine is Dan O'Bannon, the originator of the Star Beast and frequently unheralded figure in the creation of the Alien franchise. This doc goes some way to righting that wrong, deep-diving into his personal history (his health issues, obsession with sci-fi) that shaped the beast's story. Not all of this thorough examination makes complete sense, as the list of possible films that may have influenced O'Bannon's script are a bit tenuous, like Queen of Blood featuring a dead alien in a chair, just like Alien does in the form of the Space Jockey. In this regard the film reminds of Room 237, a fantastic look at the creation of Stanley Kubrick's The Shining, but a film with some incredibly outlandish theories about what hidden symbolism is contained in the film. Here it's a similarly myth building exercise that is maybe a touch too conspiracy theory heavy, but that will undoubtedly give fans of the Alien franchise new material to repeat down the pub.

It also takes an extended look at the work of artist H.R. Giger and O'Bannon's obsession with his work after discovering his bizarre, sexualised, industrial portraits when working on the ill-fated Jodorowsky version of Dune. Both O'Bannon and Giger are presented as tortured artistic geniuses, and although it's worth noting that both of their spouses have executive producer credits on this documentary (I am completely speculating, but I would assume their co-operation was essential in order to get the film made), they don't shy away from revealing some of the shenanigans that lead to O'Bannon's reputation as a loose cannon, a reputation that undoubtedly fed into his battles with original Alien director Ridley Scott over the vision for the film, and his later issues in finding regular work in Hollywood.

Although this doc, with its foreboding industrial soundtrack and leisurely pace, is often presented as a dour experience, it's often raises a chuckle or two. Chief among these moments of development hell fun is imagining the versions of the film that could have been, like the low budget version from 'The Pope of Pop Cinema' himself, Roger Corman, who saw the script pass over his desk, but graciously told O'Bannon to go after a studio with a bigger budget (but to come back to him if he had no luck).

Memory undoubtedly contains compelling insights into the production for both newcomers and older fans of the franchise, but despite providing a lot of material over which to speculate, it never convincingly lands on who to credit for the creation of the Alien franchise. It's worth noting that the only other films Alexandre O. Philippe chooses to include are brief mentions of Prometheus and Alien Covenant, both also directed by Ridley Scott, so perhaps he's making his position clear as to whose vision wins out for him. What's certain is that for fans to make an informed decision of their own, Memory is essential viewing.

Verdict
3.5/5

PORNO - FRIGHTFEST review

One of the late night screenings at Frightfest, Porno was appropriately shown in the downstairs screen at the Prince Charles Cinema, itself reportedly once one of the West End's cinemas that screened *ahem* adult erotica.

One night in 1993 when both A League of Their Own and Encino Man (AKA California Man for UK residents) were screening in a small town American cinema, the manager, Mr Pike (Bill Phillips) is leaving the cinema in the hands of his newly promoted assistant manager Chaz (Jillian Mueller). Ushers Abe, Todd & Ricky have an uneventful shift with the promise that they can watch the film of their choice once the cinema is closed. That is until a crazed old man invades the cinema, leading the ushers through a secret doorway and into a hidden auditorium none of them knew about. As they try to find the old man they uncover a secret storage room, with a mysteriously labelled film inside. Deciding to watch whatever is on the film, they accidentally release Lilith (Katelyn Pearce), the evil and naked demon contained within.

In the world of trashy independent film, the title of Porno is bound to raise a few eyebrows, and if nothing else, raise expectations. I suppose it's necessary to get it out of the way at this point, but if you're going into this film expecting a high level of nudity, you're probably going to be severely disappointed by the body parts presented to you. The 'Porno' of the title is more accurately described as an Argento-esque European art film, with a giallo hued setting and a beautiful naked woman (with a 70s merkin) as its lead. Oh, and she's demonic and wants to escape the film and devour as many of the ushers as she can.

Porno has a lot going for it in the initial set up; a cool setting, a fun & lively cast, even nostalgia for a forgotten golden age of slightly crappy films (I'm looking at you, Pauly Shore), but despite some fun moments and the most hilariously graphic scene of testicular torture you (n)ever wanted to see, the film isn't able to deliver the thrills and spills you might be looking for. The frustrating thing is that there's clearly potential for greatness within, with born again Christian/projectionist Heavy Metal Jeff standing out as a great character, and an interesting new spin on the group of horny teens/demon fodder. But given too many scenes where nothing happens and opportunities to question the logic of the film (like how could a gigantic 300 seater auditorium be hidden all this time?), there's a strong chance you'll be popping out to the concessions stand, just to have something to do.

Sharing some DNA with trashy classics like Sorority Babes at the Slimeball Bowl-A-Rama (hapless teens unwittingly unleash a demonic entity that plays deadly tricks on them) & Intruder (minimum wage workers confront a killer at their workplace), despite one fantastically gory money shot that will have you squirming in your seats, Porno doesn't deliver enough of the genre goods but will undoubtedly garner some notoriety and an inquisitive audience thanks to its title. 

Verdict

2/5

SEAHORSE review

When Freddy McConnell decided he wanted to have a child, as a transgender man he decided the simplest option would be to carry the child himself, coming off his prescribed testosterone and onto folic acid to prepare himself for potential pregnancy. Director Jeanie Finlay follows Freddy as he confronts issues with his biology, self belief and societal expectations of what he's allowed to do.

The basic logline for Seahorse (and its subtitle "The Dad Who Gave Birth") would undoubtedly have the heads of some Daily M@!l readers spinning, but as sensational a headline it may make, that is not the aim of director Jeanie Finlay or the film's subject, Freddy McConnell, who has gamely allowed intimate access into the process of being a trans person wanting to conceive a child, hoping to provoke nothing other than discussion and offer hope to others.

Finlay's films have always been notable for the willing contributions of her subjects (The Great Hip Hop Hoax, Sound it Out and the excellent Game of Thrones documentary, The Last Watch that managed to silence some of those disappointed in the finale but showing the sheer amount of work and love that went into making the show), and it's no different here. With complete access to his life and interactions with Freddy's family & friends, and it's an important part of the film that his family don't all come across as the open, liberal people you would hope or expect them to be. Much like the audience for this film, they are real, inquisitive people who often clumsily try to navigate their way through this experience by asking Freddy awkward questions. The film isn't trying to vilify them, but as a document that may be of help to viewers who may encounter such a scenario in the future, show what questions don't need to be asked. This is evident at a dinner populated by Freddy's mother's friends aimed at imparting wisdom of "motherhood" onto Freddy, when one woman has to ask "so are you going to be called Dad?", before the group starts to list heteronormative ideals of masculinity and conjure up images of Demis Roussos as something for Freddy to aspire to.

Although this story has plenty in common with any story of someone hoping to start a family and conceive (expensive trips to the doctors, the near misses, the pregnancy tests), it's crucial that the specific journey of Freddy as a transgender person is captured, something that a talented filmmaker like Jeanie Finlay understands could not accurately be told be a cisgender person. Luckily, Freddy is an articulate video diarist, recording late night thoughts and important steps in the journey, like when his prospective co-parent CJ who had been an important part of the early stages, has second thoughts about the arrangement for unclear reasons and walks away. It's here that Freddy's mother steps in to become a big part of the film, sharing her own stories of being a single parent, including the absolute killer line "I loved being pregnant. Everyone should experience it, especially men". She's also able to share photos and videos of Freddy's childhood, a potentially tricky resource for Finlay to mine, but treated respectfully and with Freddy's consent.

The film does a great job of documenting the unconscious bias Freddy faces at every step, something that won't survive Freddy's strong attitude, changing the M to a P on every page of the Maternity paperwork he is asked to fill out. This is done not as an act of defiance but in order to point out how unprepared the established systems are to deal with trans rights in something as basic as starting a family, a luxury cisgender people have no barriers in doing. One of the threads that runs through the film is Freddy's relationship with his own father, a figure absent from the film and notably from Freddy's everyday life. Their exchanges occur via polite but strongly worded emails, his voice only heard in the home video footage of Freddy as a child.

Seahorse is a thoughtful film that tells a deeply human story of one person wanting to bring more life and love into the world, and why them being trans should not prevent them the opportunity to do that. Culminating in a beautiful scene that is profoundly moving and joyful, Seahorse questions what it takes to be a parent and offers a tremendous amount of hope and optimism for the future.

Verdict
4/5

CRITTERS ATTACK - FRIGHTFEST review

 

Children of the 1980's will be well versed in films with tiny monsters running around small town America. On the top end of the scale is Joe Dante's Gremlins, a Spielbergian family horror with cute, marketable furry monsters as well as the hideous ones; the bottom end of the scale occupied by Ghoulies, best remembered for its toilet dwelling monster on the VHS box art. Somewhere in the middle of that scale is the Critters franchise. Not a complete rip off of the spawn of Gizmo, but I think it's fair to say the Crites wouldn't exist without the appearance of Gremlins on the big screen in 1984.

The Critters films existed in a brief bubble between 1986 and 1992, in an era where practical puppetry ruled, just before they were summarily trampled by the CGI dinosaurs that were to come. Now, after a small screen revival at the start of 2019, the Crites are back in film form, with a (mostly) new cast of characters and some interesting developments in the Critters canon.

The film introduces us to Drea (Tashiana Washington), a young woman dreaming of attending Leroy College, the alma mater of her deceased mother, but can't seem to catch a break with the admissions board. Hoping to make herself known, she takes a job as babysitter to one of the professor's children. Meanwhile, on the other side of town, two mysterious objects have crash landed, one containing the Crites as we know them from previous films (and quickly making a meal out of a takeaway delivery boy), the other housing a new, mysterious white creature the Crites seem to be looking for.

There's so much to enjoy about this reboot of the franchise, 27 years after the last big screen instalment. Wisely, they've opted to avoid the introduction of CGI Critters, maintaining the practical puppets that resemble evil little hedgehogs. That may well have been a budgetary decision, but it's worked in the film's favour. Sure, there's times when in the cold light of day the lighting does the look of the puppets no favours at all, but when they're put into darkness (as the previous remote farmhouse, inner city block and, er, outer space settings did), the little beasties look much more menacing.

The filmmakers also know that a Critters film needs to deliver a healthy amount of fun, so the introduction of the (minor spoiler) white Critter Queen, later dubbed Bianca, lends a new element of bizarre world building. She's a character that clearly takes some inspiration from the introduction of the female Gremlin in Gremlins 2: The New Batch (bonus points if you know her name is Greta), standing apart from the almost identikit design of the other (male) puppets. Also, no spoilers for the plot of the film, but it helps that she's kinda badass.

Of course there are also humans in the film, lead by Tashiana Washington's Drea. As a young woman eager to fulfil her dreams whilst also caring for her younger brother Phillip (Jaeden Noel), her drunk uncle Sheriff Lewis (Stephen Jennings) and now professor's kids Trissy & Jake (Ava Preston & Jack Fulton), she's a likeable character that, crucially, you don't immediately want to see get eaten by the Critters.

35 years into the franchise and operating with a low budget, director Bobby Miller should be commended for offering the Critters series a new lease of life. Sure, it's corny, ridiculous and not the most original film you'll see this year, but for nostalgic fans of the original series, this more family friendly iteration is pitched about right, offering some characters you can root for, some you can't wait to see get eaten, and plenty of ridiculous Critter action.

Hey, I managed to get all the way through this review without mentioning the only piece of Critters trivia anyone knows, that Leonardo DiCaprio was in Critters 3! Except for now.

Damnit.

Verdict
3/5

JT LEROY review

Now in cinemas and available to download, starring Kristen Stewart and Laura Dern and based on one of the greatest literary hoaxes of all time, Justin Kelly's film tells the true story of how two women came to embody the fictional street kid turned author, JT Leroy.

You may not be aware of the "hoax" in the early 2000s that shook the literary and celebrity world, but this film tells of how writer Laura Albert, writer and creator of fictional personalities that she would often use to confront her own issues, convinced her sister-in-law Savannah Knoop to pose in photographs as JT Leroy, the credited author of Albert's latest book, Sarah. When Hollywood comes calling to adapt the book into a film and JT becomes an in demand presence at meetings, parties and the Cannes Film Festival, Knoop becomes a semi-reluctant avatar for JT until, with questions about her own identity coming forth and a growing rivalry with Albert over the ownership of JT, the entire scheme starts to unravel before them.

Quite fittingly this story has been told from two different angles before, first in Savannah Knoop's book Girl Boy Girl: How I Became JT Leroy, then two rival documentaries - The Cult of JT Leroy and Author: The JT Leroy Story. The latter, directed by The Devil and Daniel Johnston filmmaker Jeff Feuerzeig, was one of my favourite films of the year it was released, although it was very clearly told from the point of view of Laura Albert. She is essentially the narrator of that film, asserting her ownership of the persona she created, and not always coming over well. This film takes inspiration from Knoop's memoir (the film was also co-written by Knoop with director Justin Kelly) and is very purposely told from the other point of view, from the person who became the physical manifestation of JT at the photo shoots and celebrity parties.

What is most striking about the film is how relevant its subject matter feels to today, even more so than the documentary which only came out a couple of years ago. Through Knoop's eyes this is a study of gender and sexuality that is years ahead of its early 2000s setting, but never feels like it is appropriating the current exploration of gender identity. Simply, the story of JT was the start of a sea change in how these concerns are explored. In the film we see Knoop, a short haired, sexually fluid young woman binding her breasts to look less feminine (or at least an atypical kind of feminine), adopting a male persona by donning baggy clothes, a long blonde wig & sunglasses and pitching her voice down a couple of octaves. Physically JT appears of ambiguous gender, something that increasingly confronts Knoop's own personal feelings as they consider sexual desire towards Diane Kruger's Eva. Is Eva attracted to Knoop's physical appearance in the form of a man, or is it the ambiguity that holds the attraction? Added to that is Albert's relationship with Eva, talking to her on the phone under the guise of JT. Collectively JT and Eva are in a relationship between two people that actually involves four people, one of whom is fictional.

A large part of the success of the film is the dream casting of Laura Dern as Albert and Kristen Stewart as Knoop. Not only are they great physical matches for their counterparts, they share fantastic on screen chemistry as the collective writer, body and conscience of JT Leroy. Stewart has consistently proven that she is one of the best young actresses working today, and the uncomfortable reservedness she has previously been criticised for works for the bewildering puzzle her character is pulled into. As Laura Albert, Dern is simply astonishing, capturing the nuances of Albert's mannerisms (very much on display in Author) down to a T. She is a larger than life character, desperate to achieve a higher level of respect and celebrity, and Dern captures that hunger well as Albert's jealousy allows the facade to slip as she slips from character to character. Although Albert's discomfort at losing part of JT to Knoop is well explored in this version of the story, what is less covered is her reasons for creating these multiple fictional personas, as told in Author. A victim of abuse who would call suicide hotlines pretending to be teenage runaways, she created a method of escape that she continued to use when working for phone sex chat lines and when crafting the persona of JT.

It is helpful to have some prior knowledge of the story in order to truly understand some of the eccentricities that seem outlandish. I would recommend seeing Author... if only to see that Dern's horrendous "British" accent as alter ego Speedy is actually pretty damn close to Albert's original, and also to understand the true identity of Diane Kruger's ambiguously European Asia Argento facsimile, Eva Avalon. I would assume the new character has been created to avoid any potential legal issues coming from Argento, but without that prior insight into Argento's personality there's something a bit lacking in Kruger's interpretation and relationships with both Albert and Knoop, leaving her character the least developed. Jim Sturgess also appears as Savannah's brother and Laura's husband Geoff, a wannabe successful musician pulled into this bizarre world of celebrity and given his own fictional counterpart in the form of Astor, member of Twist and Scream, the band "JT" writes the lyrics for, fronted by Albert's Speedy. Sturgess is perfectly fine in this supporting role, well aware that this is Dern's and Stewart's film.

If this film is your first exposure to the story of JT Leroy you may be forgiven for thinking some of the details may seem far too outlandish to be true, but in all honesty this is about as bizarre a feature film interpretation of the real story could be, and there's various books and documentaries to back up and expand on the story. Dean and Stewart deserve high praise for accurately embodying Albert and Knoop who are painted in the film as far more complex characters than JT ever was. As a real life account of gender identity and sexual fluidity JT Leroy is an important and timely film, the subject matter given no easy answers yet asking a lot of the right questions.

Verdict
4/5


(this review is an update of the original review, published after the premiere of the film as the closing night gala at this year's BFI FLARE Film Festival.)

KALEIDOSCOPE review

Available now on digital, this psychological mystery stars Toby Jones as Carl, a lonely former convict dealing with the aftermath of his first date with Abby (Sinead Matthews) when his estranged mother (Anne Reid) makes an unexpected appearance back into his life.

The film opens on a drab living room, Jones waking up on the sofa where he hears a bang at the door with no one there. Trying to recall what happened the night before he finds a broken chair at the bottom of the stairs and, more disturbingly, a dead woman in his bathroom. After setting up this scenario, the film then flashes back to Jones's Carl preparing for his date and talking to his kindly neighbour, borrowing a very loud shirt from her to make a lasting impression. Soon, Carl is back at his flat with his date, Abby, trying to not disturb the neighbours with the loud music she wants to play and not seeing the ulterior motive Abby may have as she rifles through his belongings when he's out of the room. To add to Carl's woes, his answering machine has a message from his mother (Anne Reid), who's in London the following day and wants to visit.

From this set up Kaleidoscope sets up a murder mystery that lives up to the film's tagline, "Murder is a matter of perspective". Has Carl murdered Abby? Why has his mother appeared now, and what has happened to them in the past to make him hate her so much? Carl's scattered memory and mis-memory of events is what drives this story, as he pictures confrontations with Abby and his mother that may or may not have ever happened, like Patrick Bateman and Norman Bates rolled into one with some added Memento thrown in too.

Directed by Rupert Jones (yes, Toby's brother), Kaleidoscope is a stylishly dreary looking film, the furniture in Carl's flat looking like it's been there for decades. There's some nice touches, like the mosaic tiles used in his kitchen, a whirling, eye shaped spiral staircase and a shot that the camera returns to a few times shows the vastness of the block of flats Carl lives in. This labyrinthian visual doesn't allow us to easily pick out where Carl is, and infers the many stories that might be happening is these blocks, the mania of the landscape mirrored in the shirt Jones decides to wear on his date.

The biggest gripe to have with Kaleidoscope is that the central mystery of the film is not as compelling as it is at times confusing. The shifting, rotating visual logic of a real kaleidoscope is not easily transposed onto this story, as Carl struggles to keep a grip on his reality, and the switching presence of Abby and his mother doesn't necessarily make narrative sense, but does make the film something of a head scratcher you won't be able to solve. It's quickly inferred that it was something between Carl and his mother that lead to his prison sentence, the film teasing possibilities that can be seen in the third act when his mother becomes his manipulator once more, shifting their dynamic against his will. Toby Jones is an actor who is always on top form, realising than his perennially put upon face works well in dark, twisted films like this and Berbarian Sound Studios, and as his mother Anne Reid revels in the darkness of her character.

Kaleidoscope is neither as bright, colourful or playful as the children's toy that shares its name, but it's still an intriguing watch with a fine central performance by Jones, even if the machinations around him do become slightly predictable.

Verdict
3/5