CineLanguage takes to the red carpet for LFF: 'The Drop'

As part of the BFI: London Film Festival, CineLanguage was lucky enough to grab a few minutes on the red carpet for the premiere of director Michael R. Roskam's latest film, The Drop. Sadly, this was the late James Gandolfini's final performance and the director and leading lady Noomi Rapace were bombarded with questions regarding working with such a talented actor. 

Being Roskam's second feature film and first in a language that isn't his mother tongue, set deep in the heart of Brooklyn, The Drop follows bar tender Bob Saginowski (Tom Hardy) who finds himself at the centre of a robbery gone terribly wrong.  In this hub of a gangster neighbourhood where friends and foes work together to create a cash flow, things get pretty heated when the wrong people catch wind of the bigger picture. Acclaimed writer Dennis Lehane has adapted his short Animal Rescue into a feature length script for this one and coming from the man who gave us Mystic River and the fabulously twisted Shutter Island, it is no wonder audiences and critics alike are raving about this one. 

Sadly for the female population there was no Tom Hardy. However for the guys, the stunning, very stylish Noomi was there to lay their eyes upon. The director himself looked very slick as well dressed in black from head to toe and equally took his time to do the rounds.




It is always nice to see actors and filmmakers take the time for press and fans and as Noomi willing took pictures and signed autographs for the people who came to support her. Like any carpet event it is near impossible in between the fans and other press to talk to everyone. Unfortunately, we didn't get the time with Roskam, albeit we struck gold as we got to ask Noomi a couple of questions about the project. 

Staying away from conventional questions, I managed to catch some footage and from the video below it is evident Noomi appreciated such words and her smile says it all: 

Being asked if she would appear in a comedy certainly made her laugh and as for working with Tom Hardy again, it seems she is game. Already collaborating again for Daniel Espinosa's Child 44, it seems the two work well on screen together.  

The Drop is released in theatres throughout the UK from Friday 14th November, 2014. 

Guardians of the Galaxy

It seems as if Hollywood is incapable of saying no to a superhero script when it comes flying across their desks. Of course they have always been around, but over the last decade Marvel and DC have stormed through theatres like Harry Potter flew through on his broom. After the monstrosity that was Avengers Assemble, Marvel looked in danger of burning out. With their latest Guardians of the Galaxy they have certainly proved to us that they are back on top. 

Guardians of the Galaxy has a very distinct personality and clearly stands out amongst the other Marvel features. Set galaxies away from planet Earth, 26 years after being abducted, Peter Quill, the Star-lord (Chris Pratt) finds himself in a pretty sticky spot after uncovering a powerful orb wanted by the evil Ronan, The Accuser (Lee Pace). Starring a fluffy raccoon riddled with sarcasm, a green skinned goddess full of rage and a very literal alien, literally - it's safe to say that this sets itself streaks ahead of the recent Captain America: The Winter Solider. This is spontaneous, sexy and slick. That being said, this may not be for everyone. It is obvious they have tried to aim this at every possible audience member, dribbling toddlers and OAP's alike, albeit some aspects felt forced as if they were trying too hard to be different. Arguable, this is exactly the kind of tongue-in-cheek dialogue and charm that such a film needed to get itself noticed in amongst  reams of summer releases. After all, this is directed by James Gunn, who gave us the hilariously ridiculous Super (2010) and the comedy horror Slither (2006); so it's apparent before you even walk into the cinema that some element of geeky comedy will be involved. Gunn balances all aspects here as well as giving us some side splitting one-liners. 

Christopher Pratt has always kind of been under the radar until his brilliantly voiced Lego self as Emmet in The Lego Movie earlier this year. Here, Pratt truly shows us what he is made of (and I don't just mean abs ladies!) It may seem like he his hiding behind the comedy but this man is great to watch regardless of his outrageous attempt to throw off the enemy by busting some moves. His Star-Lord charm never fails to win over audiences that's for sure. It seems for Zoe Saldana's feisty Gamora, he shall have to try just that bit harder. Bradley Cooper brings dry wit and out-right wickedness to his furry little friend Rocket, and Dave Bautista brings muscle and literally takes everything literally, perfectly well. This truly is a stellar cast and with the welcomed addition of Doctor Who star Karen Gillian taking on a much different and more demanding role it only gets better. Not to mention she did a Natalie Portman and saved her hair off in preparation for her jumped up alien robot, Nebula. Now that's dedication. 

This is a high-energy, non-stop sprawling space fuelled adventure with a soundtrack to match. The 3D CGI is flawless, bringing so many weird and wonderful alien creatures alive. One for the kids and certainly one that works on an utterly different level for the adults. A stunning surprise on all accounts that will have you smiling the entire way through. Not to mention the cutest dancing twig you will ever see, which would make even Vin Diesel go awww! Or perhaps just "I am Groot"!  

Directed by James Gunn
121 mins, 12A (2014)

The Buskers & Lou

The Buskers & Lou is a film that shows us the art of  indie filmmaking is still very much alive and kicking. From the opening scene we immediately know this is a low-budget independent film - but don't let that put you off. Alex Cassun made the very unusual and risky choice of directing a semi-scripted feature film, and the result, I must say, is thoroughly entertaining. 

We are introduced to Lou, an unusual human being who returns to his home town in Portland after being away for some time. At first we are just as curious as his old friends are about his absence, but as the film unfolds all is revealed. After coming back after a long time away it is hard to adjust back into ones surroundings, and Lou is finding it extremely hard. Although, in the main this group of free-spirited, hipsters don't exactly go out of their way to make him welcome, which in turn doesn't help the situation at all. The care-free laid back life of living off minimal money, sleeping in vans and selling clothes at a thrift shop bus just doesn't cut it for Lou any more. He tries desperately to become suited and booted and deeply desires to become more than what he has been; especially through the sessions with his psychiatrist. Albeit, being out of society for so long, it takes him time to realise and adjust to the outside world in order fully reap it's benefits.   

Above all, the originality of this film shines through keeping you engrossed even whilst weaker scenes are being played out. Of course, due to the nature of the film, at times the narrative seemed to be hindered by the lack of script. In turn leaving it up to the actors to blurt out whatever they see fit and sometimes this just doesn't gel on screen. Despite that, it is almost like Lou and his life are in a fish-bowl and we are peering in to get a good glimpse of what is happening. And, just as it would be in real life, not everything plays out as we want it to. Compared to the features the film industry is churning out currently, masses amounts of credit goes to this rather creative and touching story. The message resonating through our minds after watching, and especially through Lou's towards the latter half of the film is that whatever life throws your way, the universe, in time, always has a way of levelling itself out.

The most notable aspect of this indie flick is the incredible diverse soundtrack that booms over a large percentage of the film. As we sit and watch examining every inch of each characters lives, we are always given a fantastic tune to go alongside the image. It also makes the audience aware that they are watching a construction, along with the art-house long lingering camera choices and extreme close ups. The Buskers & Lou is a realistic and relate-able representation of a man tackling what modern society throws at us daily.    

This is low-budget entertainment, but this is low budget entertainment at it's best. 

Directed by Alex Cassun
92 mins (2013)

'Crossroads' - A short film

'Sometimes it's hard to determine a future'

With such films as Blue is the Warmest Colour, Cloud Atlas and the recent Lilting, it seems homosexual relationships are being explored on screen like never before, and quite rightly so.

Crossroads delves into such relationships and tells the story of Rex, who is having a secret relationship with a male colleague. Due to recent events Rex has had to keep his sexuality under wraps and when his father finds out this narrative takes a turn for the worst.The entire film is centered around emotion. Katie Smith the writer and director of Crossroads states that the film was written with the intention of showing a series of strong and poignant emotions. 'Grief, anger, sadness, distress, love, thrill and passion - but the main emotion was grief'. Not only does this film deal with emotion on all levels it's primary focus of course is outlining the fact that there is nothing wrong with being gay. Considering gay marriage has just been legalised, the filmmakers stand in good stead in getting this one noticed. 

So why did a straight woman make a film such as this? Well the simple answer is - that there aren't just heterosexual couples in the world. After all, if everyone wrote scripts centered around the stock narrative of boy meets girl, we are essentially only focusing and gaining the attention of a very small percentage of certain audiences globally. Therefore, it is essential as filmmakers to constantly be pushing the boundaries in order to gain interest and thus make more interesting films. 

Made with a micro budget and a passionate cast and crew, Crossroads was a mere dream on paper for first time team Smith and producer Gloria Daniels-Moss. Currently in post production, the film intends to hit as many festival circuits as possible, including the LGBT groups. 

For more information please visit - 

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Please email us at crossroadsfilm2014@gmail.com with any questions. 

Plastic

Interestingly, Plastic is based on a true story. Whenever a film has that phrase flash up on screen it makes you question it more - except Plastic doesn't have that effect. The film follows a group of four misfits, Sam (Ed Speelers), Fordy (Will Poulter), Yatesey (Alfie Allen) and Rafa (Sebastian De Souza). Living what seems the high life successfully running a credit card fraud scheme, their comfortable lifestyle is disrupted when they steal from the wrong man. The only way to get this sadistic gangster off their trail is to give him what he wants and of course he wants money. Except this needs to be the biggest scam they have ever pulled off.

This is where the girl comes in. Just so happens that Sam's school crush, full lipped and well hair sprayed hair Frankie works at one of the worlds leading credit card companies - handy eh? Once she is on board the gang head to Miami to earn back their lives and pay off Marcel. Sun, beaches and endless cocktails - but is this really what Frankie signed up for? 

This script is laced with lies, manipulation and deceit. On the surface this group of 'lads' seem pretty content with scamming their way through life except we are never really given any reasons behind their motivation to pursue such actions in the first place. Additionally, the character development was a little absent. They all began as unlike able characters and remain that way until the credits roll. Plastic's main problem was the execution of lines. It felt like half the time this rather young cast forced that one line out as if to say, 'guys you need to laugh now'! Despite that, Alfie Allen gave a great performance and had the majority of good lines, which certainly made one chuckle. After Game of Thrones, it's nothing this actor can't handle. It was disappointing to see EE BAFTA's rising star Will Poulter as the on screen clown. The poor boy was dressed up in virtually every scene, along with Skins star Sebastian De Souza sporting a couple of fake moustaches. Starring as Marcel, and doing a phenomenal job of playing a trigger happy hardcore gangster is TV series Dracula's Van Helsing, Thomas Kretschmann. It was clear that the only reason Emma Rigby was on screen was to run around scantily clad on the beach and pout excessively. Surely they could have utilised this Hollyoaks actress a little more? 

After getting over all that, the production values were intriguing. Plastic was shot in an almost independent way and was a breath of fresh air when it comes to teen flicks. Considering this is the latest work from director Julian Gilbey who provided us with Rise of the Footsoldier (2007) and A Lonely Place to Die (2011) Plastic is very light in comparison. The British crime scene is still there and violence is certainly present but nothing compared to what this man can really do. Plastic is a raw, British film not without it's faults but entertaining nonetheless. 

Directed by Julian Gilbey
102 mins, 15 (2014)

Noah

After Black Swan (2010), Requiem for a Dream (2000) and The Wrestler (2008) it seems you can't go far wrong with Darren Aronofsky - until you witness Noah. The production values were there, the narrative was there, the talent was there all to be let down by one major aspect for any film - the script. 

"In the beginning there was nothing". We are first thrown into a bible lesson of the biblical story of Cain, Abel and Seth which helped put things into perspective before it becomes Gladiator on water. At no stage of the film do you find yourself empathising with Noah and his trying destiny 'The Creator' has chosen for him. Not that Russell Crowe failed as Noah, it just seemed a shame to see an actor as he wasted in such a role. The blatant disregard for human life over nature was too apparent. The entire film was laced with environmental connotations, only for everything to get swept away in a apocalyptic flood to punish man for eating an apple.

Acting beside Crowe yet again, is the wonderful Jennifer Connelly who brings a glowing maternal force to the screen. In a world where one cannot live without fear of being hunted by man, she gives the viewer hope. Not to mention she completely steals the show when it comes to her performance, even if she has limited screen time. Their two eldest boys Shem (Douglas Booth) and Ham (Logan Lerman) served their purpose, but by no means gave stellar performances. Not even your luscious lips can save you now Douglas. However one casting choice did bring a surprisingly good effort, ensuring us she is much more than the fluffy haired witch Hermione Granger. Emma Watson brings emotion and fierceness to her orphaned Ila. The casting of Ray Winstone as the descendant of Cain, Tubal-cain worked to a certain degree, but only because his character was a barbaric carnivore that wants revenge. Nothing the man can't handle. 

So the animals came in two by two, hurrah - except they were poorly CGI generated ones that quite frankly let the film down. Along with the representation of The Watchers appearing as a cross between The Iron Giant and Transformers if they were made of boulders, let's say the budget didn't go to the SFX department. The films saving grace came in the form of weird and wonderful montages. In fact, such dreamlike sequences evoke thought of Malick's art cinema approach and physiological themes represented in Aronofsky's previous work. If only the film explored these aspects further, rather than produce dull dialogue and a hybrid of Darwinism and Creationism. Noah was an overall visually stunning feature, albeit not what one expected from the trailer and certainly not what anyone expected from such an acclaimed director.

Directed by Darren Aronofsky
138mins, 12A (2014) 

The Snare is set to scare

No Hope, No Way Out, No Turning Back.

Leading actress and associate producer Eaoifa Forward describes The Snare as a vicious, brutal, deranged and psychological horror. Well it's certainly grabbed my attention. 

The Snare follows three students who get held against their will by a paranormal force that resides in the apartment they booked for a boozy weekend. Not only have they hit the nail on the head genre wise with such films as the popular Paranormal Activity series and The Conjuring being released recently, but from the films trailer this looks rather terrifying. This independent horror is director, writer C.A. Cooper's début and it sounds like he made it a pretty special one!

The feature was shot over 4 weeks, with 4 actors, 4 crew members, with the mere budget of £4,000 and to top it all off - edited in an attic.

It's safe to say that this man had a clear image of what he wanted to gain from his production and took to bizarre methods to achieve it. Cooper's rather eccentric and maniacal approach is said to have pushed the actors to their absolute limit - but boy did he get the results he wanted.  As well as pushing his cast to physical and emotional extremes he also wanted the fear to be ultimately real. To embody the feeling of being trapped inside, he kept the actors safely in the apartment even after shooting had finished. He also controlled their meals gradually reducing the amount of food he gave them, making their feelings and experiences all the more real (but always kept them hydrated). From the glimpses we get here, it appears such methods have translated on screen and it shall be very interesting to see it in it's entirety.

So, do keep your eyes peeled for what looks to be a very chilling independent horror, as The Snare is set for release very soon.  Take a look at the films trailer and see if The Snare is scary enough for you.

For more information please visit: www.thesnarefilm.com