allan-brown81
Joined Oct 2012
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allan-brown81's rating
The Edinburgh International Film Festival 2013 Presents:
Writer, Director Paul Wright creates a beautiful poetic tale, exploring the power of love and loss in his deep, visceral and emotionally charged feature debut.
Aaron, an awkward outsider in his small fishing community, returns home after surviving the boating tragedy that claimed the lives of all else aboard, including his elder brother Michael (Jordan Young). Aaron, who feels increasingly frightened and isolated, can remember no details of what happened. He not only struggles with the guilt felt from being the only survivor, but the guilt imposed on him by a community who will not readily forgive him for being alive, while their loved ones are dead.
In his loneliness and anguish, Aaron reaches out Michael's fiancée (Nichola Burley) which fuels the communities suspicions and anger further, in particular Nicola's father (Michael Smiley).
"Do you think if you believe anything enough, it'll become true?" asks Aaron. With his state of mind worsening by the day, Aaron, propelled by folklore and local superstition clings to the hope that Michael is still alive, and thus sets out to save him from "The devil in the ocean".
Wright's feature debut is a strong character drama that explores psychological trauma through a visceral coloured palette and a rich, compelling and thought provoking narrative. Wright uses almost every aid at his disposal to ensure the audience feels and experiences Aarons increasing fragility, torment and state of mind, and he balances it note perfect. This is achieved through a tapestry of visual formats (Super8 footage), sound, folklore and news articles that blur the lines between reality and fantasy. These methods of storytelling never force an idea, but rather tease the audience with possibilities, allow them to draw their own conclusions.
Wrights prominent direction and vision is felt throughout the narrative, but it must be said, his cast deserve as much recognition. George Mackay gives a powerful, sad and heartbreakingly honest performance as our troubled lead, Aaron.
Kate Dickie provides the emotional centre of the film, and exists as Aarons only buoy in stormy waters, in a town that has outcast one of their own. Cathy performance although understated encapsulates the heartbreak and strength of a mother who wrestles with her own grief, whilst trying remain strong for her now, only remaining son. Both performances are quite simply stunning and career defining.
It could be argued that the film becomes stagnant in its second act, refusing to move on in narrative, busying itself with visual flourishes and techniques that slow the pace. I however enjoyed these moments and found they added intrigue, beauty and mystery to an already compelling film.
In-Short
As someone I know put it, "For those in peril is as deep, scary and as beautiful as the sea itself"
For all my other film reviews and movie ramblings head to www.moviereviewworld.com
Writer, Director Paul Wright creates a beautiful poetic tale, exploring the power of love and loss in his deep, visceral and emotionally charged feature debut.
Aaron, an awkward outsider in his small fishing community, returns home after surviving the boating tragedy that claimed the lives of all else aboard, including his elder brother Michael (Jordan Young). Aaron, who feels increasingly frightened and isolated, can remember no details of what happened. He not only struggles with the guilt felt from being the only survivor, but the guilt imposed on him by a community who will not readily forgive him for being alive, while their loved ones are dead.
In his loneliness and anguish, Aaron reaches out Michael's fiancée (Nichola Burley) which fuels the communities suspicions and anger further, in particular Nicola's father (Michael Smiley).
"Do you think if you believe anything enough, it'll become true?" asks Aaron. With his state of mind worsening by the day, Aaron, propelled by folklore and local superstition clings to the hope that Michael is still alive, and thus sets out to save him from "The devil in the ocean".
Wright's feature debut is a strong character drama that explores psychological trauma through a visceral coloured palette and a rich, compelling and thought provoking narrative. Wright uses almost every aid at his disposal to ensure the audience feels and experiences Aarons increasing fragility, torment and state of mind, and he balances it note perfect. This is achieved through a tapestry of visual formats (Super8 footage), sound, folklore and news articles that blur the lines between reality and fantasy. These methods of storytelling never force an idea, but rather tease the audience with possibilities, allow them to draw their own conclusions.
Wrights prominent direction and vision is felt throughout the narrative, but it must be said, his cast deserve as much recognition. George Mackay gives a powerful, sad and heartbreakingly honest performance as our troubled lead, Aaron.
Kate Dickie provides the emotional centre of the film, and exists as Aarons only buoy in stormy waters, in a town that has outcast one of their own. Cathy performance although understated encapsulates the heartbreak and strength of a mother who wrestles with her own grief, whilst trying remain strong for her now, only remaining son. Both performances are quite simply stunning and career defining.
It could be argued that the film becomes stagnant in its second act, refusing to move on in narrative, busying itself with visual flourishes and techniques that slow the pace. I however enjoyed these moments and found they added intrigue, beauty and mystery to an already compelling film.
In-Short
As someone I know put it, "For those in peril is as deep, scary and as beautiful as the sea itself"
For all my other film reviews and movie ramblings head to www.moviereviewworld.com
The Edinburgh International Film Festival 2013 Presents:
Director Justin Edgar's 'We Are the Freaks' is a stylish 90s coming of age, comedy drama, showcasing the relationship between three friends (who are all outcasts in society for different reasons) over an eventful weekend that may shape the rest of their lives.
The film starts with a certain style and visual flare as Jamie Blackley commands the screen with charm and charisma, before he unexpectedly breaks through the 4th wall, talking directly to you, the audience, Ferris Bueller style. The opening 20 minutes is full of promise feeling both fresh and innovative as the film quickly draws you in through its lead character, Jack.
We follow Jack (Jamie Blackley) and his two oddball friends, Parsons (Mike Bailey) and Chunks (Sean Teale) on a Friday night that will change their lives.
Each of our three protagonists are misfits or as they see themselves 'Freaks' for one reason or another.
Jack who is from an underprivileged background struggles to achieve his ambitions due to his financial difficulties. The film however over his character as he awaits to hear if he has be awarded a college grant thus allowing him to attend University.
Parsons comes from a stern, claustrophobic and domineering family that have his life fully mapped out for him, regardless of his own views and ambitions. His girlfriend Claire (Rosamund Hanson) also knows what 'best' for him, which all comes to a 'head' in the second act. :P
And lastly there's Chunks (Sean Teale) the oddball, slightly insecure, eccentric, whose privileged background means he doesn't have to work and instead lives on his divorced parents guilty handouts.
We follow this trio of misfits through an eventful Friday night thats full of high-jinks, mishap and realisation.
What started with such promise slowly falls away to becoming rather generic and uninteresting. All the visual flare and creative novelties of the first 20 minutes are all but dropped. Before we even reach the end of the first act the 4th wall seems to have been rebuilt, never to come down again. The punchy repartee of dialogue in the opening sequences also seems to vanish making way for unconvincing and uninteresting word exchanges between characters, followed by throwaway gags and comedic set pieces that we have all seen before.
Michael Smiley (Kill List) offers a captivating performance as Killer Colin. His scenes are pitch perfect and offer the right balance of comedy and fear as we watch this volatile character fill the screen with great delight.
Jamie Blackley who starts strong slowly shrinks as the film progresses. Mike Bailey plays the unsuspecting comic relief, tragedy character but his performance often feels like a half baked impersonation of Will McKenzie from The Inbetweeners. Sean Teale who also starts with promise quickly becomes nothing more than an irritating one dimensional presence on screen.
By the end the film, despite its interesting moments, vibrancy and frequent skillful direction, it just seems to run out of steam. The films lack of commitment to what it's trying to say, ultimately leaves it all feeling a bit flat and essentially playing like an extended version of a not so funny Inbetweeners episode.
In-Short
We Are the Freaks isn't a bad film by any means, it just frustratingly teases us with enough moments of promise, skill and quirk to know there was a far better film in there somewhere. Instead, what we get is nothing we haven't seen a million times before.
For all my other film reviews and movie ramblings head to www.moviereviewworld.com
Director Justin Edgar's 'We Are the Freaks' is a stylish 90s coming of age, comedy drama, showcasing the relationship between three friends (who are all outcasts in society for different reasons) over an eventful weekend that may shape the rest of their lives.
The film starts with a certain style and visual flare as Jamie Blackley commands the screen with charm and charisma, before he unexpectedly breaks through the 4th wall, talking directly to you, the audience, Ferris Bueller style. The opening 20 minutes is full of promise feeling both fresh and innovative as the film quickly draws you in through its lead character, Jack.
We follow Jack (Jamie Blackley) and his two oddball friends, Parsons (Mike Bailey) and Chunks (Sean Teale) on a Friday night that will change their lives.
Each of our three protagonists are misfits or as they see themselves 'Freaks' for one reason or another.
Jack who is from an underprivileged background struggles to achieve his ambitions due to his financial difficulties. The film however over his character as he awaits to hear if he has be awarded a college grant thus allowing him to attend University.
Parsons comes from a stern, claustrophobic and domineering family that have his life fully mapped out for him, regardless of his own views and ambitions. His girlfriend Claire (Rosamund Hanson) also knows what 'best' for him, which all comes to a 'head' in the second act. :P
And lastly there's Chunks (Sean Teale) the oddball, slightly insecure, eccentric, whose privileged background means he doesn't have to work and instead lives on his divorced parents guilty handouts.
We follow this trio of misfits through an eventful Friday night thats full of high-jinks, mishap and realisation.
What started with such promise slowly falls away to becoming rather generic and uninteresting. All the visual flare and creative novelties of the first 20 minutes are all but dropped. Before we even reach the end of the first act the 4th wall seems to have been rebuilt, never to come down again. The punchy repartee of dialogue in the opening sequences also seems to vanish making way for unconvincing and uninteresting word exchanges between characters, followed by throwaway gags and comedic set pieces that we have all seen before.
Michael Smiley (Kill List) offers a captivating performance as Killer Colin. His scenes are pitch perfect and offer the right balance of comedy and fear as we watch this volatile character fill the screen with great delight.
Jamie Blackley who starts strong slowly shrinks as the film progresses. Mike Bailey plays the unsuspecting comic relief, tragedy character but his performance often feels like a half baked impersonation of Will McKenzie from The Inbetweeners. Sean Teale who also starts with promise quickly becomes nothing more than an irritating one dimensional presence on screen.
By the end the film, despite its interesting moments, vibrancy and frequent skillful direction, it just seems to run out of steam. The films lack of commitment to what it's trying to say, ultimately leaves it all feeling a bit flat and essentially playing like an extended version of a not so funny Inbetweeners episode.
In-Short
We Are the Freaks isn't a bad film by any means, it just frustratingly teases us with enough moments of promise, skill and quirk to know there was a far better film in there somewhere. Instead, what we get is nothing we haven't seen a million times before.
For all my other film reviews and movie ramblings head to www.moviereviewworld.com
