Whitney (2018)

I find it surprising that people on earth still have never heard of Whitney Houston, but are old enough to buy alcohol and are supposedly responsible enough to drive a car… what is that about?

Since her death in 2012 there have been a handful of documentaries and different accounts popping up all attempting to tell Whitney’s story, but to be honest none of them have done anything for me. They either make her life seem ‘meh’, or present her as an awful drug addict.

 I love Whitney a hell of a lot, so for me badly made documentaries don’t change my opinion of her, but for those that are either not familiar with her, her life or work they don’t seem to make the best impression. 

Kevin MacDonald also has a go a this, and does her life and body of work some justice and attempts to make the world realise that you can never stop learning about someone’s life even if the film industry appears to have rinsed anyone and everyone of all the information they have.

This film hooked me in right from the beginning because of how much detail was paid to the editing. Throughout the film we are given a bit of an idea what era we are in by there being a montage almost of Whitney’s most popular music at that time mushed in with a series of flickering political events. It was such a perfect contrast and made you really think about the great escape Whitney created for her fans. 

The film then works chronologically and doesn’t just go from baby, to star, to dead star like other portrayals seem to have done before this. We get an idea of what her childhood was like, then we grow up with her, so to speak – throughout this film. Cissy Houston (Whitney’s mother) doesn’t seem to be someone you see being interviewed a lot, (well at least I don’t think I have and I have gone to some deep, dark corners of the internet when it comes to Whitney) but hearing her side of things really brought such a personal element to this film and tied things together as best as could be done for this type of production. We also heard accounts from other family members such as Whitney’s brothers – Gary and Michael, her sister in law – Pat, and close friends. As well as this we get a brief appearance from ex-husband, rapper, Bobbi Brown.

There are some parts of this film that just created goose bumps all over my body. For starters, the sound is fantastic – that’s a given, it’s Whitney Houston. Second, in some of the accounts from her family members you learn much more about her drug habit and how this began, and progressed – well at least I did. And finally, you get to the time surrounding her death which just gets me personally every time.

It really is a touching, heart-warming, upsetting, brave, considerate, and respectful piece of film.

Whether you are a Whitney fan or not, you should give this a go – I mean I took a friend who half forgot that she had died and they enjoyed it, so if that’s not giving credit I don’t know what is.

6.5/10

CINEMATES - S

Book Club (2018)

Four friends meet regularly for a book club and have been doing this for 30 odd years. They all have different relationship dynamics, and different lifestyles but everything seems to centre around their longstanding friendships. They then start reading the Fifty Shades trilogy and start to re-evaluate their lives.

The story behind this film doesn’t develop too far from this. I went into it with very low expectations but it was surprisingly better than I thought. It had some depth, and it wasn’t too wishy-washy so that it felt like you were chasing pointless characters. We get a rough idea of what all of them are doing and how they got there, but it goes no further than that in terms of character development – and it was just the right amount.

I didn’t understand how a film about a book club could be interesting or have anything to it, but really it was quite well done. The comedy in it was a bit meh in places, but there were also some chances to squeeze out an absolute belly laugh. However, I am not a middle-aged woman so some of the comedy may have been funnier if you are older? I don’t agree with that though really. I think it was made quite well for audiences of younger women upwards. I mean, I could possibly watch this with my Grandma… at a push, but it’s definitely something you could watch with your Mum.

The pacing was a little bit off, as some parts really dragged, and it seemed like they really wanted to put emphasis on the fact that ‘funny women are serious too’. There was a focus on some characters more than other – as you would expect, because from the off you know who the main character is. Some parts were just eye rolling kind of stuff.

I can’t say I noticed any kind of a score, I’m sure there was music it was just obviously not memorable enough, and wasn’t complimented by editing.
For me, the stars of the show – as I had anticipated were Jane Fonda and Diane Keaton. They are funny ladies. The cast was well chosen really, they all seemed to complement each other and you could believe that they had a relationship that meant something. It seemed like the kind of friendship you want in your 60’s.

Overall, it was incredibly average really. I wouldn’t buy it but I would recommend it to the mums of the world.

4.5/10

CINEMATES - S

Hereditary (2018)

I love horrors and I love A24. Hearing that they were releasing a new film called Hereditary piqued my interest by the title alone. After a family loses its matriarch they touch on various levels of grief. Soon after, there's an accident losing another member of the family and it spirals down from there.

Though A24 obviously use a wide range of case and crew but their films often have quite similar lighting and presence. This was the same again plus a little some some. There's a lot of natural lighting with soft edges. Even with the darkness the shadows are natural and soft, they're not afraid to show you things but doesn't shy away from have one sole focus in a somewhat blank canvas. As you can guess from the marketing 'this generations exorcist' there's some sort of spirit in this movie. Out of body it's portrayal is with moving light, subtle and only just out of the ordinary. There's a great shot with Alexx Wolff's character when he's alone in bed looking outside and we can see the heaters from the tree house reflected in his eyes. The glowing red reflecting from his dark eyes in his dark room may be a little on the house but looked great. There were some great silhouettes in the dark, wonderfully framed to heighten the horror element. They were bold and uncomfortable but almost out of focus, alarming but somehow not sudden.

The sound was fantastic, the daughter has a trademark sound, a clicking of her tongue, a 'cock' noise. Which as the film goes on it becomes more ominous. I'm a big fan of the slow quiet build ups for the score. Some horrors have got this down and Hereditary is one of them. You don't need a Jaws (1975) theme to alert you to the next attack. You want something that grows with your anxiety, something that finds its way with you instead of leading you there. The editing was also great. There were a few cuts that moved between identical shots in different locations and unique moments that utilises every angle. The mixture between abrupt cut and lingering on an image was perfect. Cuts were alarming but never whisked away before you had a complete look. But at 2hr7mins you there's time to see everything. 

Now the cast, here we go. Amazing. Fascinating to watch. Milly Shapiro plays Charlie the daughter and she's good, she's interesting to watch and I'm curious to see what her next move will be. Gabriel Byrne is great as Steve, almost separates Steve the dad and Steve the husband and it works well, it's exactly what the story needs. Toni Collette is wonderful as always playing the mum, Annie. She gives away nothing as well as a lot. She's vulnerable but determined. The main point is we believe her. We believe she had a strained relationship with her mother though we never see it. As you would have seen from the trailer Annie creates miniature art pieces based on her home life. We see crude near accurate images of memories and moments she's trying to see from another angle. She uses it to grieve and in anger. It's her outlet and it's isolated from the rest of the family, hell from the outside of that one room. Some pieces she had even turned away to face the other direction. Even if we didn't believe she existed before the film we're given a little visual key anyway.

Now Alex Wolff. I could talk about him for a good while and not just because I think he's cute (cos man do I). If you haven't yet seen My Friend Dahmer (2017) go watch it and check out our review here. I thought Wolff was good in that but he excels in hereditary. He's genuine. His stages of grief are genuine and real. They're deep and dark. When someone experiences something as horrific as he has there's no comparable feeling. He has a weighted numbness that, again, is believable. His commitment to the role is commendable and clear. His reactions are fantastic and he holds his own against Oscar nommed Toni Collette. AND AGAIN is someone to look out for. 

It's a slow burner but a well written script. Takes a little while to digest and rightly so. Even spoiler free there's so much to be said about this film I feel I've missed so many points to analyse. It's a very well written script that ties so much together. I almost hope I missed something so I've got another stone to unturn. 8/10

CINEMATES - A

My Friend Dahmer (2017)

Completely intrigued by this because of course I am. It's about one of the most famous serial killers in the last 40 years. My Friend Dahmer is based on a graphic novel (by the same name) by artist John 'Derf' Backderf. It follows Backderfs relationship with Dahmer through high school until graduation and his first murder.

If you've not heard of him (how?) his first of many murders was committed in the late 70's. Ever notice that films set in the 60's and 70's are always muted? The colours are full. As if they've aged even when they haven't yet. The decor of course look dated to us though the high school, minus the clothes and prom, still look relatively recent. Costume was great, hair and make up must have had a field day with his glorious yet terrible hair. Same goes for the roadkill and acid filled jars. The sound was subtle, the score was gentle and rare. When it made an appearance if highlighted the potential severity of the scene. It elicited the same feeling as a good horror score would fear. There were a few uncomfortable scenes, not due to gore but social anxiety preemptive disgust, A few occasions you get second hand embarrassment. In a way to get attention Dahmer parodied a gentleman with cerebral palsy and pretends to have fits on the floor. It would be uncomfortable then but due to us as a society moving away from humour in mimicking disabled people it's even more awkward to see. 

Some of the shots were quite interesting. A few of the opening shots were notable shot well. I recently read the graphic novel out of interest and some of the frames were taken shot for shot, as were parts of the dialogue. Which would make sense as a lot of the conversations actually happened. Some of the shots were a little distant, the film isn't to change your opinion on Dahmer it's to give you more information. So a lot of the shots are for observation and to put space in between him and everyone around him. Wasn't incredible but did what it should have. 

So Dahmer himself is played by Ross Lynch. Recognise the name? Me neither, he's a Disney boy and I'm just too old for when he was in power. Yep star of Austin & Ally is now a serial killer. Props to him. I thoroughly enjoy actors choosing more unique and out there roles, especially when they're young. Same goes for Alex Wolff who plays Backderf. Previous Disney lad now in this and upcoming Hereditary (2018). Doing very different roles, moving away from Disney strongly. Either way I was impressed. Lynch was creepy and yet still had an air of adolescence about him. He had a moments of experienced faux confidence mixed with genuine confusion and loss. The key in the character, and the person, before the crimes was his loneliness. And that's captured well. 

Granted it does feel a little serial killer 101, playing with dead animals and being that weird kid that people laughed at or avoided at school. But that's how it was. If you have the opportunity to read the graphic novel I'd recommend it, it's online. It's a unique perspective that doesn't have a great deal of narrative. That is the purpose of it, that its a lead up to a notorious killers first murder. Without that it would be a semi artsy film of a troubled young man with no help or direction that just made people uncomfortable. Without the biopic qualities it's a somewhat average film. The reason it's so interesting to watch is due to the reality of it. 

Keep in mind it's not a traditional horror, drama biopic is more accurate. 6/10 for the film 8/10 for the total experience. Definitely worth reading more into if you're interested in character over story. 

CINEMATES - A

Breaking In (2018)

Smart home, invasion. Gabrielle Union stays in her deceased father's home with her two children when a group of criminals break in to steal what's in her fathers safe. They only learn upon arrival how smart the house is. 

Seeing the trailer I thought this was just going to be a fun actiony thriller thing. And I was right. The children get trapped inside with the criminals whilst mama Union tries to finds her way in. So the house is kitted out. When we arrive the son finds all the surveillance, every room, every door, motion activated sensors, control panel to watch and cover that and lighting and speakers. Oh and a drone, cos why not. If this was ten years ago it might have been seen as a little stretch but now you accept it easy. And you accept how easy it is to control. 

When the family first arrive Union's character Shaun notices a few out of place things, things we find are due to the fact there had been people in the house. Pairing that with the fact it's the house she grew up in mixed with a little desperation her quick wit seems pretty believing. The four intruders were done reasonably well though one was a little excessive. The ring leader, Eddie, played by Billy Burke, means business and respects Shaun somewhat. Though underestimating her he isn't entirely surprised by her progress and successes. One of the intruders isn't really given a character but the other two work well off each other. One is s murderous and impulsive and the other already regret the decision when the kids are involved. They rock back and forth, pushing each other closer and further from redemption. We see the daughter pick up traits from her mother and help her and her brother survive. We're not given a great deal of intro other than that and that's all we need. 

The action was decent and well thought out. Stayed interesting throughout and kept tensions high during quite a few scenes. Didn't fall victim to 'she should have gone that way' or 'why didn't she do that'. Partly because the whole situation is on a time limit, The security company call 911 if systems aren't back online after the mains were cut. And partly because she's just smarter than the audience. And I'm okay with that. There were a few parts where she seemed to be able to take more hits than I would have expected a human to handle and still stand afterwards. And it definitely reminded me that hollywood mums are just fitter than real life mums, because how many other 45 year olds can fight strangers and climb onto roofs? 

The script was alright though some of the dialogue was a bit lacking. By some I mean most, most of the interesting parts of the film involved silence and action. Yes it did lean on the mama bear protecting cubs thing, which wasn't as annoying as it could have been, but was still pretty cliche in doing so. Though Union and Burke were great a cast can only go so far with what they're given. 

Had surprisingly smart scenes, would watch again/would have in the background. Just slightly more original than the standard home invasion but not by a great deal. Passable but not an urgent watch 5/10

CINEMATES - A

The Strangers: Prey at Night (2018)

Yet another preview screening from Odeon here in the UK. This Scream Unseen was The Strangers: Prey at Night. I was not impressed with this being the surprise film as I was not looking forward to it. I thought this seemed like an unnecessary sequel to what was the somewhat well received 2008 film The Strangers. It's the same story, this time it's a family of four in a trailer park that get attack in the same knifey way.

The appeal of the first film, which this one followed to begin with, was how real it could be. That it's literally just people, strangers, that pick on other strangers to kill. There was the odd highly strung moment. Many moments where it made you think, what would I do, where would I go. The characters of course made the wrong decisions but at least it becomes engaging. 

The film takes place pretty much in real time in one night in this deserted trailer park so it's dark and just surrounded by darkness. And the cinematography is dark for the most part. There was a particular scene and shot in particular that was quite interesting in a swimming pool. I won't spoil it but it's well lit and colourful and unlike the beginning of the film. It was immersive in the midst of the action regardless whether the action is satisfying or not, that's up to you. This scene also has music blaring from speakers, 80's music, which we hear multiple times straight from the film as the killers enjoy it. some of which was fun, was unsettling, music to violence can make you feel some kind of way and it did. Until it was a hugely popular track which just takes you out of the film and the moment. 

The cast were alright. I'm a fan of Christina Hendricks, she was fine. Dad played by Martin Henderson was also fine. Brother and sister Lewis Pullman and Bailee Madison were okay. They has some awkward sibling back and forth which wasn't so much them as it was the script. Some of the dialogue was weak. They had set up a backstory for the daughter that seemed pointless. Didn't give quite enough to warrant it connecting to her character or make any part of her behaviour justifiable. Followed by no explanation it was honestly unnecessary, didn't add as they didn't commit to it. 

I touched on scenes leading you to different directions and characters choosing the wrong way. Now I'm fine with some silliness, I am happy to indulge that. But this film didn't want to be silly until it was too late. By then we've already been lulled into a horror that's attempting to be taken seriously. The less than subtle dive into unbelievable nonsense is a joke. It felt like something I'd watch age 12 at a sleepover. Which I would have been more open to it they had committed to that from the start. Doing this they managed to miss out on a chilling horror and a guilty pleasure by awkwardly dipping their toes in each instead of jumping into one. 

The best way to describe the film is disposable. It's a one view only type of thing that you will forget about. In the first film when asked why they were doing this they replied, 'Because you were home. ' THAT was what this film needed. More chilling, less nonsense, not as powerful as it should have been. 5/10


CINEMATES - A 

Love, Simon (2018)

Here we go, another novel adapted to a screenplay… and for once I’m sure this wasn’t a mistake.

Simon Spier (Nick Robinson) lives a normal life, as he tells us right at the start of this film. He has a happy home life, with his mum (Jennifer Garner), his dad (Josh Duhamel) and his sister Nora (Talitha Bateman). He has a great group of friends, who he has been friends with for years Nick, and Leah, and his new found friend Abby (Jorge Lendeborg Jr., Katherine Lagford, and Alexandra Shipp) and is the guy everyone likes, generally. However, he has a secret that he has been keeping from all of these people, and the rest of the world – he’s gay.

He connects with someone online, because of a reveal on their school blog, type website, and finally he can open up to someone and he feels a that a burden has been lifted, and for the first time, is allowed to feel what he wants to despite keeping the truth bottled up. Another person finds out about his emails to his ‘pen-pal’, Blue – and all hell breaks loose. He has to choose between what is right, and what is easy whilst putting all of these brilliant relationships, and his perfect life on the line.

First things first, I think the producer for this film was a solid match. As someone who is openly gay, Greg Berlanti had this. There was such a personal element that was felt throughout this film, it was really just spot on. I mean, I am not gay, but it was almost like films about people who loose family members to cnacer, you can relate on some level. Anything involving how much respect is deserved by those within the LGBTQ+ community is something I live for. That is a community I comfortably assosciate myself as a part of, and this film - in particular how Simon dealt with everything about his situation filled me with masses of warmth.

The emphasis on this should definitely be how his support networks were written in to this. Don’t get me wrong, like always, this is an over perfect, ideal kind of result. What are the chances of things ever panning out this way? But come on, it’s fictional, and it got shit for a little while for Simon, because we’re humans and we all mess up because we are a selfish species… But then we manage to bring it back in after some wallowing and consistent apologising. 

This film really focused on how awful things can be, and how imperfect romance really is, and that’s what I liked about it. Oh, I’m also a sucker for a happy ending.

The cast were responsible for SO MUCH SUCCESS IN THIS. What an absolute gem Nick Robinson is. His performance was fantastically multi-layered and ticked all of the boxes. He was able to turn on his charm when needed, demonstrate that Simon needed to hide his emotions at times, was able to be funny and easy going, and when it came down to it really go for it and pull on the old heartstrings of the audience. I felt connected with Simon, and his group of friends. Such moving performances from such generally young cast. Credit, where credit is due.  

The editing in this was perfect. It was well paced, it was upbeat, and it adjusted to what was going on where it needed to in the story. The script was spot on, we got a sweet dose of knowledge every now and then, and really got to know everyone enough that the film wasn’t filled with pure fluff, but didn’t leave you lost expecting more.

The score was brilliantly selected, suiting so many different moods, and genuinely kept me smiling, and again helped with the pacing, and with helping you feel connected to the characters we were learning about and watching.

This film was about a young boy coming out as gay, but it was also about the struggles of being a teenager. This was a decent ‘coming of age’ rom-com. Any topical humour that was thrown in, was not offensive, it was funny. It didn’t change my opinion on any one person, or group of people. It didn’t make me cringe, it wasn’t a bunch of kids being badly portrayed, it felt real. The level of thought put into this production is what made it a success. The obvious chunks of personality, and personal experience and feeling that have clearly gone into its creation have made it one of my favourite films of 2018, so far.



Definitely a must-see. Like I said, I’m not gay, but its inoffensive, heart-warming and SO worth the watch. I’m ready to see this again.

7.5/10

CINEMATES - S