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CINEMA REVIEW: THE HANDMAIDEN (2016)

MOVIE REVIEW: THE HANDMAIDEN (2016)

TITLE: THE HANDMAIDEN (2016)

DIRECTOR:  Park Chan-Wook

WRITERS: Park Chan-Wook, Chung Seo-kyung (from the novel Fingersmith by Sarah Waters)

CAST:  Kim Min-hee, Kim Tae-ri, Ha Jung-woo, Cho Jin-woong

**MAY CONTAIN SPOILERS**

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You may be too young to know or too old to remember but Channel 4 in the 1980s used to have an eclectic choice of arty independent and World Cinema films.  Now you get a few on Film Four but Channel 4 was a main outlet for interesting cinema not shown on the BBC or ITV channels. Channel 4 also used to, for a short period between 1986 and 1987 have a ‘Red Triangle’ on certain films to advise of sexual scenes and material that may be considered controversial. Not surprisingly the films with a ‘Red Triangle’ guaranteed nudity and erotic scenes causing audience figures to actually rise. After some moaning from the likes of Mary Whitehouse – a right-wing puritanical harpy who was a self-appointed anti-everything woman – the ‘Red Triangle’ was vanquished by Channel 4, but not before gaining notoriety and publicity.

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As a teenager I used to look forward to the more risqué content on Channel 4 as the Internet was at the virgin stage and yet to be invented; so titillation was often confined to late night films on a Friday night. Flash forward thirty years and because I’m more mature and it’s very easy to access pornography online I’m not a big fan of overtly sexual material in mainstream or independent features. Not sure why but I prefer subtlety and suggestion over all-out copulation. In Park Chan-Wook’s majestic erotic con-artist thriller there are some wonderfully subtle erotic scenes which raise the blood pressure and enhance the characterisation. There is also some serious scissoring between the two female leads going on too which in my view pushes the boundaries between eroticism, controversy and exploitation. However, this is the line Chan-Wook has always skipped along in classic films such as: Old Boy (2003), Sympathy for Mr Vengeance (2002), and Thirst (2009).

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The Handmaiden is set in 1930’s Korea amidst the backdrop of the Japanese occupation and the cultural differences between the two nations are expertly drawn and examined in the story. Class differences are also highlighted in a rich text which finds Sook-hee seconded to look after the neurotic Lady Izumi Hideko, who is a ward and being groomed for marriage by her controlling Uncle Kouzuki. I will not give any further of the plot away but safe to say it is an incredibly complex narrative structured into three parts which overlap different perspectives within flashbacks and contrasting character voiceovers and angles.  Did I enjoy it? Absolutely, this is a beautifully shot period masterpiece which I took great pleasure in viewing. In my view the running time was arguably over-long and a couple of the more overt sex scenes could have been trimmed. Nonetheless, the film had me gripped throughout.

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Park Chan-Wook directed a gem of a noir thriller called Stoker (2013) for his first Hollywood film, but here is a bigger-budgeted and thematically richer cinema affair. It takes a complex con-artist-twisting-plot and imbues it with an erotically charged and explicit feminist love story which finds sharp-witted female characters overcoming the dominant and deviant patriarchal beast. Moreover, Chan Wook’s screenplay is a masterful adaptation of the original novel, the wonderfully titled Fingersmith, by Sarah Waters. Like the Coen Brothers, Quentin Tarantino, Martin Scorcese, Christopher Nolan, Jacques Audiard, Michael Haneke to name a few, Chan-Wook’s work is always a must-see-at-the-cinema-event and you don’t need a ‘Red Triangle’ to ensure you watch it.

 (Mark: 9 out of 11)

MOVIE REVIEW: LOGAN (2017)

MOVIE REVIEW: LOGAN (2017)

**CONTAINS MASSIVE SPOILERS**

I wasn’t a massive fan of the Brian Singer directed original X-Men series which began in the at the birth of the Millennium. However, as big budget popcorn fodder the early cinema offerings were highly entertaining and the idea of good and bad Mutants with special powers battling each other was very exciting. Of course, the biggest villains were the humans – politicians, scientists or military – attempting to control the mutant population as their kind were seen as dangerous outsiders; like multi-coloured and multi-skilled vermin who must be destroyed.

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So, thematically, the X-Men comics and films are very strong as they represent the worst side of humanity which attempts to vanquish that which is different and does not fit into the hegemonic, natural and conventional norm. Indeed, human beings have (including Deadpool (2016) throughout ten films both attempted to weaponize or destroy the mutants, but it hasn’t worked! There are many more films to come.

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Having said that this, I have read, is Hugh Jackman’s final adventure as Jimmy Howlett AKA the Wolverine. Jackman’s presence alone is worth the admission fee on Logan and his physical prowess and acting ability, allied with his jaded wreck of a persona make this outing an entertaining, if slightly over-long popcorn muncher. I had somewhat higher expectations based on other reviews and fan responses on social media I had read. Because here was a different Wolverine film apparently, full of depth and sadness and real emotions. Well, it has that but essentially it’s another chase movie with the requisite explosions, spiking deaths and mighty roars!

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So while James Mangold and his army of writers package the usual generic and nefarious mercenaries (led by Boyd Holbrook) and a mad Scientist (Richard E. Grant) in pursuit of Wolverine, aged Professor X (brilliant Patrick Stewart) and a young girl (impressive newcomer Dafna Keen), we do get some swearing and fantastically brutal violence that really added to the enjoyment of the movie. The action scenes are also expertly handled and the surprising mutant baddie who appears is a frightening joy.

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The opening scenes of the film were my favourite as Wolverine, Charles Xavier and their albino assistance Caliban – portrayed with pale compassion by an unrecognisable Stephen Merchant – are holed up on a desert-based industrial complex just trying to survive day-to-day. With Professor X’s health failing his mind is a ticking time-bomb as what seems to be Alzheimer’s takes a grip. I thought if most of the film had been like this it would have been a risky yet rewarding character drama. Indeed, the quieter moments are the best such as Logan putting his ‘father’ Xavier to bed and when they momentarily play “happy families” at the dinner table. Yet, it’s not long before the soldiers arrive again to spoil the peace and all hell breaks loose.

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Overall, Logan (2017) is not as good as X-Men: First Class (2011) or Days of Future Past (2014) in terms of sheer cinematic joie de vivre in my opinion. However, the power of Jackman’s, Stewart’s and Merchant’s performances ground the film in a pathos and believable humanity many comic book adaptations lack. While I’m more of an Avengers fan it will be sad not to see Jackman and Stewart back in their iconic roles. While this is a very good X-Men genre film the opening scenes offered something far deeper than the chase movie we got. So, while it has some sad stuff it’s probably not as deep as everyone says it is. But it is an enjoyable film and a fitting finale for Jackman’s muscular-cigar-chomping-head-splitting-cynical-mutant-with-a-giant-adamantium-heart called the Wolverine. (Mark: 8 out of 11).  

MOVIE PREVIEW: GUARDIANS OF THE GALAXY – VOL. 2

MOVIE PREVIEW: GUARDIANS OF THE GALAXY – VOL. 2

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In a new strand I have decided to have a look at some future film releases and reasons why they may be worth catching at the cinema.

TITLE: GUARDIANS OF THE GALAXY – VOL. 2

DIRECTOR/WRITER:  JAMES GUNN 

RELEASE DATE (UK): 28-04-2017

GENRE: Comic-book; action; comedy; mixtape!

PITCH: Marvel’s rag-tag mixtape of human, aliens, raccoon and plant combine once again to shake up the Universe in a sequel to the brilliant original.  This time the fabulous five battle the usual motley bunch of villainous space monsters while tracking down Peter Quill’s father.
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FIVE REASONS THIS COULD BE GREAT!

1. The first Guardians was brilliant as it contained a wonderful mix of action, humour, space fights, explosions, alien villains, guns, and zinging one-liners. So, this one has to be amazing too right.

2. It’s a Marvel comic-book film!  Up until now their cash-cow franchises have established a formula, yet they somehow always manage to invest something fresh into their films.

3. The usual suspects are back! There’s Chris Pratt as Peter Quill and humbly monickered Star-Lord; Zoe Saldana as smart but dangerous Gamora; Dave Bautista provides muscle as Drax; Bradley Cooper is the tech-wizard and grumpy Rocket the Raccoon; plus Groot is back but this time smaller and cuter.

4. The music in the first film rocked!  And the soundtrack in this one will no doubt infect us with more nostalgia-driven hits from the past.

5. Writer/director of the first film James Gunn is on board again!  Having made low-budget gems such as Super (2010) and Slither (2006) he brought an indie perspective and quirky humanity to the big-budget fireworks and CGI fest!

 

Check the trailer out here:

SCREENWASH ROUND-UP! REVIEWS OF: FENCES, MOONLIGHT & SPLIT

SCREENWASH CINEMA ROUND-UP! REVIEWS OF: FENCES, MOONLIGHT & SPLIT

**CONTAINS SPOILERS**

FENCES (2016)

Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character Troy Maxson and his long-suffering wife, Rose; portrayed with significant humility and pathos by Viola Davis. Great support comes also from Mykelti Williamson as Troy’s mentally impaired brother, Gabriel.

Troy’s character is very charismatic and he delivers some hearty yarns from his past, but he’s also bitter and a drinker and, while he has had a hard life, he bullies everyone around him. His sons and more importantly his wife Rose put up with it but eventually he grinds everyone down, pushing them away with his boorish “I-know-best” arrogance and aggression. With her quiet power Viola Davis more than matches Denzel Washington’s grandstanding and Rose’s heartfelt speech toward the end of the film is a stunning retort to her husband’s continual tirades and emotional neglect.

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I’ve seen some criticisms of the film stating it is too “stagey”. Well, as it is based on a play that is understandable, yet, August Wilson’s words are a thing of beauty and therefore deserve focus. I think, while directing, Denzel Washington could quite easily have opened up the settings and had conversations on the street, but the decision was made to “fence” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall the performances alone make the film feel cinematic. (Mark: 9 out of 11)

 

MOONLIGHT (2016)

Barry Jenkins low-budget contemporary drama is another brilliantly acted character memoir; although when compared to Fences it benefits from a more complex structure and cinematic style.  Split into a trio of linear timelines from the same characters’ lives we get three different actors representing the life and changes which occur in Chiron’s existence; with chapters named, Little, Chiron and Black.

Each section draws us into the characters’ world as Chiron searches for meaning, identity and direction as to who he really is as a person. With his father absent Little Chiron (Alex Hibbert) cannot find satisfaction via his mother, an angry and lost woman portrayed brilliantly by Naomi Harris. Small for his age he is also at the mercy of school bullies and while a random meeting with a local drug dealer, Juan (Mahershala Ali) provides Little with a mentor to connect with it doesn’t sustain. Ali as Juan, like most of the performances, delivers a subtle realisation of a character trapped by his life choices and perhaps sees some redemption in ‘Little’. Alas, due to his lifestyle and ‘job’ he is clearly not the role model ‘Little’ needs.

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In the second and third sections Chiron’s relationship with his best friend Kevin comes to the fore both in terms of some powerful drama and intimate sexual connections. Barry Jenkins framing, colour design, use of music and editing choices all commit to create a poetic and fragmented style, further drawing me into Chiron/Black’s story. Chiron’s continual search for identity and meaning in the world reflects the most essential of human needs: the search for identity and love. Overall, this is a film of harsh and beautiful moments and each segment was layered with so many emotions and so skilfully told that I wanted to see more of the characters. (Mark: 9 out of 11)

SPLIT (2016)

Split (2016) is an altogether different film about the search for identity. In fact the lead character portrayed devilishly well by James McAvoy has TWENTY-THREE different people battling around his mind and something is about to give. Let me say that a film like Split won’t be challenging the Oscars because in essence it is a terrifying B-movie thriller, however, McAvoy gives a performance of such quality it reminded me of Anthony Hopkins as Hannibal Lecter in his cannibal pomp. McAvoy’s twisted ability to switch between the many personalities was a real guilty pleasure as he earned his acting fee over and over and over again.

The story concerns three girls, Casey, Marcia and Claire (including an excellent Anya Taylor-Joy) who are kidnapped and imprisoned by the various personalities in Kevin Crumb’s head. Some – including OCD driven Dennis – are more dominant than others and attempt to wrestle total control, which is where McAvoy’s sly switches are a real joy to watch. As a cat-and-mouse plot bleeds out we also get some intriguing back-story flashbacks into Casey traumatic past. These events really add colour to the main narrative and ramp up the tension and suspense. The scenes between Kevin, his personalities and sympathetic Doctor Fletcher (Betty Buckley) also add some dark humour to the story. By the end though all humour is gone and we get a stunning and believable supernatural turn as Kevin’s mind unleashes an altogether different personality.

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Writer/Director M. Night Shyamalan’s dalliance with big-budget-franchise-Hollywood-pictures – including: After Earth (2013) and The Last Airbender (2010) – did not do his career any favours. But with Split he is back on terrific form as he takes a simple abduction plot and renders it full of horror, twists and fantastical ideas. While I did not enjoy his previous film The Visit (2015) – mainly due to the stupid kid rapping throughout a decent horror story – this one is highly recommended for psycho horror fans and for McAvoy’s performance alone. (Mark: 8.5 out of 11)

WHAT IS LOVE? VALENTINES’ MOVIE REVIEW SPECIAL

WHAT IS LOVE?

–        Is it the joining together of two people forever committed to a relationship built on respect and trust? 

–        Is it the emotion you feel for a family member or person you have bonded with over time? 

–        Is it nature’s way of tricking us into the act of pro-creation? 

–        Is it an abstract and emotional concept created by a higher power to ensure we act positively?

–        Is it a form of madness which ensures we make crazy and stupid life decisions?

–        Is it a dark force which enlivens obsession and stalking and violence?

–        Or is it a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors?

Put simply it is: ALL OF THE ABOVE at some point in all our lives; although perhaps not the stalking!?!?

What I definitely know is that love is a big part of everybody’s lives whether it’s the positive or negative type? Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV show and adverts!  So for my latest article I will review some of the films and programmes I have watched recently which had love or some version of it echoing through its’ narrative heart.

**MAY CONTAIN SPOILERS**

45 YEARS (2015) – NETFLIX

Charlotte Rampling just owns this wonderful bitter sweet drama as a woman “celebrating” forty-five years of marriage to curmudgeon Tom Courtenay. The story moves slowly but confidently as Rampling’s Kate Mercer is shook up by revelations from her husband’s past. Andrew Haigh directs with a haunting charm as love is rendered in wintry hues, while marriage is illustrated as a culmination of what-ifs-buts-and-what-could-have-beens.  (Mark: 9 out of 11)  

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BLACK MIRROR (S3) – SAN JUNIPERO – NETFLIX

Charlie Brooker’s savage satire series cuts off your eyelids and forces one’s eyes to the see the nefarious side of technology. However, the episode San Junipero is an altogether more touching and heart-rending beast. Starring Gugu Mbatha-Raw and Mackenzie Davis as a couple of young girls who fall in love in the 80s drenched coastal town of San Junipero it builds slowly to a majestic reveal in the final act and the themes of love, euthanasia and life after death inform the romance with tearful power. (Mark: 9 out of 11) 

BLUE JAY (2016) – NETFLIX

Mark Duplass is an interesting actor-writer-director-improviser who produces small, naturalistic and improvisatory films that are often quietly impressive. Blue Jay is a sporadically brilliant two-hander starring Duplass and the effervescent Sarah Paulson as a former couple who reconnect after years apart and spend a day together revelling in the past, present and future love. Paulson is stunning and Duplass is just Duplass as we spend time with very human characters just trying to get by in love and life. (Mark: 8 out of 11) 

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BLUE IS THE WARMEST COLOUR (2013) – FILM FOUR

You know the story: girl-meets-girl-falls-in-love-has-lengthy-lesbian-sex-sessions-moves-in-with-girl-then-cheats-on-girl-but-not-before-there-are-more-lengthy-scissor-sister-sessions. Well, something like that.  Jokes aside, this is a very honest and believable slice-of-life drama with incredible performances from Léa Seydoux and Adèle Exarchopoulos as the two lovers. The film was laden with awards at time of release and benefits from Abdellatif Kechiche’s frank and intriguing direction. Personally speaking I felt the soul-searching drama and love story were very powerful but the sex scenes were over-long and pornographic and lent nothing to the story overall. (Mark: 8 out of 11) 

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BROOKLYN (2015) NETFLIX

This soapy-honey-sweet 1950s set love story contains a tremendous central performance from Saoirse Ronan, as an innocent Irish girl who goes to New York in search of a job and finds love with an Italian plumber. The film delivers a pot pourri of bright colours, national and migrant archetypes and resolves much of the drama very easily; in fact, the film was so nice I expected the cast to break out into song by the end. John Crowley directs the undemanding story deftly and while, I imagine, the plight of an immigrant in those days was much harder than demonstrated this is fine Sunday matinee fare and difficult to dislike. (Mark: 7.5 out of 11) 

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JACKIE (2016) – CINEMA

Does this fit into the love story genre?  I think as a story about a woman who lost the husband she loved, his head blown completely off by a sniper’s bullet, it qualifies as a film about the departure of love.  It’s a powerful portrait of Jackie Kennedy with Natalie Portman impressing as the wife of the President left devastated by his sudden murder. Portman as Jackie carries the weight of loss and sorrow on her petite shoulders, drawing on all her strength to carry on living for the sake of a nation and more importantly her children. Her life has been condemned as a void and Portman’s haunting visage betrays an unforgettable lament throughout. Pablo Larrain directs using documentary and dramatic stylings to powerful effect and the score by Mica Levi is to die for. (Mark: 8 out of 11) 

LA LA LAND (2016) – CINEMA

As it sweeps the boards at the awards ceremonies La La Land can certainly be praised as a funny, energetic, imaginative spectacle with fantastic direction by Damian Chazelle. Ryan Gosling and Emma Stone are also on great form, delivering  some wonderful songs throughout. As a love story it works but only on the surface as the boy-meets-girl-struggling-artists’ narrative lacks depth overall. Still, it’s a great musical in the classical Hollywood model – just not a Best Film Oscar winner. (Mark: 9 out of 11)   

My original review can be found here:

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THE LOBSTER (2015) – NETFLIX

In an oppressive near-futuristic society individuals must yield to socio-political mores and be married with children or you get turned into an animal of your choice!  Well, this certainly isn’t the pitch of a love story that Hollywood would make in a hurry. However, the misadventures of Colin Farrell’s hopeless love-life are explored to dark and comical effect in Yorgos Lanthimos’ startling comedy-drama. This is one of the best films I have seen a long time which is equally bizarre yet believable in its absurd honesty. We run around attempting to find love or force romance when we should just let nature take its course. Farrell has never been better and his weird romance with Rachel Weisz is so damned original in thought and delivery it left my heart stained with pathos and delirium. (Mark: 10 out of 11) 

 

LOVE ACTUALLY (2003) DVD

My wife “made” me watch this one at Christmas and as soon as it finished I was diagnosed with diabetes!  It is such a sickly, sweet and sappy rom-dram-com that, while I think Richard Curtis deserves praise for some excellent writing, it is just too clichéd for me. I love ensemble portmanteau films and many of the overlapping stories here would make excellent short films; moreover, the cast including: Emma Thompson, Alan Rickman, Andrew Lincoln, Laura Linney, Liam Neeson, Colin Firth and many more are very watchable. But the whole love pudding is over-sweetened, over-egged and over-cooked for my taste. (Mark: 6 out of 11) 

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PASSENGERS (2016) – CINEMA

You and your other passengers are in stasis on a many centuries long journey to another galaxy and you’re woken up early.  You are alone. In space. Until you die. If you could wake up the other passengers, but would you?  Given the fellow passenger is Jennifer Lawrence you have a bloody tough choice. And what if she finds out too: you’re a murderer in effect. That’s the moral dilemma which faces Chris Pratts’ character in this frothy space-rom-drama. I enjoyed the stylish science-fiction genre flick as it looks fantastic in design and cast. It doesn’t have much depth but I found it to be lots of fun especially as Pratt is charming and funny as ever and Lawrence is easy on the eye too. (Mark: 7 out of 11) 

MY CINEMATIC ROMANCE #11 – TOM HARDY

MY CINEMATIC ROMANCE #11 – TOM HARDY

In my latest episode of actor, cinema artist or filmmaker profiles I have picked some favourite roles of Tom Hardy.  This very talented British actor has made a name for himself with a series of intense, moody, muscular and at times psychotic performances. But he has depth too, and demonstrated on occasions, humour, vulnerability and sensitivity beneath the fierce masculine force he brings to the screen. Currently he can be seen lurking in the shadows of the BBC1 drama Taboo (2017), but here are eight other roles which showcase this actor’s depth of talent.

**CONTAINS SPOILERS**

BRONSON (2008)

Arguably, this is Hardy’s proper breakthrough role as he covered himself in shit and acting glory in Nicolas Winding Refn’s unflinching representation of Britain’s most notorious prisoner. Hardy’s in pretty much every scene pulsing with rage and violence; fighting dogs, gypsies and the system like a bald, working class Bane.

THE DARK KNIGHT RISES (2012)

Talk of the devil and he shall appear! Hardy brought his bulking mass and searing eyes to Gotham to wreak havoc on its citizens as arch villain Bane.  The film has some narratives issues but I thought Nolan and cast presented some great set-pieces and action in a pulsating end to the trilogy. With the mask and chilling voice plus hulking physical presence Hardy made a memorable foe for Batman and co.

THE DROP (2014)

Hardy offers another brilliant piece of character work as Bob Saginowski, a Boston barman, who works in a mob-owned pub. He finds himself threatened by local scumbag Matthias Schoenaerts over the disputed ownership of a dog. It’s a subtle performance in which he swallows and bottles his rage with a quiet, yet menacing confidence.

INCEPTION (2010)

Christopher Nolan’s exquisite, mind-bending heist thriller has an fantastic ensemble cast with Hardy popping up as the forger Eames. Unburdened by masks or grunts or over-aggression, Eames is an urbane and sophisticated character who remains calm under fire; while in perfect ‘Received Pronunciation’ delivers some witty one-liners. Here Hardy demonstrates what an ideal James Bond he would make.

LOCKE (2014)

So, the story is about a bloke on his phone driving up the motorway?  Not a pitch that would grab Hollywood in-a-hurry, but a film that is delivered with such hypnotic power it feels epic. Hardy’s Locke is portrayed as a determined man whose life decisions, family and work-life have triangulated simultaneously to crisis point. It is a performance of restraint and brooding anxiety making the one location-movie compelling throughout.

MAD MAX: FURY ROAD (2015)

George Miller’s bruising, muscular and jaw-dropping spectacular is an orgy of car-bombing action and deathly stunts with little dialogue. So, who better to take on a virtually mute yet physical role than Tom Hardy in this smash-and-burn epic.  Max Rockantansky remains one of the iconic existential anti-heroes, with Hardy taking over the baton from Mel Gibson superbly.

THE REVENANT (2015)

Hardy was rightly Oscar nominated for his portrayal of greasy mercenary John Fitzgerald.  While Hardy’s mumbling Fitzgerald certainly has my empathy early doors his decision to leave Glass for dead after killing his son is the act of a scumbag. Once again, Hardy commits to the role of the murderous trapper with dirty aplomb as he more than matches DiCaprio’s compelling performance.

STUART: A LIFE BACKWARDS (2007)

This is an excellent BBC film starring Tom Hardy as Stuart Shorter, a homeless alcoholic and petty criminal who was also a social justice activist. Shorter meets Benedict Cumberbatch’s writer and the two form an unlikely friendship. Hardy’s performance is full of heart-breaking pathos and physical distress because Stuart suffered from muscular dystrophy. Abused as a child and lost as an adult, Stuart’s is a tragic life and one where Hardy further demonstrates his excellent acting range.

APOCALYPSE TO ZOMBIES: THE GIRL WITH ALL THE GIFTS (2016) REVIEW

APOCALYPSE TO ZOMBIES: THE GIRL WITH ALL THE GIFTS (2016) REVIEW

**CONTAINS SPOILERS**

Being an avid cinema-goer I love the experience and have few complaints as a pastime generally. Of course there are great, good, mediocre and bad movies but that’s the nature of any business. However, one of the things that often gets on my nerves is the lack of promotion for really good low-budget films produced in the U.K. Quite often such films on a lower budget fall foul of the power of the Multiplex domination by Hollywood where Disney, Marvel and Star Wars franchise films saturate the cinema screens. Don’t get me wrong I enjoy such cinematic entertainment, but every now and then, a real gem of a film falls between the cracks and does not get the attention it should. One such film is the British zombie-horror drama The Girl With All The Gifts (2016).

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Somewhere amidst the Hollywood marketing behemoth this film was released last year to very little fanfare and it deserved much more in my opinion. It has an excellent cast with Gemma Arterton, Paddy Considine and Glenn Close playing key characters. It also features an intriguing script – based on his novel – by M.R. Carey, succinct direction by Colm McCarthy; plus a standout performance from young actress Sennia Nanua. I must say that the score by Cristobal Tapia de Veer added to the overall dread, scares and brooding peril and I expect this composer to go to the top of his profession.

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Thematically, the film is very strong dealing initially with a skewed educational situation as Ms Justineau (Arterton) teaches her pupils; who are mysteriously chained to their desks. The reason for this is revealed slowly allowing the tension to rise gradually as Justineau’s special relationship with “gifted one” Melanie develops. Their bond builds throughout and one may argue Justineau’s feelings and decisions are misplaced as the adults versus children dynamic heightens. Indeed, the landscape is filled with monstrous orphans and suspense is generated because Melanie’s allegiance could switch any time between the adults and the other zombie children.

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Thus, compared to the very average rom-zom-com-mash-up Pride and Prejudice and Zombies (2016), which benefited from a £28 million budget, The Girl With All The Gifts (made for £4 million) contains a whole lot more suspense, imagination and atmosphere.  The story itself treads the familiar mud and blood road of a post-apocalyptic world where children are the only hope to combat a deadly virus that has wiped out humanity. It’s a standard scientists-and-soldiers-on-the-road-type-plot which wears a jacket of influences including: Lord of the Flies, 28 Days Later, and various George Romero films very well. Overall, this psychological horror contains a number of tense, heart-racing and gory scenes making it an under-rated classic which deserved more success at the cinema in my humble opinion.