Devs [TV] [2020]

“The box contains us. The box contains everything. And inside the box, is another box.”


Oh man. I usually write these little posts straight after I finish a film or TV show but life has been a little strange of late so I hadn’t had the chance. Therefore my memory of the comings and going of this show are a little hazy but here goes…

This show centres around a high tech department (DEVs) of a company called Amaya, run by Nick Offerman’s character named Forest. Forest has various ‘disciples’ who, it would appear, would do almost anything to protect Forest and the company, and you quickly learn that Amaya seems to operate ‘above the law’ helped by a close relationship with the government. Though he won’t admit it, much of the impetus behind Forest’s vision for Amaya is to turn back time and absolve himself of a terrible tragedy which took the lives of his wife and child.

There are going to be big SPOILERS from now on so look awayyyy.

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Okay, so with that in mind, the story begins with a character called Sergei who is a bright coder with great potential. He is dating a woman called Lily who is a fellow engineer at the same company. Sergei is invited to progress to the DEVs department but on his first day attempts to steal information, which triggers a MASSIVE chain of events starting with his death and affecting a great many people. Lily attempts to uncover the truth with the help, weirdly, of her jilted ex-partner, all while being pursued by Kenton – Forest’s very own version of Odd Job – trained in cleaning up aka murdering problematic people.

There’s also a sub-plot in there involving Russian spies, a very cute worker-friendship between Stewart and Langdon, a tense romantic energy between Forest and Katie (his chief engineer) and as the story goes we uncover more and more about what this extraordinary machine in their department can do… which as it turns out is a mix between televising (to an nth degree of certainty) the past or potentially representing a multi-verse of potential outcomes… it’s not entirely clear, but it is clear that it is extraordinary!

I was also super excited to see a character I perceived as trans or potentially non binary in the show through character Langdon, only to find out that this was not the intention. In addition, the actor was in fact a cis women so was a little confusing about this choice but apparently Garland just wanted to cast a cis gendered woman in that role and it’s as simple as that. Very happy to see Janet Mock playing the senator in this show though <3

What’s so intriguing to me about this show is how it is largely about death. There’s something hopeful about the way that the Amaya engineers are looking to this machine and it’s possibilities but the series starts with death and ends with death, and death is peppered throughout. It’s in both super violent, brutal and dark ways, in schrodinger’s cat take-a-chance sort of ways and then also more matter-of-factly (like here is a dead mouse… it is dead…) scientific representation of death. But even though it is dark, I never came away from watching it feeling put off by the amount of death there was. And I think that is a testiment to how exciting and novel the show turned out to be. Also, having recently read the book ‘The Space Between Worlds’ by Micaiah Johnson which also explores multiverses and the infinitesimal choices in our lives that make massive impacts on the people we turn out to be, it was super interesting to see an alternative viewpoint on this theme so soon after. It’s kind of mindblowing when you think how your life could have changed if you took a different bus one day, or if your parents had not met or things like that. I have been thinking about this quite a lot lately since reading Kindred by Octavia E Butler as well, in light of my own families struggle for survival on both the maternal and paternal side. What if my maternal ancestors had been slaughtered by the Ottoman Empire and not made it to safety on my mum’s side? What if my Chinese grandad never made it on the boat to the Caribbean? What if my great great grandad was murdered by his enslaver or died on the boat over from Africa, or my great great grandmothers line had been wiped out when the English and French colonists murdered her tribe. It boggles my mind how precious life is, and how rare and lucky we all are to be here today and read these silly words about some TV show! haha

Anyways, enough of the deep stuff.

I know Garland has a reputation for being a bit pretentious and I can see some thinking it’s a bit too slow or a bit much or a bit flat or monochrome, but I really enjoyed this show. It was heartbreaking, captivating and at times really beautiful. Not to mention the soundtrack. I joke about the making of the soundscape on my insta/tiktok, but there is something to be said about having a film director produce a TV show, and the results are similar to that of The Mandalorian which had the same dealio, in that it creates epic, cinematic TV shows. Not saying I liked it as much as Mando tho. haha

So in all, really enjoyable show. Well done. Exciting. Very sexy lighting and look to the show. Really confused about the comments from viewers calling it an indulgent show tbh. ALL OF FILM AND TV IS INDULGENT. IT’S A CHEEKY BONUS! IT’S NOT NECESSARY FOR SURVIVAL, OF COURSE IT IS INDULGENT! IF YOU DON’T LIKE IT, NO ONE IS FORCING YOU TO CONTINUE WATCHING APART FROM YOURSELFFFFFF. Unless there is a ‘Clockwork Orange’ thing going on here… in which case I’m sorry, but there’s worse shows to be forced to watch. I can think of a few at least (**COUGH** Replicas **COUGH**) Anyways, well worth a watch.

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The Mandalorian s1/2 [TV] [2019]

This is the way…


I’ve had this on my list to watch for years but unless you have Disney+ in the UK, you can’t watch it so as soon as my partner got a membership, this is the first thing we watched. And I gotta say it is the best TV show I have seen in a long time.

For those who have been sleeping under a rock – like I was until about 2-3 weeks ago – The Mandalorian follows the story of Mando, one of a collection of peoples in the Star Wars universe who wear Boba-Fett esque armour and live by strict codes to never show their faces lest they be banished from the Mando core. They’re essentially hired hands who, at the fall of the empire, struggle to survive through bounty hunting. At the offset, we see Mando on a quest to pick up some very lucrative job for an evil neo-Empire dude when he discovers that this quest is for a young Yoda-looking being with similar natural ability with the force as the Jedi Yoda we all know and love. Against all orders, and at great personal cost, Mando decides to protect the child and return it to those who can keep it safe.

Oh man, even as I type this I’m getting teary about how brave and handsome Mando is…

Along his journey, Mando makes many friends as he offers his skills in exchange for assistance, a ride, protection and so on and it’s like the epitomy of that saying ‘it takes a village’ because everyone works together to protect this kid and there is nothing more pure than that.

I absolutely loved this series. The strength and nuance of the characters blew me away. I think like others have said, fans of the Star Wars franchise might have gotten a little fatigued by so many different Star Wars things coming out in the last 5-10 years but this really felt like such a masterpiece and a real breath of fresh air to the Star Wars world.

The strength of that is totally down to the amount of love that has obviously been poured into this series. From the technological advances that the team behind the scenes were able to experiment with, showing game-like, seamless visual effects that are truly the cutting edge… to the weight of the directing on the backs of multiple talented and visionary directors… every episode was cinematic and each complimented each other and were unique to one another as well. And finally the music. Unbelievable. Who knew recorders could be so. sexy. Masterful is the only word. It has a real Dirty Dozen feel to it, really emphasising this sort of dusty existence that Mando leads on his quest, and its catchiness was deeply annoying to my partner. Which brought me a lot of joy, I have to say! Particularly as I sang it at the top of my lungs each and every episode, without fail.

It feels like it was perfectly closed off at the end of season 2 so that it could have ended there, but it looks like there will be a third season, and I have every confidence that the makers will bring us something spectacular since each season of Mando just got better and better.

In conclusion, amazing, epic, wonderful show. I didn’t think it was possible for me to fall more in love with Pedro Pascal as I had in GoT, but it turns out I absolutely could. Thank you Mando. I could gush about the show forever, but basically it’s a MUST WATCH. Check out the ‘Making Of’ as well on Disney+ because it it such a great watch, particularly Dave Filoni. He has such great energy and is a total dork and I wish we could be friends <3 Anyays, A++, would watch again.

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The Room [2019]

The only thing more dangerous than a man who can’t get what he wants, is a man who can get whatever he wants.


Not to be confused with one of the worst films of all time with the same name, The Room, directed by Christian Volckman, follows Matt and Kate as they embark on the exciting new venture of HOMEOWNING. Matt is some sort of artist which seems pretty irrelevant tbh and they talk about how he’s gonna make a shit-tonne of money one day so she can stay at home. Which she kinda does anyway… Anyways, back to the plot! They move into a massive, old manor and as they are decorating realise that they have a strange room in there that appears to give you everything you wish. So they go on a bit of a bender before realising that the thing they truly wish for is the one thing they can’t have… a baby. Before long they realise that nothing created in ‘The Room’ can survive outside; that there is some sort of mystic power that exists only in the house. Matt, meanwhile, seeks to find answers from someone called John Doe, the previous occupant of the house who reportedly murdered his parents who tells him that in order to live, his parents had to die (suggesting that anything made in the room has to kill its creators in order to live) like some sort of ultimate sacrifice.

Kate wishes for a baby and starts to care for it like her own, calling it Shane. Over time we see the child grow older, completely cut off from the world. They tell Shane that he cannot go outside because it’s not safe to do so. Tensions grow stronger over time and in one moment of rage, Shane manages to get outside and ages rapidly and painfully.

Soon the kid learns about the room and intentionally ages himself into the body of man (whilst still having the mind of a child). He fights Matt and knocks both parents out before taking on the guise of Matt, pretending that the child had in fact died in combat. Then ensues a long scene of the real Matt trying to find Kate, and both of them running through a labyrinth of houses being chased by Shane, all within The Room. Eventually, they manage to beat the kiddo and make it out alive.

Or do they?

I found this film fairly enjoyable. I thought it was a pretty decent film and a good premise, quite tense, helped by the growing tensions of these three characters locked away in a small space.

I enjoyed that once Matt and Kate had worn out the novelty of the room and the capitalist desires they initially had, that they turned to more wholesome desires. Just goes to show how quickly that sort of meaninglessness can burn.

There’s one scene where Shane(?) is trying to get into the door – Matt has removed the key and locked it away – and he breaks down the panels next to the door and crawls through tree roots, which it turns out are intertwined throughout the house. Something about that scene, and the look of the door to the room, how Matt initially finds it and the key itself really reminded me of this 2010 horror/thriller ‘Don’t be afraid of the dark’ starring Katie Holmes. In fact, in that film, Katie and her family move into an old manor. There’s vines and shrubbery everywhere. They tear down a wall hiding THE SCARY DOOR to a room not with wishes, but instead spooky toothfairies… so quite a different film but it had very much the same feel to it, aka secret door thriller. There’s something about that old adage, ‘curiosity killed the cat’, in these types of films. You see the characters punished for their curiosity by opening the door that obviously shouldn’t be opened… it’s literally the oldest story in the book, you know the one where Eve was told not to eat the apple and she did, and then Adam and Eve were banished from heaven… or when Pandora opens the box she’s told not to open and unleashes all the evils unto the world. It’s a strange trope to keep repeating in horror or thriller films because humans are curious by nature, and our curiosity literally invented the wheel and other cool shit, so to repeatedly punish ourselves through these films is pretty humorous to me.

I liked the twist at the end, though I gotta say I saw it coming and I wish it was a little more subtle than it played out. Lots of directors are following in Christopher Nolan’s shoes, post-Inception, which really set the/a bar in terms of how thrillers should be. It feels like in the last 10 years I’ve seen a lot of thrillers which hamfisted their way through endings with a OR IS IT moment, which could have been way. more. subtle. I really enjoy the ones that get it right, because they get me thinking a lot more, or reading into moments questioning what I think I saw a lot more. This was not one of those films… it was more like IS IT? YES IT IS. No questions. TBH I completely forgot I watched this film within about four days of having watched it, so even though overall I enjoyed it, and I enjoyed it whilst I was watching it, it became pretty forgettable.

Overall, enjoyable film but pretty formulaic. I read someone review this as an act of genius, but perhaps they were watching a different film, because that’s not the impression I got. Still worth a watch, but take it with a pinch of salt!

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The Beach House [2019]

Don’t be scared…


Directed by Jeffrey A. Brown, The Beach House follows the story of two sweethearts on a little getaway. Emily and Randall head to the beach to have some sex-nanigans only to realise they have forgotten rule 101 of science fiction horror films… you’re not allowed to have sex and have fun and survive to tell the tale!! Duh!

The story starts with them arriving at the beach house that Randall’s dad owns, only to discover they have company in the form of Randall’s dad’s friends Mitch and Jane. Both couples agree to stay and well, one thing leads to another and they end up having some heavy psychedelics and BOOM. A mist descends on the beach and they find themselves in the heart of a mysterious infection causing people to turn into zombies, complete with neon(?) puke. But do they make it out alive…?

It’s funny because I saw this on Shudder and it was categorised as one of the ‘Best of 2020’ films so I came into watching it with a certain expectation to be blown away, and I came away from it instead feeling pretty ambivalent.

The main characters were a young couple, one of whom was studying to be a scientist but oftentimes I found them to be unintelligible.

I liked the concept, that these spores were infecting people, and the way the director hid it under the guise of psychedelics was pretty sneaky because as viewers we watch and think we are seeing things through the eyes of the characters which is to say that what we’re seeing isn’t real, that it’s a hallucination due to the drugs. So at first I thought that it was just that. As the film continued on, I realised that was not the case, which made what Emily says of these spores when she sees them pretty silly in hindsight. She says there’s “something in the air… usually it’s in the water…” When I thought back to that scene it made me think ‘what. are. you. talking. about.’ If the shimming floaters were spores, which is what you suppose as a viewer, you know that those would be flying through the air, so to hear a supposed scientist make such weird deductions was just really confusing.

The film is beautifully shot. To hand it to the directors, many of the actual daylight beach shots had this clean, symmetrical look to them before things start to fall apart for the main characters.

I enjoyed the Mitch/Jane storyline, that she’s sick and he’s bringing her there for her last chance to see this view, because it ends up being her last… and it’s the most brutal last trip you could take, in more ways than one.

I also really enjoyed the gorey scene where Emily gets stung by some weird sea creature that is half spiney thing half jellyfish half I don’t know what, and you see it crawl in her foot. The fact that it’s daylight when this happens makes it all the more shocking. You expect weird things to happen in the night! Not in daylight. I could really feel her pain as she pulled it out of her foot.

All in all, I really wanted to be excited by this film but I think the slow ‘tension’ build up let the film down. There’s quite a large disparity between what critics see in this film versus actual audiences, e.g. on Rotten Tomatoes the critic score was 80% positive whereas the audience score was only 27%. I think this is just one of those films that you either love or hate. I was personally expecting a lot more to be made of the film after such a long build up but was left feeling pretty empty after Emily spent what felt like hours looking for an oxygen tank so she could get in a car and get away, only to abandon the tank and drive it into a tree. If that’s not a metaphor for the whole film, I don’t know what is. Huge potential; visually great sea creature, great CGI in the psychedelic scenes, gorey and creepy looking zombies. With the right actors/storyline ‘behind the wheel’ of this film, it could have been really something. Instead, it got confused and, well, drove itself into a tree…. Would love to hear what horror buffs think of this film. Lemme know in the comments!

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Fantastic Planet, aka La planète sauvage [1973]

What a shame we can’t play with her any more.


First off, let me tell you right now… This is not a film about a ‘Fantastic Planet’ as the name suggests. It’s actually a pretty terrible planet with terrible beings!

The story begins following a mother and her baby who are being tortured. The mother is from a species of humanoids/humans called Oms who are much smaller than the dominating species (Draags) on the planet they live on. The Draags have brought these Oms to their own planet where they are technologically more advanced. From the offset, we see the Draags treat Oms like their little playthings. In fact, we see the aforementioned mother brutally murdered but as the film is animated style, even though it’s tragic, there’s something quite unreal about it so as it doesn’t feel as brutal as it should be.

The baby is ‘saved’ by a young child Draag called Tiwa who wishes to keep it and a retractable collar is put on the baby so it cannot escape. We see the young Draag play with the baby as it grows and names it Terr. It seems like Tiwa genuinely loves Terr and she cradles Terr, as well as sharing her lessons with him through this telepathic headpiece device, even though it is forbidden by her parents. Eventually, Tiwa becomes careless with Terr as her ‘pet’ and Terr decides to run away (stealing the headset). He runs into more of his own species who help him remove the collar and eventually embrace him into their group. Many think that the education that Terr brings is dangerous, but it turns out to save many of the Oms people in the end. The group he joins is at war with another group of Oms. It seems like despite the fact they literally have bigger problems, they can’t help but fight among themselves!

With the knowledge the headset has given them, the Oms build rockets with the intention to leave the planet for the planet’s moon which they call the ‘Fantastic Planet’. However the Draag intend to eradicate them and start to gas the park they all live in fearing the seemingly rebellious act of Terr, concerned that others will follow suit and that the education they are now afforded will be dangerous. To retaliate, the Om destroy a bunch of statues which it turns out threatens the existence of the Draag. The Draag and the Om come to a peaceful resolution.

First off, the animation in this film was incredible. You don’t see films made like this any more, really. The surreal, vivid colours and imaginative creatures, plants, landscapes and soundscapes are so interesting to watch and hear and it’s no surprise that this film is so iconic. It really is quite a beautiful creation. The soundscape is undeniably 70s because there’s something quite funky about it.

The Draag, despite on the surface being more intelligent, are very savage to the Oms, just because they can. It’s completely normalised by the adult Draag that Oms can be treated poorly and there is this pervasive idea shared that Oms are savage and unintelligent like they deserve to be treated that way almost. It’s quite alarming and striking to watch, because it’s quite reminiscent of the way white colonialists used to talk about Black/Indigenous people, and it’s the way that a lot of racist white people talk to this day, with this air of superiority. Something that is touched on in many sci-fi books but also in a recent book we read in SOPHFIFEST THE READERS club, is how ‘dominating species’ tend to be super arrogant that their elite, superior intellect puts them on top and that any sub-dominant species or group not only do not have the smarts but wouldn’t dream of overthrowing them. The specific book I am thinking of is Ursula Le Guin’s ‘The word for world is forest’ where the human species feel like the indigenous peoples are savage and unintelligent and a peaceful species, that they would never ‘fight back’. We learn of course that their arrogance is unfounded and of course, the indigenous peoples certainly make the humans very foolish indeed! And the same is true for this story. The Draag televise these lengthy intellectual debates, regaling how superior they are. They don’t even see the attack on their existence coming. I really really like that they don’t, and it just shows that if you work together that you can do anything. Even overthrow a brutal alien species!

My only criticism would be that I didn’t believe the ending. If my peoples had been tortured our whole life, I would absolutely have destroyed all of those damn statues, but I appreciate that the intention is for a hopeful ending rather than one filled with carnage.

All in all, gorgeous film. Really well put together. Interesting story. It’s a must-watch!

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Behind her eyes [TV] [2021]

Everyone has secrets…


This show turned up on my Netflix account recently and not knowing anything about it, my partner and I thought we would give it a try. It seemed to really tick my partner’s box in terms of type of shows she tends to watch whereas for me, I prefer sci-fi (obvs) but we gave it a watch and the show was really surprising. There are big spoilers in this post so YOU HAVE BEEN WARNED.

The show started out with a sexy liaison between Louise and David who meet by chance in a bar when Louise’s friend stands her up. Their chemistry is palpable and they share – DUN DUN DUHHH – a kiss before David calls it off and leaves abruptly. The next day Louise goes into work and realises that David is – DUN DUN DUAHHHHHH – her new boss! And he’s – DUN DUN DAHHHHHHHHHHHH – married! They agree to move past it but obviously it keeps happening over and over again and turns into a full blown affair. Meanwhile, there’s a parallel story about David’s wife Adele which paints David in this controlling light. Adele has no control over her own life which David sees to, calling her multiple times a day to check in on her and prescribing her heavy medication. Adele intentionally runs into Louise and befriends her, thus beginning a very weird love triangle where both Adele and David are hiding the fact they are friends with or seeing Louise, and Louise is also omitting this to both. Adele appears to be both vulnerable and mentally unstable and it’s hard to know what’s really happening. I feel like the story tries to force to you to question morality because of all these different scenarios that present themselves paint the main characters in this polarised way, but all the characters in this show are so flawed. The ex boyf, the best friend, David, Adele, Louise. The only pure character is Louise’s son who was the most adorable little boy <3

As the story unfolds, you see more and more pieces in this puzzle. We learn that Adele was in a mental institution, that her parents died in mysterious circumstances leaving her a massive mansion and grounds, that David was suspected of having something to do with their murder as he rescues her from this fire that has killed them. And then there’s this character Rob who you’re really not sure how he fits into it. He meets Adele in the mental institution and talks of Adele being like his escapism so when she is released from the hospital and invites him to the mansion, he jumps at the chance.

And then stuff starts getting REALLY REALLY weird out of the blue. It turns out that Adele has this supernatural ability to leave her body and go on adventures. She confides this in Rob who she has been coaching all along. Similarly in present day timeline, she clandestinely teaches Louise how to do this and gradually Louise pieces together that Adele knows about her and David because she has been watching them this whole time using her weird powers and that she might be dangerous.

We find out that David helped Adele cover up the death of Rob which David eventually owns up to Louise and goes to the police. Then right at the end, Louise realises that Adele is trying to take her life. Louise uses the paranormal abilities to jump into Adele’s body hoping to save her only to discover it’s a trap and Adele is definitely not who we think she is.

I really thought this was just going to be another sexy show about two cheating adults who can’t get enough of each other and the more I watched, the more it unfurled into this fantastical, paranormal thriller. I thought it was a pretty inventive storyline with a nice twisty ending, but then I didn’t like how polar the story was trying to paint the actions of the characters. Additionally, I really didn’t like how much they used old tropes in TV and film, like the ‘crazy wife’ or the ‘sexually promiscuous secretary’ or the ‘sexually promiscuous POC’ in fact! Even the cold and abusive way that David was acting in this, the storyline turned it around as if he was only acting that way because he was scared, poor him. He was only controlling his wife and cheating on her and cutting her off from the outside world because he was scared, which I don’t really buy. There’s this one scene where he’s like ‘thank you, you saved me, I’m going to march right to the police’ and he just walks off into Kings Cross station through open barriers and I half expected him to just disappear and never return. TBH I felt like they let him off really too easily given that he covered up what turned out to be a murder. He would have been an accessory if this were real, but instead he and ‘Louise’ lived happily ever after………

That said, I did enjoy watching the show. It was pretty entertaining and such a messy drama with such broken characters. The relationship between David and Louise is so sexy that it’s easy to get drawn into. I think more could have been done to develop the main characters so that they could be more nuanced, more colourful but I liked the Stepford wife gone wrong vibe and the twist. Additionally both performance from Louise and Adele were stellar. The paranormal aspect felt a bit tacked on; it hid under a nightmare remedy guise and I wish more had been made of it to show the impact of it on David and Adele’s relationship. For instance, David talks late in the series about how Adele appears to ‘know things she shouldn’t’ but earlier on when Louise and David are cheating, he doesn’t seem to mind or worry about that which seems inconsistent. In any case, enjoyable and spooky series and like Sharronda from ‘Pay or Wait’ says, Louise should have minded her own BIZNEZ! I’m glad I watched it.

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Tenet [2020]

“We live in a twilight world. There are no friends at dusk.”


This is one of those films where if you blink you can miss something important in the plot. It’s ever moving, ever changing, plodding forward to a focal point that you don’t see until you get right to the end of the film, at which you have already passed it.

The film follows ‘The Protagonist’ played by John David Washington and flanked by his sidekick played by Robert Pattinson. Washington is an espionage/CIA agent tasked with finding some mysterious artefact on a mission he knows nothing about. At the beginning of the film, he infiltrates a building dressed as some sort of Ukranian tactical police and is saved by a mysterious fellow who ‘un-fires’ a bullet past him. He is then taken hostage by some unknown enemy and takes cyanide only to wake from what he planned to be his imminent death. Impressed with his candour in the face of danger, the powers that be grant him deeper access to the inner fold of ‘Tenet’ and show him a secret hand signal that will take him deeper still into a rabbit hole. He discovers that time travel/time manipulation is real, that it has been weaponised and that a baddie called Sator wants to take the world hostage with this invention.

So! I thought this Christopher Nolan film was fast-paced and exciting and just what we have come to expect of Nolan TBH. He really doesn’t make it easy for us does he?! I’ve heard many people say that this film was James Bond meets science fiction, and I would have to agree. Also, it felt like I was witnessing a really good Washington/Bond audition video.. HINT HINT. Put Washington in, M! Come on! DO IT FOR QUEEN AND COUNTRY!

The concept was a pretty original one and another thought-provoking Nolan film. The more details you learn about the film – which I explored after I finished watching – the more impressive this offering is. I feel like it’s a shame that the film came out during the pandemic because the epicness of the film really would have lended itself to the big screen. Unfortunately, we all had to watch it on our TVs and computers so the reception was not as explosive as I think the film deserved.

I really really like that it was unlike any time travel film I’ve seen before. Most time travel films have a machine that you step into; the reaction is fast and it takes you to anywhere you want to go in a millisecond. But with this film, time travel is slow. You’re advised to wait to enter until you see yourself exit on the other side of the glass before you go in. It’s about as exciting as stepping into a lift, AND in order to travel back, you have to live all those moments in reverse breathing from an oxygen tank trying not to bump into yourself. Imagine how tedious it must be to go back in time in this version of time travel. I know most people would find that really dull but I enjoyed how deliberate and slow the pacing was of the tech. It made it feel fragile, even. Like it could break at any moment.

I have a few criticisms for the film. First was that it was visually confusing in the later epic fight scenes. I had heard lots of people were confused about the plot generally, but that wasn’t it for me because the speeches the characters repeated throughout told you contextually everything you needed to know. From the “we live in a twilight world” to “what’s happened, happened”… The characters even went so far to refer to and explain the ‘Grandfather paradox’, explaining the theory behind it and – SPOILER ALERT – setting up a later scene which ended up being a near paradox! It’s the fight scenes which ended up being the most confusing to me, in part due to the nature of the film i.e. much of the fight scenes were shot in reverse, but it’s the final fight scene where this gets spectacularly muddy. Despite the ‘good guys’ wearing coloured armbands, when the fighting began it was really hard to see where one person began and another ended. There were also surprise cast inclusions, with Aaron Taylor-Johnson turning up three quarters of the way through the film to join the fight, only for us to later find out that he’s not a bit-part but actually an extremely integral part of the plot. Where was he hiding this whole time? And lastly, the damsel-in-distress storyline was a bit much… The Protagonist uses this woman and preys on her fear for Sator by promising to help her only to kinda double cross her. It felt a little like sensationalising an abusive asshole by putting him on this pedastal albeit – SPOILER – he ended up meeting his match. That said, fair play to the lead female actress Elizabeth Debicki. There’s lots of good moments but the most subtle look she gives at one point of the film is really well done, and arguably with the emotional content she had to take on, Debicki’s storyline was by far the hardest. I thought she did a great job despite not having that much to work with compared to her co-stars.

So in conclusion, I really enjoyed watching this. The plot was audacious, epic and original, and invites further watching. Washington was DA MAN in this and his peripheral cast had great chemistry with him. I wasn’t sure Pattinson could pull it off because I see him as a child-actor but I believed him as an agent in this and I guess that reassured me for what will be his later transformation into Batman… Still, don’t fuck it up Pattinson… Some muddy bits but this film kept me thinking about it for a while after. I know many critics have seen this and gone all Avril Lavigne on Nolan (WHY YOU GOTTA GO AND MAKE THINGS SO COMPLICATED?!) but Nolan makes an entertaining film so I can’t hate on him. Go check it out!

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I am Mother [2019]

“Contrary to your understandable assumptions, my primary directive is to care for humanity.”


Thanks to everyone who came to the February WATCHERS club! We watched this gem of a film.

The film, directed by Grant Sputore, centres on the life of a young child, brought up in a special unit by a robot. There are no other humans and we’re told that humanity did not survive a cataclysmic event – the details of which are murky. We are shown the child’s test-tube birth, its development in toddler-hood and soon teen-dom as both the child and its carer goes about their lives and routines. The robot, which the kiddo calls ‘Mother’ appears to care for the kid deeply. Then enters Hilary Swank’s character, ‘woman’, and she disrupts their happy existence.

I don’t want to give too much away so I won’t say anything more beyond the above regarding the plot. This is an excellent film. It’s well shot, very well written and had me thinking for days after I had seen it.

There are no names given to the characters beyond their descriptive names: child/mother/woman. In a post-apocalyptic world, it seems apt to strip the characters of identity and instead replace them with human roles. I think if the robot had been referred to directly as MX-123 or something by the child it would have been way easier to distrust from the beginning.

Throughout, the film was very tense.. so tense you could cut the atmosphere with a knife. I felt distrust but did not really know who to aim that distrust towards. I knew one thing for certain, and that was that the child was a total innocent and I think having the shots showing her grow up in front of my eyes lended itself to this impression, added by the nostalgic “Baby Mine” playing as she grew (aka the song Dumbo’s mum sings to him)… but I couldn’t shake this feeling that someone was evil, that something wasn’t right. I wanted to believe the robot was evil, which is the norm right? So when the ‘woman’ came into the scene I was like ‘aha, the woman is the virtuous one; this confirms my bias’ and then later I was like ‘wait a minute, maybe the woman is the one I shouldn’t trust’… It was an emotional rollercoaster.

Later you are presented with a catch-22 – which I won’t spoil – which left me very conflicted. I couldn’t really say I would have done something different given the circumstances. But maybe if you see someone has destructive tendencies, is the most caring thing to give them a gun?

So all in all, brooding excellent atmosphere, simple and thought-provoking story. Cinematography of the film was really good including the expressive look and sound of the robot. I feel like the smooth, motherly voice given to the robot was juxtaposed with the harsh, cold, squared off look of the robot. I liked that everything about the film was designed to make you feel uncomfortable and it absolutely succeeded in that. There were some WTF twists I totally didn’t see coming and was totally floored by. Very enjoyable. Would 100% recommend watching this film.

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Ch-Ch-CHANGES!

Hai, what’s new with you?! SOPHFIFEST.com has some new changes. Check them out 🙂


EVENTS

Events have moved from FACEBOOK.com and are now at MEETUP.com! Users can get easy notifications about upcoming events and join in on discussions there. I’ve re-jigged the website to streamline this change.

Check out the event pages here which will take you through to MEETUP.com

THE WATCHERS

THE READERS


SHOP

Like SOPHFIFEST’s logo? Like t-shirts, hats or hoodies? Want to support DIY movements?

SOPHFIFEST’s shop is coming in February in partnership with Printful.com. All profits made on orders will go straight back into running SOPHFIFEST.com events!

Countdown below!!! So excite!!!

2021-02-01T10:00:00

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SHOP OPENING!

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The Adventures of Buckaroo Banzai Across the 8th Dimension [1984]

“Sealed with a curse as sharp as a knife. Doomed is your soul and damned is your life.”


Thanks to Sam for hosting this watch party! This was on my watchlist and I was so happy to watch it with the gang, finally!

Buckaroo Banzai, directed by W.D. Richter, features a star studded cast of Peter Weller, John Lithgow, Jeff Goldblum, Christopher Lloyd, Vincent Schiavelli, Jamie Lee Curtis, Jonathan Banks and much, much more! The story follows Buckaroo Banzai, “an adventurer, brain surgeon, rock musician” and his band of merry men, the Hong Kong Cavaliers, as they dash to protect the planet from a bunch of evil aliens looking to take over the world!

Hmm what can I say about this film? Well… Dr Hikita and Buckaroo are trying to perfect a machine (called an oscillation overthruster) which will allow people to pass through solid matter. Buckaroo drives the machine in his car and ends up in the 8th dimension. He finds something under the car which seems to be an alien creature. Meanwhile, learning about their tech successes, Dr Lizardo (a scientist who had ALSO attempted to create the same machine, and was in an insane asylum) decided to break out. Apparently in creating the same machine he had found himself in the 8th dimension as well, was attacked by aliens, and his body was taken over by an evil alien. There’s a bit where a messenger called John with a Caribbean accent comes to Buckaroo and crew and lets them know that he is from one group of aliens called the Black Lectroids that has been at odds with another evil group of aliens called the Red Lectroids, and it seems like earth is about to get caught in the crossfire. Also a bit in there where Buckaroo gets electrified and can see the aliens in their true form, a bit where he finds a love interest in a bar, some slug torture, Banzai tries to kiss an unconscious woman and he gets immediately and painfully electric shocked (honestly served him right) and then at some point, the film finishes and the gang do a catwalk past a sign saying Buckaroo Banzai and it rolls to credits…

There’s a lot to unpack there, but mostly one big question… What the hell did I just watch? This film has a big cult following and is a lot of fun, but it’s a very silly film. There’s a lot going on, and also nothing going on. I believe one critic called it “unintelligible” which I would have to agree with, because it was pretty hard to follow. It seems like the writer(s) threw everything they had at this film and that Peter Weller and friends were just having a fun old time in front of a camera; meanwhile John Lithgow goes through a whole gambit of European accents, never really landing on the one he is attempting to nail (Italian).

Parts of the film gave off the same vibe I felt when I watched ‘American Astronaut’, which was this grease-monkeys feel. Though I thought that AA was excellent, whereas this film went on a weird journey that was all over the place.

Also, how can a film have that many stars and yet feel so low budget?! In one scene, the characters put ‘glasses’ which were clearly made of bubble wrap, supposedly to protect their eyes or help them see an alien. It’s unclear why. At one point all the scientists were wearing glasses to illustrate how smart they were, and then later abandoned that idea apparently. There was a moment at the end where – after the characters strutted past in slow-mo – the camera pans to the Buckaroo Banzai sign and I said “nothing says high budget film like gaffa”. You could clearly see a K on the brick wall, showing where the makers had attempted the sign prior lol. There was this level of pride they seemed to have in the film at that point, like they were collectively saying “nailed it” as they walked away. Did they nail it? Well that’s up for debate!

So all in all, great cast. Very fun, weird film. Probably the most diverse 80s film I’ve ever seen, including lots of ace Black and Asian peeps <3 though only one woman… who ended up only being the romantic element of the film. There was literally a scene where she is kissed by Buckaroo into consciousness, like some sort of sleeping beauty. It’s one of those films you need to watch with pals for maximum banter. I’m really glad I watched it with a group because it made it a lot of fun. Don’t watch it after taking drugs because you will trip out. You have been warned. I’m usually a big fan of weird, but even this was a bit too weird for me but maybe I need to watch it again. Jeff Goldblum in every scene was probably the highlight. Particularly dressed up as a cowboy in the end.

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Flatliners [2017]

“What happens to us after we die? The only way to find out is to see for ourselves.”


Thanks to all the WATCHERS who joined me for the January watch party of this little gem. We had such a lot of fun and banter-galore!

So this film is both a remake and sequel to the 1990 film of the same name, directed by Niels Arden Oplev and stars Elliot Page, Diego Luna (of Y tu mamá también) and some other peeps!

First things first. If you’re coming into watching this thinking ‘wow Elliot Page? It’ll be a gem’, I gotta pre-warn you that this is not gonna be one of those films… I’m not one to usually suggest people don’t watch films. I think you’re an adult and can make up your own mind, but this one was pretty basic.

Medical student, Courtney (Page), is looking to crack the code behind what happens to your mind when you die and decides to rope in a couple fellow students. Page is hooked up to a neuroimaging machine, tells the two colleagues to stop Page’s heart and then resuscitate in 60 seconds. They begrudgingly do so after Page explains a waiver has been prepared and that they need not worry about repercussions. Page’s pals do the deed and Page survives. Then #hardpartayyyyy. Thus starting a cycle of subsequent students in the friend group trying the same, tensions around will they/won’t they save them from dying in time and then the group go into party mode. There’s a plot in there where all of the students who tried the experiment end up seeing what appears to be malevolent ghost but they don’t really address this until pretty much the end of the film but don’t worry they all learn something in the end…

Sooooo…. This film wasn’t what I was expecting. I love Page and he normally has a good track record for starring in at the minimum ‘average’ and at best ‘excellent’ films… I was really hoping that this ‘remake’ would extrapolate from the original – an already average film… maybe make it even better? But from all accounts that’s not the case. The scriptwriting was weak. I mean, I had a lot of fun watching it with all the fun WATCHERS and I don’t regret watching it, but had I watched it alone I think I would have thought it was a waste of time!

Erm so pretty big spoilers ahead: I really hoped, like a lot of the WATCHERS, that more of the sciency bits would have been expanded on. It felt like they threw in some well-known parts of the brain and said they flared up on the monitor, but didn’t really expand on that in any way when there was certainly opportunity. The budget for the film showed that they had money for a great deal of technology, the visuals and the soundscape (more on that later) were decent. Where it fell short was the reductive script… It seemed like jump scares for the sake of jump scares tied together with a few scientific terms and everything else was a footnote or an afterthought.

The experiences the characters had after death were so inconsistent that it didn’t seem believable. Some became haunted by people who had died (one at fault, the other not), others by living people who were apparently still on their mind and the take away is YOU GOTTA FORGIVE DUDEEEEE JUST FORGIVEEEEEEE. None of them had any redeemable characteristics. They all seemed like thoroughly terrible people from start to end. The main and supporting characters seemed two dimensional. There were two Black women/POC/BIPOC in the film which I was excited about and the script seemed to focus on at least one of them a little (Sophia), showing her to have a little dimension as a studious and anxious person… And THEN, following from her out-of-body experience, they have her fuck the shit out of one of her co-characters. Who doesn’t like a sexy scene? However, the choice they made for the only POC/BIPOC character to play that role, and the focal, uncomfortable and aggressive way it is done further builds on this hypersexualised stereotype in film that comes up time and time again that Black women are somewhat sexually deviant. This is further contrasted when we see a second sexually romantic relationship between two white people in the film but their sexual endeavour is portrayed in a gentle way. It creates this idea that Sophia is animalistic, fetishising something that is actually healthy. And then there is her mother figure, the only other POC character in the film who is desexualised and to me came off a bit like a mammy stereotype. They’re too pretty pervasive stereotypes in film so…

The only saving grace of the film is that the soundscape composed by Nathan Barr is pretty stellar.

So in conclusion, great soundtrack, very little storyline and pretty poor characters though fairly acted well despite what they were given! Jump scares actually made me jump even though I knew they were coming. That said, it felt like the film did neither the horror, nor the science fiction that well so… I personally wouldn’t recommend watching this. If you’re gonna watch any Flatliner, make it the original but listen to the 2017 film soundtrack so you get the best of both worlds! Also I still love you Elliot Page.

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Store Announcement – Coming Feb 2021

It’s the moment you’ve all been waiting for. MERCH!


The SOPHFIFEST shop will be unveiling beginning February 2021. It was planned to open earlier but COVID-19 has meant much of the UK is under heavy lockdown, so I thought it best to postpone.

We got t-shirts, hoodies, sweatshirts, stickers and cups coming. All profits from orders will go back into SOPHFIFEST events such as subsidised writing workshops and a DIY film festival.

The legal bit: Fulfilment of orders will be handled by third party, Printful.com. All information provided will be handled in line with GDPR privacy laws and the specifics will be noted in SOPHFIFEST’s privacy notice.

Can’t wait to start seeing SOPHFIFEST popping up in the world!

2021-02-01T00:01:00

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SOPHFIFEST STORE OPENING

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