London Calling

 A subtle, innovative and inventive gem, Estomago can rightly be considered a small masterpiece. Taking its' cue from the inevitable connection between Food, Sex and Power - the film tells the story of a young man; Raimundo Nonato who arrives in town, on a coach bus, without a penny in his pockets and starts working as help in a bar -  sleeping in the storage room on the back, and under a cold neon light learning how to fry "pastel" and "coxinhas", outdoing his "master", Zulmiro (Zeca Cenovicz), the owner of the bar. Nonato is ignorant, but talented. He knows how to work the kitchen, soon others realize it too. The first one to notice him, is Iria (Fabiula Nascimento), a prostitute, who loves to eat, Nonato's coxinhas are enough to seduce her, she starts an affair with him, where she provides sex in exchange for food. Then, Giovanni (Carlo Briani) the owner of the Boccaccio - an Italian restaurant in the neighborhood - offers Nonato a job as his apprentice. Nonato's talent doesn't go unnoticed in prison, among his jail mates - whom we meet through a series of scenes. For the prisoners and their boss, the violent Bujiù (Babu Santana), Nonato is a savior; in fact soon their meager meals turn to a feast of exotic dishes orchestrated by Nonato's magic. As a consequence of this, Nonato is given the following the nickname, a well suited one indeed: Rosemary. How the he ends up in jail - especially, the reason behind his imprisonment - is concealed to us.  And it is this concealment, the unwrapping of this mysters that propels the whole narrative forward.

Estomago is also a very funny, very wry film. The relationship between the three main ingredients are explored cleverly, without resorting to any ridiculous speeches. The main character is ably played by Joao Miguel who gives the right sense of naivete and desire. He is an unbridled force, one which does not know how shape or control his own destiny. His one love, the prostitute Iria is also portrayed amazignly: she is a sensuous woman and this extends to her enjoyment of food - although sex is a commodity to her, food is something more sacred - the way she devours Nonato's meals is nothing short of amazing.
And of course the food! The vibrant colors in the film bring out the life in each dish we see and Nonato's ability to turn anyhing into an edible and lovely meal with nothing more than a little rosemary, some garlic and black pepper is portrayed brilliant because of this colorful cornucophia.

Estomago is a surreal ride: an amazing genre-defying film that rewards those who give it a chance. It is simply something different by showing us a side of Brazil we don't usally see in the imported films: a world of food, a world that's a million miles away from recent films like Elite Squad. and just for this Estomago deserves as wide an audience as possible.

   Srdjan Vuletic's second feature is a small but perfectly formed film ; and also happens to be one of the best films playing at Raindance at the moment.
 
 Set in Sarajevo, the film tells the story of taxi-driver Fudo who alongside driving also hovers around the fringes of organised crime by giving local thugs tips on which houses to target to rob. He is also not above accpeting sexual favours as fare if customers can't pay and spends his remaining hours at a grill house which also serves as the taxi rank. Fudo's wfie  Azra is not happy about her husband's dodgy dealing - she thinks that now that they have a baby together , he should become more of an honest man. However Fudo is not ready to switch : not until a well-inteded tip goes wrong and Azra walks out on him. A genunie belief that he should only do good propels Fudo to start making some serious attempts at changing and finding out for himself how really hard it is to be nice.

  Sasa Petrovic plays Fudo as a sort of average everyman: he's mid forties, balding and is just like any ohter taxi driver one might encounter in the streets of Sarajevo. What sets him apart however is his sense of humor as well as his devotion to his child: the first shot of the film opens as Fudo drives his son around the city whilst giving him 'sagely' advice.

 Once the whells of change are set in motion, we watch Fudo desperately try to do his best. He wants to be nice, he wants to do good: but circumstances keep trying to trip him up. From his friends to even the fares he ends up picking up, the film shows post-war Sarajevo as a place where to be honest is a genuine effort. Fudo approaches each obstacle with a good sense of humour and although the film gets very dark towards the end, it is his inherent humanity that serves as a remainder of why the human race must always pull through the bad times and the atrocities.

  The rest of the cast is very good, too: Fudo's friend Sejo played ably by Emir Hadsihafizbegovic comes across as between a grumpy old man and stubborn child, Daria Lorenci plays Azra as a woman with a strong will who's ready to take a lot of risks for her husband - the smaller, more quirky characters also amuse: a customer whom Fudo keeps encountering but simply cannot give  a ride to is one of the more amusing running gags in the film.

  The look of the film might be gritty but it also is very bright - a realistic sort of canvas upon which the director is able to paint the portrait of the city: Sarajevo features perminently in the film and we are constantly reminded of a city still trying find its' identity and shed the horrors' of the past. Most of the scenes are bright and it is hard not to get a good sense of the place and time.

  In the end, It's Hard To Be Nice succees because it creates characters in which the audience has to invest: perhaps European and Western audiences might be lost at some of the more Eastern humor and logic but this should not stop anyone from making an effort to see this subtle, humorous and touching film.

 'Dean Spanley' is a perfect example of how an enormously talented cast can raise average material way , way above its' station. Although by no means bad, the script for 'Dean Spanley' would amount to much less in actors not as talented as Jeremy Northam, Sam Neill, Bryan Brown and Peter O'Toole. However ,as it stands , it is a beautiful and moving tale of fathers, sons , paternal love and dogs.

 Set in Edwardian England where upper lips are always stiff and men from the Colonies are not entirely to be trusted, Fisk Senior  (Peter O'Toole) has little time or affection for his son, but when the pair visit an eccentric Indian, they start a strange journey that eventually allows the old man to find his heart.
 
 Entirely unusual and compeletely cuckoo, 'Dean Spanley' is a film that is at best experienced first hand for trying to describe it could do no justice. It takes some pretty outrageous ideas but manages to turn them into something else, something so innately human that it becomes almost impossible to resist.

 Jeremy Northam is very good in the role of Frisk Junior - however his is the most sraightforward part - almost playing the straight man to feed lines to everyone else. He still manages to find a heart for his character and enthrall the audience enough that they care about what happens to him and subsequently the other people he involves on his journey.

 Bryan Brown is one of the most talented actors working in down under or for that matter anywhere else and it is always a relief to see him flex his acting muscles. In the role of the slightly shady 'Wrather' , he exhudes charm and sleaze in equal measure , making every scene he's in a joy.

 Sam Neill once again proves why he can be relied on time and time again with almost any role. His titular character 'Dean Spanley' might be , in less talented hands, be no more than a caricature but Mr. Neill here does wonders with the material. His mannerisms, his facial expressions all add up so much so that by the end of the film all the outrageousness of the characters has turned into believable character traits. It is also quite possible that just because of Mr. Neill's acting, Tokai wine might become even more widely known and ordered.

  And finally Peter O'Toole: aged 76, Mr. O'Toole gives a masterclass in acting.  It is singulary amazing his domination and control of every scene that he is in, and the last twenty minutes of the film involving him, Sam Neill and Jeremy Northam are practically faultless. Having lost none of his striking handsomeness over the last decade, Mr. O'Toole is still the finest actor of his or any other generation.

  To be honest, it is hard to talk about 'Dean Spanley' without giving away any of its' surprises. However it is a film which deserves to be experienced - for it is sure to warm the hearts of anyone who watches it with an open mind.



'Dean Spanley' will play at the London Film Festival on Friday 17th October at 18.00 at Odeon West End and Sunday 19th October at 16.00 at Curzon Mayfair. Tickets are available.

 Already having created a huge stir in Berlin Film Festival this year, director Damian Harris's film 'Gardens of The Night' arrived at Raindance with not much fanfare. However, at least for this reviewer, it turned out to be one of the more honest and interesting experiences in the cinema this year.
 
  'Gardens Of The Night' focuses on 8 year old Leslie who is abducted from her home by Alex (played magnificently by Tom Arnold who here is exercising his own demons) and Frank (Kevin Zegers). She is convinced by Alex that her parents no longer want her and through a number of encounters is made to rely more and more on Alex. In the house is also 9 year old Donnie who also seems to be a victim. Slowly Leslie and Donnie establish a friendship which will be the only one they have once they are abandoned by their captors.

  Although not an easy film to watch, 'Gardens Of The Night' is neither expolitation nor dry, matter-of-fact teledrama. Damian Harris conducts a very sharp passage through the world of child abduction, child molestation and the subsequent results for the children involved and because of this the film manages to feel incredibly sharp and honest at all times.

  The first half, dedicated to the abduction and breaking down of Leslie, is thorougly horrific to watch at times: everything is presented very plainly and honestly without ever resorting to cheap tactics. There are no swelling violins HBO Movie Of The Week style here, just good storytelling augmented by astute and exciting acting.

  Tom Arnold is possibly the finest actor in the whole film: his portrayal of Alex is complex and disturbing in equal measure: a character to match Brian Cox's Big John Harrigan in Micheal Cuesta's L.I.E. If Kevin Zeggers Frank feels more generic, it is not because the character is underwritten but because Tom Arnold does such a spectacular job that everything else looks faded next to his performance. (with the exception being the child actors who pull through a very hard part with immense skill and grace)

  If there are any problems with the film, it is the second half: detailing Leslie and Damian's later years where it starts to feel more and more like one of those 80's films about run-away kids. However this does not affect the movie as a whole because Harris keeps injecting the film with a brutal honesty at regular intervals. Events that mirror each other occur to show us the damage that these kids have received, brief glimpses into their psyche offer us perhaps no new insights but a better understanding of what we already know.

  Although it will never be to everyone's tastes, 'Gardens Of The Night' is an important film that deserves to reach as wide an audience as possible.

  Yesterday at the LFF saw the press screening of Il Divo - Paolo Sorrentino's new film. After the relatively small scopes of 'Consequences Of Love' and 'The Family Friend' , 'Il Divo' finds Sorrention expanding his vision to a much grander scale - in an epic that runs at almost 2 hours, Sorrentino tears into Italian politics, focusing his gaze on one Guilo Andreotti, an Italian Politician of the centrist Christian Demoratic party who served as Prime Minster from 1972 to 1973, from 1976 to 1979, and from 1989 to 1992 as well as serving as Minister Of The Interior (1954 and 1978), Defense Minister (1959-1966 and 1974) and Foreign Minister (1983-1989), and he has been a Senator for life since 1991.

  The film , in particular, focuses on Andreotti's seventh term as Prime Minister - however most of the events that occur druing this time are all tied to earlier key moments in Italian politics so the film moves back and forth on the timeline without ever pausing for breath!
Sorrentino's ambition is remarkable: when one considers the amount of information he manages to convey within the film, the two hour running time suddenly seems like a joke. At breakneck speed he introduces characters, events, dates, confessions: and none follow each other too linearly. Key scenes only link later in the film, fragmenting the already cracked narrative even further. It's almost as if the film intends for the viewer to experience the byzantine structure of Italian politics first hand - where secret organisations, the Vatican, the Mafia and the Senators are inexplicably linked but no-one can quite draw the lines straight from one organisation to the other

  In the role of Guiseppe Andreotti, Toni Servillo gives a masterclass in acting. He manages to embody a man who most of the time gave the impression that there was nothing to embody. Almost like a saint whose beyond the squabble of this world, Servillo's Andreotti remains passive, always emotionless in the face of events that happen around him. He is a cynical observer, ever-ready with little quips which ,most of the time, are so dry that they are not even noticed by the intended party. Even at his most vulnerable hour, Andreotti remains an enigma - his only moment of emotion comes from (what feels like) an imaginary confession midway through the film where he speaks directly to the camera and admits to everything. Even then he still justifies each act, each moment and his guilt does not seem like the guilt of someone who has committed a crime but a matryr who is suffering for the sins of the others.

  Unfortunately none of the supporting cast get nearly as much attention and end up being brief scribbles on paper: Andreotti's wife, his secretary, his political allies all pass through the film , merely playing second fiddle to Andreotti. Perhaps that's the point, perhaps Sorrentino is portraying a man to whom everyone always had to be second fiddle to. However this does weaken the dramatic structure of the film somewhat.
 
   The major problem in the film is the choice of subject matter. Sorrentino excels at intimate character studies and his previous two movies are testament to this. However in Andreotti, the subject matter is simply too big to create a sense intimacy with the character so Sorrentino tries to create a fim which is epice in its' scope ; a scope which he tries to filter through a sense of intimacy- and unfortunately fails. The film ,neither political history nor mere character study, tries too hard to fulfill the requirements of both being a verbal political history and the story of one man simulatenously and ends up turning into something else entirely. Add, on top of this, the fact that unless you are well-versed in Italian Politics post 1945 until now, a lot of the material is going to go right over your head, and you have a film which although deserves to be seen, is going to have a very small chance of getting to its' intended audience. After all it is not hard to appreciate what Sorrentino is trying to do: and one must admit that this is as fine a way of exercising the demons of Italian politics as any. Unfortunately unprepared audience members will find themselves very much at a disadvantage.

Pierre Morel's new film 'Taken' is simply one of the most retro and amusing action flicks to come out within the last ten years! The film behaves as if all the political correction madness never even occurred within this century as Liam Neeson's retired spy Bryan single-mindledly works his way through the entire ethnic population (as well as the corrupt officials) of Paris.

However this is not a bad thing. Scripted by Luc Besson and Robert Mark Karmen, Taken manages to use its' B movie attitude to its' advantage, crafting a film of adventure, excitement and amusement.

One of the most entertaining things about Taken is how it handles its' action scenes. Although we are all aware that Neeson never was and never will be the action hero of Hollywood, through clever sound and picture editing, the film manages to convey a real sense of how really dangerous this man is. Like watching Lee Marvin in Point Blank or reading Robert Parker novel, Taken is imbued with a dirty, downright adrenaline inducing atmosphere - by the time Leeson's character Bryan starts taking down the bad guys, you are cheering him all the way without sparing a single thought about ethics or any other moral qualm.

Taken is a film that definitely needs to be seen at the cinema - it's frentic, kinetic and madcap brand of action deserves the big screen - the only snag being that the UK version of the film is slightly trimmed and our sources tell us that some scenes are admittedly more brutal in the versions seen in other countries.

However this should not be a put-off to any - I guarantee you that you will not find another action film as brilliant as Taken this year.

London Korean Film Festival 2008
Thursday 6 to Wednesday 12 November

An unmissable selection of the best of Korean Cinema both past and present, the London Korean Film Festival, returns to the Barbican this November from Thursday 6 to Wednesday 12.
 
Highlights this year include a special preview of Cannes 2008 hit The Good, the Bad and the Weird and an a exclusive ScreenTalk with director Kim Ji-woon; a timely retrospective of the work of acclaimed director Lee Chang-dong (Secret Sunshine, Peppermint Candy, Oasis, Green Fish); rare screenings of breathtaking classics from the Korean Film Archive; UK premieres of brand new Korean feature films and a day of Korean Animation for all ages.
 
The London Korean Film Festival is presented in partnership with the Korean Cultural Centre and the Korea Culture and Content Agency (KOCCA).
 
Thursday 6 November
7.00pm - OPENING GALA SPECIAL PREVIEW: The Good, The Bad, The Weird (Joheunnom nabbeunnom isanghannom) (15) (S. Korea 2008 Dir. Kim Ji-woon 120min) introduced by special guest Kim Ji-woon
Kim Ji-woon's wildly spectacular Kimchi Western is a mind blowing mash-up of influences, fusing Sergio Leone with Kurosawa, via Korea's own brand of frantic shoot 'em up action and frenetic comedy. Peppered with eye-popping set pieces and phenomenal stunts, the plot tracks three very different outlaws on the hunt for a lost treasure map in 1930's Japanese controlled Manchuria. Starring Jeong Woo-seong, Lee Byeong-heon and Song Kang-ho as the titular anti-heroes, this genre-bending extravaganza was two years in the making but well worth the wait. Korean, Mandarin, and Japanese with English Subtitles.

Friday 7 November
7.00pm - SPECIAL EVENT: The Good, The Bad, The Weird (Joheunnom nabbeunnom isanghannom) (15) (S. Korea 2008 Dir. Kim Ji-woon 120min) plus Barbican ScreenTalk with director Kim Jee-woon interviewed by Tony Rayns
A special screening of Kim Jee-woon's new film The Good, The Bad, The Weird will be followed by a live interview with the renowned director of A Bittersweet Life (2005) and A Tale of Two Sisters (2003) discussing his work with critic and film expert Tony Rayns.
 

CONTEMPORARY KOREAN CINEMA
Saturday 9 November
8.45pm - Forever The Moment (Uri saengae choego-ui sungan) (S. Korea 2008 Dir. Yim Soonrye 124min) UK PREMIERE
Based on the true story of Korea's 2004 women's Olympic hand-ball team and their moment in the spotlight in Athens, Forever...'s focus is as much on the private affairs of the players as their on court antics, exploring the bittersweet relationship between personal and professional lives, as the women struggle to maintain their families whilst upholding their country's Olympic dreams. Sensitively handled, beautifully realised and ultimately very moving, this is a sports movie quite unlike any other.

Tuesday 11 November
6.30pm - Milky Way Liberation Front (S. Korea 2007 Dir. Yoon Seong-ho 101min)
Troubled director Yeong-Jae - played to Woody Allen-esque perfection by star Lim Ji-gyu - is trying to get his first film off the ground, whilst negotiating complicated matters of the heart and dealing with myriad comic setbacks, both real and fantastical. This breakthrough indy delight from first time director Yoon joins a new generation of industry introspective film, descended from US satires The Player and Living in Oblivion but with oodles more heart.
 
Tuesday 11 Nov
8.45pm - Seven Days (Se-beun De-i-jeu) (S. Korea 2007 Dir. Won Shin-yeon 125min)
Top lawyer Ji-yeon has just seven days to free a prisoner convicted of a brutal murder, or her young daughter will die. Desperately searching for her kidnapped child amongst Seoul's dark alleys and dilapidated tenements, Ji-yeon finds herself caught in a deadly conspiracy that stretches from Korea's savage underworld all the way to City Hall. Starring 'Lost' favourite Kim Yun-jin, Won's sophisticated thriller keeps the adrenaline pumping from start to finish.
 
Wednesday 12 November
6.00pm - May 18 (Hwaryeohan hyuga) (15*) (S. Korea 2007 Dir Kim Ji-hun 120 min) UK PREMIERE
Based on the horrific events surrounding the 1980 Gwangju massacre, where soldiers operating under the orders of then President Chun Doo-hwan slaughtered students and civilians in their search for 'rebel' factions, May 18 was an instant hit in South Korea. An all-star cast includes veteran actor Ahn Sung-ki and Lee Jun-ki (The King and The Clown).

Wednesday 12 November
8.30pm - Public Enemy Returns (15) (S. Korea 2008 Dir. Kang Woo-seok 125 min) UK PREMIERE
This third instalment in Kang Woo-seok's internationally successful series has become one of the biggest hits in Korea this year. Expect plenty of Woo's trademark wham-bam action as screen legend Sol Kyeong-gu returns as cop Kang Chul-joong, this time taking on high-level corruption in the form of a super-successful business man. Will Kang get his man this time?
 

KOREAN ANIMATION DAY! - Saturday 9 November
A special focus on the best of Korean animation for both children and adults.

Family Film Club 10.30am - Workshop / 11.00am - The Pumpkin Family & Friends (U) (S. Korea 2007/08 total running time 60 min)
Especially for young animation enthusiasts, this collection of Korean creations won't disappoint. Meet the whacky Pumpkin Family and their ghostly ancestors, join cute Chiro chicken and his friends on their mini-adventures and see Korean superstar penguin Pororo in action!
+
Themed workshop from 10.30am (free to FFC ticket holders) and Photo Zone, where attendees can pose with a Korean Animation character! Recommended 2-8 years

12:30pm - Korea KO (12) (S. Korea 2007/8 total running time 72 min)
A bravura triple-bill of knock-out Korean animation. A stunning and stylish trio for older animation fans, including a magical tale inspired by a real life environmental catastrophe in Korea and the fantastical story of an invincible sword wielding martial-arts master, who learns the true meaning of friendship when he is re-incarnated as a drinks dispenser. Featuring Wanted, Love is Protein and A Coffee Vending Machine and it's Sword.

2.15pm - Aachi & Ssipak (15*) (S. Korea 2006 Dir. Joe Bum-Jin 90 min)
Described as "Akira meets Tarantino", Joe Bum-Jin's frankly bizarre film wins the award for craziest plot hands down. In Shit City, where all energy is generated by its resident's sewage, the government rewards each bowel emission with a JuicyBar. Unfortunately, these potent treats are so addictive that the cracked-out citizens will do just about anything to get their next fix...  Hilarious, edgy and deliberately off-colour, this is animated anarchy at its best.
 
 
FROM THE KOREAN FILM ARCHIVE - Monday 10 November
Two of Korea's film archive gems, rarely seen in the UK.
 
6.30pm - The Housemaid (15*) (S. Korea 1960 Dir. Kim Ki-young 90 min)
Seen as one of the greatest Korean films ever made and directed by one of Korea's finest directors, this is the poignant story of a family broken apart when the father sleeps with the housemaid. Imbued with endless depth and meaning, this is a must see for all those interested in Korean cinema.
 
8.30pm - The Aimless Bullet (Obalton) (15) (S. Korea 1960 Dir. Yoo Hyun-mok 110 min)
Influenced by Visconti and Kazan, Yoo's timeless classic encompasses his cinematic manifesto, dealing with issues of poverty, injustice and apathy, through protagonist Sol Chul Ho (Kim Jin-kyu), struggling to support his pregnant wife, two children, lonely sister and mentally unstable mother.


RETROSPECTIVE: LEE CHANG-DONG
Born on April 1 1954 in Daegu, South Korea, Lee spent much of early life writing and directing plays and became well known in literature circles following his critically acclaimed first novel Chonri in 1983. In the early 90s he turned to the film industry, co-writing scripts for Park Kwang-su on two of his most remarkable films, To The Starry Island (1993) and A Single Spark (1995), then launched on to the directors' circuit with Green Fish in 1997. In 2003 Lee served President Roh as the Minister of Culture and Tourism and then, after a short-break, returned to filmmaking with Cannes hit Secret Sunshine.

Saturday 8 November
3.00pm - Peppermint Candy (18) (S. Korea 1999 Dir. Lee Chang-dong 129 min) -
Lee reflects on South Korea's turbulent political history, through the eyes of man who has just committed suicide and a reversed narrative that allows the viewer to determine what drove the man to take his own life. Crowned by a pitch-perfect performance from star Sol Kyung-gu, Lee's third film is recognised as a masterpiece by critics and academics alike, and is a landmark film in contemporary Korean cinema.

Saturday 8 November
6.00pm - Oasis (18) (S. Korea 2002 Dir. Lee Chang-dong 132min)
Combining fantasy with stark realism, Lee's magnificent film is both beautiful and tragic as it explores the thorny issue of how people with disabilities are marginalised. Stars Sol Kyung-gu and Moon So-ri give their finest performances as the mentally ill ex-con Jong-do (Sol) who falls for a young women suffering from cerebral palsy (Moon), would-be lovers who are sidelined by society.

Sunday 9 November
5.00pm - Green Fish (15) (S. Korea 1997 Dir. Lee Chang Dong 114min)
When Mak-dong returns to his hometown of Ilsan after two and a half years of military service, he finds that it has been transformed into a satellite town. Struggling to adjust and desperate to find work, he unwittingly becomes trapped in a dangerous war between rival underworld gangs. In his directorial debut, Lee wastes no time in challenging the conventions of genre verisimilitude - Whilst GreenFish could play like a dark gangster film, Lee instead pursues the traits of realism that often characterise Korean cinema.
 
Sunday 9 November
7.15pm - Secret Sunshine (Milyang) (15) (S. Korea 2007 Dir. Lee Chang-dong 142 min) + introduction by Tony Rayns
A Cannes best actress gong went to star Jeon Do-yeon for her magnificent performance as Sin-ae, a recently widowed woman attempting to start a new life in Milyang (Secret Sunshine) with her young son. Tackling human suffering head on, Lee's refusal to conform to traditional cinematic pleasures ensures his most recent film is both thought-provoking and admirable. Song Kang-ho co-stars. Film critic and Korean Cinema expert Tony Rayns will introduce this special screening of Lee Chang-dong's latest film, giving us a significant insight into the life and work of the great modern director.

The 16^th Raindance Film Festival's programme is today announced by festival patron Ken Loach, with the full line-up which includes 75 features and over 100 shorts alongside a host of live events, exclusive Q&As and masterclasses. The Raindance Film Festival will take place from 1-12 October 2008 in London's West End with some of the film industry's most exciting filmmakers sitting on this year's jury including Oscar-winning Peter Capaldi (Franz Kafka's It's a Wonderful Life), Beastie Boys' filmmaker Adam Yauch (Awesome I F***ing Shot That), Rebecca O'Brien (The Wind that Shakes the Barley) and Nicolas Roeg (Walkabout, Don't Look Now, Puffball).

 

Book-ending the fortnight long Festival, the UK premiere of breakout new writer-director Clark Gregg and maverick author Chuck Palahniuk's (Flight Club) CHOKE, starring Sam Rockwell (Jesse James, Confessions of a Dangerous Mind), Anjelica Huston (The Darjeeling Limited, The Royal Tenenbaums) and Kelly MacDonald (No Country for Old Men, Trainspotting), opens the event on Wednesday 1^st October, and the Closing Gala on Sunday 12^th October brings the festival to an end with the World premiere of Mark Tonderai's directorial debut HUSH, starring William Ash, Christine Bottomley and Guy Burnet.

 

Anjelica Huston is expected to guest appear for the Opening Night Gala as well as screen goddess Faye Dunaway for her new film FLICK, directed by David Howard and with expected appearances from co-stars Michelle Ryan (Bionic Woman), Liz Smith (The Royle Family) and Mark Benton (Murphy's Law).

 

80's superstar Corey Feldman (Stand By Me, The Goonies) will feature at the festival promoting his new film THE BIRTHDAY, and will participate in a special retrospective event. Cult director Jeremy Podeswa (Six Feet Under, Queer as Folk) will also be in attendance with his new film FUGITIVE PIECES.

 

Raindance has a strong reputation for it's interest of music in film and in the past has featured jurors such as Iggy Pop, Lou Reed, Marky Ramone and Mick Jones (The Clash) and has previously programmed films such as: Billy Childish Is Dead, The Devil & Daniel Johnston, Leonard Cohen: I'm Your Man, Neil Young: Heart of Gold and documentaries on The Ramones, Lambchop and Johnny Thunders. This year is no different with films dedicated to Patti Smith, The Beatles, The Arctic Monkeys and a documentary by Beastie Boys' hip-hop legend Adam Yauch.

For the full Festival programme please go to www.raindance.co.uk

 

The Raindance Film Festival runs from Wednesday 1^st October to Sunday 12^th October 2008.

You can also watch the festival trailer here!

This year, in an unprecedented move, Fantastic Fest are streaming 10 of their movies online : 5 features and 5 shorts are available to watch anywhere in the world from 14th September onwards - for more details visit www.fantasticfest.com.

One of the films featured in the online line up is writer Eric Shapiro's film debut 'Rule Of Three'. Focusing on three sets of interwening events in a seedy hotel room, 'Rule Of Three' is one of the refreshing independent features that I've seen this year. Featuring a cast of largely unknowns, the film focuses on a father's obsession with finding out the answer to the disappaerance of his daughter and then proceeds to tell what occurred in the hotel room where she was last seen intercut with the room's previous occupants.

'Rule Of Three' is a sharp shock to the system: a well - written film with realistic characters and dialogue which goes a long way to hide its' miniscule budget. By focusing on the characters and their relationships to each other, Shapiro avoids the pitfalls that many independent film makers fall into: he also directs the film with a steady eye, avoiding any fancy camerawork and focusing on nothing but the action.

This first film shows great promise on Shapiro's part and anyone with even a remote interest in independent cinema must make the time to watch it.

The new from Jon Avnet - Righteous Kill - brings together two of the screens giants: Al Pacino and Robert De Niro - unfortunately to not much avail. Saddled with a pedestrian script that seems more obssesed with creating a twist than investigating the relatiosnhip between its' main characters , Righteous Kill never goes further than a straight-to-dvd thriller. On top of it, the plotline is also imbued with a strangely misogynistic tone - the pne female character in the film is built up as some sort of 'weirdo' and treated with great contempt!
The stars are wasted during hammy buddy-buddy scenes and the only veteran actor who manages to come out of this average mess with his head high is Brian Dennehy who plays the lieatunant of the district the two cops work in.
Perhaps Righteous Kill is something to kill time with during a dry period but right now, just as the release train is gearing up towards Festival season here in London, it can go no further than being a waste of anyone's time.