2013 has brought with it a lot of things, both good and bad. But in this particular post I’ll be focusing on the film-related highlights that I’ve experienced over the past twelve months, from a mini adventure in London that included my first ever podcast appearance to a wine-soaked preview screening of Gravity at the newly converted IMAX cinema in Glasgow. I’ve interviewed idols, attended film festivals, and even walked a red carpet. Continue reading “2013 In Film: A Summary”
John McKay’s Not Another Happy Ending is a breezy and harmless if ultimately forgettable romantic comedy set in and around the city of Glasgow. Jane (former Doctor Who star Karen Gillan), a struggling novelist, finds herself thrust into the limelight when her first novel, a memoir about the trails of her own family, becomes an overnight success. With her newfound status, her life sees improvement. Not only does she fall in love with screenwriter Willie (Henry Ian Cusick), but she also starts to reconnect with her estranged father. Continue reading “Review: Not Another Happy Ending (2013)”
Writer-director Chad Hartigan follows up his softly received directorial debut Luke And Brie Are On A First Date with This Is Martin Bonner, a thoughtful, well-acted and subtle character drama that scooped the Best of NEXT Audience Award at this year’s Sundance Film Festival. It’s minimalist and quiet, sure, but that’s what enables this film about two elderly men experiencing dramatic changes in their lives to be such a welcome surprise and linger in the mind long after the end credits roll. Continue reading “EIFF 2013 Review: This Is Martin Bonner (2013)”
Disney•Pixar continue their long-standing tradition of unveiling their new films at the Edinburgh International Film Festival with Monsters University. The prequel to Monsters, Inc., Monsters University bears the unfortunate task of being a sequel to one of the studios most adored, original and hugely successful efforts. And, while it sadly never reaches the heights of its predecessor in terms of intelligence and ingenuity, it’ll win audiences over nonetheless with its abundant charm and wit. Continue reading “EIFF 2013 Review: Monsters University (2013)”
Actress-turned-director Sarah Polley turns her attention away from death and adultery as surveyed through her previous two narrative features Away From Her and Take This Waltz and onto her family history with unconventional documentary Stories We Tell. Using her talent as both a filmmaker and as a storyteller to tell her family’s story may seem self-indulgent and unnecessary to be aired in public, yet the warmth in which Polley infuses into the film ensures it carries with it a more deeper, universal value. Continue reading “EIFF 2013 Review: Stories We Tell (2012)”
The Edinburgh International Film Festival has forever prided itself as a festival of discovery, a platform for new filmmaking talent to present their works to audiences, critics and fellow filmmakers alike in the hope of receiving recognition. If there’s one person who deserves credit this year, then it’s Paul Wright, whose feature debut For Those In Peril is a bold and innovative poetic fable that, through a rich textual narrative, astounds in its emotional resonance. Continue reading “EIFF 2013 Review: For Those In Peril (2013)”
The 67th Edinburgh International Film Festival opened softly last night with relationship drama Breathe In. Reuniting blossoming British actress Felicity Jones with writer and director Drake Doremus, whose last feature Like Crazy deservedly scooped the Grand Jury Prize at the 2011 Sundance Film Festival, Breathe In may feel and look like a more adult effort, yet is ultimately depreciated by clichéd character stereotypes and a lack of believability. Continue reading “EIFF 2013 Review: Breathe In (2013)”
Noah Baumbach and rising indie star Greta Gerwig combine their talented forces once more after the well-received Greenberg for Frances Ha, a thoughtful, witty and nostalgic portrait of twenty-something discontent. Filmed in black and white at the directors discretion and blending the old with the new, Frances Ha emerges as a true winner and Baumbach’s best in years. Continue reading “EIFF 2013 Review: Frances Ha (2012)”
With the full line-up announcement only a day away, it’s hard not to speculate what films are likely to unspool at the 67th Edinburgh International Film Festival next month. In previous years, we’ve been way off mark, choosing bigger films over the usual smaller ones Edinburgh likes to promote. However, with the welcome regeneration the festival experienced last year, it’s only natural to feel optimistic about what might be on offer this year, and the revelations so far have only propelled this. Continue reading “Anticipating The 67th Edinburgh International Film Festival Line-Up Announcement”
Empty Screens 