Iron Horse of the Studio Update (29/3/15)

A full weekend in the studio is coming to an end, it has been very productive, grabbing the time to speed things up to get the camera rolling which I think will be happening next time.

Last night I came away from the studio thinking I had done a great job with my train, then as soon as I posted last nights update I had a horrible shock, I saw a Soviet train before me which was not the image I wanted for a heavily American influenced piece. This meant that I had to repaint the train. The second time in so many weeks, having repainted the model black to start from scratch originally. The little detail I made I think went too far, getting carried away with the red, not really thinking about 19th century American trains, which I corrected last night in response to my discovery. Going for bright colour, its almost like a circus train at times. Its bright and bold without really suggesting it’s a certain train. Its American which matters.

I also spent some time with a file on the track, smoothing down the sand on the track which was less than I thought, the sand being soaked up by the glue. Of course  had to make it look more natural in places, smoothing away any clumps.

I finished the day by carrying on with more details to the carriages which really needed something else that just a band of colour. I’m really happy with what I have ready to get started next week. It will be a long task to get the camera, matching up the camera angles and the movements. So I will be referring back to the footage all day to ensure I get it right before I even think about superimposing the found footage.

The Last Picture Show (1971)

The Last Picture Show (1971)This came as a real surprise to me in the listings. In recent weeks I have changed my mind regarding Peter Bogdanovich the once hot 70’s director has become stuck in the past. Ok that’s harsh, he more nostalgic for an era in cinema which you can only get if you watch the classics at home or at your local indie cinema when they find a 35mm print or a film season on TV. Looking at the trailer for his most recent film She’s Funny That Way (2014) which judging by the trailer is just not funny. When I saw What’s Up Doc? (1972) It felt fresh, of its time and relevant for it’s time. Which is what She’s Funny that Way there’s nothing new, an old idea in a different guise. Maybe it’s just me being critical and not up for a modern-day screwball comedy which are dated, yet still work because we love them for their zaniness and moment in time when that comedy worked, the on-screen chemistry.

When I look at The Last Picture Show (1971) I saw all that nostalgia for a time in the directors youth, taking most of that all out and making it relevant to a modern audience. It’s not your classic fifties drama, certainly not a Nicholas Ray film which cranked up the emotion and colour. Here it’s all taken out, softened the image and removing all the happy families leaving you with real-life of a group of kids trying to make sense of adult life in a run-down Texas town that has long seen better days. Bogdanovich wasn’t the only director in a nostalgic mood in the early part of the decade, George Lucas gave us the gem of American Graffiti (1973), focusing on the last night with a group of friends, driving around all day. It was about the cars, the antics, the last moments of freedom.

The earlier film takes place over a longer period of time, high-school life is coming to an end and adult life is heavy on the horizon, they want to be seen as adults by the town. Looking up to Sam the Lion (Ben Johnson) the old-timer who delivers words of wisdom and stories that they eat up. Especially Sonny Crawford (Timothy Bottoms) and Duane Jackson (Jeff Bridges) two young men who are more than willing to explore. They are just knocking about town in their cars, this is a taste of what life was really like and to be honest still is. Bogdanovich is saying you think life was simple and carefree in the movies he grew up with, well thats just not true. There was all the angst, the peer-pressure and sexual frustration, it was simply ignored unless you were James Dean in Rebel Without a Cause (1955) when it was in the air.

What could easily be mistaken for a mid-fifties teen film becomes more adult pretty early on with the kids exploring each other. Looking beyond the soft cinematography to find there’s no boundary between what is adult and child in this film, it’s about crossing that line and trying to stay over it without loosing your head, which is pretty hard to do even for a 25-year old sometimes so you never really know for sure. For these young actors who have varying levels of success, none more so than the dude Jeff Bridges. It’s not really about him it’s about his friend Sonny who begins with his one year anniversary with his then girlfriend, splitting up when he can’t sleep with her, naturally frustrated he figures a way to get his cake and eat it. Which takes the form of the coaches wife Ruth Popper (Cloris Leachman) who has her own problems to deal with, which we are left to figure out for ourselves.

Whilst Duane has similar issues with his girl Jacy Farrow (Cybill Shepherd) who has pressures at home to go out with the right kind of guy, whilst in the process she grows up to be just like her mum. A woman with all the looks and traits that lead her to where she is now, in a marriage of good position but no real love. Sexual politics between men and women hasn’t changed much either, something that she learns later on. The realities of life are not hidden in this film. Marked over the course of a few years with the run-down cinema which we first see showing Father of the Bride (1950), the ideal of cinema really aren’t being reflected in average American life. An image that the rest of the world was being fed, whilst over the in the UK the social realism films such as Saturday Night and Sunday Morning (1960). An interesting reflection of the images that both film industries wanted to project of their respective countries. With the first generation of school taught film-makers coming-out new radical films changed all of that. Producing some of the most exciting films ever made in America. 

With all these adult events going on in the film, it moves along at a gentle pace, it feels almost normal and part of everyday film-life which makes it so easy to watch until you get hit with teenage sex, death and other shenanigans that would otherwise be censored about 15 years before. It wasn’t what I expected really coming from Bogdanovich, the ultimate film sentimentalist who has tonnes of love letters to cinema made up and ready to deliver.

Iron Horse of the Studio Update (28/3/15)

It’s been sometime since my last post and time in the studio, working on this project which I can see reaching the filming stage very soon, I’m thinking Easter weekend is perfect to get things started. Thats if things go to plan tomorrow.

I started the day working on the sleepers of the train track, staining them before I add sand to the edges where the rails are making them more authentic and to cover up gaps patches, so it works in two ways. I know that I will have to go back to these, as it will be clumpy where I have spread glue before pouring sand on-top. I’ll have to file them down to be more realistic. This is a level of detail I have not gone before. I have considered adding hay in other models before not seeing it through. It’s that fine line between how much I information I give which can tip the work into becoming something else.

I concentrated for the rest of the day on adding detail to the train station, carriages and train itself, which with only a few lines has really come alive. I was thinking of using a hot red around sections before going a bit mad at times. It really has paid off which I am very pleased with.


First off I didn’t know that Studio Ghibili had one more film up their sleeves in the form of The Tale of The Princess Kaguya (2013) which visually reminds me loosely of My Neighbors the Yamadas (1999), thats not the point of why I’m posting tonight. Wanting to add to Mark Kermode’s video on the issue of subtitles, which I myself have gotten used to. It takes time to adjust to foreign language film. The nearest I got before was probably a few scenes where the baddies were talking amongst themselves. I’ve touched on the theme a few times already this years. Most recently with The Return of a Man Called Horse (1976) which was poor subtitled, constantly reminding me I was listening to Sioux, not another language. Also Yurusarezaru mono/Unforgiven (2013) was had its share of subtitle issues, having white text in the snow, bit of no brainer really.

Still Kermode’s post was about the original foreign film versus dubbed version. Thankfully I’ve only really seen the Studio Ghibli’s which have been treated rather well, some under the supervision of Walt Disney Studio’s. In the past even the English language versions have been criticised by Hayao Miyazaki has criticised them (probably the earlier ones). Personally I have seen various versions of these films, sometimes wishing for the original, getting used to the speed that the dialogue is delivered. I maybe re-watching a few again in the original Japanese of Film4 next month, wanting to experience the original language. Its like seeing work in a gallery, when you see it in the flesh, its the best feeling ever, to experience it’s aura, how it was intended to be seen. Of course subtitles aren’t for everyone, kids need the dubbed versions to even engage with the film or they are lost, thankfully more recently the dubbing is done with care.

I know that spaghetti westerns were rife of dubbing, but that i feel is part of the fabric. Italian made, a homage to an English language genre, which is dubbed for an international English speaking audience. I’m used to this, seeing it as part of the fabric, films made quick with international casts, there was no time to get the language right, match it up later in the recording studio. Makes sense when they turned out so many.

Another plus to subtitles is that the audience can and has to be more engaged if they really care about it. You really take a chance to half-watch a foreign film and still understand it. Something I feel I did with City of God (2006) recently, still enjoying the film that had so much to offer beyond the Portuguese language. And that is the sign of true lover of film, someone who can get beyond the language barrier and see and enjoy the plot. Having a film in its original language you are really accepting it experiencing it as the film-makers intended.


Ex Machina (2015)

Ex Machina (2015)I thought I had missed the boat as far as the theatrical release of Ex Machina (2015) was concerned, scheduled at silly times of the day at my local cinema. Catching it by chance in Leicester Square’s Vue cinema. Now was it worth the wait is in my thoughts now. A fresh take on artificial intelligence, my last look at this theme was a revisit to Artificial Intelligence: AI (2001) which is more thought-provoking than this minimal film. Both work on the basic story of Pinocchio wanting to be human. Science fiction has toyed with that idea for years. My nearest would be Lieutenant Commander Data of Star Trek: The Next Generation an android who aspires to be better than himself. Moving back a few years from the 24th century to the not too distant future, probably brought to you by Google if I’m honest as search engine owner Nathan (Oscar Isaac) invites the winner of a competition at his company to spend a week at his secret lair in the middle of nowhere, not even the helicopter pilot who brings the winner Caleb (Domhnall Gleeson) to the island can get too close. Secrecy is at the heart of this film as the two men meet and embarking on the Turing test with a new and exciting android Ava (Alicia Vikander). Who is the unwitting lab rat for Caleb who over the course of a weeks testing has to determine whether this stunning female android can pass in a crowd.

It’s a tough job for the eager geek Caleb who has only his secretive and manipulative boss for company. Much the same as Issac’s previous role in Inside Llewyn Davis (2013) a guy who just rubs you up the wring way, too clever for his own good. We know he’s holding something back but what. It’s up to eager Ava to communicate with Caleb the outsider. The robotic lab rat is incredibly beautiful to look at. To see Alicia Vikander play the innocent robot childlike, always wondering how the special effects turned her into an android. The trailer doesn’t do her justice, seeing a more vulnerable robot on the big-screen, her mechanics wrapped in a wire mesh makes her more intriguing. 

The time spent between Caleb and Ava is the heart of the film, much like a prisoner telling their story to the visitor from local paper scoring the biggest story. Beginning much as you expect, testing her responses until the first power cuts which raise suspicion for Caleb who wants to know how this ultra modern hide-out/research facility could ever loose power. Somethings afoot, cemented by the CCTV cameras capturing both Ava and Nathan, nothing is as it seems.

As the week progress so do feelings grow for Caleb, is he being manipulated or is he really falling for this android? Again this is nothing new, adding more depth to the relationship between himself and Ava. Enter another figure, the silent yet obvious robot Kyoko Sonoya Mizuno who doesn’t understand a word of English. This is where things start to get obvious, I won’t tell you where and when. Even with the running time we see too much too soon, changing the tone from e are told everything at once almost which becomes too much to really understand before something else happens. The audience has a lot to digest. Saying that what we are given more depth and more questions that are later answered. It’s not all in vain.

The big twist at the end leaves you frustrated if I’m honest what haven’t we been told, have we missed something along the way. Soon after the results of the test are revealed, the real test is being played out as creation turns on the creator, it’s a classic device that is brought out at the last minute which seems forced. Still with the sense if dread and revelations before it fits in nicely delivering what Nathan deserves. I left with more questions though as the helicopter lands to pick Caleb up.  I have to consider the long term consequences of that final showdown, is that what I want? Well yes, it add more depth to the film that moves at quite a speed, a week over 100 minutes we catch a glimpse at a possible future, one that Google might actually deliver in the next few decades. We have to consider the impact of AI’s on our society, how they would interact with us and vice-versa that is what good sci-fi does. Of course there are flaws to the film, the ending is far from perfect, it could have played out differently which is what I am left with.

London Trip (21/3/15) highlights

Instead of going into the studio (which I will be making up for next weekend) I went down to London to see what’s going on. With a few shows in mind I built up an intinnerary of shows to see. Starting the day with a surprising side-step to Alexander McQueen’s show at the V&A which beyond anything I ever expected. Not a follower of high fashion i only knew of him more in passing. Now I’ve see probably all of his collection I have a better understand of how brave and bombastic he was on the cat-walk. Putting himself out there with his work, not afraid to put his soul on show. Each room a different collection, I didn’t know what to expect from room to room. Finishing off entering into wonderland, as head-pieces and dresses rotated round in shelves that filled the room, I was in awe of the theatricality of the work,

Moving over one stop to Sloane Square for two shows, the first being Joe Webb who was one of the main reasons. A small solo show in the basement of the Saatchi Gallery, a big step for the artist that I wanted to see for myself. Having seen a number of the his paper-cuts and other works online to see them in the flesh was make or break. An online image takes away the aura of the work. I was pleasantly surprised by the paper-cuts which were no bigger than A4 themselves before you take into account the frame. To see how the images are created brings is what makes them for me. The directness of the image, they are paper collages cut out with scissors thats what that are essentially. To see the braveness of the work, one wrong cut and the image is lost. I could see imperfections which add more richness to the work too, patching up areas successfully.

I had a few more surprises at the Saatchi Gallery in the form of trees and spiders. Two tree pieces by Jorge Mayet who has De Mis Vivos y Mis Muertos (2008) a tree suspended by fishing wire from the ceiling, something that can make or break a piece, having to accept it as part of the work not just a method of display. Constructed from electric wire that is built up and painted in acrylic. It appears almost like a Bonsai tree without the tender love and care that is needed. Its all there, roots and all bare, nothing is hidden with this miniature piece. The roots are emphases mores that the tree is supports above, as it if really does;t matter, as without it’s an unsupported tree with no foundations. Turning to the second piece across the other side of the room there is more colour in this dreamlike tree Entre Dos Aguas (2008) which appears to be floating free of any real supports which I found hidden cleverly below. No roots this time, focusing more of the grass that holds the roots almost on end above the earth, not wanting to sink under the ground, as if it has just been torn up like a weed or a plant that is going to be replanted, holding on for dear life. For me it was about the presentation of the work, how fragile the piece is and  how it seems to defy gravity.

Moving even further upstairs of the Saatchi I found another piece that by Rafael Gómezbarros that I saw advertised but could not find until my friend directed me to a surprise which I was delighted and both slightly…slightly frightened by. The presence of giant ants crawling up the walls of a space is something we have all seen. Not like Pangaea (2013) which covered almost every space of the walls, leaving only a fraction of white space. Playing both with scale and our fears, emphasising our frustration of the small amplified, now out of control in these fibre glass creatures.

Moving on through Chelsea I found another show I wanted to take in, that of Slinkachu which I found if I’m honest to be a let down. I think Slinkachu’s website presentation of the work differs a lot from what I was expecting. Having a build up to the hidden scene, closing in on the miniatures in usually overlook urban spaces. Miniaturesque felt like a selling exercise, more than another way of looking which is what I enjoy about his work. Then there was an installation that was made especially for the show, untitled and forced. 4 concrete slabs and a bollard littered in upturned cigarette butts to construct a wood that is being cut down. I know that Slinkachu’s is location based adapting a location for his work. The installation is supposed to build upon that playfulness, however it fails becoming more about creating a scene for the sake of it. There is a loss of spontaneity in the work. Of course he places some objects into the locations of the photography. You never find upturned cigarette ends on a pavement and never mass unless it’s a smoking area. This could be another strand to his work which I’m not familiar with, I do have to bear that in mind. Until I see otherwise my thoughts will stay the same,

Thankfully I went on to fill the rest of the day with some interesting shows before the galleries closed for the day, providing a lot of discussion and inspiration for future work.

Only Lovers Left Alive (2013)

Only Lovers Left Alive (2013)I remember all the hype surrounding Only Lovers Left Alive (2013) around the time of its release, I never really paid it much attention, vampires not really being something that would attract me to a film Then the more I saw of Tilda Swinton I thought I’d better take a look. The concept of vampires living through the ages I have seen with Interview with a Vampire: The Vampire Chronicles (1993) as the main characters adapt to survive through the ages, along with the heavy homosexual connotations. We see Pitt’s character struggle with his new consciousness. The couple in Only Lovers Left Alive (2013) have long ago resolved that issue and just about enjoyed that night-time existence through the ages. Meeting all the giant figures of the time, from music to literature they knew them first hand. Something that the audience would be very jealous of, if only the gothic creatures were real.

Move forward to the twenty-first century and times are tough for Adam (Tom Hiddleston) and Eve (Swinton) who now live lives similar to drug addicts, needing blood but unable to get it the traditional way by biting into the neck of a victim. Needing to adapt to modern ways, no longer can they leave bodies to rot, with no mass deaths, and police would suspect a serial killer. New methods are needed to ensure they stay alive. The blood also needs to be pure, not infected with drugs, something they didn’t have to worry about centuries ago.

The life of a vampire has been given a modern make-over, gone are the traditional tropes of black capes, turning into a bat and sleeping in a coffin. A much-needed update to engage with a new audience, to give the creatures a modern context and a relationship that has lasted through the ages.Of course they still have to be away from the sunlight, creating these pale creatures of the night who indulge in the drug that is pure clean blood that has to be source carefully.

We learn early on that the ironically named Adam and Eve are a married couple who are living apart. Adam as a reclusive musician in Detroit, famous for its contributions to music, living in run-down house, filled with kit that he has wired up to record music, and even see Eve on via her phone in Tangier, he’s a very much a man of the past surviving in the present. A musician who has toyed with the idea of suicide, asking his only friend to source a wooden 35mm bullet for him. He’s fed up with life at times. I know I wouldn’t want to live that long, even naturally, having become bored, his talent has reached an audience who want more from him, leaning on a level of fame that he can’t handle.

Unlike his wife who very much still enjoys her existence as a creature of the night, not far from fellow vampire Marlowe (John Hurt) whose supposed to be a literary figure of the past that has carried on under different pseudonyms including William Shakespeare as we learn. Could all our great figures of the past be all vampires who still live to this day. Marlowe is Eves blood dealer (if there’s such a word) getting her the finest. It’s all based on what if’s of their of they’re existence today, and how they may have influenced the past.

When Adam and Eve finally reunited we have a greater insight into the lives of modern vampires, which are quite complicated and calculated. With a dry sense of humour and melancholy which is pitch perfect for creatures who have literally seen and done it all (at night) you would grow tired of life, and what it offers. Otherwise needing new ways to stay engaged and active. When we meet Eve’s sister Ava (Mia Wasikowska) (probably a girl she turned centuries ago) a character they have both avoided for years, and we learn why, eternally young she will never really understand the elders who know best, leaving trouble in her wake. But probably more aware of what life is life for a modern vampire than Adam and Eve.

Only Lovers Left Alive is a fresh take on an old traditional staple of genre film story telling that really works. It would be crazy to see caped Count Dracula with cape living in a castle in some Eastern European country. It’s grown up becoming existential about it all, how they would cope, what they have seen. Without being too serious about it we have a couple who are just getting on with it. It’s all normal to them which works for the audience.

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The Return of a Man Called Horse (1976)

The Return of a Man Called Horse (1976)Ever since I saw A Man Called Horse (1970) a few months back I was hungry to see the first sequel, The Return of a Man Called Horse (1976), not the most imaginative title, still it gets to the point. There is more historical backing to this tome around as we begin with the ambush of the Yellow Hand tribe as they are forced to reallocate to land that is far away from the buffalo, their main resource to sustain themselves. Without food any society is doomed to die. All this takes place after John Morgan (Richard Harris) has returned to his life in England, not one that is really suiting him, we found him miserable in bed, the regularity of life at home is nothing compared to what he experienced with the Yellow Hand Sioux. His instinct is to go back for one year and no more.

Set during the 1830’s the wild west is still very much untouched, with settlements springing up, such as the fort that drove away the Sioux tribe to near extinction. I could get political about this but the film does is subtly for me as white settlers make use of “friendly’ natives to drive others away, the first of many to be broken treaties. Something that Morgan/Horse is aware of when is learns of his adoptive Peoples situation.

Making use of his position to push his way into the newly built fort to understand what is gong on. His time back in civilisation has reverted him back to his natural ways, those adopted in the previous film’s, little more than memories and experiences. The spiritual side that he assimilated has been lost by his upbringing. On finding the Yellow Hand he plays the westerner giving gifts in hopes of earning their trust, the traditional trade of items for bartering with. This doesn’t go down with the elders who don’t need these gifts and superior weapons. First needing to rid themselves of the bad spirits they believe are with them. This is hard for Morgan/Horse to understand at first needing to go on  a vision quest to truly understand what is going on, getting back in touch with that spiritual side that he had since lost. This is something that we don;t get in the traditional western, focusing more of the relocation of a nation, its perceived and heightened savagery, which we see being deal out to an enemy tribe. There is however something that we have seen before, the white man teaching the others how to fight the white’s way. Learning new strategies, such as hiding in the woods ready to ambush the enemy.

I must say that as I saw this on DVD I had to put up with some condescending subtitles, reminding me they were talking in Sioux, which other language besides English would they be taking in. Some of the atmosphere of the last film is lost in having the Sioux speaking English. Maybe that was to reflect how immersed Morgan has become with this nation, no longer an outside, and why should we. I just wish the subtitles were a little less distracting. There is also more time spent with the Yellow Hand as a people in terms of traditions as the men join Horse in a ritual similar to the first film, it’s not as hard to watch as I’ve seen it all before to a certain extent, it’s only when boys join in do we become uncomfortable. With all the anticipation that I brought to the film, I was let down in places, the audiences is given some historical context to Morgan who lived with them for the rest of his life. However I wish there were no subtitles, less English and more time building up the enemy which become pretty faceless, we just know they are there.

The second half is action focused and fast paced after a slow build up for the spirituality before all arrows are launched in a pretty one-sided battle aka ambush. It’s not as considered or as thoughtful as the original, for many reasons, such as almost complete change in cast, apart from Harris who I can’t fault. The structure of the film is weighed more towards cashing in on the previous success without really understanding it properly. The change in studio also is a big one, which would obviously lead to a change in tone and direction. Is it a worthy sequel? Yes and no, we see a valid reason for his return after a yearning to go back whilst I felt let down to an extent by the repetition of some sequences, not trying anything new, no more exploration, just expanding on what worked by tweaking it, not really that original.

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Iron Horse of the Studio Update (14/3/15)

It’s been a busy day in the studio, as we have been open to the public to celebrate the studios third birthday with a fundraiser and open studios which saw a lot of people through our doors. I had a few good discussions with people about my work, meeting new studio members too.

As predicted I didn’t really get much done which is what I expected, I did however start to paint the track which is almost done now, needing to stain the new sleepers before adding a bit of sand around the edges to cover up the patches (unless I can paint over them).

I have completed the open cargo carriage allowing me to now focus on the carriages and the engine next time. I also stained the station leaving me to focus on the detail before making a start filming. I am thinking I will begin filming around the Easter holidays before I begin to really bring this piece alive.

Lucy (2014)

Lucy (2014)I was so close to catching Lucy (2014) at the cinema, now a part of me is not so bothered after all that wait I feel let down slightly. I shouldn’t really after I read a few reviews I knew what I was letting myself in for. I even though that Scarlett Johansson was on a roll after Under the Skin (2013) and Her (2013) maybe she’s just having fun, which this pretty much is. Others I have spoken to would say otherwise.

What I see is a loose bit of Sci-fi and little more really, based on the notion we the human race only use 10% of our brain capacity, even less than Dolphins as Professor Norman (Morgan Freeman) at a lecture on humans and time. It does however get you thinking about the possibilities if we could access more of our potential. I’d say we are a little more than 10% for sure. Of course thats one for the scientists to explain further. All of this set against some clever cutting in of natural history footage to illustrate what is going on which pulls you into the plot a litre more. I wonder how an edit would play without that footage (potential piece?) how it look, no visual cues as to how all life starts out, thinking of only two things, either reproduction or immortality, which I understand, the need to survive and the need to carry information in some form.

Which is the one of the points of the film explored via drug smuggling victim Lucy (Johansson) who gets herself mixed up with the wrong crowd, when she does her boyfriend a favour, carrying a brief case for a gangster upstairs in a hotel. Both unaware of it’s content which reshape her destiny when she’s recruited by Mr Jang (Min-sik Choi) whose men insert a packet of drugs in her stomach. Should be a nerve-racking situation at least for anyone whose entrapped into the under world of drugs. Johansson is playing the confident young woman, obviously scared by whats going on, she’s not a soft touch by any means which is a plus for the film.

It’s only when she’s on her way her life and body change beyond all recognition when the bad of CPH4 leaks into her blood-stream, courtesy of flash special effects which without this film really wouldn’t work beyond the flimsy science that is the premise of the film. Beginning at 10% we count up and see her abilities only increase. No longer is she afraid of what the gang-men could do to her, feeling no pain, she guns her fair share, becoming super-human over the course of the film. Needing very little assistance throughout, except to get the rest of the synthetic drug back to ensure her stability, now a ticking time bomb that would lead to demise by the end of the film.

It’s a race against time to reach Professor Norman to share what she’s experiencing, To have a record of all she has learned in her final 24 hours. It’s quite impressive what she does sometimes, taking our dreams and superhuman strength we only dream about…literally at times. Some of the dialogue is however just stupid, her conversation with her mum just shows how stretched they are to suggest that she can remember everything from her childhood. I guess this is film that is half-baked really, with an interesting idea that is played out for fun which is a positive really, a good bit of fun is better than nothing. I wasn’t left cold by any of the film, there were moments when you think what the hell is going on here, you can’t ask for more really.

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