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Westworld Series 1 finale


westworld-2016

Spoilers below!

I caught a glimpse of the series finale of Westworld last night, not something I wanted to do, possibly ruining what was going to happen. Thankfully it didn’t really give too much away. After last weeks episode when we knew things were finally staying heated in the park. I can safely say things stayed that way. Last week I also read about different timelines going on in the series, at least three, which finally became clear. I wasn’t really seeing that myself, but it does become clear after spending 20 odd minutes with Delores (Evan Rachel Wood) who catches up with William, our Man in Black(Ed Harris) is the older William  (Jimmi Simpson) who was riding in the park with Logan (Ben Barnes)So we have two timelines converging on Delores who is only now realising, who she is and ultimately her purpose or should we say destiny as this extended episode drew the first series to a climatic close.

So what about Maeve Millay (Thandie Newton) who back above ground is putting the next phase of her plan in action. Or should we really call it her narrative? I’ll get to that later. Taking with her two other hosts who are in for repair, now human blood is being shed and its all away from the park. It seems that all the training that the hosts receive before being letting loose in the main park allows them to adapt to situations and tools. Maeve is careful to keep hold of Felix throughout all of this action. We do have a few more nods to the film when headquarters learn something is up, filling in the gaps of what may have fallen on the cutting room floor in the 1970’s. Her story-line is somewhat sidelined at the end to allow us to build up more Arnold/Bernard (Jeffrey Wright), Delores and Dr. Ford (Anthony Hopkins) who finally reveals all to them both and the audience. We learn who Wyatt which comes as a surprise, a character who has laid dormant in another host ready to take us to the next season.

A daring twist is to kill off Ford, which I feel has worked in his favor as the companies board have voted him out. His new narrative is revealed finally, he has allowed the revolution to slowly happen before us. Rolling back hosts memories at times to delay the incident until his final card is forced. However as the final card is played, we see both Delores and Maeve taking control of their destiny’s, going beyond their original programming. However are we still working with two timelines, or have they converged just yet? All will be revealed in 2018

Painting the Town… Update (4/12/16)


I think I’ve carried out my initial tests now before I refine from the results from the two days in the studio. I know I’m getting somewhere, at the moment it looks like a possible installation – something I’ve not done before, having gone more sculptural that is easily transportable. This is a whole different piece. I’ll tell how I got there below, coming back into the studio today, wanting to get at least one more series of tests out of my system. This time involving my cowboy figures from my animation. I decided also to shoot in black and white this time, wanting to focus on the shadows that are created by the light onto the figures.

It didn’t take me long to want to add more figures, populating this test to create more shadows, in turn a bigger gun-fight on the street. I again became frustrated, as I was struggling to create long shadows that I thought would come rather easily to the test.

I knew this was down to the height of the lights which I use. Leading me to lay them flat on the floor, not making use of the legs that stabilise them. immediately I had better shadows.

I made good use of a new tripod I bought during the week that gave me a lower angle, lifting it off the ground by under and inch. I feel that I captured some classical images. Reminding me of the gunfight in The Man Who Shot Liberty Valance (1962) which lead me to use the projector for the remainder of the tests. Leaving the figures in place I decided to see what happens.

Ultimately I found this test produced mixed results, as much as I had a fantastic scene which told me I was doing the right thing in terms of gunfight’s projected onto the model miniatures, the figures were lost, the light and image was lost to them, Leading me to remove them completely for the next test which also saw me reorganise the models which has far more impact.

From the final test I can see that its about the models capturing the violence which is found on the models, they are part of the models history, the filmic history of violence. So where do I go from here you might ask? I’m thinking that I should make more models, and build-up a collection of gunfights to work with. Maybe I’ll build up a montage that can be projected across a town – so is that a video piece or an installation? I’m not sure yet, all will come clear in the new year.

Westworld Series 1 ep9


westworld-2016Spoilers below

This week my expectations have been smashed, we are getting close to the hosts revolt now, its palpable with Meave Millay (Thandie Newton) leading from the front as she returns to the park, finding the gunfighter. That’s not before scaring the hell out of Bernard (Jeffrey Wright) whose going through his own set of issues. We spend little time with Meave in favorite of Dr. Ford’s (Anthony Hopkins) favourite host who wants to have all his memories released, wanting to be more free to understand who he is, how they have helped form him. He wants to know more about his back-story, something that the other hosts (except Meave) don’t question. Of course these back-stories are pretty basic in comparison to the history we carry with us, our experiences and memories form who we are every day, some changes us for the better or worse. The hosts are more 2 dimensional, making them more about familiarity within the stories they’re programmed into.

We see just how far Ford has control over his hosts when we see Clementine (Angela Sarafyan) after her robotic lobotomy. Maybe he will make it a long way into the next season, I can’t see him lasting long once the revolt is underway, or will he run for cover?

After catching the tail end of an interview with Ed Harris at the weekend I know he is back for season 2, which was initially 8 episodes but will now be the full 10. So going by that, he won’t die at the hands of Armistice (Ingrid Bolsø Berdal) who has limited self-awareness. Playing part of the Wyatt story-line – I thought for a while that Wyatt was going to be Arnold, – that is soon scuppered. We do however have more answers to Hector and his relationship with the park, He is either an associate or a share-holder, having an strong interest in the park, far beyond his own personal demons.

We finally learn who Arnold is – or was when Delores (Evan Rachel Wood) goes wandering after leaving William (Jimmi Simpson) and Logan (Ben Barnes) who were reunited at the end of the previous episode. The two men are still at loggerheads, finding different things in the park, fighting over what Delores is to them. One a robot to be shot, slept with and abused, or a person of different form who has a right to be free. We have a pragmatist and an idealist. It’s all about Delores really who goes to confession at the old host training ground, where we learn a lot more about Arnold.

Lastly we can see another character become lost to the hosts, yes it’s finally happening, the fail-safes of technology are malfunctioning, or outgrowing their creators. Bring on episode 10, or should I be saying bring on series 2.

Arrival (2016)


arrival-2016It’s been just short of a day since I saw Arrival (2016) my first of this years Oscar bait, it’s too early to say what the predictions will be beyond Amy Adams‘s restrained performance as linguist Louise Banks whose recruited by Colonel Weber (Forest Whitaker) after the arrival of one of 12 vessel to appear from space. It sounds like any number of science fictions films that use this basic premise to stir up chaos, confusion and fear around the world. Naturally one land in the States, this time a field in Montana which naturally creates all the above emotions and hysteria in the media. I’m reminded of quite a few films that discuss these issues. I’d like to use this review to explain my thinking towards this one.

First we have Contact (1997) which takes the same tact, and even a female led which is even rarer in 1990’s cinema as it still is today. Dr. Ellie Arroway (Jodie Foster) and her team receive what is an alien transmission. The film’s built upon how we respond to that message, which becomes a massive plan for an interstellar craft that supposedly transport the one passenger to the aliens world. It became a film about science versus religion, who should meet the aliens, a person of faith or science, or failing that – passion. The world was and is waiting in both films for answers to come of those who are on the ground, with the clearance to understand what is going on. The public and political pressure in both films for answers varies. There are 12 vessel on our planets surface in Arrival that is making more of an impact, these outsiders who loom above their various location around the planet. Different nations responding in their own ways. Contact the process’s sped up, we have an answer (subverted by money) that leads to answers and further questions.

Star Trek IV: The Voyage Home (1986) maybe a strange entry, yes the one with the whales, however it was all about finding the appropriate way to respond to the message that was causing unspoken damage to the people of Earth in the 23rd century. As Spock rightly tells us “Only human arrogance would assume the message must be meant for man” of course that’s coming from an outsiders perspective, the alien looking in on another race, believing that the probe above Earth is transmitting to only humanoid life, when other intelligence live among us that we may not have considered, in the films case – hump-back whales. It was about finding a solution and the right method to respond to the message. In Arrival the messages meant for humanity, however it’s a longer time working on the method and language to communicate it. A language we understand to take the form of ink rings that are released, taking the form of mug rings that Louise works to decipher. The aliens (dubbed Abbot and Costello) are open to communication, they want to communicate, it takes another open and willing individual to take the time to do so. In 18 hour intervals she along with a team of soldiers and Ian Donnelly (Jeremy Renner) a scientist whose there to understand their technology, that’s after a clear line of communication is established, it takes more than a universal translator here.

Another more tenuous film is Independence Day (1996) when we have a great number of vessels appearing above the earths many capital cities. Ultimately it’s a blockbuster version of War of the Worlds when the alien visitors try to destroy us as they attempt an invasion, only to be defeated by the only weapon that we never considered – our atmosphere. Before the Will Smith lead invasion there is a mass sense of fear, hysteria as everyone rushes to find out what is going on. A formula that us repeated nearly every summer since at the cinema. However in Arrival that fear is more muted, the longer we wait for answers, we get riots as governments fail to provide answers. Scientists are finally able to go in and investigate, study and question what it before them. We have time to explore these minimal spaceships that are the nearest these scientist. It’s a barren ship devoid of what we would call a ship kitted with technology. Instead we have a tunnel and a glass wall that divides them from the aliens who they are talking to. For our protection or theirs?

Where the film comes into its own is the flashbacks to a time when Louise was a mother to a daughter who we learn in the first few minutes is lost to a terminal condition. However the more we see of the film, are these flashbacks actually just that, are the fragments from another life, one that is yet to be lived. Louise is emotionally affected by these images or memories. She appears to be a grieving mother throughout, has she experienced her own future before it has happened. The aliens seem to be a part of that in some way which I have never seen before. Reminding me of the Prophets found in Star Trek: Deep Space Nine who chose Commander Sisko to be their emissary, a connection to his own spatial dimension, his perception of time being different to the prophets.

This is one science fiction film that focuses more on the actions of humanity than those of the aliens who we do get to see enough of to understand who they possibly are. Special effects-wise it’s paired down to be just about the aliens and their vessels that loom large in the film even when they aren’t on-screen. We have a film that about the drama that unfolds away from the visitors, how we as a people are more likely to react. With a focus interestingly on China who have one in their back yard take a different tact when they have worked a response to their question – which could be similar to “What is your purpose?”. In the States to a point is led by the scientist, of course acting as advisers, but these are the true communicators who know what can be achieved.

Could this be a prediction of what is to come in the future if we are visited by aliens? It’s probable yet still fantastical with a lot of wonder and awe, this is not a summer blockbuster, its a thought provoking science fiction, not the shoot-em-up which is refreshingly rare and left me lost for breath at times. Its a human story essentially about letting yourself free to understand the unknown, putting up barriers only put your further away from understanding the unknown about others and yourself.

Painting the Town… Update (27/11/16)


I can’t remember the last time I spent some real time with this work which I’ve been working loosely with since the summer. Today I’ve spent some good time in the studio playing with my lights and projector, directing them onto the white models I made in the summer. I’ve finally been able to do what I set out to all those months ago. It was rather satisfying to see these ideas take form, if they worked or didn’t was another thing, to actually follow through on a thought that had been there for a long time means I’m happier for it.

So it was all about colour to begin win, wanting to shine block colour, taking the phrase almost literally – painting the town red – with light. I found that the red was coming out more pink, turning to less obvious colours such as green and blue, before finishing with orange. Photographically the results aren’t the best. I found myself returning to earlier work, which is not where I want to be heading, I need to move away from the literal yet atmospheric.

Moving onto another idea I had was to project video onto these essentially blank canvases which meant getting the projector out and finding clips of Westerns I have, seeing what work. Not really choosing anything in particular I went for the rollerskating scene from Heaven’s Gate (1980) which pushed me to consider how to really use the projector and the model, which with every consecutive scene grew ans grew. With this scene it was more about how can I cove the whole or the majority of the model.

It was nice to see how the image consumed the model, becoming an outdoor cinema, projecting its image against a saloon. The image come up well on the model, it will ultimately vary depending on the model being projected onto. I moved onto a scene from The Searchers (1956) which was more of the same. I went to another scene from the film, this time bringing another model, meaning that the projector had to move back to accommodate them both.

What happened here was that the images took on a status of being bigger, yet still very much part of the same world. When I saw the landscape against the more urban models, this is something I wanted to explore, the background being part of these models in the foreground. Pushing it further with the final gunfight in True Grit (1969) which had wide open spaces to take advantage of.

This particular scene worked more so because of the action, the cinematic presentation of the scene, these gigantic god-like being behind the models. I also moved all four of the models in front of the projector, experimenting with layout, creating shadows, which ultimately don’t really matter as the image is still caught on the models in front, the light becomes sculptural. I carried the god-like status through to the next scene – the family massacre in Once Upon a Time in the West (1968) which I was very pleased with, partly down to the close-ups.

For the last set-up I positioned the models into a more conventional street set-up, with a gunfight from A Few Dollars More (1965) which drew me to my final thoughts of the day, linking nicely to the original inspiration of the Marquis in Melton – Street violence, or that of gunfights in the genre. I’d like to see how more models and more gunfight scenes work with this set-up. I still want to see how the cowboy figures work in terms of shadows they produce.

So as you can see I have been very busy and had lots of fun, immersed in the Western. To me this piece is about the violence that is created/depicted in the genre, this is where I maybe leading this piece going forward.

53 Postcards (2015) – Performance


Debut performance, part of ImpFest (2016), at Hornsey Town Hall Arts Centre, London 17-19/11/16. Performed 19/11/16.

Expanding on an impromptu performance during crit of 53 Postcards/Do You Understand (2015).

Video coming soon

Photographs courtesy of Rachel Neath

Sergeant Rutledge (1960)


sergeant-rutledge-1960I’ve been waiting for Sergeant Rutledge (1960) for a few years now, one of John Ford’s apologetic films for past on-screen depictions, this time focusing on African-Americans who when on-screen had previously been given the role of the idiot, the butler, the naive slave, anything but up-standing citizen who can contribute to society. Ultimately the fall guy and the butt of the jokes. It wasn’t really until Sidney Poitier came along, did the depiction of Black characters start to change, or just those he depicted, given his pride and strength in each role during the 1950’s – 60’s. Sadly even here in Sergeant Rutledge their depiction isn’t that much better really. Even from Ford who was trying to right his own wrongs which go back as far as playing a member of the KKK in Birth of a Nation (1915). Guilt he was hoping to rid himself of, I can’t really see many Black characters in his past film, a white world as depicted in Ford’s West. Of course he’s not alone in his contribution to the genre.

However is showing that he’s willing to pay his dues, taking on a court-martial of a black Sergeant whose accused of rape and double murder. There is even some historical fact in there, a segregated troop of Black soldiers, however their depiction still has hints of stereotype slip through. That’s not to take away from otherwise seen as upstanding soldiers who follow the chain of command, it’s an admirable attempt for its time. Not surprisingly the main character – Rutledge (Woody Strode) is relegated to a supporting role credit, when the whole film revolves around his actions. I remember being similarly annoyed by his credit ranking in The Professionals (1966), another symptom of racism in Hollywood. It’s alright to have them on-screen but give them too much credit that would lead beyond tokenism towards fully rounded roles that rely on stronger parts, Strode’s in this film is far stronger, maybe his strongest role of his career.

Being one of Ford’s apologies, 4 if you count The Searchers (1956) which confronts the racism that can consume a man, the depiction of the other is still classical. Jumping to Two Rode Together (1961) which picks up where The Searchers left things, answering the hard questions of what happens to the returned captive, tainted by the others blood, time among them, how society reacts to the captive, do they react as the Jorgensen’s did, an open embrace, or do they fear them, reject them and leave them to return to the safety of the other. It’s a talkie heavy film that debates all these questions, whilst Ford’s last effort is a grander affair – Cheyenne Autumn (1964) which depicts the Trail of Tears, it’s a brave film from a man who defines the genre, who has seen the shape it has taken, overlooking the past, hoping to add his last page of revisionism. Only really let down by the comedy that is weirdly inserted, thought to be necessary to break up the darker themes,

Turning then to his second apology in more detail we have another talking heavy, a courtroom western, which have never been the strongest in the genre, mulling over the facts of the case before judgements delivered. Thankfully it’s broken up by the use of flashbacks, to build up not just the generals picture of what happened, but for the audience to see what Black officers are capable of. Ford’s also quite at home, returning again to Monument Valley, which validates this as part of the myth, his myth of the West, Black Westerns are rare, such as Buck and the Preacher (1972) which is more revisionist in tone yet more of a blaxploitation than a true Western.

The trial begins without even seeing Rutledge who is only spoken about, his guilt is almost a certainty in the eyes of one Captain Shattuck (Carleton Young) who sees more the colour of his skin and the negative connotations that go with it. Whereas Lt. Tom Cantrell (Jeffrey Hunter) believes far different, you could say he has a personal interest in being the defence for the accused. The first evidence is given by a semi Ford regular Constance Towers as Mary Beecher whose painted as a victim at the hands of Rutledge, the lights are lowered to focus on her testimony which is soon revealed to be more enlightening when she’s allowed to continue, we see a soldier who comes to her rescue from a common enemy – the Apache who have killed already. Rutledges wounded by a gunshot, needing to rest, but still carries out his duty to the civilian. Would a murderer and rapist be capable of doing that?

The evidence stacks up allowing you to builds up and picture, even doubt starts to creep in, did he really commit rape and murder, the audiences tested, more so the original intended audience of the early sixties who was very much divided, just as the civil rights movement was starting up. This film is a precursor to the thinking that a man shouldn’t be judged on the colour of his skin, the connotations that are sadly still very much alive in the States.

Ford does his best to bring this very confined Western alive. The courtroom is predominantly white, who’ve been predisposed to judge Rutledge as guilty. Whilst those in the Black troop look up to the first Sergent, the top man, top dog, he’s almost raised to a legendary status for his actions on and off the screen, respected for his ideals which comes in the form of a song that we get at the beginning and end of the film. He’s part of filmic cavalry history, this is how Ford wants to frame Rutledge and the others as heroes up their with the likes of Kirby and Yorke (John Wayne). However it’s a hard fight due to the material which does drag which is due to the restraints of legal dialogue which you have to pay attention to. Characters are strength which doesn’t fail Ford who are still rounded with their foibles, most notable between Col. Otis Fosgate (Willis Bouchey) and his wife Mrs. Cordelia Fosgate (Billie Burke), the old married couple constrained by rank, position and racial assumptions.

Ultimately it’s a much forgotten film due to the rarity of the Black troop, there have been others since celebrating the forgotten, part of Ford’s admiration for American servicemen. In-terms of apologies, its heavy handed at times, a different take on the ideas might have been more successful. Its a product of it’s time and he was fighting under those politics. I’m glad I’ve finally seen the film, building up a bigger picture of a director I admire, in terms of his myth it adds another page which is usually turned too fast to see his stronger work.

Acting Alone


Every since my performance at the weekend at ImpFest (2016) I have been considering my next performance. Do I want to repeat that one at a later date, more than likely. I have another postcard piece – Out of Curiosity (2016) which consists of around 60+ postcards which involves a male and female character. Looking forward to a more ambitious idea for a new piece looks beyond the postcards replacing dialogue for a single scene from a film. I would like to look at acting out a whole film, taking on the role of the predominant character in each scene. At the moment my heart is saying The Searchers (1956) which I would love to work with. I would ultimately have to make this piece over a long period of time. Considering a number of elements, a possible minimal set, costume, the dialogue which I would have to transcribe too. Would I also remove the postcard element to focus on the more performative element or have the two together which work well. It’s an exciting whilst at the same time a very daunting prospect. Whichever film I ultimately choose I will have lot to consider.

Westworld Series 1 ep8


westworld-2016Spoilers below!

I’m starting to think I’ll be watching the second series the way the last two episodes have been leaning. With episode 8’s events I can see that the rebellion might be on hold but the build up will make it more than worth the wait. After last weeks revelation about Bernard (Jeffrey Wright) being one of Dr. Fords (Anthony Hopkins) earlier models who has been unwittingly been carrying out his every whim, or his amnesiac henchman. There are now at least 4 hosts who are starting to experience faults with their memories. They are no longer erasing past days events, their script is forming merely a basis as we have come to the park they are starting to realise what is happening.

For Meave Millay (Thandie Newton) she is all too aware of her existence – to a point that allows her to take control of the park, with a little help from upstairs, shes almost on an equal terms as the humans who created her. It’s a refreshing change to see a female lead taking control of the show, within the series she is also taking control of her destiny in a male dominated world of the Wild West which she is generally seen to be a the bottom of the food chain being programmed to be a madam. Could this be a feminist role, or is she just asserting her right to live and fight back?

We are also back with Hector (Ed Harris) and Teddy Flood (James Marsden) who are on the maze mission. We are finally given a back-story to this very flawed and human character who has come to the park to find redemption and hopefully himself in a world of violence that can hopefully contain and calm him down. Only then might he return to the world he mentioned of his big corporation. Taking on the role of a mysterious gunfighter he has given himself licence to vent his anger with little consequence – until now.

The shock ending and demise of Theresa last week, in a room of another host being built leads to any number of questions for further down the line, has her memory been somehow copied, ready to be put into another host, but would this get past others who would ultimately have to service/repair her host self.

Lastly we have spent more time with Delores Abernathy (Evan Rachel Wood)who is also having flashbacks or should we say memories playing tricks on her. Which leads me back to an earlier episode when she’s allowed to return to the park without having her resets triggered. He himself being a host, could he has sent her back in knowing that his connection to her? Things are really starting to heat up now, I just wish it hadn’t taken 7 episodes to do so, all these strands are starting to come together, whilst Ford is still unaware of what is going on in Westworld

Chronicle (2012)


chronicle-2012Now I must correct myself, I previously said in an old review for Super 8 (2011) that I remember the trailer, clearly after seeing Chronicle (2012) that is all rubbish, it was for this film which doesn’t try to be a Steven Spielberg homage, instead this is something much more interesting in its own right. It’s the voyeuristic aesthetic of the film that I remember from the trailer, which we don’t have at all in Super 8 which is a completely different film. Anyway lets move on from the slight confession and look at what made me want to talk about this film. I’ve only seen a handful of films that are almost exclusively filmed from the point of view of a personal camcorder, I attempted to watch Unfriended (2014) which goes further to the view of the computer screen and just became annoying…very fast.

You’d have to be living in a cave in the remotest part of the world to have not noticed that a whole generation has grown up with a view of the world perceived completely from the view of the a mobile phone, filming and capturing images from a tiny camera hidden within, recording anything and everything that takes the users curiosity, for fun, for work. Chronicle pre-dates that…slightly, there are even more home-videos uploaded to my own social media streams. I’m sure you can relate to that even if you switch between reading this reviewing and your own feed.

When your own personal footage forms a feature-length narrative things begin to change, you have to fill it with characters, a plot, twists and development beyond that of what just in front of you. Of course the majority of the camcorder work for Chronicle was probably completed with industry standard cameras, not ones for home use. However the look of the film is that of the home-video or vlogger who carries it around with them. What begins as a personal thing for Andrew Detmer (Dane DeHaan) who is out to prove and recorded his abusive dad’s behaviour, a visual weapon in his domestic fight for survival, whilst his mother is bed-bound with an unknown condition.  This could be just another teenage experience film, which really doesn’t interest me unless there’s a twist to it all.

Thankfully there is one. That’s after we first do some exploration of the teenage world of the high-school, one I’m glad I was never around, a dog-eat-dog world of popularity and over achievement which can either make or break you. Making for a pretty standard teen-drama for the first few minutes before his cousin Matt Garetty (Alex Russell) asks him to join him and class president candidate Steve Montgomery (Michael B. Jordan) who have found a massive hole in the ground. Brought along merely to record the life-changing event down below. A luminescent crystal-like structure that draws them in, more from excitement and the thrill, it excites the young men who are changed for life by the experience – giving them superhuman powers, that of telekinesis.

Of course like every new experience during adolescence, this ability proves be fun as they explores what they can do with it. The three of them naturally are at different stages, like learning to walk, each with different level of progress. We see early on that Andrew is a quick learner and obviously know how to focus his power. Its like the early days of X-Men only with some messing about, we don’t have the number characters to create the drama of that scale. There’s no real rivalry between the three young men at this point.

Things start to change for them boys and the audience when the special effects are still subtle and fun, we know they are adding things in post-production so they are floating at their command. When they start to fly, things start to really get fun and potentially dangerous, leading the film into other directions, they are growing, learning what they are capable of. It’s really exhilarating to watch, like the first time we saw Superman flying on the big-screen, it has that sense of wonder, freedom and youthful energy. Yes it probably involved a lot of C.G.I., wires and green-screen to achieve these shots, but the finish is so clean and subtlety done that this time I don’t care because I’m caught up in the moment that you’re taken aback when the plane flies through the shot, knocking you out and them out of the sky.

We start to enter the realm of X-MenMagneto and Xavier as the powers are used more overtly. It’s one thing to use the power for a magic trick, when it comes to keeping your mother medicated things get serious for Andrew who uses his powers that are growing, under his mentality of the “Apex human” the top of the evolutionary food-chain, combined with his abusive home-life he begins to unravel and reveal who he truly is. This is where we can no longer stay in the realm of camcorders, having to rely on CCTV and other surveillance to record to the action as it occurs, cutting straight to these fixed positions to build up the image that is the film. Striving to be more immersive for the audience, removing the conventional camera angles for those of the domestic to capture this cinematic moment as two friends fight to hold on to each other. The Magneto lashes out at the world around him whilst the Xavier tries to save him from himself.

If I had to be negative and fair about this film, I would have to show my disappointment at killing off the only black character, even though it allows for character development, it shows that we have a white on white fight at the end. All originally friends, it wouldn’t really matter if Matt was killed off instead, they same result would have lead to this resolution. In the climate of the lack of Black on-screen depictions Chronicle suffers from this deficiency in the final act, would it be seen as more racially motivated, friendship should overrule that thought.