The Dawn Wall & Free Solo - 'Double Bill' - Phil's Five Words for Film

Rock Climbing Double Bill. Harness yourself in for a wild time. You do not need to be a climber to appreciate wonderful film crafting.

'The Dawn Wall' (2017 Cert 15 UK 100mins) & 'Free Solo' (2018 Cert 12A UK 100mins) 

'Free Solo' is an Oscar-winning documentary (2018) about rock climber Alex Honnold as he attempts to scale Yosemite's El Capitan Wall without a safety rope. As uncomfortably crazy as it sounds and not for the faint-hearted. My recommended prequel is ‘Dawn Wall’ from 2017, to give you an idea of scale and the levels of physical fitness needed from all concerned. 'Dawn Wall' follows free climbers Tommy Caldwell and climbing partner Kevin Jorgeson, who attempt to climb a 3000ft route up El Capitan. Both films will make you marvel at the lengths some people will go to push their boundaries and the limits of possibility within sport. I would argue that 'Dawn Wall' ( Dir. Josh Lowell / Peter Mortimer) has a more complete narrative but 'Free Solo' ( Dir. Jimmy Chin / Elisabeth Chai Vasarhelyi ) has the better drama and cinematography. Tense, palm sweating, vertigo-inducing double bill documentary that highlights the daring, perseverance, wonderful camera work and climbing skills of a dedicated bunch. Insane and fantastic. Near perfect documentary making. Just don't look down. 

9 out of 10 (together and individually)

Cert 15 & 12A UK

Capernaum - Phil's Five Words for Film

Capernaum From Lebanese Director, Nadine Labaki comes a hard hitting, documentary-styled story of poverty, failing society and the inhumane treatment of disenfranchised minors in Beirut.. The very human story of a 10year old boy’s fight to create a better life for himself by divorcing himself from his parents. ‘Real’ extras and handheld footage thrusts the viewer deep in to the film and there is real social comment to be found. Wonderful drone footage and the use of 'real' locations produces a stunning film that feels dirty and angrily frustrated. The tragedy is that the most humanity and hope to be seen comes from the youngest members of the entire piece. Zain Al Rafeea stands out as the boy, Zain. Beautiful film-making that should touch all who make the effort to watch it. Nominated for an Oscar in 2019 for Best Foreign Language Film of the Year. It should have had more. Cameo appearance by the director to look out for and one of the most uplifting end frames of any film. Subtitles.

8 out of 10. 2018 

Cert 15.
2hrs 6mins

Vivarium - Phil's Five Words for Film

Vivarium. Apart from the opening 2 minutes, which basically give away the entire premise of the film and are an editorial misstep, there is a lot to 'enjoy' about 'Vivarium'.  Directed and written by Lorcan Finnegan, it stars a suitably frustrated Imogen Poots & Jesse Eisenberg as a young couple looking for a home in which to base themselves. After viewing a house, they find themselves stuck in a spiralling nightmare that screams it's way through their relationship, child care expectations, mortgages, mundane jobs, mental health and life aspirations. It is an intriguing setup, looks great and there is an ominous soundscape that ramps up the trapped feeling and pressure.  With some stylised visuals and a lot of social comment to digest, this dark sci-fi drama is compelling but, like life, it slows a bit towards the end. There will be a lot of divisive feelings towards it as it is clearly a thinly-veiled dig at a large proportion of people and their societal choices but I enjoyed it and several moments have stuck with me. 

7.5 out of 10

Cert 15. 2019

1hr 37mins

https://www.amazon.co.uk/Vivarium-Blu-ray-Jesse-Eisenberg/dp/B0859RF9R7

The Invisible Man - Phil's Five Words for Film - 2020

What starts out as a solid, taut, psychological drama, soon descends in to a standard, thoroughly transparent, fun romp. It does have a great first half. However, ALL the major plot points are clearly signposted and visible and, for me, there just wasn’t enough horror for a horror, sci-fi for a sci-fi or drama for a drama. Written and directed by Leigh Whannell (Saw 2004/.Upgrade2018), it is a re-working of the H.G.Wells classic. There are some great moments within the film (nervy camera movements and background twitches ratchet up the tension) and the central performance from Elizabeth Moss is excellent but the ending of the film felt rushed and far from neatly tied up. As a fan of nearly all of Leigh Whannell’s previous work, this one felt incomplete, a bit mixed up, often out of control and  below par. It's taken a shed load of money at the Box Office though, so expect a #MeToo2 follow-up. Nervy but distracted by unseen forces.

5.5 out of 10
Cert 15 (UK)
2hrs 5mins
2020