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The film's tone is so broad that performances seem understated. Still, there's virtually no space for subtlety, especially with characters that are so inconsistent. Chester adds some texture to her thankless role, which like everyone else's veers wildly from scene to scene. If Marryshow had grounded Bruce with just one personality, there might have been some kick to his performance, but he seems to be playing a different role in each sequence: loud and obnoxious, then sweet and caring, then sex-mad and callous, then shy and nervous.

In between his random, implausible nice-guy interludes, Bruce is simply too reprehensible to engage with. Actor-filmmaker Marryshow seems to have made this movie to showcase himself, and as an actor he definitely has some promise, with strong on-screen charisma. But this aggressively unlikeable comedy turns too dark and nasty, as Bruce burns one bridge after another on a self-fuelled downward spiral. And when he's at rock-bottom, there's a painfully trite message to lay on thickly. Like the rest of the film, this may be a nicely played scene, but it's also not quite the final insult.

themes, language, sexuality, violence

8.Mar.19

Within this charged atmosphere, performances are remarkably understated. Calvert is a likeable lead, refreshingly quirky as he tries to keep his balance while everyone around him is an annoyance, especially his boss Theo, played as a charismatic thug by Solimeno. Zane effortlessly steals his scenes, bringing wit and sheer presence to his enigmatic role. Amid mostly figurative female roles, Clark adds some intrigue to Kat, even if the character ultimately begins to feel rather gimmicky.

The film is superbly shot by Michel Dierickx and tightly edited by Gabriel Foster Prior. Morse tells the story economically, cleverly using the lush visuals to deepen what is essentially a bare-bones idea. And while he has a lot of fun wrongfooting the audience with dreams within dreams and a story that doesn't generate much momentum, he's also actually saying some intriguing things about how tapping into our subconscious feelings might make our waking lives a little more like we wish they were.

themes, language

31.Jan.19

Warm and moody, this British drama has an earthy honesty to it that's instantly engaging. It's the story of an offbeat, unlikely friendship, but filmmaker Jamie Patterson resists the usual cheap humour or sentimentality. Instead, each belly laugh is tinged with prickly emotion. And it's remarkable that the film maintains a sense of cheeky optimism even in the story's intensely moving darker moments. Packed with surprises, it's well worth seeking out.

Performances are also relaxed and understated, with dialog that feels authentic and a sharp sense of the real people underneath the drag queen personas. Both Nesbit and Stephens create vivid men, each with their own issues but also with an unforced sense of chemistry between them. This helps make their connection feel deeply authentic, as they find true respect and support. They also maintain Jackie's and Faith's personalities right into their stage performances, never going over the top.

Patterson relies a bit heavily on musical montage sequences to keep things flowing. But the story unfolds in such an engaging way that it pulls the audience in, alternating between Jackie's rudely hilarious stand-up routines, silly little conversations and some remarkably involving emotional moments. Thankfully, Jackie's illness never becomes maudlin, which is a real achievement. In the end, the film may feel somewhat slight, but there's a lovely message in here about being open to the needs of people around us and expanding our family rather than limiting it.

themes, language, violence, drugs

22.Mar.19