Rising Star Alert: Sam Milletti

Meat
Filmed and Edited by Sam Milletti
Featuring performance artist, photographer and model Jacek Davis. 

Rising film maker Sam Milletti' has been honing in on his creative skills from a young age and this proves true in his latest work. Taking on a new experimental style and saying goodbye to traditional narrative, I'll be taking a look at his new teaser for MEAT and taking a trip down memory lane just to see how far Milletti has come.

There isnt a medium of film young Milletti hasnt explored. He's well known for his short films, fashion features and music videos. I asked him the inspiration behind his new style of work and question why he left the old narrative form, Milletti commented; "I've been creating short films with a strong narrative structure for the last few years. This type of work has helped me deal with personal issues in a cathartic way. The monologues that would feature in my films were personal and raw, a reflection of my current situation at the time of making each one. This system of working served me well as I was able to deal with my emotions through the medium of film". Examples of his traditional work can be found here.

Known for his strict and traditional narrative style, Milletti has taken on a new, surrealist form of work and his commitment to this change is certainly apparent within his latest piece. When asked what made Milletti take on such a different style, he commented; "when it came to making 'Meat' I wanted to depart from my usual frame of working, a style that I had become familiar with and known for. I wanted to push the boundaries of what I had done before and take bold new steps in a different direction. It was more on an emotional choice then a strategic one. I didn't sit down and say "I'm going to make something completely different this time". It wasnt as contrived as that". There is nothing contrived about Meat and the sense of freedom in Milletti's new style is clearly defined in this piece. 

Take a look at the teaser below...

The kaleidoscope effect connotes issues of identity and a fragmented mental state, perhaps this will continue within the rest of the film? I can only hope so. This exaggerated sense of reality suites Milletti's new style. The colours are vibrant and fun but juxtapose nicely with the slightly sinister music that accompanies this teaser. A teaser like this almost reminds me of a horror movie trailer, there's an intense feeling and a faintly disturbing vibe that actually makes it more appealing. It reminds me of the openings to the American Horror Story: Murder House Series. Whether this is the effect Milletti is looking for, who knows. It will be interesting how the style and subtext will develop when the full film is released. When asked about the purpose of a film like this for the audience, Milletti said; "Why my other films I think I demanded a lot from my audience. I wanted them to sit and concentrate, listening intently to ever world of m y carefully thought out monologue. With 'Meat' I'm saying it's ok so sit back and enjoy. You don't have to be constantly thinking about the meaning behind this. I want this film to work as an installation piece, something that conveys a mood".

Sam Milletti has definitely taken a leap of faith with the new movie, it's difficult to tell how his fans will react to such a surreal change in pace. Personally, I love it. It shows maturity and growth with his own work and identity. Looking forward to seeing the full movie.

If you want to know more about Sam and his work head to his Facebook Page , Twitter Page and Instagram.

The Maze Runner Review

I sat down to watch THE MAZE RUNNER this morning, expecting to find a weak-paced, children’s movie about a bunch of good looking kids, stuck in a maze of sorts, with no real sense of danger. When I first heard about the film, I decided to steer clear of the books but the released images and general synopsis filled my head with preconceived notions of 113 minutes of teenage-angst, stumbling around an Alton Towers worthy maze game, without a great narrative drive. Boy, was I wrong. What I found was a fast-paces, tense story with impeccable performances from some truly talented young actors. 

THE MAZE RUNNER is an adaptation of the science fiction, fantasy novel of the same name, byJames Dashner. Our protagonist Thomas, played by Dylan O’Brien, wakes up in an elevator-come-cage, that throws him up through the ground to an unknown arena called the Glade, it is there he joins a gaggle of other young men, calling themselves The Gladers. Thomas has no memory of who he is or how he got there and surrounding him in this unknown territory, is a giant, mechanical maze, trapping him and the other boys. Each boy has their own place at The Glade and there are only three rule; do your part, never harm another Glader and do not go beyond the walls of the maze. For three years the boys have been living and dying in this stunted world but Thomas’ arrival throws them into chaos and danger, as he is eager to learn more about why they’re there, and who exactly put them there.

The premise is similar to the Hunger Games-esque kind of narrative that audiences are used to seeing at the moment but the details of the story enable The Maze Runner to stand on it’s own and deliver an interesting and unique movie. For a film rated at just a 12A, I was not expecting the level of threat and tension that The Maze Runner so brilliantly delivers.

The very opening scene, in which Thomas is thrown into The Glade, is accompanied by an unnatural, mechanical, non-diagetic sound that forces you to sit up and pay attention as soon as the screen jumps to life. These industrious sounds ring throughout the narrative as the maze changed shape and these only add to the level of threat you need in a movie like this.

They are then nicely juxtaposed with the first images of The Glade, which are at first sight, peaceful, natural and this gives audiences a false sense of comfort that is then quickly dragged form under them. This juxtaposition of nature and mechanics is mirrored in much of the narrative and connotes a sense of good vs evil, life vs death. As well as this, as we see our characters enter the dreaded maze, we’re introduced to the hideous monsters that reside there, known as Grievers. These spider/scorpion, robotic hybrids are genuinely terrifying and an arachnophobic’s worst nightmare. They only add to the sense of threat at a level I was not expecting, there were many times that I could feel my legs twitch with anticipation as I questioned how Thomas and his gang would survive in this nightmare. 

The true triumph of this film, however, is the smorgasbord of young talent that fills each scene with a sense of raw character acting that is genuinely impressive. Dylan O’Brien takes on the main role with a confidence that could match some of the most established actors, surprisingly so, considering his current career doesn’t stretch very far. He is in very good company with the rest of his cast, including Aml Ameen, who plays father figure and first ever Glader, Alby. Our resident Brits flying the flag in this big blockbuster are Thomas Brodie-Sangster and Will Poulter, who are both breaking free of that pesky ‘childhood actor’ labels with real gusto.

Then there is Kayla Scodelario, who plays Teresa, the only girl to ever be thrown in The Glade. My main gripe with The Maze Runner is that Scodelario is completely overlooked and could have really given some great narrative drive, if only her character had been used that little bit more. I would loved to have seen more of the dynamic between her and the other Gladers, as well as her mysterious relationship with Thomas. 

Generally, knowing so little about The Maze Runner could bode well for the audience. The sense of threat and danger goes beyond the level you’d expect from a child-friendly film and this is something which the film could benefit from in the coming sequels.

The young talent in this film is superb, with special attention to Will Poulter who is definitely one to watch. The story feels familiar but considering a real effort was put into creating the correct atmosphere it’s not difficult to look past that. If you like your sci/fi, fantasy genre with a little extra danger added in, The Maze Runner is for you! With two more sequels in the works, it’s going to be an exciting franchise for film lovers!

Verdict

Directed by Wes Ball, THE MAZE RUNNER is out in cinema’s now! 

Body Morphing Madness

I recently wrote an editorial piece on the new Mark Wahlberg film and his weight loss for a new role. Wahlberg lost a reported 60lbs for his new film The Gambler in which he plays a literature teacher caught up in the shady world of gambling addiction. The Max Payne actor spoke to USA Today about his commitment to the role and mentioned; "Forget losing the weight. Being believable as a teacher was on of my greatest challenges and most rewarding". He quickly dismisses the weight loss as anything specifically important and it made me wonder, how seriously do super-star actors take changing their bodies for a role and how healthily do we, as reporters and readers, understand and relate to such drastic physical changes. 

There doesn't go a day without reading about an actors and more frequently, an actress', weight gain or weight loss, so much so that it's become the norm in daily journalism and when we read about star's losing mega weight for a role, we commend them. How strong, what brilliant perseverance, and yet it isn't the same for those who put on the weight. Is that just resorting to fat shaming? It is possible to believe that we're teaching readers, of all ages and genders, that losing weight, particularly serious amounts of weight, is normal, no matter what size you start at. Surely this isn't a healthy idea to install in our brains? Christian Bale is an interesting example of actors that push the limits of their bodies to commit to role. The Batman star lost a shocking 63lbs to bring him to just 121lbs in order to play an insomniac who's mind quickly turns on him. The images of him were so shocking, he looked completely skeletal, and yet people were impressed with his dedication to his role, particularly the films director, Brad Anderson. However, is this not a really careless relationship and attitude to ones one physical health?

Another interesting example is Ann Hathaway's weight-loss for the role of Fantine in the 2012 film Les Miserables. It was reported that Hathaway dropped 25lbs in order to look the part of a starving prostitute. When the film was released, The Daily Mail reported that Hathaway commented on her weight loss saying her diet was starvation, and that she refused to reveal details of her diet in case anybody glorified her weight-loss. It's brilliant that Hathaway takes such a responsible role when publicising her weight loss, but does that make it any less damaging for a vulnerable audience?

I can't help that think, any other profession and these extreme action would be deemed insane, so why is it we find it acceptable for actors to do it? Are we willing to put that much pressure on them in their everyday lives and allow that to spill in their professional work? It seem we find it acceptable. You can't argue that these people are adults and therefore are in charge of their own bodies and the decisions that they make must be respected. However, in saying that, it sheds light on the state of current attitude towards weight perspective, particularly within the entertainment industry. 

CRYPT

My lovely boyfriend sent me a link to an American writing competition where you had to write a micro-story of no more than 100 words after being shown a chosen picture. Here is the picture they chose and the words that I wrote. Enjoy.

Endless names and endless dates, they don’t mean anything now. Curling petals and wilting stems, once green and fresh now represent what they mourn. Still. Cold. Dead. Can she hear talking? Impossible, she’s the last one left now. With her echoing steps, she can almost imagine somebody walking with her. Anybody will do. The smell of them lingers in her nose, the warmth of them, a memory. Running her fingers along the marble doors, the hundreds of them, the thousands of them. She can hardly believe, she put them there.

My Current Work

Hello readers! I'm sorry I've been slacking a little with my literature reviews, I know that was where this blog first started and I promise there'll be another one soon but I've been quite busy with a few new exciting opportunities! I have been lucky enough to be able to contribute to a couple of different brilliant websites about all things film and television! It would be wonderful if you guys could head over to the following few links and check out my latest professional work! Thanks guys!

I'm currently writing for a brilliant website conversationsabouther.net where they discuss all things music, film, television, everything! Follow the next link to look specifically at my contributions! conversationsabouther.net/author/elly/

As well as that, you can find some of my brand new work at filmandtvnow.com, a BRILLIANT website with an accessible, knowledgeable feel. You'll find loads of reviews, teasers, trailers and flash news on film and television. Keep a look out for my up and coming posts!

I would really appreciate if you guys could take a little look and share the links! I am currently looking for more work so share away!

Thank you
Elly

Shane Meadows: An Inspiration

Now that I've been blogging for around a month now and have been fortunate enough to get some of my writing onto different Entertainment News Websites, I thought I'd do a little post about my influences and inspirations in the world of film. I always grew up loving film and television. One of my first memories from my childhood was sitting down during school holidays and watching Nickelodeon summer movies. One particular summer they showed Jim Henson's The Labyrinth and I become absolutely hooked. I taped it on a VHS, if you don't know what that means, you're too young for this blog, and watched it over and over again. I marveled at this fictional world of goblin's, talking door knobs and furry friends, wanting desperately to give up my younger sister to The Goblin King. David Bowie took my heart there and then and it's been his ever since. 

However, as I grew up and matured so did my taste in film. I stumbled upon Shane Meadows work when I was around sixteen, really too young for his often violent and explicit work, but I was mesmerized and to this day I still consider him my biggest inspiration. Raised in Nottingham, England, Meadows left school early and began making his own films after he volunteered at an art center and decided it needed it's own film section. To me, he comes across as somebody who is meant for film, it was destined, and in a way I see that in myself. I, unfortunately, never had the talent to shoot my own films but film writing, researching, teaching and watching is the only calling I have ever had. I cannot do anything else. His work has a very cathartic feel to it, as much of his work is inspired from his own life, and this only adds to the sense of genuine drama and emotion that overflows from his narratives. From making short films with his friends to producing some of the best British Social Realist drama in modern film making, Meadows is a force of nature and when he commits to a project, it truly packs a punch. Here are my top three Meadows films which rank very high in my all time favorite movies. 

1. Dead Man's Shoes (2004) - This is without a doubt, my favourite film of all time. Brimming with tension Dead Man's Shoes is, in my opinion, Meadows' best work. This emotionally charged drama stars Paddy Considine and Toby Kebbell who both give absolutely stellar performances playing brother, Richard and Anthony. This film puts the psycho in psychological thriller as we see Richard (Considine) coming home from serving in the British Military to take revenge on local drug dealers who mentally and physically abused his mentally impaired brother, Anthony (Kebbell).  Richard then plays the bloodiest game of cat and mouse you've ever seen, with Considine given a terrifying performance. The end of this film left me feeling gutted like a fish, a sensation I as not expecting.
2. A Room for Romeo Brass (1999) - When best friends Gavin and Romeo meet weirdo wanderer Morell, their friendship is tested to the extreme, when Morell sparks and unlikely friendship with the boys and simultaneously becomes infatuated with Romeo's sister. Paddy Considine stars again as unhinged lost boy Morell and gives a disturbing performance as Morell's actions towards the boys turns violent. You'll see some other familiar faces including Romeo who is played by a young Andrew Shim, or as we know him in other Meadows' master piece, This is England and fellow This is England cast member Vicky McClure who plays Morell's love interest. 
3. This is England (2006-2014) - How could I write a post about Shane Meadows and not talk about his most well known work, the This is England film and continuing television sequel series. In the 2006 film we're introduced to young boy Shaun who's, set in 1983, world is turned up side down when he befriends a group of young skinheads. They take Shaun under his wing and what begins as a sweet, coming of age story, soon becomes one of turbulence and violence, when local hard man Combo, played by the incredible Stephen, Graham, rocks the group after viciously attacking close friend, Milky. Meadows went on to make three more television sequels with This is England '86 showing in 2010, This is England '88 showing in 2011 and within another This is England '90 coming to UK television soon, I cannot wait to see where else Meadows will take these well love, complex characters. 

Pretty much all of Meadows work gives the same amount of raw honesty and emotional turbulence as the three aforementioned films and I would fully recommend them to any one wanting to give a different genre a chance. Who are your biggest film inspirations!? Let me know!

Gone Girl Review

Based on the novel by Gillian Flynn, Gone Girl is David Fincher's latest psychological thriller that packs a twisted punch. With Ben Affleck playing our protagonist, Nick Dunne, and the effervescent Rosamund Pike staring along side him as wife, Amy, these two prestige actors give a brilliant performance that ring true to Flynn's origional characters. Initially, the narrative is very straight forward, we're looking at a murder enquiry where it is quite easy to assume, the husband did it. However, as Fincher slams in twist after twist, audiences are soon left with their jaws on the floor.

The film is very Fincher, the sleek styling of the editing and mise-en-scene is similar to his other, more recent films like Zodiac and The Social Network. His wide screen camera angles and saturated blue haze to his scenes adds to the sense of isolation within the narrative which is reflected beautifully within the characters. This familiarity is enjoyable and comforting, you know that in Fincher's hands, you're going to get a good movie, even at the very least, in stylistic terms. Much like within Fight Club, the film is dripping with hidden clues as to what the audience may discover throughout the narrative. A 'game playing' connotation is injected into many of the scenes like a hypodermic needle slowly dosing the audience with realisation of what is going on in front of them.

My only true issue with the film is some of the pacing. Don't get me wrong, you're going to get that thriller sort of feel, even if it is more sadistic and twisted then you're average psychological twist fest, but i just wanted a little more. I think those who haven't read the novel or aren't already familiar with the story will feel the pacing more intensely than those who have. However, I wanted to be on the edge of my seat a little more. I almost feel as if Fincher was ringing his hands together at the back on the cinema, shaking his head, knowing fully well I wanted a little more fast paced action and knowing that he was going to make me work for it. So sadistic, so Fincher. With it's mega explicit sex scenes and shocking violence, Gone Girl is your standard thriller with a little more torture for the audience.

The absolute beacon of perfection in this film, however, is Rosamund Pike's thrilling performance as Amy. With smaller films like An Education and The Worlds End under her belt, this is by far her best performance to date. She's like a still lake, beautiful and tranquil and then somebody lobs a giant stone in it and she really comes into her own as a character. She plays Amy with such a multidimensional brilliance that it shocks you as an audience. Is this really that soft spoken, English rose we know so well? You bet it is. Opposite her is Affleck who plays oblivious husband Nick with a fabulous naivety that enables audience to still like him even though you want to give him a swift back-hander. With co-stars like Carrie Coon as Nick's twin sister and Kim Dickens as our main detective, audiences are given some relief from these two emotionally draining main characters with confident and capable secondary characters with specific mention of Neil Patrick Harris who plays an amazing Desi Collings.

Fincher fans are going to be very happy with Gone Girl, you know what you're getting and it fills you up with that familiar sense of thriller suspense. Those who aren't as familiar may be a little hungry for more action but the last hour of the film is going to leave Fincher newbies with their mouths so firmly on the floor that any issues with pace will soon be forgotten.

Female Funny

A recent BBC News report stated that box office sales for female comedians has increased to 14% from just 2% back in 2009. With Sarah Millican and Miranda Hart being the biggest female lives draws in the last five years. How brilliant. I absolutely adore a whole bunch of different female stand up comedians and comedic actresses so it's great to hear that more people are enjoying female comedians. I really can't see the negative in a statistic like that.

However, very interestingly, I have been reading a lot about how a specific form of comedy that prominently female comedians are using is in fact damaging to female empowerment. Many female comedians use a self deprecating style of humor that leaves audience laughing along with them while simultaneously laughing at them. Is this damaging the empowerment that these female comedians have? It can and has been argued that this enables audiences to lose their respect and admiration for the female comedians due to their own seemingly lack of self confidence and self love. A recent, interesting example of this is via American actress and comedian Mindy Kaling, who we all know, i literally adore. However, I have noticed as of recent that many fans are gushing about how much they love Kaling's humor in the US T.V show The Mindy Project but find that the use of that trusty self deprecating sense of humor is damaging towards to her overall sense of power and female strength. During much of The Mindy Project, Kaling's weight and size are often touching points for comedy, whether Kaling's own character is mentioning her apparent size difference to other girls, or whether her co-stars are quipping about her eating habits and it can be argued that this enables the opinion that women of Kaling's size are indeed abnormal and suitable for comedy but no other genre.

Personally, I'm exceptionally guilty of using self deprecating humor in my own life. If I'm self conscious about something then I'll definitely make a joke about it first so that others can't and you can argue that perhaps female comedians are doing the same. However, personally, I believe that this sense of humor is only becoming problematic for female comedians because audience are still not seeing them as equal and fair game within comedy. Stop treating them like delicate flowers that cannot use their own apparent 'short comings' as ammo as to make being pee themselves laughing. You get your fair share of male comedians using the same kind of humor and never do you find people criticizing them, accusing them of risking their empowerment because of it. Grow up. Men have flaws. Women have flaws. Should one be able to use theirs to create a career and not the other? No. If I could make a career making fun of some of my flaws, you bet I would.

What do you guys think though? Can female comedians still hold a sense of power in the entertainment industry while using self deprecating humor as their main style? Let me know!

Robin Williams: A New Legacy

Whether he was playing a magical genie, a lost boy, Teddy Roosevelt or a cross dressing super nanny; Robin Williams’ career made many a childhood and filled the hearts of both adults and children alike. With films such as Flubber (1997) and Jumanji (1995) paving the way for family friendly entertainment and masterpieces like Good Will Hunting (1997), Awakenings (1990) and One Hour Photo (2002) solidifying his position as a great, talented character actor; Williams’ career was one of glistening admiration and critical acclaim.

So when the news of his death hit headlines earlier this year, the world reeled at such a tragic loss. Speculation around the cause of his death was imminent as whispers of suicide spread across the globe.  Fans of Williams’ took to social networking, stating their confusion at such an allegation and as the cause of death was confirmed; his peers and his fans couldn’t quite believe the news. However, Williams’ battle with depression has never been hidden throughout his career. Much of his early stand-up played on this and very early this year, Williams’ admitted himself into rehab for alcoholism, a direct result of his depression.

In a matter of hours, conflicting opinions of Williams’ fate plagued social networking sites and a debate of the state of mental health awareness was born.  Some individuals raged misplaced anger, confused as to how somebody so talented and fortunate could get to such a place where taking their own life is their last option. Many used this as an excuse to plague Williams’ family, specifically his daughter, Zelda Williams, with hateful messages about her father.

However, despite the misplaced anger towards such a sad conclusion to Williams’ life, many fans and peers took it upon themselves to take this as a way of educating themselves and other about the dangers of negative mental health awareness. In the UK alone, charities such Mind used social media to connect with people, promoting the worldwide awareness of depression and other mental health issues, in the hope that it could continue to diminish the negative connotations that plague mental health sufferers. Mind issued statements after the news of Williams’ death, urging journalists to change the way in which they report on matters like this, ones which require an extra level of care and sensitivity.

As many other charities, journalists and the general public changed the way they began talking about the loss of Robin Williams, an influx of mental health support swept across the globe. Many found the courage to open up about their own mental health daemons and get help. Often, when a high profile death like this is brought to the attention of the world, it acts as the catalyst for a social change towards the attitude of issues so apparent within modern society. In this case, the loss of Robin Williams’ has obviously left a hole within the lives of his peers and fans, however; the legacy he left has only grown as the state of mental health awareness has greatly increased.