LFF Day 7 – Professor Marston & the Wonder Women | Brawl in Cell Block 99 | Bad Genius | So Help Me God

Professor Marston & the Wonder Women

Professor Marston (Luke Evans) and his wife Elizabeth (Rebecca Hall) invent the lie detector, enter into a polyamorous relationships with a student (Bella Heathcote), and then pool these influences to create the most popular female superhero Wonder Woman. This film may look like a typical period drama but contents may include feminism, sadomasochism, and scenes of a progressive nature.

The film offers a fascinating look at the way Wonder Woman was specifically designed to insert feminist values into the mainstream; something that remains all to relevant today as the reception to the recent Wonder Woman film has shown. That said the focus is definitely on the Marstons rather than on Wonder Woman herself.

With all its good intentions and potentially subversive content Professor Marston & the Wonder Women still feels a bit too safe. Despite three great central performance, Rebecca Hall as strong as ever, I never got the sense that the characters existed outside of the scenes shown in the film.

A refreshing change to the norm but a few degrees short of authentic.

Professor Marston & the Wonder Women screens at the festival on 12th and 15th October and is in UK cinemas from 19th November.

Brawl in Cell Block 99

Anyone who has seen S. Craig Zahler’s previous film Tomahawk will never forget its slow build to a shocking and violent climax. In his second feature Zahler has repeated this pattern with multiple waves of calm building to increasing extreme explosions of brutal, graphic violence.

An unrecognisable Vince Vaughn stars as Bradley (not Brad) a man who tries to live his life right and by a strict, if questionable, moral code. Unfortunately events conspire against him and Bradley finds himself descending deeper and deeper into a spiral of savagery as he is forced to use brutality to protect his family.

Starting off grounded in reality Brawl in Cell Block 99 evolves into a bloodthirsty fantasy that makes excellent use of practical effects. This film is not for the faint hearted as the visceral sadism had me audibly wincing and a fellow audience member covering their mouth with a handkerchief, their glasses in hand.

A masterpiece of the macabre. Not one to watch alone.

Brawl in Cell Block 99 screens at the festival on 11th, 12th, and 13th October.

Bad Genius

Talented scholarship student Lynn starts at an expensive new school and finds herself surrounded by wealthy classmates whose parents have paid their way to better education. When exams loom Lynn is seduced by money she and her father desperately need to help her less gifted fellow students cheat.

After initial success Lynn and friends get more and more ambitious, and greedy, and try to pull off bigger and bigger cheating schemes. Imagine Ocean’s Eleven set at a Thai school complete with slick camera moves, double-crossing, and increasing complex cons.

The film is a lot of fun and has a superb young cast led by Chutimon Chuengcharoensukying. The film is sadly let down by an unjustifiable runtime of over two hours and an ending that jars with all the fun had up to that point. There’s a perfect film hidden somewhere in here.

Bad Genius screens at the festival on 13th and 15th October.

So Help Me God

A truly bizarre documentary from directors Jean Libon and Yves Hinant follows Belgian Judge Anne Gruwez as she goes about her work. Gruwez is a fascinating subject to watch as she tackles all manner of horrendous crimes with terrific gallows humour.

We sit in on meetings with murderers, thugs, and thieves as Gruwez handles them all with a no-nonsense attitude. She is equally unphased when exhuming a body or listening to a woman describe how voices told her to kill a child. There is nothing this woman has not seen or heard before. The only time her interest is truly piqued is when learning about new sexual practices from a dominatrix, or advising a family about the trouble that come from marrying first cousins.

The film is an interesting curiosity but doesn’t linger long once you’ve finished watching.

High-Rise – Film Review

High-Rise

What do I even say about High-Rise? Everything about this film is so distinct and unique it defies description or definition. It is a unique entity and so is hard to line up and compare against all other films. I’ll do my best for you.

In a slightly askew version of London in 1975 Robert Laing (Tom Hiddleston) moves into a modern concrete high-rise. Inside he meets all manner of unusual character brought to life by an impressive cast list you’re better off finding on IMDb than me typing out here. The tower has everything a resident might need from a swimming pool to a market and Laing soon realises it has its own social structure too. On the lower floors live the families and poorer residents while at the top reside the wealthier residents and local celebrities. In the penthouse Laing finds the building’s visionary architect Anthony Royal (Jeremy Irons).

All is well, if a little surreal, for a short while but before long a riot/party/social uprising begins and all hell breaks loose. In a surreal manner naturally. By this point in the film I entered an almost dreamlike state in which I felt like I was watching the film through a haze. Could this have been down to it only being 3pm and my watching my third film of the day or was I being elevated to a higher plane through cinema? I’ll let you decide.

High-Rise 2

The combination of screenwriter Amy Jump, here adapting J.G. Ballard’s novel, and director Ben Wheatley once again produce a unique beast. Not only is it different from all the other films at last year’s film festival but distinct from everything their collaboration has produced before. The tone veers wildly, and sublimely, from comedy to horror to drama. This is the film you expect Ayoade or Gilliam to make and yet the result is distinctly Wheatley.

And the set! The set is that of a gorgeously brutalist tower block with, presumably fake, cast concrete inside and out. Having recently toured the Southbank Centre as part of a celebration of brutalism I feel especially qualified to say the set design was top-notch; both bleak and beautiful as life in London so often is.

I have pages of notes with various thoughts and comments on the film but on reflection I can’t help but feel that sharing these would you might take away from the surprise and delight that High-Rise has in store for you. You will laugh, you will wince, you will marvel at the almost naked sight of Tom Hiddleston. If there’s one film you need to see to stay relevant at a cinephiles dinner party, this is it.

It’s like Snowpiercer but vertical. I loved it more than I understood it.

I will admit that the film did lose me at times but for sheer no hold barred inventiveness I can’t withhold a single star.

High-Rise is out in UK cinemas now and I dare you not to watch.