Remake An Idea | Video Essay

In our first video essay, Sam discusses how CRANK (2006) is a re-imagining of Rudolph Maté’s 1949 noir film D.O.A. and why re-imaginings rather than remakes could be the way forward for films!

What films would you like to see re-imagined? Let us know in the comments below, or on Twitter – @JUMPCUT_ONLINE

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The Blob (1988) – Thirty Years Later It Remains One of the Great Films of Horror.

Year: 1988
Directed by: Chuck Russell
Cast: Shawnee Smith, Kevin Dillon, Donovan Leitch Jr., Jeffrey DeMunn, Candy Clark

Written by Michael Dean

August 5th, 2018 marks the 30th Anniversary of the 1988 film The Blob which is a remake of the 1958 classic with Steve McQueen. Like another great horror film from the eighties, The Thing, the film released to disappointing box office numbers, but it gained a cult following afterward with much of the praise going towards visual effects.  Watching the film in the theater thirty years ago, I found much to love about the film as the special effects were fantastic and the script was cleverly entertaining and it instantly became one of my favorite horror films.  Upon recently revisiting the film for its 30 year anniversary I still find The Blob to be one of the great films of the horror genre.

The Blob was directed by Chuck Russell, who also wrote the film with Frank Darabont (Shawshank Redemption), and the two were just coming off a recent collaboration on an enjoyable 1987 horror film, A Nightmare on Elm Street 3: Dream Warriors.  The remake has a similar plot to that of the original, which is the story of a meteor landing in a small town which contains a pile of goo that eventually oozes its way across town devouring everyone in its path.  Russell and Darabont kept some moments from the original film such as the iconic movie theater scene, only this time the execution was much more graphic and terrifying.  What Russell and Darabont added to the film was a higher body count, outstanding effects and a clever screenplay with plenty of foreshadowing, humor, and suspense to keep the viewer guessing as to who is going to make it through to the end.  Whether the characters are good or bad, young or old, nobody is safe. The blob as a monster was also an improvement from the remake as it was enhanced with speed, an acidic touch, large protruding tentacles to grab or swat its victims with, and appears smarter.  The whole crew must have had a lot of fun in making this film because the end result is one enjoyable cinematic experience.

I thoroughly enjoyed the beginning portion of the film as the audience is taken through town to get a feel for some of the characters in the story.  There is the flirting between a football player and a cheerleader, a connection between a biker and a homeless man, a sheriff asking a waitress out on a date, and a very humorous moment in a small town store where two friends are purchasing condoms “ribbed or regular”. It’s a wonderful start to the film, allowing the viewers to become attached to some of the characters before the gooey madness ensues.

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One of the characters is Brian Flagg, played by Kevin Dillon, who is the cool rebel with a mullet.  Brian represents the typical 80’s anti-authority teen, which is a theme that plays through the film and though he comes off as a punk he does have a soft side as shown by him consoling the injured old man in a hospital. This catches the eye of Shawnee Smiths character Meg, a good looking cheerleader who had decided to go on a date with the local football player before coming across Flagg.  I find her character to be the most interesting as she starts the film a bit lost when no one believes her horrific story of what took place at the hospital, but eventually, Meg becomes a character of strength in the film.  A woman becoming more of a dominant force in horror versus being the helpless victim is something that started to progress more in the 80’s with characters like Nancy from A Nightmare on Elm Street and Ripley in Alien, and Meg is a prime example of this.  When watching the film in the theater back in the day I was pumped with how much her character turned around and started fighting back and she has remained one of my favorite horror heroines.

One of the strengths of the film is in the visuals department, which I find to be just outstanding with great attention to detail.  I will probably get tarred and feathered for this but I believe that some of the practical effects are comparable to The Thing.  There are scenes such as the movie theater employee entrapped within the blob on the ceiling and dissolving within the acidic slime as well as a very grisly garbage disposal scene, but one of the most notable is early in the film where one of the characters is consumed in a hospital.  Their body is fully engulfed in the pink goo as the person reaches out from within the blob.  The scene is so disturbing because you can see their mouth open for a muffled scream as their skin slowly sears from their face, and when Meg reaches out to help, the victim loses a limb and they slowly dissolve away.  The scene and effects are downright terrifying and should go down as one of the classic moments of horror.  The kills in the film are quite disturbing, yet visually stunning and though I would call the visual effects a strength there were just a couple minor parts where the effects were not as strong.  A good example is one scene in a diner where Meg and Brian are being chased by the blob, it’s a low angle shot with the blob quickly coming up over them however the rear projection effect was not combined with the foreground as well as it could have been.  However, it is very quick and is a very minor gripe for what it is mostly an amazing and memorable job in visual effects.

I completely enjoyed my revisit of The Blob and happy to find that it holds up just as well 30 years later.  It’s a very well executed film that is a blast to watch with incredible visual effects and a clever script that will keep people entertained from beginning to end.  This remake is far superior to the original film and should be considered the definitive version of The Blob.  It sits alongside The Thing and The Fly as one of the three great horror remakes from the 80’s and certainly deserves to be recognized as a horror classic.

Michael’s Rating:

4.5

Cinema Etiquette Is Dead

Written by Sasha Hornby

If film is my religion, then the cinema is my place of worship.  I can’t remember a time I didn’t adore watching movies.  My mum will tell tales of how I would be transfixed by Fantasia while still in my baby walker, asking to immediately watch again when the VHS finished.  I vividly recall the first time I went to the cinema– it was 1997, and the film was The Lost World, the second instalment in the still-surviving Jurassic Park series.  I was 7.  We snuck in our own sweets at a time when this was considered “against the rules”, and let me tell you, the feelings that accompany such an unscrupulous act still endure to this day.  As the overhead lights dimmed, and the projector started to whir, I was hooked on the feeling: pure escapism.

Over the last two decades, I have been a regular at the movie theatre, with some of my fondest memories taking place at the multiplex.  I remember running to get a good seat (before allocated seating was the norm), after queueing for hours on the opening night of the third Lord of the Rings.  I remember marvelling with wide-eyed wonder at my first IMAX film, The Dark Knight, at the National Media Museum (incidentally the first film I would see multiple times on the big screen).  More recently, I remember taking my son, then age 3, for his first cinema visit to see The Good Dinosaur, and watching his face light up with awe in the same way I imagine mine did, and still does.

My love affair with the silver screen is long and historied.  Which is why it brings me no joy to say I think it’s time me and the cinema broke up.

The offences I witness on a near-weekly basis range from the mildly irritating to the wholly unforgivable.  Deeds that fall onto the mid-to-lower end of the “bad movie manners scale” occur with such regularity, that we, the audience, have come to expect them.  The texters, the talkers, the feet-on-seaters, the snoggers, the latecomers and the noisy eaters.  In over two-decades of theatre-going, the past two years in particular have left me despairing at the decline in cinema etiquette, with one experience in particular leaving me bereft.

Picture the scene: a cool Saturday afternoon in September, the 16th to be precise.  I went, alone, to my local multiplex to see IT, the 80s-set retelling of the Stephen King horror novel featuring the infamous Pennywise the Dancing Clown.  The auditorium was packed, buzzing with nerves and anticipation.  I wasn’t in my “usual seat” as, shock horror, it was taken.  Instead, I was seated in the middle of a row, in front of four young men.  And thus began the most anxiety-inducing 2 hours of my life that had nothing to do with a child-eating clown.   Honestly, more stressful than watching mother!

Bum barely on the seat, one suggested I might be more comfortable on his lap, and another offered to hold my hand if I got scared.  Cue the eye-roll.  As the film played, each jump scare elicited a more dramatic reaction, with over-the-top screaming and kicking of my seat.  But being the stubborn cinemagoer I am, I ignored every provocation, instead choosing to shake my head, put my hood up and sink into my chair.  Like any good horror movie, I was drawn into a false sense of security watching the credits, when I felt two hands grab my shoulders and violently pull me back.  The only words I could muster in anger were “please don’t touch me”, and the retort was “it’s only a joke”. 

I know this is an extreme example of a particularly shit shit-show, however, it is by no means an isolated incident.  After airing my frustrations and introspections on Twitter (because did it even happen if you didn’t whine about it on Twitter?) I was horrified to hear fellow patrons’ stories.  Not-so-inconspicuous sexual encounters, crying babies in 18-rated screenings, photos and/or videos being taken for social media – with flash on!  Those who visit alone regale the scariest tales of all – being grabbed, pushed, openly mocked.  There’s something deeply saddening about hearing a person picked popcorn out of their hair after a flick.

There are 3 suspects ripe for taking the blame in this unending crime-wave.  The audience, the picture houses, and the movies themselves.

Audiences have always been a bit of a law unto themselves; it’s why we have ushers.  I can admit, in a whispered voice, that I have been known, on occasion, to rest my feet on the armrest in front.  Once, to my great tasty shame, I hid a burger and onion rings in my bag and devoured them during the trailers.  Nonetheless, never have I ever used my phone, talked loudly, imposed on someone’s personal space, or been generally disruptive.  Is societal decline to blame?  Have people lost the ability to focus?  Or is it the need to be constantly connected to the world-at-large that drives a person to blind the rest of us with their blue light emitting screens?  Perhaps sitting in a dark room full of strangers mimics the anonymity of the web, where all sense of social decorum is thrown out of the window.  Whatever the reason, politeness is out, and boorishness is in.

Now, an individual should always be held responsible for their own actions, but it cannot be denied that cinema complacency has to accept some of the culpability, particularly big chain multiplexes.  The average screening will be lucky to have an usher pop in at all.  If they do, the likelihood that the person working at minimum wage in a thankless job will actually call out disorderly folks is slim – and I don’t blame them; there are rarely consequences for the mischief-makers, and a very real risk of verbal abuse (or worse) – personal safety always comes first.

Another factor could be the growing trend to make the cinema experience like your home away from home.  Comfy seats with reclining backs, or even sofas, food and/or drink that goes beyond the usual popcorn and an Ice Blast – a cinema in Leeds offers freshly baked pizzas and cocktails delivered to your seat!  Please don’t think I am kicking the proverbial gift-horse in the teeth, I welcome the cosy chairs like Sophie welcomes her 3 dads in Mamma Mia – with open arms, singing with glee.  I can’t help but wonder, though, if it feels like home, is one more likely to treat it like home?

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Cinema-going has undergone something of a resurgence in recent years, surely helped by the introduction of subscription cards.  In the UK, two of the largest chains, Cineworld and Odeon, both offer a service where you pay a set amount each month, and can go to the cinema as many times as you wish.  Another UK chain, Vue, introduced an “Every Film Every Day” £5 scheme – a great deal considering average ticket prices in the UK are twice that (at least).  Does this cheapen the experience as a whole?  I posit that it does.  It is much easier to put up with a dreadful crowd when the perceived monetary cost is low.  It is also much easier to put up with a dreadful crowd when you’re seeing a film “for the sake of it” to “get your money’s worth”, as I imagine some subscription card holders do.

On to those wonderful filmmakers, their part is small, yet let me say this.  My local is showing 10 different films tomorrow (a Wednesday).  Of those 10 films, 5 have a runtime less than 2 hours.  And of those 5, 3 are kid’s movies.  My point is this – films are pretty long these days.  With adverts and trailers averaging anywhere between 30 and 45 minutes, you could be sat on your butt for over 3 hours, not moving, not taking care of critical faculties, not engaging with anything but a big screen.  Bliss for some, difficult for many.

Before I continue, I must state the obvious.  NOT ALL MOVIES.  NOT ALL CINEMAS.  NOT ALL MOVIE-GOERS.  There are trends.  Certain genres, for instance, attract the ghastliest cinema-sinners.  The same genres that are often not taken seriously by the likes of the Academy are also often not taken seriously by the wider audiences: horror, comedy, romance (mystifyingly known as a “women’s genre”), big-budget CGI-heavy franchises.  Conversely, certain screenings attract the most innocent of film fans.  Midnight screenings, marathon screenings, screenings in superior formats such as IMAX, screenings in well-preserved legacy formats such as 70mm, screenings for limited releases of indie films or non-Hollywood films – the kind only those ‘in the know’ really attend.  Heck, even off-peak screenings pull in a more polite bunch.  With a little effort, it would be relatively easy to avoid those deserving of picture house hell.  But should you have to put in the effort?  The quick answer: no.

So how do we fix it?  I have seen op-eds crying for ushers for months.  “Proper” ushers, who show you to your seat and check in regularly.  Who aren’t worked to their bare bones serving popcorn only to clean it up off the floor 2 hours later.  What I hear from people who actually work serving snacks and inspecting tickets is “I don’t get the time to look in on screenings, as I’m so damn busy doing everything else.”  (That quote is minus 1 or 2 expletives!)  It seems to me that adding just one or two extra people in peak times would ease the strain – better for staff and customer alike.  I’m just saying, more ushers mean more sets of eyes available to observe busy screenings.

Blue sky, outside-the-box thinking, bring back intermissions.  If it worked in the Golden Age of cinema, why can’t it work now?  Just make sure the movie isn’t cut mid-sentence!  Perhaps 15 minutes in the middle of a 3-hour epic would give you a chance to check your phone, stretch your legs, nip to the loo, get a drink or a hot dog, and chat excitedly with your friends before going back for the final act.  We are so spoilt for choice between 2D, 3D, IMAX, VIP, 4DX, etc., that adding showings with interludes can’t hurt?

Still, ultimately the onus is on us, the audience.  A tale as old as time, we need to stop being dicks to each other.

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I’ll close with this, a 10 commandments if you will…

  1. Switch your goddamn phone off. Airplane mode that bad boy.  No exceptions.
  2. Are you the director? No.  Then keep your commentary to yourself.  Also keep your spoiler talk out of the lobby.  Think of the cinema as a movie library and hush.
  3. If you’re going to insist on resting your weary legs on the seat in front, I’d like to think it goes without saying to not do so when someone is sat in front of you, and under no circumstances do you remove your shoes or socks. Seriously, just stop it.
  4. Don’t hook up. There have to be dark places better suited to such exploits.  The rest of the room shouldn’t have to sit awkwardly trying to ignore two people getting freaky under a coat.
  5. You know what’s cool? Punctuality.  Arrive on time.
  6. You know what else is cool? Sitting in your own bloody seats.  Yes, this only applies to allocated seating, but heads will roll if this simple rule keeps being ignored.
  7. Speaking of seats, I’m looking at you armrest hoggers and manspreaders. You’re in a shared space, so take up only what you really need.  And no, the aisle seat does not mean extra legroom.
  8. When it comes to food, ask yourself this – does it snap, crackle or pop? Will it stink up the place?  If the answer to either of these is yes, leave it at the door!
  9. Got rubbish? The floor is not a bin.  The seat you are vacating is also not a bin.  Clean up after yourself.
  10. And finally, never ever ever ever lay an uninvited hand on, or get in the personal space of, a perfect stranger. Apply this one 24/7.

“If we are kind and polite, the world will be right” – Paddington Bear

‘Mission: Impossible’ Retrospective: Part 2

Welcome back. My mission, that I’ve chosen to accept, is to look at the recent era of the M:I franchise. If you missed it, check out Part 1 of this retrospective.

Amidst growing opinions about Cruise’s personal life and despite the commercial success of Mission: Impossible III, Paramount were reportedly undecided on the future of their spy adventures. With everything quiet on M:I front for a few years, it wasn’t until august of 2009 that the matches considered to be lit once more. Writers Josh Appelbaum and André Nemec brought on to write the screenplay.

Like Abrams before them, the two writers had cut their teeth in the TV circuit and Ghost Protocol was to be their big break. Funnily enough, Nemec had actually served as a writer prior on Abrams successful show, Alias. With the script in the works, the search for a director was underway. Due to scheduling conflicts, J.J Abrams made it clear that directing would not be an option for him; opting to take a producing position instead alongside Cruise.

March 2010 saw the preliminary talks of bringing The Incredibles director Brad Bird on board. By May of the same year, it was confirmed that Bird would be sitting in the director’s chair. This was to be Bird’s first live action feature; a choice that Bird didn’t take lightly.

This was his chance to flex his already outstanding skill set, in a now well oiled franchise. Consideration towards the direction of the brand itself was in the air, going right down to the “Mission: Impossible” namesake. Discussions were taking place to consider scrapping the established brand name, to be more akin to Christopher Nolan’s The Dark Knight. Thankfully, it was decided that going into a subtitle phase would be the suitable way forward for Mission: Impossible IP.

Production began on September 29th 2010 and ran all way to March of the following year. Carrying on the globetrotting element of M:I III, locations would include the Czech Republic, Hungary, Moscow and Dubai. Most of the crew heading into the production, Cruise in particular, felt that M:I III was a turning point for the franchise in regards to tone and how to combine action with a gripping story. The aim was to continue this approach and give audiences a visceral blockbuster experience. With the director of thrilling stories like The Iron Giant and The Incredibles, Cruise and Bird were ready to turn the tide.

Fan favourites Ving Rhames and Simon Pegg returned to the cast, while newcomers Jeremy Renner and Paula Patton were brought onto the I.M.F team. It could be seen that Renner was maybe a contingency plan, should Cruise fail to deliver the goods on his fourth outing, in a franchise with an uneasy start. The ball was in Cruise’s court to turn public perception around and give them new contest for exactly why he might be referred to as “crazy” or “insane”. How exactly would do that? Hanging off the side of the tallest building in the world isn’t a bad idea to start with.

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Ghost Protocol would up the ante for the audacity of death defying stunt work. Cruise being the workhorse that he is, was ready again to cheat the reaper on screen. The Burj Khalifa sequence in Ghost Protocol is a stomach churning endurance test for the best of those unafraid of heights. Like the best sequences in the recent entries, this set piece isn’t shoehorned in just for the sake of it. The height induced paranoia is in service of the story.

Bird’s touch and sense in Ghost Protocol has the same air of style and sophistication displayed in The Incredibles. In tandem with the returning Michael Giacchino and Robert Elswitt making the first of two contributions to M: I, Bird oozes an aura that’s closer to Bond but refined rather than copied beat for beat. Of course with bigger action, comes the realisation that M:I retains a license to be sillier if done right. While my soft spot for M:I II remains, it’s more of a Bond shaped ghost than a competitor to Daniel Craig’s grounded character study approach.

Cruise is dialling it all the way. Sandstorms and a descending battle through a multi-level car park see Cruise proving he is the anchor on this ship. No contingency is needed. Mission: Impossible was now your go to vender for blood rushing action.

Filling into cinemas on December 16th 2011, Ghost Protocol became the highest grossing entry in the franchise and Cruise’s biggest grossing film. Critical consensus also offered the installment the highest praise of the series (until Fallout).

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Following previous collaborations and the release of an adaption based around Lee Child’s Jack Reacher novel series, Christopher McQuarrie and Tom Cruise were ready to get back to work again on a project together. Following McQuarie’s uncredited rewrite on Ghost Protocol, Cruise already impressed with Oscar winning McQuarrie’s ideas and was eager for him to helm the next installment of M:I.

Hungry to get back in motion, Paramount announced in August of 2013 that Christopher McQuarrie would be taking on the director’s mantle for the next endeavour. With a story from Iron Man 3 writer Drew Pearce, McQuarrie sank his teeth in concocting the screenplay. Taking cues and inspiration from De Palma’s original outing and admiring the franchise’s growing legacy, McQuarrie decided to bring the story back it’s insider operation roots. After hints of the next installment were left literally in the last seconds of Ghost Protocol, it was the first time that Mission: Impossible were considering having a direct-sequel narrative.

Once again however, Bond was being thrown back into the conversation. As both productions were set to feature narratives about villainous organisations (S.P.E.C.T.R.E and The Syndicate), the topic of which film would come out on top began to dominate itself amongst fans. Was Bond even a threat to Mission: Impossible at this point? Not a chance.

Production began on Rogue Nation on August 20th 2014 and concluded in March of 2015, a week before the official announcement of the title and teaser poster were released. Rogue Nation felt confident from the get go. With the critical affirmation of the franchise in it’s past two entries, Cruise and his team were in business. It was time for Bond to see how far this franchise had come in full force.

How should we start out movie? Cold open? Shadowy objectives via sunglasses? Let’s throw the audience in head first.

The intro sequence of Rogue Nation couldn’t encompass what this franchise is about more if it tried. Ethan’s team are in position. Communication is assertive, panicked but assertive. Where is Cruise though?

Enter the iconic notes of Lalo Schifrin’s theme and the definition of movie star enters the frame. The objective is simple: stop a plane from taking off and secure the payload. Sure? Not in this franchise.

The excitement sets in and we’re off to the races. Cruise mounts the airbus, clinging for dear life, more than ever. The airbus storms into the air and takes Cruise with it, at 5,000 feet in the air. No stunt double.

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The pressure is increasingly mounting both for Cruise and his team. Alas, the objective is secured and we’re strapped into the grin inducing title sequence.

This IS Mission: Impossible in all its glory. Everything you need to know about this series is given you to in an exhilarating injection of adrenaline. From there on, McQuarrie’s direction is assured, composed and almost pitch perfect. I could go on about that Opera sequence for days but I think its already clearer how dynamite that set piece is.

Sean Harris is also a saving grace for the antagonist aspect of these films. Where Ghost Protocol lacked a memorable foe, Rogue Nation rectifies this and gives us the sometimes underused Solomon Lane. With his nasally voice and soul inspecting stare, Sean Harris dominates the role every chance he is given. I can’t explain how claustrophobic I feel when Lane bests Ethan in the record shop.

The sheer terror on Cruise’s face explains it all.

Rogue Nation is an excellent feat for both McQuarrie and the series. Unfortunately, I do feel like the transition from Morocco into the third act is unfocused at times. It was reported in February of 2015 that production was on hold so that Cruise, McQuarrie and an unknown party could reconfigure the third act (specifically the ending). This may explain why Rogue Nation struggles to find its ongoing purpose after the superb beats that have come before it.

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Have I mentioned Alec Baldwin’s speech in the third act? In any other film where the hero is referred to as the “living manifestation of destiny”, I would erupt with laughter. Here, I have a massive grin on my face as you made clearly aware just how bad ass Ethan Hunt has become over the past two decades.

Opening in July of 2015, Rogue Nation would go to make just slightly less than its predecessor, with a box office take of $682.7 million. Just like Ghost Protocol, Rogue Nation was another freshly received entry to the franchise that was confidently set to rival Bond’s November outing later in the year.

So now we’ve reached 2018 and this week sees the release of the sixth (sixth!!) installment of Mission: Impossible. In a series first, McQuarrie has returned to deliver his second take on Ethan Hunt’s ongoing tale of defying the impossible. It really is incredible to see a franchise like this still going strong after all this time. Tom Cruise has to be commended for his undying commitment to his endearing goal as an actor: to entertain an audience the best he can.

I have seen Fallout currently three times and you can bet I’ll be catching it a forth. If you want to know what JUMPCUT makes of it, head over to Dave’s review to see his take on McQuarrie’s critical darling.

I hope you’ve enjoyed this retrospective of Mission: Impossible.

This article will not self destruct in five seconds.

 

 

 

 

 

 

‘Mission: Impossible’ Retrospective: Part 1

Written by Sam Comrie

The year is 2003. Action figures and the weekly catch up of Jackie Chan Adventures are the fuel to my young imagination. However, the biggest contributor to fuelling my playground adventures and hours in the garden: Movies. Cut to the summer of ’03 and my brother suggests watching something to help deal with the sweltering heat outside.

Then it happened. As if the orange hue of the cover was radiating from the other side of the living room. The slick black shades protecting a hero engulfed in glowing flames. “Let’s watch Mission: Impossible II” my brother declares.

Cut to present day and Mission: Impossible is still one of my favourite franchises. With the impending release of Fallout looming, I thought it was time to look back at the franchise and its evolution since its 1996 debut.

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Viewed by many as alternative to the long established James Bond franchise, the thrills and splendour of Mission: Impossible offer a taste of pure blockbuster spectacle that is arguably unmatched in the current climate of popcorn cinema. That’s not even a detriment to the franchise, as these films have recognised there is nothing wrong with offering the audience a high octane popcorn experience. Where Mission: Impossible succeeds since finding its feet, is balancing those explosions with a tightly woven plot that gives you prime cuts with the trimmings cut off. However, the future wasn’t always so clear for Cruise’s beloved adventures.

Adapting a popular TV show from the 1960’s is one thing. Bringing in renown Hitchcock enthusiast and auteur Brian De Palma to helm a Cruise vehicle is another. A director applauded for his unique sense of  lust, obsession and voyeuristic looks into questionable acts maybe isn’t the first person that comes to mind when thinking of a Tom Cruise actioner. In retrospective, it was the perfect start.

Containing the first 50 minutes almost exclusively to a soirée and an apartment rigged for intrusion, De Palma focuses his lens on a team that is literally dying in the cold. Now that the blood is washed on Cruise’s hands, its time to get even.

It would be a crime if I didn’t mention THAT iconic sequence. Yes, the CIA heist is an all timer sequence that showed us the first inklings of how this franchise could offer tension mission from mainstream blockbusters. Every time Jean Reno drops his knife from that laser sealed vent, my heart will still skip a beat without fail.

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With a new franchise coming out of the rough, it’s not a surprise that a ropey journey behind the scenes was reported. Entering the production with barely anything on a page, it was up in the air whether De Palma’s foray into star vehicles would work. The original TV show cast lauded the movie for it’s treatment of their characters, especially Jim Phelps (portrayed by Jon Voight). The script was ripped apart and some of the cast reportedly walked out of their private screening.

All the chips were down leading up to release day.

Mission: Impossible was released in May of 1996, to considerably mixed reviews, aimed mostly at its convoluted plot. Nonetheless, this didn’t stop them dead in their tracks. Going on to spawn $457.7 million in it’s box office run, it was clear that there was audience interest in the clandestine panorama of espionage that was Mission: Impossible.

There was room to improve, to refine and tweak what Mission: Impossible could aspire to be as the growing ideal of what mainstream action cinema should be.

Back to the slick sunglasses. De Palma passed on the opportunity to return and Tom Cruise knew exactly where he wanted to find his next director. He found that director in heroic bloodshed legend and pioneer, John Woo (Hard Boiled, The Killer, A Better Tomorrow)

Woo had left his mark on the Hong Kong action scene and had made his move into the Hollywood market with freedom with his 1997 cult classic, Face/Off. Cruise was clearly impressed with Woo’s CV and approached Paramount to get Mission: Impossible II off the ground. Before the cameras even began rolling, there was already a spy making waves once more in cinemas. Pierce Brosnan was riding high on the success of his James Bond entries in 1995 and 1997, releasing another in 1999 (a whole year before Mission: Impossible II was released into the world).

When Goldeneye impressed Bond fans and audiences alike in 1995 before the first M:I exploded onto screens, it was clear that a new era of Bond was in motion to ward off competitors. Woo and the production combo of Cruise / Wagner were determined to show audiences that Ethan Hunt was here to stay. Production began in April of 1999 and concluded in December of the same year. It was rumoured that Woo’s initial cut was around three and a half hours; way over the studio mandate.

With this cut trimmed down to just over two hours, Mission: Impossible II was John Woo’s action sandbox, with Cruise as his player one. Doves included. This was also the instalment to light the fuse on Cruise’s desire to risk his life onscreen for our entertainment. As it has become clear over the years, Cruise is now a versatile jack of all trades when it comes stunt work.

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Originally the vertigo inducing reintroduction of Ethan was supposed to be handled by qualified professionals; but Cruise picked up the required skillsets to handle the sequence himself with minimal stunt double insert shots. This was all Paramount needed to push the marketing campaign. Ethan Hunt wasn’t just coming back; he was literally ascending back into frame.

Looking back on Mission: Impossible II all these years later, it really does appear to me as the estranged entry. Trading a paranoid undercover operative for a suave playboy spy is an almost startling concept transitioning into the second film. Cruise discards most shreds of humanity for a persona of wit, brawn and machoism. It’s evident that the success of a new Bond was looming over the production and its influence was bleeding into the celluloid.

I would go as far to say that Mission: Impossible II is much more of an embodiment of a “standalone” entry, that a continuation of the themes or ideas presented prior. Even with Bond’s shadow over the production, that isn’t to say that Woo didn’t present audiences with a blockbuster devoid of any identity. Mission: Impossible II is first and foremost a JOHN WOO production. Every Woo-ism you’ve come to expect is on show, with an extra dose of slow motion to drink it all down with.

The second half is where Woo really gets to shine. Gorgeous wide shots decorate grin inducing action sequences, while Hans Zimmer’s score soars over the bullets. Crash zooms make an appearance, most notably in the excellent compound sabotage sequence in the third act, as flames reflect terror in Dougray Scott’s iris.

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Unfortunately, Woo’s stylistic prowess wasn’t enough to overcome Paramount’s trimming to make a more commercially viable summer package. Upon its release in July of 2000, again amongst varied responses, audiences made it clear that Cruise’s espionage escapades were making an impression on them.

Bringing back $565,400,000 and claiming the “highest grossing film of 2000” top spot, the doors were open for Ethan Hunt’s next mission.

Fast forward six years and an absence of Ethan Hunt. Cruise would go to star in Michael Mann’s thriller Collateral, two Spielberg productions and another Cameron Crowe experiment in the time before another Mission film was on the table. Various directors would come on board to helm the third entry, including David Fincher and cast members Scarlett Johansson, Carrie-Anne Moss and Kenneth Branagh in the mix. After Joe Carnahan left in July of 2004, the directors seat was up in the air once more. Johansson, Moss and Branagh would leave due to the continuing production delays. Cruise would happen to come across a saving grace in his spare time.

With his experience primarily in the TV circuit from Alias and the beginnings of Lost making an impression, J.J Abrams was recruited personally by Cruise to make feature film debut with Mission: Impossible III. June 8th of 2005 saw Paramount Pictures green light the production with a fresh cast on board. It was time to light the fuse once more. Just a month later and cameras would start rolling on July 12th.

Mission: Impossible III would be the first instalment to add a globetrotting element to the franchise, with locations such as Shanghai, Berlin and Rome displaying a renewed sense of exploration in Ethan Hunt’s race against the clock. Gone were the affectations of Bond and a new adrenaline filled formula was injected directly into the heart of the action. Sharper cuts and spiralling Steadicam shots made sure we were packed tightly into the frame, avoiding the aftermath of spies doing what they do best. Dan Mindel makes the frame pop with vibrancy and texture.

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With the advent of Jason Bourne in the market and a new dawn of how action was been perceived, it’s clear that the team on M:I III were already retrofitting new trends for their own gain. Out of all the instalments, M:I III is a whirlwind when its come to set pieces. From the head daze of the Berlin extraction or the militant precision of the bridge battle, these set pieces were paving the way for this franchise to realize its true potential. It wasn’t just the spectacle that was getting a makeover either.

What happens when a spy goes home? Do they even have a home to go back to? Abrams decided to explore just that, as we finally get to know what makes Ethan tick behind all the rubber masks. While the stakes maybe aren’t as potent as the film has aged, the risk of taking time to slow it down to mundane aspects of normal life are commendable for a franchise that was still assuming an identity.

Thankfully, an identity is exactly what was gained. Mission: Impossible finally knew what it could be = succinct espionage beats and awe inspiring set pieces. No facades of Bond or any other IP in the mix. What is a hero’s journey without a villain though?

While Jon Voight was serviceable and Dougray Scott was somewhat more impressionable (probably down to his method of nail clipping), the M:I films were still waiting for a villain to leave a mark. Enter the late Phillip Seymour Hoffman. Leaving someone else’s mouth, the dialog for Owen Davian would have fell flat without a doubt. When that cold open introduces us to an unfamiliar scenario of Ethan in peril and Hoffman’s cold gaze dominating the frame, you know it’s time to buckle in.

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The pieces were in place to solidify a turning point where Ethan Hunt was ready to be a household name in the spy business.

Mission: Impossible III dropped into cinemas in May of 2006, becoming another commercial success. Despite making less than its predecessor ($397.8 million), the new era of M: I was a critical success that garnered much more favourable reviews than what had come before. Cruise and co. weren’t out of matches yet.

‘Mission: Impossible’ Retrospective: Part 2

Coming Soon! 

JUMPCUT Is Now On Ko-fi!

JUMPCUT ONLINE was created back in 2015 by two friends with an intense passion for film. Now, our team currently consists of around 20 incredibly talented writers who volunteer their time and energy to create amazing content for us; including reviews, news articles, think pieces and box office reports. But this is just the start of the JUMPCUT journey!

We’ve made the decision to create a Ko-fi in the hopes of raising a small amount of funds to help improve our website and services to provide an even better platform for our writers, readers, and followers. We’d also really love to actually buy our team a coffee sometime too!

The hard work the whole team puts in to JUMPCUT always makes us feel incredibly lucky, and we’d really love to be able to reward our writers in some way, as a small token of our appreciation for what they bring to JUMPCUT. And, more importantly, we aspire to offer our audience fresh and exciting content, through exploring new mediums and services.

Your donations can go a long way to helping JUMPCUT ONLINE do great things. If you do support us with a donation then we can’t thank you enough, but be sure to leave your Twitter handle in your message of support so we can give you a shout-out for being so awesome.

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It’s Not Your Star Wars…

Written by Dan Massey

A long time ago in a galaxy far far away… People used to behave in a decent respectable way towards each other.

There has been a tonne of furore of late regarding ‘Star Wars’; the films and the fandom. More specifically, the treatment of talented actors, directors, producers and crew behind the latest installments in the ‘Star Wars’ legacy since it’s sale to Disney. Particularly post ‘The Last Jedi’, and pre the release of ‘Solo: A Star Wars Story’, the atmosphere has reached toxic levels. The treatment of Rian Johnson, Kelly Marie Tran & Daisy Ridley, amongst others (but who I see targeted the most) is nothing short of disgusting and shameful. The idea to boycott a ‘Star Wars’ movie to prove a point and hurt the company and talent producing it is sad, especially from so called ‘fans’, who in truth are only doing themselves out of seeing a fun ‘Star Wars’ film on the big screen.

The reality breaks down like this; it’s absolutely fine to dislike a film, to criticise a story, character or a performance. It’s not ok to harass, bully and abuse hard working people who worked on those films.

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Yet all this got me thinking, what really are the issues the fandom has with the Disney iterations of ‘Star Wars’? The answers are complex and varied. A common criticism of ‘The Force Awakens’ was that it was a rehash of ‘A New Hope’. One of the most common criticisms of ‘The Last Jedi’ was that it was too different, a total disregard for the structure and lore of ‘Star Wars’. Another common theme amongst those who dislike everything Star Wars has done since TFA, is that “diversity and ‘social justice warrior-ism’ is being forced down our throats”.

A female protagonist? A black protagonist? An apparently sexually-ambiguous character? A female stormtrooper captain? A feminist, equal-rights focused droid? Asian and Mexican characters?

Well, that’s crazy, unrealistic and only included to force diversity upon us, let’s go back to the original films where all was good, men dominated the screen time and the Admiral of the resistance army was a fucking fish. Seriously, it’s a movie containing all kinds of Alien races, so let’s not get caught up on the race, gender and sexuality of the characters being unrealistic. It’s tiring, and while you aren’t racist or misogynistic if you dislike these films, you probably are if your reason for disliking these films is because of the inclusion of POC and female actors getting bigger, more important roles.

The most disappointing thing about all this, in my opinion, is that ‘Star Wars’ has always had deep-rooted messages and themes about society, politics, inclusion, failure, redemption, balance and inner conflict. It always had an overriding message of hope. The newer films take these themes and crank them up further than their predecessors. That’s a good thing; and reflects that society today is more open-minded, inclusive and accepting. George Lucas’ original vision was to create something that could provide moral guidance, a sense of spirituality that could transcend religion;

I see Star Wars as taking all the issues that religion represents and trying to distill them down into a more modern and easily accessible construct […] I put the Force into the movie in order to try to awaken a certain kind of spirituality in young people”

Obviously, mentioning George Lucas brings up an important point in the discussion, ownership. Now, as fans, we’re all important. As people, all of our opinions matter. None of that gives you ownership of ‘Star Wars’. IT’S NOT YOUR STAR WARS. ‘Star Wars’ doesn’t exist to be what you want it to be, it exists to be what the creators wanted to be. ‘Star Wars’ owes you nothing, so boo-hoo if the story hasn’t gone the way you wanted it to in your own mind.

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Now, I was born after the OT, saw them and fell in love with them as a kid. I’m old enough to remember ‘The Phantom Menace’ being released in cinemas, the line going all the way down the road, everyone in costumes, a full 16 years after the release of ‘Return of the Jedi’. 16 years. And it actually wasn’t very good. None of the prequel trilogy was actually great, and that was George Lucas telling the story George Lucas wanted to tell. 16 years! So spare me the talk of Disney ruining SW with its story direction and release schedule. We’re getting great ‘Star Wars’ movies almost every year. It’s a huge galaxy, there’s a million stories to tell, as long as the films are good and fun, there should be no issue. Who cares who makes them, so long as they’re good. George Lucas gave us three amazing films, followed by 3 average films and Jar Jar Binks.

So let’s look at the aforementioned issues; TFA being too similar to past ‘Star Wars’ stories. Lucas himself said that the stories always repeat, because that’s human nature. That was his vision for the expanded ‘Star Wars’ galaxy over time; and they do. Luke, a poor boy from nowhere, had incredible Force powers, and rose up to become the galaxies great hope against the evil of the Empire. In the prequel trilogy, Anakin, a poor orphan boy from nowhere, had incredible Force powers and rose up to become the galaxies greatest hope before succumbing to the Dark Side and becoming the greatest evil in the galaxy. TFA, Rey, a poor orphan girl has incredible Force powers, rises up to become the next great hope against the evil of the First Order. You could even make a prequel trilogy about Ben Solo’s rise and fall into Kylo Ren. That’s how in-sync the stories are. AND IT’S EXACTLY AS GEORGE LUCAS INTENDED IT.

Yet, it’s different. The themes of balance are much more present. Internal conflict, not only in force-sensitive people, but in a stormtrooper? The mindless soldiers of the Empire/First Order. That alone raised so many exciting new questions and possibilities, the exploration of the moral compass and conscience of Finn has been fantastic and fresh. Kylo Ren explores the inner conflict and pull of the light and dark more than any other character in previous ‘Star Wars’ films. It’s different because it’s more in touch with modern world views. It’s different because it doesn’t matter who you are, where you’ve been or what you’re past is.

“Let the past die, kill it if you must”.

That line, apply it to the original films. The Skywalkers? The last of that bloodline is now Kylo Ren. Rey? A nobody. Snoke, unimportant, didn’t matter. Bold new steps in the way we tell ‘Star Wars’ stories, yet in line with how we tell Star Wars stories. It completely drives the saga in new directions while being faithful to the original ideals. Good vs bad, balance, inner conflict and redemption.

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In terms of Rey being a ‘Mary Sue’, why does nobody ever mention that Luke is the biggest Mary Sue of them all? He’s amazing at everything and quite easily dispels the pull of the Dark Side without a tonne of effort or sacrifice. I love that ‘The Last Jedi’ particularly explores the idea of Luke as a failure, to himself and to Ben, and the wider universe by his self-imposed exile. I love that there’s redemption for Luke, and his death is a sacrifice after finding inner peace and faith in the force again, knowing that Rey will restore balance and be the light vs Kylo’s dark. A large part of why I love that is because it’s such a fresh take on a central ‘Star Wars’ theme, failure. Obi Wan failed Anakin, and ultimately, he paid the price. His death was sacrificial, but willing, as he had found inner peace, and knew Luke would take up the mantle for the light vs the darkness.

Ultimately, ‘Star Wars’ doesn’t owe anyone anything, it’s not your ‘Star Wars’,  and people should be grateful that we get so much good SW content so often these days, whether it matches how it should of been in your head or not. Trust me, its better than waiting a decade and a half for a movie that didn’t match what you expected. But even when the prequel trilogy didn’t hold up in quality compared to the OT, that was fine. Agree to disagree, discuss what you’d have preferred and your critiques by all means. But, above all, be a decent person and resist the dark side of online abuse and bullying.

Feel free to leave your thoughts in the comments below, or discuss with us over on Twitter – @JUMPCUT_ONLINE

 

6 Months Later: A Look At Our 2018 Most Anticipated Films And How They Measured Up

Written by Tom Sheffield

Back in December we asked our team what their most anticipated films of 2018 were, and we compiled a list of our top 10. We are now half way through the year, and eight films that made our top ten have been released – but did they live up to our expectations? Click the film titles to be taken to our official verdicts!

The two films in our list we are still twiddling our thumbs waiting for at Martin Scorsese’s ‘The Irishman’, which has now been pushed back to 2019, and the return of the Parr family in ‘Incredibles 2’, which we only have a few more weeks to wait for!

We’ve also just had a fantastic week of trailers for upcoming films to be excited for, so be sure to check them out if you missed any!


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#10 – The Irishman

 

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#9 – A Wrinkle in Time

“With stunning visual effects and incredible costume, hair and make-up design; this film was a feast for the eyes”

 

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#8 – Deadpool 2

“There are problems abound that come with trying to exceed the expectations set by a great first outing, but I honestly feel ‘Deadpool 2′ has more re-watchability than the original because of its attempts to go bigger than the first.”

 

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#7 – Incredibles 2

 

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#6 – Ready Player One

“Ultimately, one of 2018’s most anticipated productions does not disappoint, nor purge Ernest Cline’s concept of its defining qualities. Instead, Sir Steven — God of euphoric adventure — deserves one thunderous high-five for letting us break free from the mundane and witness a magical journey too colossal for the real world.”

 

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#5 – Annihilation

“It’s a miraculous achievement in filmmaking across the board, and it deserves your attention. It’s on Netflix right now. Watch it, experience it, and prepare for it to take over your every thought for some time.”

 

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#4 – Solo: A Star Wars Story

“Is this a Star Wars film we needed in the timeline? Not really, but I’m glad we have it because Ron Howard just whetted my appetite for more of this sort of anthology film away from the ‘Episodes’. And on the basis of a certain cameo towards the end, the timeline just got a whole lot spicier!”

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#3 – Isle of Dogs

“‘Isle of Dogs’ stumbles occasionally when the dogs aren’t on screen, but this doesn’t diminish the film as an impressive achievement in animation. Most importantly, ‘Isle of Dogs’ is better than ‘Fantastic Mr. Fox’  in my opinion. Yes, I went there.”

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#2 – Black Panther

“‘Black Panther’ wasn’t just a Marvel superhero movie, it was a rattling of the cages type film. It spoke a lot of truth that we often sweep under the rug about the world we live in. It raises awareness and then offers the global society an olive branch. ‘Black Panther’ is well-crafted in every sense of the word. “

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#1 – Avengers: Infinity War

“‘Avengers Infinity War’ at its best is epic, emotional and very, very shocking. It has impressive set pieces and of course it’s very funny. The few faults it does have are going to be down purely to the viewer. A knowledge of all that has happened before is essential. This is not the film for newbies. “

 

Reel Women: May UK Releases

Written by Elena Morgan

At the start of each month we will be highlighting the films that will be released in UK cinemas that month, that are written and/or directed by women- a little feature we like to call ‘Reel Women’. As someone who’s taken part in the #52FilmsbyWomen for the past few years, I’ve started paying at least a little attention to who is writing and directing what I watch. It’s an enlightening experience and it’s a good way to watch films that I might not have normally have thought about and discover different filmmakers.

Now it’s time to look at May’s releases that are made by women. This month there are a whole host of genres including comedy, thriller, and documentary.

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4 May

I Feel Pretty
Directed by Abby Kohn and Marc Silverstein | Written by: Abby Kohn and Marc Silverstein

Renee (Amy Schumer) struggles with insecurities about her body and her abilities, that is until she bangs her head and wakes up believing she’s the most beautiful and capable woman on the planet.

This is both Abby Kohn and Marc Silverstein’s feature-length directorial debut but together they’ve written some rom-com classics like ‘Never Been Kissed’ and the romantic drama ‘The Vow’.

Mary and the Witch’s Flower
Directed by Hiromasa Yonebayashi Written by Riko Sakaguchi and Hiromasa Yonebayashi

The first film from new Japanese animation company, Studio Ponoc, ‘Mary and the Witch’s Flower’ is about a young girl who discovers a world of magic and danger after she picks a flower that only blooms once every seven years.

Riko Sakaguchi has written multiple television series and the Oscar nominated Studio Ghibli film, ‘The Tale of the Princess Kaguya’.

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11 May

How to Talk to Girls at Parties
Directed by John Cameron Mitchell | Written by Philippa Goslett and John Cameron Mitchell

It’s 1977 in London and when Enn (Alex Sharp) and his friends stubble across a weird party they meet alien Zan (Elle Fanning) who becomes fascinated with them, Earth and everything punk. Philippa Goslett has written four feature films including ‘Holy Money’ and ‘Mary Magdalene’.

Life of the Party
Directed by Ben Falcone | Written by Ben Falcone and Melissa McCarthy

After her husband suddenly asks for a divorce, Deanna (Melissa McCarthy) decides to join her teenage daughter (Molly Gordon) at college so she can complete her degree. Melissa McCarthy is a hilarious comedian who’s starred in so many great films like ‘The Heat’, ‘Bridesmaids’ and ‘Spy’. ‘Life of the Party’ is the third film she’s co-written with husband Ben Falcone after ‘The Boss’ and ‘Tammy’.

Raazi
Directed by Meghna Gulzar | Written by Meghna Gulzar and Bhavani Iyer

A thriller about Sehmat (Aalia Bhatt), a Kashmiri spy who is married to Iqbal (Vicky Kaushal), a Pakistani man during the Indo-Pakistani War of 1971, as she attempts to balance being a wife, mother and spy.

‘Raazi’ is Meghna Gulzar’s fourth feature film. Her previous film ‘Talvar’, is on Netflix and is well worth a watch. Bhavani Iyer has multiple writing credits to her name including the TV series ‘24: India’, the Indian remake of ‘24′.

Revenge
Directed by Coralie Fargeat | Written by Coralie Fargeat

Jen (Matilda Anna Ingrid Lutz) is enjoying a romantic getaway with her wealthy boyfriend, until his sleazy friends arrive for a hunting trip. When the situation abruptly turns to violence and Jen is left for dead, she prepares to take bloody revenge on them all.

Revenge is Coralie Fargeat’s debut feature film and she also was one of its editors.

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18 May

A Love That Never Dies
Directed by Jimmy Edmonds and Jane Harris

A documentary following Jimmy and Jane, who lost their son seven years previously, as they take a road trip across the USA to meet other grieving parents and to see how and why different people grieve.

This is Jane Harris’ first film.

Montparnasse Bienvenue
Directed by Léonor Serraille | Written by Clémence Carré, Bastien Daret and Léonor Serraille

Paula Simonian (Laetitia Dosch) is in her early-thirties, is broke and single. She’s spirited yet directionless as she struggles to get by in the lively Parisian metropolis; but if she can make it there, she’ll make it anywhere.

This is Léonor Serraille’s first feature film and it won her the Golden Camera award, which is the award for best first feature film, at Cannes Film Festival last year. ‘Montparnasse Bienvenue’ has won 10 awards and been nominated for 14 more. Clémence Carré has previously worked with Serraille as she edited Serraille’s short film ‘Body’.

Submergence
Directed by Wim Wenders | Written by Erin Dignam

While captured by jihadist fighters, Scotsman James Moore (James McAvoy) remembers meeting scientist Danielle Flinders (Alicia Vikander) who is preparing to dive in a submersible to the ocean floor. Both in their own confinements, they remember their brief yet intense romance as they struggle with what lies ahead.

Erin Digman’s previous writing credit was ‘The Last Face’ starring Charlize Theron and Javier Bardem. Digman’s directorial and screenplay debut was ‘Denial’ which was nominated for the Grad Jury Prize at Sundance Film Festival in 1990.

Cargo
Directed by Yolanda Ramke and Ben Howling | Written by Yolanda Ramke

Stranded in rural Australia after a violent pandemic, Andy (Martin Freeman) is a desperate father trying to find somewhere safe for his infant daughter. ‘Cargo’ is Yolanda Ramke’s first feature film and it is an adaptation of the short film of the same name she and Ben Howling made in 2013.

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25 May

Edie
Directed by Simon Hunter | Written by Elizabeth O’Halloran

After the death of her controlling husband, Edith Moore (Sheila Hancock) decides to attempt a lifelong ambition and climb a mountain in Scotland.

This is Elizabeth O’Halloran’s first screenplay.

The Breadwinner
Directed by Nora Twomey | Written by Anita Doron

After her father is thrown in jail, a young girl (Saara Chaudry) disguises herself as a boy in order to provide for her family.

‘The Breadwinner’ was nominated for Best Animated Feature at this years Oscars. Nora Twomey co-directed Cartoon Saloon’s first feature film ‘The Secret of Kells’. Anita Doran is a writer and director who has directed five feature films.

The Incredible Story of the Giant Pear
Directed by Amalie Næsby Fick, Jørgen Lerdam and Philip Einstein Lipski | Written by Bo Hr. Hansen

When friends Mitcho (Liva Elvira Magnussen) and Sebastian (Alfred Bjerre Larsen) find a message in a bottle, they go on an adventure inside a giant pear to find the missing mayor of their quaint town.

‘The Incredible Story of the Giant Pear’ is Amalie Næsby Fick’s first feature film.

Zama
Directed by Lucrecia Martel | Written by Lucrecia Martel

Don Diego de Zama (Daniel Giménez Cacho), a Spanish officer of the seventeenth century waits in Paraguay for news of his transfer to Buenos Aires. When he hears a man called Vicuña Porto (Matheus Nachtergaele) is raping women and attacking villages, Zama decides to help those in need.

Lucrecia Martel has won numerous awards including Best Film and Best Director for ‘The Headless Woman’ at the Argentinean Academy Awards, and the Alfred Bauer Award at the Berlin International Film Festival for ‘La Ciénaga. Zama’ is Martel’s fifth feature film.

Ibiza
Directed by Alex Richanback | Written by Lauryn Kahn

Harper (Gillian Jacobs) and her two best friends fly to Spain to find a hot DJ.

Lauryn Kahn has written over a dozen short films and Ibiza is her first feature film. It’s also one of Netflix’s original movies.


Those are the fifteen films that are written and/or directed by women and are being released in the UK this month. Some of these are likely to have smaller releases than others, especially foreign language films like ‘Montparnasse Bienvenue’ and ‘Zama’, but there is a couple of Netflix Originals here too, so you can watch them in the comfort of your own home. By writing this post I have discovered many UK releases I was previously unaware of, and I hope some of these films might have piqued your interest too.

We’d love to hear your thoughts on any of these films you if catch them this month! Be sure to leave us a message in the comments below, or tweet us at @JUMPCUT_ONLINE