Crowdfunding Push: Dreaded Light

A new feature film is currently in the pre-production phase in the UK and it is looking for funding. However, the Dreaded Light comes with a slightly different way of finding the funds for this project. Led by Mark MacNicol, an industry veteran, here's some additional info about it:

A recently widowed father is struggling to cope with his grief as well as his two teenage daughters. The youngest has developed a fear of daylight � The eldest died when she was a baby.

Aside from a horror plot, the film provides an interesting, investment-like process for those who want to support it.

We applied for and received clearance on to a programme called Seed Enterprise Investment Scheme �SEIS�. It�s designed to give flagging industry sectors like film a boost. As a result any investment in Mark�s new feature film is very low risk thanks to a 70% refund (regardless of the film making a profit or not) by combining SEIS 50% with the film fund of 20%. In summary we�re giving you the opportunity to potentially make a profit, support the arts (in particular the struggling film sector) and also have some fun too. In addition we�re giving young people from socially excluded areas work experience on the film.

This means that potential funders can help make Dreaded Light happen while at the same time they end up making an investment. I always thought that was a sorely needed alternative in the independent movie-making industry and now it seems it is slowly becoming reality. If you might be interested in the project, check out the film's website here.

Crowdfunding Push: The Toymaker

There is a strange and inherent magic in the notion of toys, no matter where they come from, to whom they belong or what price tag they might once carried. A new mixture of a documentary and an animated feature desires to explore the idea of toys and how they made an impact on a man who produces them. 

This film is called the The Toymaker and it's currently in the final stretch of its crowdfunding. Here's how the movie presents itself on its official IndieGoGo page: 

THE TOYMAKER is a full-length film that mixes documentary, fiction and animation. It's about the life of the musician, collector and awarded Venezuelan toymaker Mario Calder�n. THE TOYMAKER is a true story, told by Mario and his toys. It is a travel back to childhood and memory, a mix of Toy Story and Buena Vista Social Club. THE TOYMAKER is a story about the importance of keeping alive our inner child.

The footage of the film looks really polished and the idea behind the film is rock-solid for a whimsical piece like this one. Currently, the crowdfunding attained slightly over 20% of its target with two days to go. Even though the project will likely not hit its target, this is a flexible campaign and the Toymaker deserves to happen.

Check out its IndieGoGo page here and see how you can help it out!

Film Review: The Nice Guys (2016)

Copyright: Warner Bros. Pictures

This film tries to follow in the footsteps of those comedy films which try to extract the hardboiled detective and place it into the weird and wacky world of show business. While they�re funny, they also utilize real violence to create a mix most similar to a black comedy, but not quite there when it comes to satire or cynicism (which these lack).

Every couple of years, one or more movies like that come along and replace the previous reigning king. That is why Get Shorty, Kiss Kiss Bang Bang and other ones like it always tend to stick around for a somewhat prolonged period of time, mostly by being inflated in value mainly by the audience which digs the violence-fame-jokes mix-up.

The Nice Guys is a perfect representative of this trend and like most, it tries to innovate the form at least a little. In this case, there are two hardboiled detectives, here private investigators, who are working on a case of a missing porn actress in LA in the late 1970�s. 

 First, one is really a classic thug PI and is played by a very aged and worn Russell Crowe while the other is an alcoholic dandy (yes, this 19th-century expression does really apply to him) played by increasingly uninteresting Ryan Gosling.

They set off to get to the bottom of the case while they encounter a colorful range of character, most of whom either hurt them or the opposite happens. Directed by Shane Black, it�s basically Kiss Kiss Bang Bang all over again, only Robert Downey Jr. got transformed into an overweight Crowe and a boring Gosling.

The plot is convoluted and fails to make any impact on the viewer, especially when it mutates into a lame conspiracy that just goes nowhere even in the most basic terms of showing the key villain and their henchmen. As if Black struggled with the exposition, mainly which character should he show for how long, the film tries its best to be dynamic and fun but manages to do this only in snippets.

The rest of the movie is dragged down by weird side-stories and unclear goals of anyone involved, especially when the daughter of Gosling�s character enters the plot as an important element. Here, Shane struggles to even adequately present her age, interest, and ultimate motivation, aside from the most obvious of protecting her dad, even though she is (apparently) 13-years old.

Elements like this are all over, making the film strange in a not-that-good way. Essentially, every big scene is a gamble where the viewers can get a funny interaction, something random that likely includes Gosling screaming in a fake high-pitched voice or just something that tries to develop a backstory and mystery but ends up looking weak and anemic. Even a few dream sequences that come completely from the left field and seem like they belong in movies like John Dies at the End also just drag on pointlessly.

Being a Hollywood private detective is certainly very interesting, but The Nice Guys make it look like something boring, strange and tedious.

Film Review: Money Monster (2016)

Copyright: TriStar Pictures

We all got hurt in one way or another by the recession of 2008/09. While reasons for the crash are beyond most of us, many instinctively blamed the trader/broker/banker characters of the world, especially the US.

The same sentiment was founded on numerous elements, but the biggest cornerstone was the idea that those behind the reigns of this failed venture did not suffer when the excrement hit the fan.

Money Monster draws most of its energy on this premise and wants to serve one back to the financial community and at least in this fictional domain, make them sweat for what they have done and continue to do. But, no one can threaten them financially, so here a man decides to move his vengeance to the realm of bodily harm.

Directed by Jodie Foster, this thriller follows a single day in a studio where a money advisory TV show, led by Lee Gates (played by George Clooney) becomes a victim of a viewer who lost all of his money on one of Gates� suggestions. Armed with a handgun, he places a bomb on Gates and demands that the network finds out what really happened (the official story blames the loss on a glitch in an automated trading algorithm).

Films like this one and, for example, John Q could be placed in a genre of their own which could be called Righteous Hostage Takes. But, instead of providing anything of any marginal value, Foster�s film once again shows that the US consciousness is still terrified of a potential 1917 Tsarist Russia scenario, where the downtrodden masses take to arms and end a lineage of wealth and power that began when Mayflower made landfall centuries before.

In the movie, Foster tries her best to show that the victim and the unwitting accomplice (Gates) can work together for the greater good, fighting the real evil as they finally make it out, emerging from the shadows. But, below this Kumbaya story, there a deep-rooted anxiety which inexplicably seeps out from the fa�ade � the slaves are getting restless, they sense a disturbance in the force of wealth, so let�s serve them fantasies that are both satisfying (the bad bankers get what�s coming to them) and pacifying (we are all victims, after all).

It�s possible that I�m reading too much into all of this, but it�s difficult to enjoy this film on any level without accepting that there are bucket loads of emotional charge that cannot be properly directed, so it�s left to kind of eat its own tail and try to implode. On moments, a solid cast and unexpected snippets of events, like the appearance of the girlfriend of the hijacker, do provide a bit of freshness. However, aside from this, Money Monster remains just another piece of faulty financial flag-waving with a simple message:

�Do not rise up dear oppressed peasants. There�s still plenty cake left for you to eat.�