After Top Gun’s huge opening around the world, director Joseph Kosinski returns with Spiderhead. The sci fi / thriller stars Chris Hemsworth and Miles Teller and was released by Netflix yesterday. Alongside all of the film nerds out there, I was very excited for this, for one key reason – Joseph Kosinski and Miles Teller teaming up again. Unfortunately, Spiderhead is not even on the same playing field as Top Gun. Let me explain.
Pick a Genre
Spiderhead has a couple core problems that I believe if they were fixed, would make this movie very very good. The first one being the weird tone that is trying to be balanced. Writers Rhett Reese and Paul Wernick are amazing comedic writers (Deadpool, Zombieland). In this film, they seem intent on inserting jokes as much as possible. Moments of high drama and tension are ruined by weird lines that don’t fit and poor music choices. I truly believe that if Spiderhead kept a simple dramatic / thriller tone it would completely change this film. Lately, every Hollywood movie has this need to be “funny” and “witty” where it doesn’t even work. Creating genre pieces is good and should be done more.
Chris Hemsworth is good in this. He is solid but not amazing and it is absolutely not his fault. He is playing a standard charismatic / manipulative antagonist. The problem is that I was never afraid of his character. He never felt like a villain and there is so much room for him to be a terrifying two-faced force of evil. Instead, they give us Chris Hemsworth just playing Thor for 2 hours. YAY…. Once again, the writers seem intent on making him funny and charming. Just imagine if in the first 30 minutes he was all fun and games and then slowly we see cracks of this evil and crazy man.
Predictability
As with Top Gun Maverick, Spiderhead is extremely predictable. With Top Gun it doesn’t matter because the action carries it but with Spiderhead, it has nothing keeping me glued to the screen. There is some twists in this film and while I didn’t necessarily guess all of them, I didn’t care. They happen but don’t really affect the outcome of the movie. More weirder and creepier shit needs to be going on in this film. There is nothing in Spiderhead that is keeping me guessing or intrigued.
Even the shooting and colour grading of this film is generic. It has this boring look where I feel there is so much creative space to explore. The whole complex was even mundane. Kosinski constantly just cuts to these overhead shots of the facility with some pop music on top that gets very tiring very quickly. Maybe it was the studio, but I don’t understand why a simple script like this one does not have a bold and engaging style to it. Missed opportunity.
FRAZIER’S PITCH (Spoilers)
Now its time for a new segment called Frazier’s pitch. I will explain how I wish this film was done. I don’t want to sound like arsehole because I know nothing about filmmaking. This is just what I wish I saw.
First things first, Spiderhead should’ve been a strict sci fi / thriller. As a result, we could have focused more on the program and characters and less on shitty jokes. The whole Spiderhead program should have also had more suspicious activity going on so that the audience is always guessing. Essentially, more creepier clues that Jeff and Rachel slowly uncover. For example, belongings from previous patients, body parts etc etc. The reveals about Jeff and Rachel’s past should have been done earlier on as well because it had this big build up and was very underwhelming. In addition, the whole B6 drug and program needs more of a backstory. But what is most important is the tone and style. If Spiderhead had a unique look and feel to it I guarantee you critics would be raving about it. Instead of feeling like Michael Bay’s the Island, it could have been like Ex Machina. Yes exactly, a big difference.
Should you watch Spiderhead?
I very rarely say this because I enjoy most movies, but you can probably miss this one. It is so bland and formulaic that I don’t think a modern audience will leave being grateful they watched it.
The Wolf of Snow Hollow came out in 2020 (I know I’m late, don’t @ me). It is a comedy / horror / drama directed and written by up-and-coming filmmaker Jim Cummings. The film is about murders in a small town that may or may not be by a werewolf. It is not what I expected in the slightest. I have seen his debut, Thunder Road, and loved it. Thunder Road took over the indie film scene and launched Cummings into the spotlight. As a result, I thought his style and stories would be affected but they are most certainly not, let me explain:
Style, style, style
Cummings has such a unique (you guessed it) style. Going into this film, I had a pretty clear idea the tone and plot it would go for. I was so wrong. The Wolf of Snow Hollow barely dives into the Wolf. It jumps between genres, styles and pacing with no care for what your film schoolteacher told you. It has this chaotic energy that once you settle into is kind of addicting. At one point I verbally said to my self “what the fuck is happening?” But while I said this, I had the fattest smile on my face you have ever seen.
The Wolf of Snow Hollow reminds me a lot of An American Werewolf in London. Oddly enough, not for the Wolf. Instead, it is for the world building. Both movies have these very interesting and unique settings. The characters and environment is so engaging because its not afraid to simply feel like a movie. Essentially, both films don’t strive for realism. They understand the absurdity of the concepts and heavily lean into them. As a result, the audience is more inclined to accept how batshit crazy these worlds are.
Indie Acting
I think a big problem with indie filmmaking is finding talented actors. Not necessarily because of the budget but simply the resources to find people who suit the part. No one in this film is terrible (I genuinely mean that). It’s just that some of the actors don’t really suit the parts. In particular, Robert Foster and Jimmy Tatro. These two are very very good actors. BUT they are kind of built for a specific part. Jimmy for the jock / idiot guy and Robert for a moody / grumpy old man. Now these characters are similar to that but just slightly off. I hate typecasting but it just felt like a weird decision by Cummings. Maybe he wanted to subvert expectations.
Scary or Funny?
The Wolf of Snow Hollow jumps constantly between horror, comedy, and drama. However, it doesn’t really dive into any of these for too long. Essentially, Cummings clearly doesn’t want this to just be one genre of filmmaking. I think this is something that applies to all of his work, and we will see a lot more of as he grows in Hollywood. While this style of writing is not necessarily for me, it is appealing to watch as you are constantly kept on your toes and there is never a dull moment.
The Ending (Spoilers)
Spoilers!! The ending of this film was interesting. It did get me, and I didn’t expect it, but didn’t really feel satisfying. I think this is because there wasn’t enough clues for it or honestly focus on the plot. If this was a dark crime thriller where there’s two detectives searching for a killer who could be a werewolf, this ending would bang. But since this film doesn’t focus much on the crime aspect, it just feels a little underwhelming.
Ultimately, every little complaint I had is simply a consequence of someone with a very specific creative vision. I have so much respect for Jim Cummings because he doesn’t give a fuck what modern audiences, critics, or the box office think. He simply sticks to his path and ignores the rest. Thereby, there is going to be things I don’t enjoy or a lot of audiences like. But I would rather see a real vision that is refreshing than another Hollywood remake.
Should you watch it??
Yes definitely. Just go in expecting something very different and you wont be disappointed.
A follow-up to Ridley Scott’s Blade Runner was always a point of discussion and contention within the sci-fi community during the late 80s and 90s. With people wondering what happened to characters like Deckard and Rachael after the final credits rolled? How would Ridley Scott add to the Blade Runner continuity with a sequel? And, whether or not it was necessary at all to make a sequel to the cult classic?
And while the narrative did continue within the novelization version of Blade Runner, penned by K. W. Jeter (which ran for 4 books), a definitive cinematic sequel to Blade Runner would remain in development hell for decades to follow.
It wouldn’t be until director Dennis Villeneuve, notable for his work on Sicario (2014), Arrival (2015) and Dune Part 1 (2021), would enter the project. After a few more years in development, a sequel to Blade Runner, titled Blade Runner 2049 would be released to the public in 2017.
Despite its critical reception from both audiences and critics alike being extremely positive, the film was considered by Warner Bros as a box office failure, only raking in $259.3 million at the box office on a $185 million budget.
However, despite Blade Runner 2049 not being a financial hit. Many filmmakers, including myself, consider the film to be one of the greatest sequels of all time, not only due to its thought-provoking plot, immersive themes and its masterclass in cinematography and visual storytelling. but also, through the film’s respect and consideration of the 1982 original film’s themes and message of; Do Androids Dream of Electric Sheep?
This is why many filmmakers consider Blade Runner 2049 to be one of the greatest sequels general moviegoers have never seen before, and here’s why.
Blade Runner 2049’s Plot
The plot of Blade Runner 2049 takes place 30 years after the original. Here, the audience is introduced to K (played by Ryan Gosling). K is a Blade Runner for the LAPD, acting as judge, jury, and executioner for replicants who need to be “retired”. It’s revealed to the audience that K is also a replicant, hunting his own kind so he may stay alive for a few years longer in the post-apocalyptic world of Blade Runner. However, when K discovers that a replicant named Rachael (the same Rachael from the first Blade Runner film) possibly gave birth to a replicant child with Deckard, K’s life and his journey are sent spiralling down the rabbit hole of truth. K is forced to come to terms with the sins of his past and consider whether or not he, himself is a replicant or a human. K’s journey of self-discovery would lead him to meet Deckard (played by Harrison Ford) and the two must band together to find the replicant child before it’s discovered by other replicants and instigates a war between humanity and replicants.
While I don’t want to spoil anything about the film and implore you to watch the movie yourself, it cannot be understated just how impactful the film is when it comes to portraying K’s journey of self-discovery. K is a ruthless, cold, and calculating Blade Runner at the beginning of the film, however, when his journey leads him down a rabbit hole of self-actualization and reality-breaking revelations, we are shown a broken, determined man fixated on nothing but uncovering the truth.
The film’s execution when it comes to the presentation of themes like identity, destiny and what it means to be alive is handled in a way that is not only subtle, but also is the focal driving point of the whole story. Never deviating away in order to service an unnecessary sub-plot. This, in turn, makes the film’s plot feel more focused and sharp, compared to a messy branch of sub-plots that ultimately never go anywhere and serve to only overcomplicate a story of this magnitude and importance.
Blade Runner 2049’s Cinematography
The cinematography of Blade Runner is something that is always been a major selling point for the film and even won the film an Academy Award back in 2018. The film’s cinematographer, Sir Roger Alexander Deakin (notable for The Shawshank Redemption, No Country for Old Men and, 1917) employed a single-camera set-up for the film. While this technique of cinematography is seen today as a relic of old filmmaking, in Blade Runner 2049’s case, this single-camera set-up only serves to straighten the creative vision for the film and strengthen what is ultimately chosen to be shown on screen and to the audience in the films final cut.
Each shot of Blade Runner 2049 feels important, needed, and symbiotic in telling this cohesive story. Every shot feels cold, dark, and dreary to match the films post-apocalyptic, cyberpunk aesthetic. Sir Roger Alexander Deakin uses each frame and shot to tell a story, no space on the screen is wasted or unutilized, which in turn makes the world feel more alive than ever for the audience.
Whether the camera is flying with K through the neon-soaked streets of 2049 Los Angeles, following K through the orange wastelands of future Las Vegas or, the bleak factories of future San Diego. Each shot, scene and cinematic angle has its own unique story, voice, and character. No shot in Blade Runner 2049 is wasted and every second of screen time only serves to further the plot that plays out on film.
Blade Runner 2049’s Voice
As previously touched on in the plot breakdown of the film, Blade Runner 2049’s themes of identity and destiny are given great gravitas throughout the 2-hour and 43-minute runtime of the film. K’s journey of self-discovery and metaphorical rebirth from a ruthless, soulless replicant to a human who feels compassion and pain for the ones he’s lost, feels natural and purposeful by the filmmakers.
The film does an excellent job of giving K’s story ample time to breathe and develop when compared to other Hollywood blockbusters, K’s relationships with his holographic girlfriend JOI, his friendship with Deckard and his battle against fellow replicant / Blade Runner, Luv, all feel natural and fleshed out by the end of the film.
The idea of what it means to be alive is a question that the Blade Runner series was built upon. And this idea of what it means to be alive is epitomized by K’s journey of self-discovery and destiny throughout the film. With Blade Runner 2049’s presentation of a replicant who can feel emotions (K) to its audience, the film openly challenges its audience to reevaluate their ideas and values when it comes to the definition of what it means to be alive/human.
That’s what makes Blade Runner 2049 the greatest sequel you have never seen before.
Conclusion
While Blade Runner 2049 may not have been the box office success many studio executives at Warner Bros were hoping it would be. Blade Runner 2049 in recent years has started to be recognized by filmmakers alike as one of the most impressive pieces of cinema to be released in recent memory. Every second of this film is purposeful and engaging, its cinematography and portrayal of K’s journey is both breathtaking and gorgeous in every way possible, the film showcases just how engaging both Dennis Villeneuve can be as a director and the world of Blade Runner can be when in the right hands.
And while the general movie-going audience wasn’t interested in watching this film back in 2017, I strongly encourage each reader of this article to put Blade Runner 2049 on their watchlist in order to truly experience what they missed out on 6 years ago.
That’s why Blade Runner 2049 is the greatest sequel you have never seen before.
Before I did this interview, I had already heard about Adult Store. It is one of those concepts that almost make you jealous at how clever it is. You can instantly see the potential with this film through one simple line – three friends visit an adult store. I knew I had to get an interview with the writer and director to uncover what the film is about, how the concept came to her and most importantly, her writing process.
Tahlia Miller is the writer and director for the Adult Store. She is a third-year student at Griffith Film School who primarily specialises in Cinematography and Directing. Tahlia is one of those people who has a very deep passion for filmmaking. Somehow, she seems to always be working – whether on set or on her own projects. In third year, Tahlia decided to pitch a grad slate (a short film made through Uni) and it was chosen. This is the story of how she wrote this short and the challenges along the way.
Writer/ Director Tahlia Miller
What is the rough plot summary for Adult Store?
“The Adult store is about three 18-year-olds – Sydney, Bowie, and Dominque. On Sydney’s 18th Birthday, they decide to kick on the night and visit an Adult Store. At the store, they discover more about their relationship with sex, their relationship with each other and their relationship with themselves.”
Sydney, Bowie and Dominque – Played by Hannah Sisson, Ada Lukin, Elke Hinrichsen
Where did this idea build / stem from?
“I enrolled in pre-production development (helps you develop your grad slate) and I hadn’t taken any writing courses before. Before the first class, the teacher said bring three ideas to the lesson. Now everyone else in the class had one very specific idea but I was suddenly left with none. It was last minute, and I just started writing what if questions. There was this one that was stuck in my head. It was based on my friends who recently moved next to an adult store. Then the question came – what if I went to an adult store and the worst possible things happened?”
Fluffy handcuffs.
What has been your inspiration for this project?
“Sex Education and Sex in the City were big inspirations.”
“I find it hard to pull from specific directors. I instead pull from different parts from a body of work. I had gone an seen ZOLA, an A24 film for the Brisbane Film Festival. It was beautiful to look at, with the harps and fantastical elements. That became a big inspiration, showing darker themes through the context of a colourful and fantastical adult store.”
“Also, theatre. I recently went to a show about a woman’s frustration about not being able to use a vibrator. It was amazing to see older people and younger people all laughing together. It showed me how comedy can tackle taboo subjects which was a big reinforcing moment for the Adult Store.”
Before I knew about the project, I saw you put a question on Instagram asking for people’s experiences with Adult Stores. How did that affect your writing?
On POC Shooting – Tahlia
“I didn’t know it was common for people to go in to an Adult Store. Personally, I was scared off them. Once I put it out there, I realised it was very 50/50. Some had and some hadn’t been to one before. And when I asked what scares you about them, for a lot of woman it was the hyper sexualisation of bodies and also the correlation between violence and sex. All of it was really interesting and I tried to fit it all into each character.”
How is Adult Store different from other indies and short films?
“It was very interesting because I wrote about something that has a lot of stigma attached to it. Everyone around me was tackling period pieces or comedies. There was all these beautiful themes going on but mine sat in this one about sexuality, a queer love story and also taboo subjects about sex.”
“What really makes it different is that I am not using the Adult Store as shock factor. It is its own character and Scarlett – who runs the store – is kind of one with the store. I am comparing it to funhouses, mirror mazes and even the overwhelming feeling of an arcade. The store is the backdrop to these relatable characters who aren’t just used for punch lines.”
Tahlia’s Writing Process
How many hours a day were you writing?
“I would have these erratic nights when assessment was due, and it would just pour out. The first draft was written in 3 days leading up to the assessment. It wasn’t because I left it on the back burner but instead because I was watching films, going to Adult Stores, and talking about it with my friends. These two weeks beforehand I had all these little experiences and without them I wouldn’t have been able to write this script.”
“How did it go writing your script without doing any writing courses or experience in it?
“The imposter syndrome was really hard honestly. I couldn’t compare to the people at Griffith Film School who had spent their time learning how to write. But the writing came from simply getting eyes on it, since I felt so insecure, I simply took everything from all my peers and teachers.”
How did you keep focus for those long stretches?
“I have always loved writing since high school. Focusing for long periods always gets easier for me with the time pressure. I limited the distractions by writing really late when no one is awake to hang out with or chat to. That is genuinely when I feel most creative and reflective. Those quiet spaces are definitely the most creative for me.”
“I am not big on pushing through writer’s block. If its not coming out, its not coming out. I would be so stuck on this thing then I would take a walk and the ideas would come. If you’re not in a creative problem-solving mindset you just get anxious and create doubt. Also, little dance breaks.”
A key thing writers talk about is making your work truthful and putting yourself into the work. How did you do that with the Adult Store?
“I was putting my own experiences into the script. However, the problem came when it was in my head not on the page. My own experiences were not big enough for the screen. It got so bad that with friends I started analysing how they talk. When I was drunk in the valley, I would always be thinking how would I direct this scene, and how I stood.”
“Once I found myself in each of the three characters, whenever I got stuck, I would bring it back to reality and my experiences. When you’re at a crossroads, you can either follow the tropes or what feels right for me. From then on I just started to follow this path instead.”
About Tahlia
Why Filmmaking as a passion and carer?
“I had always known I wanted to go into the arts. I loved drawing and painting ever since I was little. I went to QACI where everyone was creative. I did film as a subject and in class we watched films. I knew then that this was it. All these points converged, and it just made sense. I could pull from art, music, and everything I already loved.”
“My Mum is also a food stylist. She went from editorial to TV Commercials and got into Food styling for feature films. I started as her assistant when I was in Year 11. I was like this is work but I loved it. It wasn’t even work and I chased that feeling of finding the fun in it and the passion.”
What are you most afraid of and nervous for with your film?
“For me, that was Dom’s fantasy. In this scene, she tries on this latex cat suit and went into this porn fantasy. There was this mystery man where they kiss, roll over etc etc. I struggled so much with this scene. A big thing for me was learning about intimacy training for the Adult Store. It’s like a choreographer for intimate scenes so no one walks away offended or triggered. I was at a crossroads where it could be sexual assault or just teenagers being awkward. I wasn’t ready for the darker direction, so I chose the easier path and told the actors to not touch or kiss. So moving forward I re wrote it so it serves the story and is not to challenging for me as a director and the cast.
If you could choose your dream project next year, what would it be?
“I am obsessed with Shannon Murphy and her work. I studied how she mad it in the industry. She nailed her directorial debut because she perfected directing TV. So down the line directing a TV show and sharing it with a bunch of creators.”
Director of Baby Teeth / Killing Eve – Shannon Murphy
Why should people see this film and fund it?
“The big why for me was how cathartic it has been seeing the topics on screen and for my friends as well. Showing people that its okay to talk about these topics and that’s it not weird to think about it. I also had a lot of teachers say 18-year-old wouldn’t be scared of a sex store. For me, I really wanted to show an audience what it feels like t be 18 and scared of things and yet pretending to not be scared of them.
“For the Go Fund me, it comes back to the beautiful community at Griffith Film School. We know it takes money to make a film and I think it’s really lovely to fund something that you can experience, share and create waves within your community.”
The Crew of the Adult Store Film – All Griffith Uni Students
One of the most fascinating things Tahlia said was that she had never taken any writing courses and still decided to write this script. Most people always feel the need to take lessons, watch courses or spend years “learning how to write.” While these help, they are never going to make your script amazing. It just takes diving in and learning as you go, exactly like Tahlia did. Also, her bravery to write about something so challenging and taboo is very inspiring to me. Make sure you follow this film because it will definitely be picking up awards next festival season.
It feels like there are so many big shows coming out right now that I cannot keep up. We got some Ozark, Obi Wan, Stranger Things, The Boys and most importantly Barry. I have been looking forward to most of these shows for a very long time. Maybe it’s just me but when they all come out at once I get this weird FOMO – like I’m missing out on something. So to help out any other people experiencing the same world ending issue here’s my take on which of these shows is slapping and why?
OZARK
Ozark was definitely at the bottom of this list. I loved the first 2 seasons of this show but quickly lost interest at Season 3. Honestly, I have only watched a couple episodes of Season 4 and while it’s definitely good quality it didn’t grip me from that first episode – something I think is very important. Even if shows are slow paced, they should always get you wanting to come back from the beginning (True Detective is a perfect example).
Should you come back to season 4?
Yes, because it’s the last season and you may as well smash it out.
Obi Wan Kenobi (Minor Spoilers)
I may trigger a lot of Star Wars fans here but Obi wan has been the biggest let down of all of these productions (I am writing this before the fourth episode). The show feels like it’s completely filled with running. That is not a metaphor, I have genuinely seen nothing but people chasing each other in these weird closed off environments. Sometimes a character will literally just run into a tree so terribly its funny.
The whole plot of the story is kind of boring as well. I am not interested in Leia as a character (in this show) and thereby the whole story. I really thought they would go a different route with this show, but it just feels like another rushed and generic piece of Star Wars content. Maybe the show will drastically improve over the last three episodes, but it isn’t looking good. In my head, the show should have been a mix of Wake in Fright, John Wick and Terminator. An endless army of bounty hunters chasing Obi Wan through this horrible and disgusting desert. Instead, it just has no style, vision, or moments of dramatic tension.
The fight scene between Darth Vader and Obi Wan was also a letdown. I know it’s meant to be like that because he has no powers, but it was more the writing. How they made Kenobi escape from Vader is some of the dumbest and most cliché writing I have seen in a while. That’s essentially the summary of this show. Writing things in that feel forced just to move the show forward.
Should you watch Obi Wan Kenobi
It pains me to say it but unless you are a die-hard Star Wars fan you could probably skip it. Then again, we are only 3 episodes in.
Stranger Things
Stranger things season 4 is truly incredible. I wont dive into it too much because everyone knows how good it is and I don’t really need to convince anyone but godayum is it slapping. Each episode just draws you in more and more and makes you addicted to these incredible characters. Before this season, I truly thought this show was extremely overrated – good but still overrated. After Season 4 I realised how wrong I was. The Nancy Drew detective aspect of the kids exploring mysteries is just so entertaining to watch. It is exactly what you imagine in your head as kid brought to life on the screen. Also, quick shoutout to Sadie Sink, she is the best actor in this show and should have got way more attention then Millie Bobby Brown. Sadie will be one of the biggest names in Hollywood in the next 5 years and that’s a promise.
Should you watch Season 4?
Fuck yes, go watch it now. However, I do recommend not binging it and spreading it out. The show is more designed for that.
The Boys
The Boys Season 3 is consistent. And I mean that in a positive sense. It is equally as gory, weird, and gross as the other seasons despite having this much attention on it. After the ending of Season 2, I was kind of confused how much room there was left in the tank. But after finishing episode 2 I could see how much they had to tell. Also, the acting in this show is severely underrated (I think cause it’s a comic book TV Show.) Antony Starr, Karl urban and Jack Quaid are amazing in this show. These roles feel like they are made for them and that is a clear sign of a great performance.
Should you watch Season 3?
Yes absolutely. I think binging this show is a great idea because it does have a slower pace that you may lose interest in.
BARRY
Barry is probably my favourite show of all time so I may be biased. Season 3 came out of nowhere and while I was excited, I definitely wasn’t as hype as I thought I would be (I think bringing people back for another season after 2 years is extremely challenging and not a shows fault at all). But Barry is entirely character driven. As soon as I saw the character development of Barry, I knew this season would be incredible. It is refreshing when you are surprised where writers take a character and that is exactly what they did with Barry. In addition, Anthony Carrigan is one of the best comedic actors currently on screen. He needs to be in more shit because even when he says a simple line it is just funny.
I will write more about Barry in the future because I would like to do a whole video about this amazing show.
I watched the first Top Gun movie around 4 months ago. Let’s just say I was disappointed. That first movie has not aged well in the slightest. That 80s nostalgia just doesn’t work for someone who was born in the 21st Century. So going into the sequel, I truly did not give a fuck. My bet was that it would be a blockbuster flop that no one saw. I could not have been more wrong. This film has smashed it both critically and commercially. But is it actually worth the hype? Absolutely, let me explain.
The flying
The flying scenes in Top Gun Maverick is some of the most tense and engaging action I have ever seen. People in my audience were literally on the edge of their seat, grabbing the arm rests for support. One woman was so invested she would jump up and scream every time they almost died. I think there is a very specific reason for this – how real it all feels. Every actor is up there in one of those jets. While they are acting, the performance instantly feels more genuine as there is an element of danger. A good example is Mr Cruise and his stunts. Because you know there real and not CGI you are engaged in the shot.
Joseph Kosinski also does an incredible job at making sure the audience knows what’s happening. What I mean by this is we are instantly shown the mission, the time, and the threats. This is so effective because the audience are placed in the same cock pit as the characters. Kosinski makes you feel the danger of this mission by building it up throughout the whole film. We are constantly shown how impossible it is and then he just keeps adding more problems. From the beginning of the film, that final mission always like this harrowing and daunting task that we as the audience are a part of.
The Acting
You can’t talk about Top Gun without talking about the Top Gun, Mr Thomas Cruise line. Tom Cruise has not acted in a film since 2018 (Mission Impossible). He basically only acts in movies he has complete control over and honestly no complaints here. I think Mr Cruise knows exactly what works for him in this stage of his career. There are specific roles he truly cares about and everything else can fuck off and all. In Maverick, he absolutely smashes it. He has this amazing charismatic cockiness that could be acting or just him being himself. Tomothy just has this ability to make things feel so intense and extreme. He builds up the stakes so much just through a simple stare.
Everyone in this movie is really good. Miles Teller and Glenn Powell especially. Teller doesn’t really speak much but shines in the dramatic moments. Once again, that subtle arrogance of his performance is very appealing. Even the way he walks into a room and looks at his peers. Powell on the other hand, takes the arrogance much further. I know you were meant to hate him but honestly, I never really did. He was this perfect balance between the antagonist but also someone you might just actually know. Essentially his performance never felt too over the top as a villain.
What’s wrong with Top Gun?
Before you start attacking me, there isn’t much wrong with Top Gun Maverick. There is just two little things that bugged me. Firstly, the whole Jennifer Connelly plot. It wasn’t bad it was just kind of forced. I know he needs a love interest but to me Maverick makes more sense as a loner who is completely focused on the NAVY and nothing else. But obviously Hollywood will never do that. Secondly, the ADR feels a little off. This isn’t anyone’s fault cause obviously the actors can’t actually talk up in the jets. But it never feels like they are really speaking to each other up there. Especially in dramatic scenes, they have some line deliveries that are a little rough around the edges.
A perfect reinvention
As every film nerd across the globe is saying right now, Top Gun Maverick is a perfect sequel. Joseph Kosinski, the film’s director, doesn’t just repeat the first one and change it a little bit. Instead, he is clearly inspired by the original but still has his own creative vision. He takes elements from Tony Scott but adds his own eye – especially to the flying scenes. The music, football scene, characters all reflect the original but aren’t just carbon copies.
I will stop bagging on the first one after this trust me. I may be triggering a lot of alpha males above 40 out there but honestly Top Gun 1986 is just not that good. If you look back on it considering the time period, sure its solid. But looking back from 2022, it is tonally weird, sweaty, full of overbearing masculinity, written poorly and kind of boring. Despite this, Joseph Kosinski has managed to find that core that people do love. The tense action, the banter, the characters. He brings all these parts together and adds so much more for ultimately, a much better film.
Ultimately, I just have so much respect for this film. In the age where everything has to be superheroes with a ridiculous amount of CGI, it is so refreshing to see something real and practical. I truly believe that this film will affect action movies for the next 5 years. Hollywood will now start returning to a more practical approach. Top Gun Maverick may be one of the best action movies ever made and it comes down to a directors vision, an incredible crew and amazing practical work.
SHOULD YOU GO TO THE CINEMAS TO SEE THIS?
DEFINITELY. This movie is built for the cinemas, its sound design and scale are perfect for the big screen.
Everything everywhere all at once. Wow. What a fucking movie. I went in with very high expectations for this film and I was still blown away. Not even about the absurd concepts but simply the writing and the characters. It is one of those movies that could genuinely change your perspective on life, and definitely did for me.
I am going to keep this extremely short for two reasons. Firstly, I don’t want to spoil anything (don’t even watch the trailers for this) and secondly, I only have one major point. Go see this film in a cinema near you. I know its still playing at certain cinemas and trust me, it is worth it. It is one of those films that are built for the cinematic experience. Not only for the spectacle of seeing these amazing visuals on screen but also for the audience experience, let me explain…
For me, seeing a film in cinema is amazing for one specific reason – the audience’s reaction. Seeing people laugh, shit themselves or cry is one of the best bits of going to the movies. It is why I want to be a filmmaker and why I love cinema so much. Everything everywhere all at once is built for this. It has everything I just said and more. Everyone in my cinema was audibly shocked at some of the moments in this film and that is truly incredible. They went from laughing to crying to simply stunned with the absurd concepts the writers created. Trust me, go see it in the biggest cinema you can.
I have one more point to make as to why film goers should go see this movie and as usual, it comes back to Marvel. This point has been made a lot and honestly better then me by some people but I will still give it a crack (check out Karsten Runquist video here). Dr Strange 2 recently came out and it filled up cinemas everywhere. For some cinemas, that is all they played. Everything everywhere all at once is a very similar movie. They both dive into the multiverse and also the relationship between a mother and their children. EEAAO is by far a better film. Apologies to Sam Raimi, but it is not even in the same league. It has better characters, goes way weirder with the concepts, has better writing, action, dialogue, everything except the horror is better. And yet EEAAO was barely played in cinemas and Dr Strange took them over. I am not nieve. I know its Marvel verses an indie film – I get that but if people who love cinema are reading this, I really believe they should go support it. Otherwise, all we are going to see on the big screen is Disney, reboots and remakes. Seeing this film in a cinema is supporting original stories and new ideas. Trust me, go see this film.
Before I dive into this interview, I just want to give a preface for this project. My goal for these interviews is to focus on the Brisbane film scene. In particular, emerging creators who’s projects I truly believe in and support. Essentially, I think Brisbane is not highlighted enough for its art and that’s exactly what I want to do. Also, for those who don’t know, every year Griffith Film School chooses a select bunch of scripts to create into “Grad Slates.” These are usually around 20 film short films that often go onto win festivals and could potentially launch your career. In this interview, I am interviewing Madi and Josh who just started on her Grad Slate Nuclear. I digress.
I first met Madi when we were both on an Outback Filmmaking Bootcamp in Winton Australia. We all had to create a pitch for a show to be produced and luckily, Madi’s won – simply because it was the best pitch. Now, almost a year later, her pitch won again and her project “Nuclear” has started production alongside Josh Khay (producer). Even back in Winton, Madi had started writing her short film, and that’s exactly why I wanted to interview her.
What is Nuclear about?
The Hetherington family are a happy bunch who are living the 1960’s dream but on a closer look, they are just moments away from crumbling under their own fake positivity. William, the patriarch of the house, is harbouring an unchanneled anger. The loss of his job a reoccurring crack in the wall push him into a violent descent, which is mocked by a laugh track. While Helen remains a positive and bubbly housewife, the terrifying weight of her avoidant coping mechanisms come to light as the crack in the wall grows.
That is the rough synopsis for Madi and Josh’s film, but when they described what actually happens, I was truly shocked. While I won’t say it for obvious reasons (spoilers), this film has an amazing plot. It has some very clever and refreshing concepts that are bound to surprise audiences.
Where did this idea build from / what are your inspirations?
“Watching Sitcoms after school when I was younger. In particular, Brady Bunch and Happy Days.” -Madi.
Madi is mainly inspired by David Lynch and Ari Aster. For Nuclear, she is looking for the unsettling vibe of Twin Peaks and the family dynamics of the Shining.
What are your goals and aspirations for this project?
“As many festivals as possible. Gold Coast Film Festival, Monster Fest (early March). Nuclear is a big step into recognition into the industry. Essentially, getting it out into world” – Josh
What scares you the most about starting filming?
“The uncertainty and not knowing what’s going to happen. Especially people getting Covid at the last minute…” – Madi
On top of the fear and stress of creating a movie, the flats for the film (lightweight timber frame for background) are not high enough for the production. In addition, Madi and Josh are figuring out how to practically show the crack in the wall, working with the brutal restrictions of child actors and creating a production under a Covid set.
Why you chose this project Josh?
“A very unique horror concept and intriguing project to be apart off” – Josh
Throughout this interview, there was one thing that was clear as mud to me about Josh. He was completely devoted to this film. His passion and love for this script is so evident in how he talks about Nuclear. Josh is a perfect example of a producer who chose to produce Madi’s idea, not simply to be a producer but instead for the simple love of the story.
Why is Nuclear important for modern audiences?
“Not the standard modern day horror movie that is being produced” – Madi
When Madi, Josh and I were talking, one thing was very clear – the shared perspective on modern horrors. Madi and Josh understand the issue with the formulaic horror movie that is being pumped out weekly. Thereby, they are driven to create something new and refreshing similar to Hereditary and the Witch. Nuclear is focused on “tension” instead of “cheap jumps cares.”
I want this next segment to be a reoccurring segment of my interviews. Essentially, I am going to dive into the writer’s process as to try and learn from them and help others.
Madi’s Writing Process
How many hours a day did it take you to write this script?
“It took a lot of time to write this script. Breaking a lot to prevent distractions, sitting at a desk for 6 hours and only writing little sections spread across lots of days”
How you kept focus?
“Keep phone away, close all tabs. I made a mood board beforehand as well to get into mood and writing mind. Also, I listened to music specific to the story.”
How you knew the story was done?
“I was happy with the story, it flowed and felt right. For a while, it felt off and I couldn’t put my finger on it. It was a gut instinct. Now it’s only small things that need to be fixed.”
How did you keep the story honest and related to you?
“I think Nuclear was subconsciously linked to me as there are layers of myself inside the story. While I cannot relate to the family dynamics, I could ask my family and friends for advice. Also, just observing and watching people around me.
Why did you choose filmmaking as career?
“To do something fun – even if money is a problem” – Madi
“I adore the world of storytelling.” – Josh
For Madi, the passion started from wanting to do something fun. As long as she is enjoying herself filmmaking will always remain her career. Similarly, for Josh it is about being able to “escape and lose yourself in a story and character.” He loves how films can provide an escape from the real world. Josh is also motivated by how a good movie can change someone’s perspective on life. It can “capture their emotions while constructing compelling stories.” Finally, “representing the Asian community in mainstream film has always been a goal” as he understands the characters on screen.
Anything you have learned so far with Nuclear that you can share with younger film makers?
“PLAN PLAN PLAN. Do as much planning as possible. Chatting to crew as much as possible and clearing my whole schedule for the grad slate.” – Madi
On top of this, Madi recommends meditating to reduce stress and talking to family members about how you’re feeling. A big challenge of making a film is the mental game and by focusing on your mental health the whole process will run much smoother.
How to battle self-doubt and being unmotivated?
“Keep positive even when you don’t feel like it.” – Madi
Being a filmmaker means being full of self-doubt and having huge slumps without any motivation. As a result, I was curious how Madi battles this on a day-to-day basis. Her trick is to repeat a positive message over and over again until she feels better. Another solution Madi discovered on set is surrounding yourself with a positive crew. Having these people around you can boost morale and push you through a challenging time. Finally, Madi simply trusts her creative decision. She ignores the constant doubt that creeps into your brain and goes with her gut from the get-go.
Why should people see it and fund it?
“Nuclear is a completely new, original, and fresh idea. By donating, you will support young energetic and passionate filmmakers and an ambitious project that needs support.” – Josh
Nuclear is truly unlike anything I have ever heard before. Not only for its core concept but also the twists and turns it has along the way. Madi and Josh are very passionate about this project, and it shows by how much work they are putting in. I am so excited to see the finished project at the end of the year.
Make sure you follow nuclear on instagram and checkout their Go Fund me to support this amazing project.
