We’ve got three inventive filmmakers lined up for the latest Clash Film selection, including an A-list directorial debut, the return of an indie icon, and a podcast you definitely won’t want to subscribe to…
California Schemin’ // In cinemas now
How do a rapping duo from Dundee end up posing as Americans and opening with Eminem? That’s the movie friendly conceit behind California Schemin’, the directorial debut of James McAvoy based on the true story of rap outfit Silibil N’ Brains. After being dismissed as performers due to rapping in their native accents, Billy and Gavin (Samuel Bottomley and Séamus McLean Ross) pretend to be performers from California, and con their way into notoriety.
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The energy of the two young leads is met with a filmmaker in McAvoy that likes to keep things going at a fast pace. The performances are well-shot, the brotherhood between the leads is endearing, and the thrill of anticipating when the gig might be up keeps things going through the nearly two-hour running time.
At times McAvoy struggles to keep things steady, having tonal shifts in the narrative that could cause whiplash. The story also leans heavily on clichés, with even the most casual cinemagoer able to see where the next bump in the road is coming. Still, the enthusiasm and unique nature of California Schemin’ makes it a caper worth watching.
6/10
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Father Mother Sister Brother // In cinemas now
Independent cinema legend Jim Jarmusch returns with a film that brings to mind works such as 2003’s Coffee and Cigarettes. His latest tells three stories of estranged family: two straight-laced siblings (Adam Driver and Mayim Bialik) visiting their eccentric father (Tom Waits); two very different sisters (Cate Blanchett and Vicky Krieps) having their annual afternoon tea with their mother (Charlotte Rampling); and a pair of twins (Indya Moore and Luka Sabbat) clearing the apartment of their late parents.
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All three share similar themes and motifs. Secrecy, regret, and mysterious Rolex watches appear throughout all three stories, all of which look at the way family can sometimes be the people that know you the least. As is often the case with chaptered films, one stands out ahead of the rest, and that would be the “Father” chapter, where Waits runs rings around the hilariously clueless Driver, offering clues as to his real intentions. Blanchett, Krieps, and Rampling make for excruciatingly awkward viewing, while Moore and Sabbat radiate warmth as two outsiders reconnecting.
A great cast comes together to make Father Mother Sister Brother a fascinating watch, viewing a universal subject through Jarmusch’s unique lens.
8/10
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Undertone // In cinemas now
The ever present and often obnoxious medium of podcasting is the basis for the latest A24 horror, which found great box office success in its native Canada. Nina Kiri stars as Evy, a woman caring for her ailing mother whose only reprieve is recording a paranormal podcast titled Undertone. When she and her co-host receive anonymous recordings with hidden messages, the sceptical Evy begins fearing for her sanity.
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Using sound, and indeed silence, as its method of scaring makes for an atmospheric encounter that should be applauded for its inventive nature. The use of podcasting as the centre of the narrative is an interesting one, as it allows for classic horror techniques to feel fresh in that context. It may struggle slightly towards the end as it doesn’t delve as deeply into the themes of religious guilt and motherhood as you would like, however, overall Undertone is another example of how the hip Hollywood studio is changing the genre.
6/10
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Words: Victoria Luxford
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