So, I’ve been cheating on you guys. Yes, I’ve been writing for another publications. I know, it’s not you, it’s me, I can’t help myself. But it doesn’t have to be over. Maybe we could work something out - a menage et trois maybe? Let me introduce you to her first…
Frost Magazine meet the Braine Hownd Film Blog. See, not so hard is it.
Frost has been very accomodating to my needs. And while I’ll always keep this blog going, I’ll occasionally be popping over to Frost to write some reviews etc. However, to keep you guys sweet, I’ll post links up here to Frost whenever I do something.
See, it can work.
Here’s the first two pieces I’ve written for my icy mistress:
The First Supper - Review - http://frostmagazine.com/2011/08/first-supper-review-by-jonathan-brown/ - A bit of comedy from Mike Shephard, Jack Baldwin and Luke Sutherland. Mike will also be doing a bit of comedy on Thursday. For more details, Click Here.
The Deep Blue Sea - Review - http://frostmagazine.com/2011/10/review-the-deep-blue-sea/ - My review of the film adaptation of Terrance Rattigan’s post-war play.
Midnight in Paris - Review - http://frostmagazine.com/2011/10/midnight-in-paris-review/ - A review of Woody Allen’s latest.
So there, you go, three pieces for our new threesome. And, I’m sure I’ll get round this week to writing my report from Braine Hownd’s latest short film night.
Part 3’s of trilogies are often the worst – Godfather 3, Scream 3, X-Men 3, but not here, not tonight.
Yes, we had obstacles to overcome (horrendous weather and the England match showing on TV), tension (would Enrique get here on time with his film), guys typing on computers (our tech expert Fred trying to get the discs to work) and shameless nudity (provided by our gregarious host Matt Prendergast and his ‘Chopper’).
But in the end, we succeeded. This was out Back to the Future 3. And this was in no small part of the high quality of films showing, including an award nominee, some great sketch comedy, a beautiful silent movie and an international entry.

First up was not Enrique Rovira’s A Beautiful Funeral. Enrique, with copy of said film, was busy teaching people how to speak Spanish. So, instead of waiting on tenterhooks, we decided to push on with The Waiting Game by Emma Stickland. Written by Braine Hownd’s Mark Brown, it was a ‘film noir’ with a twist. It captures the sense of the genre well, with an array of beautiful women entering a building and being counted off by a sweating, tense Matt Vardar – but for what reason.

Next up was sketch group, Worst Case Scenario. There were plenty of laughs to be had here with sketches about having your own personal Geordie, the worst ‘person’ ever to play spin the bottle with, an unlucky lottery winner and more. Expect to see more of these guys and girls – this stuff is made for TV and could easily become the next big thing.

After a short break, we came back with Eight. This film goes to show how a bit of innovative marketing can go a long way. I found this, in an intriguing DVD book in among a load of flyers at the Cannes Short Film Corner. And it was worth picking up. A story about a dwarf and his briefcase – what’s in the case? What does the woman in his office want? And was is the significant of the number eight? Beautifully shot in Istanbul and totally silent, this was a great little (pun intended) film.

The, potentially, last movie of the night was A Political Life by Mark Brown and Mike Shephard. Nominated for Best Screenplay at the Can in a Van Awards, this satirical and obscure film was received well by the audience. It’s a film that defies description and just needs to be seen.

And, then, just when we thought it was all over, in walks Enrique with his film, A Beautiful Funeral. Shot in brilliant black and white (and very little grey), this does everything a short film does and has an excellent twist ending that makes you want to laugh and grimace at the same time.
And that was it for another month.
With the Judd Apatow-produced Bridesmaids raking in the cash at the cinema, and Beavis and Butthead returning to our small screens, we compare the king of the Hollywood comedy, with another producer of blue collar laughs that also made his name on TV – Mike Judge.
While both are now pretty much households names, they have only directed seven movies between the two of them – Apatow has three to his name (40-Year Old Virgin, Knocked Up and Funny People), while Judge has four (Beavis and Butthead Do America, Office Space, Idiocracy and Extract).
Both share a similar sentiment - taking regular Joe’s in normal jobs (no Woody Allen literati or Ephron upper middle class New Yorkers here), and add a bit of toilet humour, film references and lots of pathos.
They also share a similar taste in actors, both having worked with Jason Bateman, Kristen Wiig, David Koecher, Jennifer Aniston, and Maya Rudolph.
‘This is going to be cool’ - Breaking into TV

Judd and Judge began life on the small screen, aiming their shows squarely at slacker late 90’s teens.
Apatow’s Freaks and Geeks was a John Hughes-esque look at post Gen-X high-schoolers, filled with geeky film references. However, despite rave reviews, it flopped and only got one season.
Judge on the other hand also broke big on TV with the seminal Beavis and Butthead, which not only mocked the MTV generation, but also defined it becoming one of the most recognisable cartoons ever. Their constant channel surfing, inane laughter and crude jokes set the tone for the late 90’s and early 00’s. It went on to have nearly 200 episodes and a feature film. Which bring us to….
‘You’ve gotta wait till the seed grows into a plant. Then you’ve gotta fuck the plant’ - Hitting the big screen

After producing the mega flop Cable Guy, it took Judd a while to again dip his toes in the feature pond, instead choosing to direct and produce another TV show Undeclared and work on a number of TV movies. Again, despite good reviews, Undeclared manage just 17 episodes (one less than Freaks and Geeks).
Judge, however, launched his attack on cinema with an adaption of his own hit TV show - Beavis and Butthead Do America. A retread of the show using the popular ‘TV characters go on holiday format’, a mixed reception didn’t stop it from making a not too shabby £63m in the U.S.
Then things the slowed for both. After Apatow received some critical success producing Anchorman, hedecided it was time for him to get back behind the camera - making his big break with The 40-year old Virgin, which grossed a massive £177m, followed up by Knocked Up, which managed an excellent £140m.
‘Chicks dig dudes with money’ - Bringing in the bucks

Apatow’s unique blend of smut, stoner humour, heart warming plots and likeable, normal lead men set the box office alight. Judge’s blend of smut, stoner humour, heart warmer plots and likeable, normal leading men did not.
In 1999, a man driven to extremes by his mundane, workaday life, finds a woman he loves, goes on a crime spree and starts smashing his life up. But while Fight Club received huge plaudits, if not box office gold, Office Space was dismissed by the critics and public alike. It’s only now that it’s seen as the cult classic it is.
The same happened to his follow up, Idoicracy, a smart satire playing dumb. And again with Extract. In total, the Judge directed films have racked up just £84m – not even half of just one of Apatow’s hits. Despite the flop of Funny People, Apatow’s three films as director have grossed over £300m.
‘It’s too early to know who’s winning the fight’ – Summing up
While Apatow may seem like the winner, after directing two massive hits, discovering Steve Carrell, James Franco and Seth Rogen and setting up a hugely successful production company, Judge has had his successes as well.
However, they’ve mainly been on the TV. After the game changing hit that was Beavis and Butthead, Judge took it down a step with King of the Hill – a low key animation built on character and set very much in the real world. From small acorns came a massive hit, spanning over 250 episodes and winning two Emmys. Judge also voices main man, Hank Hill.

Whether Judge will ever have a filmic hit is yet to be seen – maybe his brand of comedy built over time as characters develop takes too much commitment from the viewer to succeed on TV. Apatow looks set to continue to build his empire with five films in production as producer and his Knocked up sequel, This is Forty (see photo above), his next directorial effort, set for release next year.
BRAINE HOWND SHORT FILM NIGHT 2

There have been a few great sequels (Terminator 2, Aliens, Desperado, Three men and a little lady, Jaws 2) and some not so good sequels (Teen Wolf Too, Transformers 2, Sex and the City 2, Jaws: The Revenge).
However, there was no sophomore slump for Braine Hownd Film’s second short film night (or as host Matt Prendergast put it ‘the first, second Braine Hownd Film Night ever”).
It was another packed night in The Hideaway basement, and, thanks to the summer coming to London for a few days, its lovely bear garden, which seemed to host both the pre and post film shenanigans.

So, to the films:
First up was The Lighter by The Clemens Bros, which we’ve been told is to become part of a feature. Viewed as a short film, it was a hugely enjoyable comedy. Though some of the performances veered a bit too close to parody (the slightly camp Latino lover), it was a funny, heartfelt piece with a good Macguffin (can you guess what it is). And it also has one of the best voiceovers ever provided by Bond Number 2, Roger Moore.
Next up was The Instigator, directed by Emma Stickland. This was developed as part of a 48 hr sci-fi film competition in which the teams were given the name of the film, a line of dialogue and an item that should feature in the film. Writer, Mark Lindow, adapted these into a story of corporate mind control. It goes to show what you can do in a short period of time.
The last film before the interval was Getting Ready by Ben Barton. Though I wouldn’t call this a short film, more a music video, it looked stunning. It was shot on Super 8 film and on location at Chatham Brook Theatre. Getting Ready tells the the story of faded glories and past dreams.

After the interval was Keith Eyle’s spooky The Baby Watcher. Part of his urban chills series, this was a classic ghost story, the type told around camp fires when you are young, and had a few genuinely unsettling moments. I don’t want to give too much away for those who might want to track it down, but I’d always check who you are leaving your child with.
The last film of the night was once again one from the Braine Hownd stable, and again featured director Phil Haine. Written by Mark Brown, Stalker, was shown in Raindance 2010 and the Seabreeze Festival in Florida. Comedian, David Whitney, plays a stressed out city boy who, seemingly, might need his stalker more than she needs him.
And that wrapped up the evening. Next month’s event will feature Mike Shephard’s A Political Life, Beautiful Funeral by Enrique Rovira and Worst case scenario from JCBC films, along with two more shorts, which are to be confirmed. To put your name down, go to: http://www.facebook.com/?ref=logo#!/event.php?eid=218484928198741 
Rating: 6/10

Let get this out first, before I start nit-picking - Transformers: Dark of the Moon is lots of fun, especially when seen in 3D iMax. The last hour is awesome robot carnage and it’s got a few great laughs in it.
But…
The Transformer movies, though always entertaining, are exactly the kind of films people are referring to when they talk about big, bad, Hollywood blockbusters; the kind of movies made from committee and audience screenings.
Which is odd, because, as a director Michael Bay is renowned for being a total control freak.
So, when he said after the dismal reception of Transformers 2 that the third movie (and his and Shia Le Beouf’s last) would have less comedy, you have to wonder if he’d actually read the script. (I imagine the only use a script has on a Michael Bay set is as something Shia LeBeouf stands so he can reach Rose Huntingdon-Whiteley’s eye line).
I’ve never had an issue with these movies having humour in them – they are based on cartoons after all. The first one played more like a comedy with giant robots, than a straight forward action move, which I preferred. Bay has always been more comfortable doing action/comedy than straight action. I’d take Bad Boys and The Rock any day over Pearl Harbour or The Island.
However, the comedy seems to have grown broader as the films have gone along. And, although T3 doesn’t hit the lows of the annoying ‘racist’ twins in the second film, it does have awful accents, two characters who are secret kung-fu experts, comedy sidekicks (smaller and slightly less offensive mini robots) and more.
For example, while John Turturro stood out in the first as an out-and-out comedy creation (well, him and the parents), we’ve now got John Malkovich (secret kung fu expert and comedy wig), Alan Tudyk (comedy accent and secret kung fu expert), and Ken Jeong (just comedy).

No, my heals are just as big as yours Rosie, they’re just well hidden
It’s also feels like Bay, which his odd choice of actors, was trying to cover every marketing base. In-crowd comedians for the hip teen’s (Jeong, Tudyk), veteran character actors for the adults (Malkovich, France McDormand), geek heroes for the…well geeks (Leonard Nimoy), hunks for the ladies (Patrick Dempsey, Josh Duhamel), and hot totty for the, well teens and geeks again (Rosie Huntington-Whiteley).
In fact, I’m surprised the trailer didn’t have a huge scroll before it, ‘Starring Oscar nominee John Malkovich, Oscar winner, France McDormand, Grey’s Anatomy’s Patrick Dempsey, Victoria Secret Model…. You get the picture.
And speaking of getting the pictures, Rosie Huntington-Whiteley should remain only in pictures as, as soon as she opens her mouth, all believability of her as a human goes out the window. I’d rather have had a CGI version of Megan Fox (I’m sure Bay has the rights to her soul) than the gormless Rosie Huntington-Whiteley.
She very nearly ruins the whole movie towards the end. I’ll not spoil it for you, but when she goes up against one of the Decepticons, you’re praying for him to just crush her under foot, scrape off her remains and move on.
Now onto the good. And there is a lot of good.
Despite its plot holes, hammy acting, stupidly long running time and lack of any character development, it does have one main saving grace – the action. And if there’s one thing Michael Bay knows, it’s action.
Using cutting edge 3D, T3 looks amazing. From reverse tracking shots out of transformer brains, to sky diving humans (using actual, real people) the 3D is truly impressive and the last hour of carnage is what Transformer movies should be all about.
I’d also fully recommend shelling out the extra cash and seeing it on the iMax. It’s not a film that’s really going to hold up on the small screen.
Also, Bay has learned some lessons from the previous movies and we can now make out which Transformer is which. To be fair, all he seems to have done is give them more colour when in non-vehicle form, but it works.
We still don’t get a sense of characters from the autobots, but then we don’t get a sense of character from some of the lead actors (McDormand’s character is pretty one note and Rosie Huntington Whitely is simply a hot body in a tight dress).
All in all, this is one for the big screen and if you’ve got the best part of three hours and £16 to spare, go see it in the iMax. It’s the same price as the blu ray and a better viewing experience.
BRAINE HOWND FILMS – SHORT FILM NIGHT
Short film nights can be an odd thing. There always tends to be an air of self involvement to them – people dragging their friends along to see their film then disappear, or some old ‘film industry’ veteran regaling us with stories about how he once saw Michael Gambon’s balls.

Our host, Matt Prendergast
However, Braine Hownd is keen to avoid these pratfalls and has vowed to keep their short film nights simple. Turn up, have a few drinks, watch some films (not too many – there was five this time), then have some more drinks.
In total, the short films only took up around 45 mins of the evening, with the rest dedicated to friendly chit-chat.
Contacts were made, feedback given and friends made in the relaxing atmosphere of the excellent Hideaway Bar in Tufnell Park. Its downstairs basement is the perfect venue for watching films, while its beer garden proved to be the hub of post-film analysis.

Speaking of which, here’s a rundown of what went on.
The Host
Actor, pub quiz maestro and water-based London guide, Matt Prendergast was our host for the evening, bringing a relaxed atmosphere to the proceedings (though I did fail to get his one pub quiz question wrong).
The Films
1. Shot Reverse Shot by James Thompson – First up was this excellent little mind-bender. A story told in reverse about a dying outlaw and his over-eager friend. I’d seen a different version of this at Cannes this year, but this was an equally good take and shows how much editing can change a film. You can check in out here - http://www.vimeo.com/twoplustu
2. Canbury by Alex Barrett – A mini trilogy of short films set around a lake. Some beautiful visuals combined the three stories – two woman consider life’s biggest question, ‘are you ready to settle down?’; a tale of missed opportunities; and a final story of boredom. Check it out here http://vimeo.com/9106015
3. Ping Pong Bullet Rally of Doom by Renee Lea Thackham – The final film before the mid section brake was short, sharp and very to the point. Excellently shot and edited, with a couple of funny twists – A really good example of how to make a good short in under two minutes. View it here -http://www.youtube.com/user/ThePeterWrenProject
4. Comfort Food by Sandy Nicholson. I’d seen this performed as a rehearsed reading and enjoyed it then - the film was just as good. It’s a sweet tale about trying to make long distance relationships work. I can’t find it online but Sandy does have a blog here http://breakfastepiphanies.wordpress.com/
5. I Am Lonely by Phil Haine and Jonathan Brown. As this is my film, I’ll not go on too much about it (needless to say it was awesome and probably one of the best examples of short film making ever). We did get a really good response from the audience though, who laughed in all the right places.
So, all in all, a successful night. The venue was packed out and no one broke Mike’s projector. A new screen might be on the way for next month though.
A young boy in a Nazi concentration camp is separated from his parents and, in his attempts to get them back, reveals previously hidden powers. Familiar? It should be. X-Men First Class opens with the same scene as the first X-Men movie – however, that is where most the similarities end.

Emma Frost: Can you guess what my mutation is? No, not those.
From there were are treated to half an hour of Bond-esque globetrotting, with Michael Fassbender’s Eric Lehnsherr seeking out the German doctor who killed his mother.
We’re also introduced to a boozy, flirty James MacAvoy as Charles Xavier (not yet a professor). Though these scenes are quick and do jump around a bit, they also offer some of the best character set up’s in the series and lay the foundations for the rest of the story well.
It is also these two threads of the story that provide the heart of movie – and its most interesting story.

Magento: Get used to that chair, buddy.
Magneto was always the more interesting of the pair in the first movies, with Professor X coming across as a bit too goody two shoes.
What Vaughn and screenwriter, Goldman do, along with MacAvoy’s excellent performance, is add meat to the bones of Professor X.
Through First Class we see him grow from a young, rich boy, without a worry in the world, into the father figure he is in X-Men as he discovers more mutants and plans to help them. His joy at not being alone and the chance to help these people is contrasted with Magnetos despair as he realises that he will not be alone in his suffering.
While the scenes between Eric and Charles are brilliant, much of the battle of wits happens over the future of Mystique, who gets an almost starring role and a few lines from the other movies is developed into a full story arc – ‘why should we have to hide?’
It’s this that shows Xavier’s hypocrisy. He wants to free the mutants from their hiding, but also urges Mystique to hide her natural blue form. Lehnsherr, however, urges her to accept her mutant state and join him in his fight against human repression.
Like much of First Class, this raises a lot of interesting question but fails to develop them. Such as the idea that even in the mutant world, there is a split – between those who’s mutations take a physical forms (mystique, Beast, Angel etc) and thus makes them outcasts, and those who have hidden powers and can live normally in the world (Professor X, Magneto, Shaw).
It’s a themed touched upon a bit when the young mutants get together for a party and Alex Summer’s starts to mock Beast’s big feet. But beyond that it’s not really developed.
Much like many of the other mutants. Though they are interesting, it feels like they’re been added to keep the kids and fan boys happy. There’s loads of fun had in the training montage, but it’s only real Nicholas Hoult’s Hank McCoy that gets any real story arc.
Again, his dilemma is brought to bear through Mystique. McCoy comes up with a potion to remove some of the physical aspects of mutations while keeping the powers.
Though this feels like a bit of a maguffin (surely much of his power comes from his massive feet) it again shows the central crux of the personal story – accept who you are or deny it.
Again, this is not fully developed. After he makes his full transformation into Beast, going from having a mild mutation to becoming a big, furry blue animal, he just shrugs it off and decides to becoming a super-pilot (just because you designed a plane doesn’t mean you can fly it).
Also, the “Mutant and Proud” story doesn’t really have much to do with Kevin Bacon’s plan to destroy the world. Though Bacon is great as Sebastian Shaw, with January Jones’ literal eye candy spending most the movie in her underwear, his plan doesn’t make much sense.
It’s implied that post nuclear holocaust, the mutants would survive – but again, the science is a bit sloppy and undeveloped.
The first two movies had a gruff realism to them. And this extended to the science. However, First Class feels a lot more comic-y. While X-Men and X2 was grounded by Hugh Jackman’s Wolverine, First Class lacks this. But it does avoid the out-and-out cartoony feel of Last Stand.
It also feels like it was slightly rushed (reading about it before hand, it sounds like it was). Some of the effects are a bit ropey, much of the story seems to have been cut (none of the bad mutants get any back story and one doesn’t even get a line) and, as previously mentioned, there are a lot of unanswered questions.
Given six more months post-production, this could have been truly great. But overall, it works. Though some of the big action is missing and it feels like there’s more to be had from the story, it’s held together by the chemistry between the leads, its fast pace and a sense of humor.
Rating: 7/10
Here’s a link to the as previously mentioned short film night taking place on July 5 at the Hideaway Bar in Archway. Come, see some shorts, have some drinks and chat.
Good morning world,
This is my first blog entry, so I thought I’d introduce myself. I’m Jonathan Brown - I’m part of Braine Hownd Films, a short production company with big ideas. We’ve produced a number of short films including ‘Stalker’ (Raindance 2010, Seabreaze Festival 2010), ‘Empty Chair’, ‘A Political Life’ (Cannes in a Van Award nominee 2011) and ‘I Am Lonely’ (Winner of the NFB Canada Short Film Competition 2011).
This blog will not only be about the making and marketing of short films and the progress of our company but also about films in general. It’ll include reviews, feature articles, top ten lists (this is a blog after all) and more.
Stuff coming includes ‘Judd vs Judge’, a report from the first Braine Hownd Short Film Night, my impressions of the Cannes Film Festival and reviews of X-Men First Class and Transformers 3 (along with any other films I see in the meantime).
Hope you enjoy!
Jonny