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PURSUED IN BARBICAN! by Lorraine Dmitrovic – stills short film assignment

PURSUED IN BARBICAN! by Lorraine Dmitrovic – stills short film assignment Sept 2018

Edited by Lorraine Dmitrovic. Text, photo arrangement, all photo special effects and music are Copyright © August 2018: Lorraine Dmitrovic-Giampieri.

“I thought to create an experimental soundtrack that would complement the surreal nature of the story. You can pause at any frame to fully read a caption; humans and space beings likely never move at the same speed. ;)” ~ Lorraine

Original, experimental instrumental soundtrack composed and performed by Lorraine on instruments including; maracas, sticks, accordion, guitar (complete song originally performed at a grade 9 high school performance), tuning pitch pipe, violin (with a pretty well shredded bow and a totally gone “G” string on violin)

Pursued in Barbican! video editing and sound editing: Lorraine Dmitrovic

PURSUED IN BARBICAN! short film assignment for FutureLearn course, “Explore Filmmaking: from script to screen” (hosted by Nik Powell, director of the British National Film and Television School). The course was developed by the National Film and Television School (NFTS), with support from the British Film Institute (BFI), through the Film Academy programme. Standard unedited photos for FutureLearn course Explore Filmmaking assignment “Pursued” used by permission of developer and publisher The English and Media Centre. Technical work by Ice Candy, London.

The Uninvited Guest – by Lorraine Dmitrovic

Assignment for my Explore Filmmaking course (Week 5: Lesson 5.11 – Transitions)

The party scene:
“The Uninvited Guest”

An out-of-focus shot that gradually focusses medium long shot on a lone male sitting on a couch, eyes half-open and bloodshot. People are milling about in groups drinking and laughing

Male, taking a long sip of a tequila martini, then says with a drunken slur: Why tonight?

He looks over to a bunch of girls, tittering. Camera zooms in quickly on his ex-girlfriend of that evening, who points to him and laughs.

Male, camera medium close.
Male: You never loved me, did you?

Camera shifts to girls, who giggle more loudly.

Male slams his martini glass on the table hard enough that the ice cubes jump up out of the glass onto the table and slide off the edge. The male shrugs, looks to the ice cubes now on the floor as does the camera. He kicks them clear across the room toward the still laughing girls. They scatter with the camera on them long shot.

Then camera close-up to the male. There are tears in his eyes.
Male: Just like everything else in my life.

The camera follows the host of the party as he brings the male another drink with ice cubes.

Camera on host.
Host: Word is you and your sheila have broken up. For good this time?

Camera on male. Male takes the offered drink, nods his thanks.
Male: She seems to think so.

Camera on both host and male, in profile.
Host: You’ve got other fish to fry, you know …. See? That girl, just moved into the building last week. No boyfriend.

Male, eyes the girl thoughtfully over the rim of his drink.
Male: You’re sure? She’s pretty enough.

Camera on male. Male searches the room to see if his ex-girlfriend is hanging around.

Camera back to host and male in profile again.
Host: I think she left for the evening, along with her friends. She wasn’t any good for you anyway. Here … I’ll leave another drink for the new girl in case she walks your way.

Male: Thanks, bud. We’ve been tight since grade school, eh?

Host: Got your back always.

Male: Now f*** off so I can …

Host: Got it. But be warned. She lives with her 6 foot-ten brother.

Male, rolls eyes: Now you tell me ….

Host and male fist-bump, and the host goes to small-talk with his other guests.

Male, camera close-up on his face as he looks around the room and zeroes in on the new girl. Quick camera cut to new girl, and back to male. He catches her eye and winks.

Camera now on medium long shot on girl and she looks around to see who he’s winking at.  She points to herself, mouthes: Me?

Male, smiling, nods, lifts up the drink the host left for her. He waves her over. The camera watches him watching her walk over to the sofa. He waves his hand for her to be seated.

Close up on face of girl.
Girl: Didn’t you come to the party with a girl? You’re not trying to make anyone jealous, are you?

Medium camera shot on the sofa. The male laughs, spitting out some of his drink.
Male: Yes. And no.

Camera on girl.
Girl: Okayyyy … is this for me?
Girl picks up drink.

Camera on girl and male in profile.
Male: Hope you like – whatever it is.

Girl, sips and smiles: My favourite. Vodka and lemon-lime soda. Cheers.

Girl downs the drink, and the male’s eyes widen.

Male, calls out to his host friend: Hey dude, bring us a whole tray!

The girl shakes her head in the negative: I don’t really drink. We don’t need –

Camera follows action of male. The male places his hand on the girl’s stocking-ed leg. Male: Oh yes we do. Drink ’til dawn and then ….

Camera on girl, then moves quickly back and forth between girl and male. Girl: No. You’ve got it wrong! Please –

Girl moves away from him on the sofa. He leans over, trying to take hold of her leg again.

Girl, almost panicking: You’re drunk! Get away from me!

Camera zooms away into a long shot, sofa with two people behind it seen with only a portion of them from chest to waist. Suddenly, one of them pours large decanters of mixed cocktails over the male and the girl on the sofa.

Male, looking up, camera close-up on his horrified face: Sophie! What are you … Why did you …?

Camera close-up on girl. The girl gasps.

Camera follows two large male hands grasp the male by the shoulders and lift him forcibly up from the sofa.

Camera to girl.
Girl: Tim! Don’t! I’m sorry, my brother ….

Camera to male.
Male: My ex! Sophie!

Camera swings up to view his ex looming.
Sophie: You got that right –

Camera front on male and Sophie, angled.
Male: No, you’ve got it wrong! We made up – remember?

Sophie laughs.
Sophie: That was 2 weeks ago, then I met this girl’s brother. You and I are off again. His sister is underage, untouchable, so you’ve got everything wrong.

Camera on girl’s brother.
Girl’s brother: Should we call the police on him? Serving booze to a minor with intention –

Camera on male.
Male: Go ‘way with you – is this a set up?

Medium shot on Sophie and girl’s brother. Sophie and the brother laugh.
Girl’s brother: No, just a nice send-off.

Camera on the brother as he takes the girl’s hand and takes her from the couch. She’s escorted away by Sophie.

Camera medium close-up to male.
Male, resigned: This is going to hurt, isn’t it?

Male looks around for his buddy. No sign of him.

Camera on girl’s brother.
Girl’s brother: A hard lesson to learn. You should quit drinking. Then maybe you’ll stop picking up girls already taken or off limits.

Camera on male.
Male: Sophie told you about my bad habit?

Camera on the male and girl’s brother. The girl’s brother, a foot taller than the male, wraps his fingers into the male’s collar, lifts him from the sofa. He’s about to give the male a punch in the face when a hand grips his bicep. The brother pauses.

Camera cuts quickly to host as he starts talking.
Host: Take it out to the hall. No blood on the furniture. It’s not paid for yet.

Camera slightly shaky following as the brother begins to push the male through the room toward the front door. An anonymous guest opens the door for them. As they pass through the door into the hall, all the guests in various states of drunkenness in the room raise their glasses.

Camera pans the crowd of guests. The guests, simultaneously: CHEERS!

Sound of the door slamming, and party noises slowly resume.

The Uninvited Guest
Copyright © July 18, 2018: Lorraine Dmitrovic-Giampieri

“Maybe I Shouldn’t Live Alone” by Lorraine Dmitrovic

Assignment for my Explore Filmmaking course (Week 5: Lesson 5.3)

“Maybe I Shouldn’t Live Alone.”

The camera follows closely as a little old lady shuffles into the kitchen in worn slippers and housecoat, yawning, sets her table for breakfast and then turns on the kettle for coffee. She goes to the fridge, takes out a carton of eggs and wax-paper wrapped homestyle bacon. She reaches for the milk and finds barely enough for half a glassful in the carton. She pours the almost empty carton down the sink after looking at the best-before date. Close-up on the date. She grabs her change purse from the counter, and walks out the side door to go to the corner convenience store, still in her housecoat and slippers.

Cut to her (medium shot) entering the milk store. A jarring bell announces her. She waves without saying good morning to the clerk and walks toward the back of the store.

Cut to her close-up studying a cooler stocked with dairy and juice cartons. She squints, quickly searches her pocket for glasses and comes up empty. She squints more closely at the glass door, then opens the door of the cooler, grabbing a litre size carton.

Cut to her medium close-up paying at the cash register at the front of the store, and leaving with the carton in a bag.

Medium close-up cut to her kitchen counter. She leaves the bag and quick cuts to making scrambled eggs and bacon, spooning coffee into a single size filter, the kettle starts whistling. She pours water into the filter, it steeps into a large ceramic cup.

Cut to breakfast close-up ready on the plate. Coffee is ready and she goes to the sideboard, opens the bag and pulls out the carton. She squints, camera very close, quickly grabs her glasses off the counter and her eyes widen.

“Mango juice!!??” she yells. Close-up on her face. She looks to the coffee and shrugs, and pours the juice into the coffee. “Hmmmmmm, it needs a little more sugar,” she says medium close-up – as she picks up the pepper and begins to shake it into her cup!!

Copyright © July 2018: Lorraine Dmitrovic-Giampieri

The legendary “Perfect Man” – Sandow – my Review of Sandow (2018) – by Lorraine Dmitrovic

Some men are born heroes. Others become living legends over time. Some, like “strongmen,” journey through eras as heroes and legends and are remembered that way forever. Extraordinary strongman Eugen Sandow, today regarded as the “Father of Modern Bodybuilding,” truly once wrestled a lion and was also a mentoring force to future real-life Olympian, Launceston Elliot.

Sandow (2018) suggests how their paths crossed for fame, money, respect, and of course the love of sport. Each attained worldwide recognition because of their achievements. Sandow became a pop star of sorts, worshipped for his physical prowess and perfect physique; Elliot won an Olympic gold medal yet was never elevated to superstar status.

Sandow teaser trailer, 2017

To view my review on Yeahflix:


Official trailer for Sandow (2018), starring
Timo Kervinen as the legendary strongman

In the opening credits, “via stock footage” filmmaker Alexander Cooper showcases Sandow going fist to claw with a lion in a poetic ballet danced to music that cleverly merges into a modern day panorma (filmed by drone) of the Olympic Stadium in Athens, Greece.

We become acquainted first with an aged Launceston on a cemetery stroll with a newspaperman. His memories, his tales of Sandow, begin. To understand the impact the strongman would have on Elliot’s life as a young weightlifter, the filmmaker invites us to understand the many-faceted Sandow. Even with the man’s many faults, Elliot viewed his mentor somewhat as a god whose imperfections could be justified or overlooked because he considered him to be a key to his own success.

Likewise, Sandow didn’t experience instant success, he had to climb for it, training intensely to forge his skills. As with struggling musicians and artists, his first audiences were rapt around smaller stages cheering on the strongman in bloody wresting matches or while weightlifting beauties balanced on each end of a barbell. As word of Sandow’s impressive feats spread his popularity rose quickly in the world spotlight.

Still, it had been a long journey to become “Sandow” – overcoming being bullied through young adulthood by his friends, and by his father as well, who constantly belittled him and told him he would never be honoured with the statue he longed for. His turning point  came with his association with the illustrious showman and starmaker Florenz Ziegfeld Jr. (wonderfully played by Olivier Maigniez). Strongman Sandow also soon became a businessman, investing in any and everything related to health and/or strength.

Olivier Maigniez, who played Florenz Ziegfeld Jr.
(photo  ©: David Meyers)

The Great War (World War I (WWI), 1914-1918) devastated Sandow’s business ventures such as international spas and clinics, and publication of a magazine was ceased. He became an inspiration to returning WWI soldiers, visiting convalescing men in hospital, one of whom had lost his sight. Where strength was needed in body and spirit of others, Sandow often personally strove to fit the bill.

The film is as much about relationships – whom to love, trust, control, betray, impress and challenge – as it is about the rise-to-fame stories of Sandow and Elliot.

Timo Kervinen as Eugen Sandow on the strongman-wrestling circuit in Sandow (2018)

The necessary re-casting of the lead role with Finnish actor Timo Kervinen as Sandow is a bonus. Timo is totally convincing in a believable performance with his natural physique of a Victorian strongman. He skillfully conveys bravery, sometimes tinged with narcissistic macho, and contrasts Sandow’s sincerity and invincible confidence all without any braggadocioWhile his Sandow is a magnificent public figure and perfect specimen of a man in a life filled with superhuman milestones, Timo also makes the strongman down-to-earth human, subject to the same fears, insecurities and sad occasions experienced by the everyday man . Timo expresses all this with amazing creative balance, and he has the audience on his side quickly, and faithfully, throughout the movie.

Sandow - Timo Kervinen and Tiffany E Robinson during the filming of Sandow (2018) (503x900)

Timo Kervinen and Tiffany-Ellen Robinson on location during the filming of
Sandow (2018) (photo courtesy of Timo Kervinen)

Sandow - Timo in training in a London gym, 2016 (720x900)

Born in Finland, Thor-like actor Timo Kervinen in training in a London gym, 2016
(photo courtesy of Timo Kervinen)

The production design authentically captures the opulent Victorian Era in costumes, with scenes often revealing the pretense of public decorum against the clashing realities of private life. Skilled, artful camerawork and an excellent script give this lean-budgeted movie a far more impressive look and feel. A carefully chosen contemporary soundtrack refreshingly enhances the Victorian feast. Add picturesque locations, inventive action sequences and unexpected emotional outbursts, and Alexander Cooper’s Sandow is undeniably a winner. Albeit, had closer attention to sound editing been possible, the movie would’ve spilled over with even more shining moments.

Cooper gives us a first class room with a view, encourages us to follow the dreams that Sandow and Elliot are chasing. He doesn’t overlook the tiniest details in an era when cocaine was legal and the opportunity Sandow has to make moving pictures with Thomas Edison.

Timo Kervinen as Eugen Sandow and Tiffany-Ellen Robinson as the strongman’s wife

Sandow’s wife, Blanche Brookes Sandow played by Tiffany-Ellen Robinson, and perhaps more than one mistress (such as singer-actress Lillian Russell portrayed by Jane Nerissa Broadhead), were not fans or cheerleaders. They loved him the way real women love real men; indeed, because of his wife’s love he would be denied the final symbol of legend, denying him what most men, famous or unknown, have always been bestowed with at the very end – what Sandow had wanted above all since childhood. To him, it was a “symbol” of conquering power over weakness and insignificance. And something he knew would have impressed his father. You’ll understand when you watch the final scenes. The real people in his life didn’t love the legend, they loved the real man.

Sandow (Timo Kervinen) and Lillian Russell (Jane Nerissa Broadhead), production still

Interview with filmmaker Alexander Cooper for Sandow (2018)

How did you first become aware of real-life strongman Eugen Sandow? What particular things about his life encouraged you to present him and his story for a feature film?

I first became aware that there was a real-life circus strongman who was the founding father of bodybuilding, when I read an article about him on a website called “Forgotten Newsmakers.” Images of travelling circus strongmen began to fill my head and I started to imagine what life might have been like for these travelling circus ‘rock stars’ before rock and roll existed. Also being a big fan of Stallone and Schwarzenegger films when growing up, I was able to put into the film, what I wanted to see. The real life Sandow travelled a lot; my father was away much of the time on business trips when I was a boy, and I’d often wonder where he was. This film was not intended as a biopic per se, although it was inspired by real characters. It’s very much fictionalized and draws on many of my own life experiences.

How closely did you work with your Director of Photography (DoP) and film editor on Sandow?

Very. Richard Bertenshaw is an extremely talented DoP with a bright future. We worked very closely on the shoot although he wasn’t involved in post production. His input into the film was immense, and he produced some amazing cinematography including some very impressive drone footage. Later on in post production, I instructed the editor from afar, since Birdie Sawyer was based in Maine, USA. I had started with a local editor in the UK, but as has happened before, I was let down; she decided to travel abroad for months on end, and with no response from her, I had to find a replacement. Birdie Sawyer edited the footage, but he didn’t sync all the sound together, which caused me further difficulties in getting the film completed.

Your screenwriting resulted in a good, tight script mixing then-present and childhood flashbacks with many highlights of Sandow’s professional life. Knowing his history, how were you inspired to choose which elements?

The story was developed by a French writer Gerard Maurez, who had initially created a script that had included many other elements I liked but were never filmed owing to time and budgetary constraints. The final draft, which featured the Elliot character telling the story, was created by me. My brother had also thought of other elements, such as Sandow visiting the blind soldier in hospital. Other elements came together from very strong improvisation by the actors. One that comes to mind is the dinner scene which follows Elliot’s training montage in the garden, and also Elliot’s training in the river; these were never planned as such since Elliot was going to be running on an athletics track, which was a difficult location to pin down. 

Did your shooting script have any major changes during filming, say because of new information about Sandow come to light? Were any of Sandow’s descendants involved in any way in the production?

Quite a number of scenes in the script were cut due to time and budgetary constraints. No descendants of Sandow were involved in the shoot.

The film opens through the point of view of a now older Launceston Elliot, Sandow’s once young fan-friend, giving a special outside-looking-in insight. The strongman became the young man’s mentor. How did you decide to use this approach?

My father. He wasn’t a bodybuilder, but he was certainly a great builder. He built a large country house for me from which I receive a rental income. My father was my mentor really, and he taught me many things. He was an excellent driver and I remember him taking me out on driving lessons, for example. He would always easily beat me in squash – he played at semi-pro level against a Dutch champion in the 1970s.

What lessons can a man like Sandow impress upon us? His father seemed to not have much faith in him. Do you feel Sandow’s motivation to succeed came from having a true mentor early on while with the circus? 

I think that having a mentor is an incredible thing. A trainer. A father-son type relationship is very special. My father once told me how he liked to take things apart to see how they worked, and then try to put them back together. My grandfather was not very encouraging about this – he would say ‘there he goes, Richard is breaking things again!” So, with my own son I remember how encouraging and loving my father was with me, so that means our bond is closer. In the old days of my father and grandfather, father-son relations could be quite strained and “stiff upper lip” about things.

Do you think Sandow’s circus experience and training are what ultimately changed his life for the better, physically and inwardly?

I think these are catalysts for growth, but Sandow above all was determined to prove his father wrong, that he could create something special that would outlast him.

After a last bullying incident, he became even more determined. Ten long years later he took to the stage as a strongman Prussian wrestler and was soon “discovered” by Florenz Ziegfeld Jr., who offered Sandow fame and fortune and top-billing. Do you feel Sandow believed his own strongman “publicity” to the point he thought he was invincible?

Shortly after my father died in 2014, I was at a very low point and one evening I was attacked in London and badly beaten, sustaining a black eye, scarring on my chin and severely broken teeth. I was beaten much more severely than the character in the film and I required months of extensive dental treatment. My teeth were never the same and I was now changed as a person. I was also involved in a car crash near Peterborough while driving back from London. Around that time I truly felt I’d reached rock bottom in my life. So, no – I don’t believe Sandow in the film thought he was invincible. It was a show – an act – and I made it a point that we see the humanity and reality of the man behind the facade.

The wrestling/boxing match scenes were very believable. Are you a fan of the sports? Sandow’s dialogue post-fight in one scene reveals the price he had to pay – “This was not a show, this is real blood.”

I was particularly a fan of the Rocky movies when I was a boy. It’s a pity that Elliot’s Olympics wrestling match was not filmed, that would’ve been a lot of fun for me. Yes, I believe the characters had much in common regarding their huge will to win. Whereas Elliot wanted a gold medal in the Olympics, Sandow was more seeking the adulation of his fans and especially, in the film, the female ones.

As shown in the film, Sandow’s career changes included touring with Elliot, creating “Sandow clinics” for training athletes and the general public, and plans with Ziegfeld Jr. to produce a “Sandow Protein Powder.” Negative personal life changes suggest drug use and infidelity. Do you think Sandow had taken on too much to maintain his reputation as a strongman at the cost of his personal life?

Well yes, in the film he’s seen snorting cocaine. As a larger than life figure, as a lot of bodybuilders used steroids, growth hormones and so on, the Sandow character had a tendency to take things to excess in the film. It’s ironic that he urges moderation in Elliot, just as his mentor Atilla had taught him, since it seems impossible for him to put that into practice himself. Is moderation even possible to achieve in life? Someone will always think we’re doing some things too much, or other things too little. My father always urged moderation with regard to my alcohol consumption, but for a long time I struggled with it. “Moderation in all things,” he would tell me, yet I never thought his lengthy commutes driving several hours to and from work by car could be described as moderate.

How long did you weight-train for the role of Elliot before filming the 1896 Athens Olympics scenes?

Timo as Sandow and Cooper as Elliot during Olympic training in Sandow (2018)

I did preparation for the role in the months building up to the shoot, but as you can probably tell my physique was not ‘enhanced’ by steroids. This was intentional since I wanted a natural look that might have been seen in Victorian times.

Filmmaker Alexander Cooper as Launceston Elliot in the 1896 Olympic weightlifting  competition in Sandow (2018)

On the production design side, many of the interior and exterior locations are evocative and picturesque. How were they decided on?

Thank you. Filming took place in London at Putney Vale, various mews/streets in SW1 not far from where I used to live, and in the basement of the Mostart Centre in Stoke Newington where we built the sets we needed for some key scenes. Other scenes, including Sandow’s house and the snooker room scene were filmed in and around Haddlesey House in Selby, West Yorkshire and Wharfedale Viaduct at Arthington.

I chose to film in places wherever there were satisfactory locations and resources. Funding this myself I have had to be extremely cost conscious to keep spending under control. Therefore sometimes the locations I chose were sub-optimal. There’s always a trade-off. I had always intended that Sandow would be a big budget lavish production, but funding it on my own I had to use what was available at the time to get it done.

Do you think Elliot remained somewhat in awe of Sandow, owing him his very life, especially regarding his mentor’s physical strength? What inspired this to be part of their relationship?

My father put up a brave battle with blood cancer for 7 years, but ultimately after three rounds of chemotherapy the inevitable happened, and we had to say goodbye. I did, and do, still remain somewhat in awe of my father, from the time I fell in a bed of nettles when I was four years old and he chopped them all down with a spade. This memory inspired Sandow’s lifting the car in the movie which saved Elliot’s life after their car crash – something any loving father would attempt to save his son. Also how my father persisted and completed the house he spent the best part of ten years building. Losses are inevitable for us all, just as my own father lost his mother in a car crash. Just like Sandow and Elliot, we both have had our strengths and weaknesses, and I have dedicated this film in my father’s memory – “until I see you again.” The dedication in the end credits is a message from me to my father: “This film is dedicated to the enduring memory of Richard Vaughn Cooper.” After his death in 2014 I would meet him sometimes in my dreams, he would either be in a garden in the height of summer or in the lobby of a luxury hotel smiling at me and talking to me about moderation as he used to. I really hope we meet again some day in the next world.

What stadium is featured during opening credits? In a later scene, what’s the name and location of the long arched bridge?

The stadium footage is drone footage of the Olympic Stadium, Athens Greece, in present day. The long arched bridge you refer to and I mentioned earlier is Wharfedale Viaduct at Arthington. It can also be seen in the British TV series, Emmerdale. I may have mentioned I love this location, which I’d never planned to use; I was made aware of it by a crew member while we were on the Sandow house location in Yorkshire.

Sandow - Timo standing in from of the arched bridge on Sandow (2018)

Timo Kervinen in costume as Sandow during the filming of Sandow (2018)
(photo courtesy of Timo Kervinen)

Did you immediately know you would cast Timo Kervinen as Sandow? What do you feel he brought to the role of the legendary strongman?
 Sandow - Timo looking in mirror as Sandow in Sandow (2018)

Timo Kervinen in the title role in an introspective moment in Sandow (2018)
(photo courtesy of Timo Kervinen)

Not right away. Actor-model Andrei Lenart was originally cast in the role, and he was filmed in the fundraiser trailer I made, which unfortunately failed to raise money for the film. It was only later when we couldn’t agree to the salary terms for his acting contract that I had to find a replacement. And yes, pretty soon after finding Timo, I decided the role was his. He had already played Arnold Schwarzenegger’s  character in The Terminator stage show in Japan, so he ticked many boxes.

Sandow - film festival poster Sandow 2018

Copyright © June 2018: Lorraine Dmitrovic
All photos copyright © June 2018: Sandow (2018)/Alexander Cooper/Timo Kervinen


Living Room Coffin (2018) – The “elephant in the room” is never one that you invite in – but Iris inadvertently does! review by Lorraine Dmitrovic

Jennifer Prediger and Blake Berris in Living Room Coffin (2018)

Blake Berris as former boyfriend, Seth, and Jennifer Prediger
as Iris Hawthorn in Living Room Coffin (2018)

To view my review on Yeahflix:

Living Room Coffin definitely one-ups the elephant. What exactly can you do – or shouldn’t do – in this situation? In this 2018 comedy-drama, the elephant is a coffin that police dispatcher-911 operator Iris Hawthorn didn’t order, gets delivered to her front door – and it’s put right on display in her living room. She needed a coffee table, true, yet she wonders if it’s a goodbye present from a former boyfriend. Or maybe someone’s playing a cruel joke? The delivery men can’t take it back, so she’s stuck with it.

Living Room Coffin (2018), official trailer

This is the dilemma for Iris, which starts her on the journey to trace the bizarre gift to its sender. She doesn’t find the answers all in one place, but picks up insight and a few bread crumbs while stopping in at a haunted house, a funeral parlour, and a church. Along the way, we wonder if fate or karma is at work. Undoubtedly both are, as she has a sick yet feisty granny.

Living Room Coffin (2018) - Irene Roseen as the grandmother and Jennifer Prediger as Iris Hawthorn

Iris (Jennifer Prediger) checks Grandma Edith (Irene Roseen) for a temperature

Other “gifts” associated with a coffin begin to arrive. Confiding in friend Patricia who works at the same police job, Iris only ends up with more questions. To further complicate the search, she’s also distracted by missing romance in her mundane existence, and then her former boyfriend reappears. Otherwise the most exciting thing in her life is comparing with Patricia who has the more outrageous day on the job. Iris definitely wins out, now that she has the uninvited guest on a plexiglass stand dominating her living room.

Jennifer Prediger and Rémy Bennett in Living Room Coffin (2018)

Rémy Bennett as co-worker, Patricia,  and Jennifer Prediger
as Iris Hawthorn in Living Room Coffin (2018)

Iris, wonderfully played by actress-filmmaker Jennifer Prediger, aims to solve the origin mystery, and first knocks back on wine and listening for other spirits. She then manages a sensible, calm approach during her search. One thing leads her closer to another during this horror hopscotch, until she discovers the peculiar truth of why she received the coffin.

Jennifer Prediger in Living Room Coffin (2018)

Actress-filmmaker Jennifer Prediger as Iris “tries out” the mysterious coffin

Part philosophical, part dark comedy and borderline absurd, Living Room Coffin
certainly encourages you to contemplate life as to how none of us can avoid the inevitable last big sleep which fortunately comes much later rather than sooner for most of us.

Writer and first time director, Michael Sarrow, laced his highly original story with a few “usual suspects” – many of which are red herrings, of course. His take on life and passing on becomes food for thought, relating it to some provoking life and death choices people make. Choices that may or may not be fully thought through, and then reneged on when one or more poor souls are involved ….

Living Room Coffin benefits from great, sincere and often humorous performances from characters even in smaller roles. The nonchalant delivery men, for example, played by Linas Phillips and Johnny Pemberton, provide comic relief while leaving Iris to deal with the heavy duty coffin situation alone.

The film could have swerved off in many different directions; Sarrow chose to stick to solving this profound mystery clearly and simply. Geared up for resolution, Living Room Coffin inspires us to realize that some things, many things, like relationships, end eventually. What does one see in a cut flower? Remnants of beauty and time passing. All parts of a mystery that can astonishingly unfold bit by bit – should you ever find an elephant, or a coffin, in your living room.

Living Room Coffin (2018) poster

Living Room Coffin (2018) poster

Copyright © May 2018: Lorraine Dmitrovic
All photos copyright © May 2018: Greenstep Productions/Leo Mark Studios

Review – Avengers: Infinity War – the best comic book I’ve ever watched! by Lorraine Dmitrovic

Avengers Infinity War (2018) posterOfficial poster for Avengers: Infinity War (2018), Marvel Studios

To view my review on Yeahflix:

From shocking opening to even more shocking ending, the epic adventure Avengers: Infinity War (AIW) is what every superhero movie should aspire to be. It’s a dark joyride, a thrilling spinning wheel turning time and space on their sides. It’s also like compulsively reading one fabulous Marvel comic book after another because you need to find out more about what’s going on with your fave superheroes and villains. This is one movie you don’t want to end.

Avengers: Infinity War – Official Marvel Universe trailer

It was once thought that too many ingredients – or characters – would spoil the broth, and while the storyline is propelled by 64 characters, each is given the time and attention they deserve. The result? AIW avoids the overblown, ongoing fireworks finale battle of Avengers: Age of Ultron (2015). This latest installment climbs each step one by one, builds suspense and tension to the highest degrees and maxes to the enth single or joined-forces superhero confrontations with arch villain Thanos (Josh Brolin) and his delegated band of baddies. You’re wide-eyed and mouth agape as good clashes against evil and sonic booms vibrate throughout the universe.

Avengers infinity war thor close-up
Chris Hemsworth as Thor (Image: Marvel Studios)

Thanos clearly has a God-complex, with his directive maintaining his warped idea of mercy that half of every planet he conquers must perish in order to achieve peace. He launches a multi-front war on Earth that necessitates an unparalleled response from the good guy collective. Thanos’ team of assorted mercenaries and a Voldemort-type noseless wizard come up against the tried and true, plus new additions, of Marvel comic superheroes; even Spider-Man is “knighted” into Avengerhood. Thor is joined along the way by James Gunn’s own Guardians of the Galaxy team. The new collaboration is likeable and effective. Chris Pratt is all Star-Lord, although at one point with his hand motions you think he’s going to summon his “pet” velociraptor, Blue. Rocket Raccoon dishes out some of the best lines in the movie, and you’ll love his new “nickname” to boot.

Avengers Infinity War - Guardians of the galaxy sun reports movie had a whopping £400m budget
Avengers: Infinity War enlists the help of the Guardians
of the Galaxy
 team (Image: Marvel Studios)

Almost all the Avengers have assembled to hunt down Thanos, and among the long list are Vision, Wanda, Black Panther, the Hulk, Iron Man, Captain America, Black Widow and Dr. Strange. Creator of the Avengers comic characters, Stan Lee, has his customary funny cameo, although it’s a little on the brief side and wasn’t as hilarious as his zany caricature barber wearing coke-bottle eyeglasses and wielding scissors like cosmic weapons in Thor: Ragnorak (2017).

Avengers Infinity War - producer Kevin Feige and Stan LeeAvengers: Infinity War – producer Kevin Feige and Avengers
comic creator Stan Lee (Image: Marvel Studios)

Most questions from previous Avengers superheroes and Thor films are answered. Although Hela (Thor and Loki’s half-sister) doesn’t show up, you’ll discover that stormbreakers (with a dynamite vignette featuring Peter Dinklage) work best against the supreme enemy. It’ll be up to Infinity Wars II – and there will most assuredly be one – to resolve that completely.

Avengers Infinity War (2018) Black Panther Captain America Back Widow and team ready to battle
Black Panther (Chadwick Boseman), Captain America (Chris Evans), Black
Widow (Scarlett Johansson) and team ready for battle (Image: Marvel Studios)

No one left the theatre when the end credits started to roll. Yes, there was an extra scene at the very end. It was every bit as numbing as the final scene before credits. No wonder people were meme-ing about it in stunned silence after getting up from their theatre seats.

What makes this film a true winner is the casting of all Avenger heroes as though in supporting roles, with none really standing out as “the stars.” Admittedly Loki, the perennial teen villain played by Tom Hiddleston, steals the first scene, and it also crosses your mind that he’s still in transition from “god of mischief” to superhero. Count him down in AIW, but not out, as according to old myth the great horn-helmeted god can only be permanently vanquished in one way. Genuine affection is seen between Thor (Chris Hemsworth) and Loki, and their relationship is perhaps “put on hold” until the next sequel. (More on that later.)

Avenger infinity war - loki close-upLoki (Tom Hiddleston) in the shocking opening scene (Image: Marvel Studios)

While AIW is “darker” than Thor: Ragnarok (2017), it shines more. The script was tweaked and polished to perfection, the best script yet in the series. It’s so good you don’t want to give away any bits and pieces. The comedy is sublimely timed and executed, and the bonds of love will make you cry, as will the backstory of Gamora and Thanos – whose pure devotion is to accomplish his warped evil by any means necessary. You eventually wonder if Thanos ever asked himself “Was it all worth it?” You realize the answer would be “yes” as all deranged alpha villains seem to view trouble, and the time to make it, as their middle names.

Avengers Infinity War - Josh Brolin as Thanos
Thanos (Josh Brolin) intends to conquer the universe
with the infinity gauntlet. Will he succeed? (Image: Marvel Studios)

The soundtrack is an impressive combo of majestic symphony and down-to-earth contemporary, and includes the classic pop tune Rubberband Man by The Spinners. AIW is stated as being the second-most-expensive film ever made, and it shows in the remarkable, well-worth-it production values, camera work and CGI. Chances are the next sequel will surpass that budget.

The AIW producers, including James Gunn, have been instrumental in pulling together and giving sense to a film that could have emerged as a puzzling mix-mox. A filmmaker since his youth, Gunn made his first big double-duty splash as writer and first-time director with Slither (2006) starring Nathan Fillion. Way back when, around the time Slither was released, Gunn belonged to the same Firefly (TV sci-fi series) community site I did.

CNET reports that there will be a sequel, known unofficially as Avengers 4, saying that “The film was shot back-to-back with Infinity War, beginning in August 2017 and with principal photography ending in January 2018. [Some] filming was done in the Atlanta area. According to the Scottish newspaper The Daily Record, more scenes will be filmed in Edinburgh and Glasgow, Scotland in July 2018, with reshoots coming later in the year.”

Numerous photos are known to have been taken during location shooting in Atlanta of major Avengers characters for that sequel.

All in all, Avengers: Infinity War will certainly garner a place in cinema history as one of the most awesomely entertaining, magical and witty sci-fi fantasy yarns ever spun onto the big screen. Sprinkled with the fairy dust of legend, like he-man swashbucklers and damsels standing equal to men and braver than brave, with monster villains and creatures of sweet nightmares and horrid dreams pulling open our eyelids, the Avengers will keep evolving and pulling us by the hand right along with them into future, wondrous journeys of imagination and adventure.

Copyright © May 2018: Lorraine Dmitrovic
All photos copyright © May 2018: Marvel Studios





First Review Article-Interview as a Contributor to YEAHFLIX

Many kind thanks to movie review site YEAHFLIX for inviting me to be a contributing reviewer! I’m happy to be on the team, and I’ll do my best to give a heads-up and thumbs-up on many current and classic diverse films in many genres.

My first review article, with an interview, is a “Spotlight” piece highlighting actor Tom McLaren and his career: “Tom McLaren, Actor and Author, Looking Forward to Upcoming Releases”