"BP, you suck!" Mark Wahlberg plays electrician Mike Williams in Peter Berg's real life disaster movie that subtly delivers this message, whilst showing us just how destructive the Deepwater Horizon oil rig explosion was.

Deepwater Horizon was an off-shore drilling oil rig 40 miles from the coast of Louisiana which exploded in 2010, leading to the worst oil spill in US history and the loss of 11 lives. Peter Berg and Mark Wahlberg have teamed up again (after 2013's Lone Survivor) for a dramatic, action film retelling of the disaster. The result is a carefully and sensitively told story, and a reminder for generations to come.

The film picks Wahlberg's character Mike to centre around, introducing his family, and telling the story largely from his perspective. What comes across pretty well is that this is just an ordinary guy heading into a normal 21 days at work on board the Deepwater Horizon. Of course, we know everything that's about to happen, but it builds unassumingly. There are two clearly separated acts, the first being the set-up which is a less compelling watch as they set the story at a slow but steady pace. For the non-experts in oil drilling, they even slide in a show-and-tell that even children can understand. In this act, the only fast-paced thing is the characters speeding through technical terminology, a) to prove that the film's done its research, and b) to confuse us. I'm not even going to try and explain; there's Wikipedia if you need it. If you can keep up, and recite what they say, then well done to you. There are sub-ocean shots throughout that add a little visual understanding too. One thing we can gain from this section is how early warnings and concerns were not followed through, a reason being that the project was already running late, and #moneymoneymoney. The general focus lies on the scenario and developing the lead-up to the oil disaster, and less on the characters' backgrounds, though there's a bit for Gina Rodriguez's character that adds to a more emotional scene later on in the film.

Then all hell breaks loose. (There's fire and an angry monster so it's closer to the saying than you realise.) If you remember what happened, you'll know it was something due to the pressure under the ocean, but that it resulted in a devastating explosion and subsequent fire. CGI has done a great job here, as there's fire everywhere. Things falling and collapsing, glass shattering, chaos on every inch of the Horizon. And the thing is, the whole time we know this is coming, but it's still such a shock just how large scale it all was. I have to admit I wasn't too clued up at the actual time of events in 2010 (also why this film is so good at playing the informer), but I'm told it's quite an accurate portrayal. There's so much catastrophic destruction it's hard to tell who is who, or what they're even shouting. All you can see is fire and people fighting for their lives.


The hand-held cameras make it feel much more real, but deliberately shaky. Warning: You may get motion sickness! Sometimes it's held so close to their faces that you can see every drop of sweat, and it's even more impactful in IMAX. The panic is captured exceptionally well in the second half, but it is deliberately not overdone.

Deepwater Horizon may hero Mark Wahlberg in all the posters and trailers, and the real life survivor Mike Williams was incredibly heroic, but it manages not to make it a cheesy Hollywood retelling where the leading man emerges from the flames, slow motion through the smoke. Instead, we get to see other characters such as Kurt Russell's Mr Jimmy, one of the drilling company's seniors, who puts on a strong and reliable performance as he struggles with the BP staff members. Corporate greed and shortcuts are amplified through these staff members, with John Malkovic's Donald Vidrine nearly portrayed as the villain. He gave me chills as he spoke and spat, which means he must've played the character well. Kate Hudson and Dylan O'Brien play supporting roles, with Hudson actually appearing on-screen for the first time with her father Russell. Much like many disasters away from home, Hudson provides the on-shore perspective, fueling some of the familial emotion and shock. Completing the main cast billing is a feisty but delicate Gina Rodriguez who plays one of the Transocean crew members.

The film helps people to understand what a disaster it was, and also praises how people dealt with it. With destruction that destructive, many more lives could have been lost. It avoids being overly cheesy in its aftermath, with a powerful emphasis on terrible shock. With the focus away from the characters, it's delicately emotional in some places (but feels more factual) yet not a sobfest. And one of the main things to remember is how this is not just a natural 'monster' under the sea, but mainly human error with the gravest consequences.

The fact that this is a true story hammers home all the issues, particularly when it occurred so recently. It's easy to indulge in the disaster movie genre under the pretense that such a thing would never happen. It's different when this is real life history. It is an informative movie, one that highlights things we didn't even realise were going on. Through the human touch, and a well put together nearly-2-hours of screen time, we have a brave account that shines light and depth on what happened and pays tribute to the people on board. The credits roll following an emotional dedication to those who lost their lives, a reminder that selfish ignorant greed can have a much bigger impact.

Argh, zombies! Fear not, this is a zombie movie with heart. Clever zombies.

The Girl On The Train is not the only Girl and novel adaptation we should be talking about this month.

It's not a carefully guarded secret that I am not a fan of horror movies. Not so much because I dislike them, but because I simply am that terrified of them. That said, I was really looking forward to watching The Girl With All The Gifts, a post-apocalyptic zombie film based on M.R. Carey's critically acclaimed novel. And I wouldn't class it as straight horror so I can happily watch it! It's tense, but with a mixture of thriller/horror/drama/sci-fi that draws parallels to others of the zombie genre, particularly 28 Days Later, yet also brings something new and very interesting: brains, and love. Yep, love.

It's set in the future, and before the film even begins, humanity has been pretty much wiped out by a mutated fungal disease which turns people into flesh-eating mindless zombies aka "hungries". And watch out for the jaws, because they're the freakiest jaws I've seen since Jaws. A British film, it takes place in a military base in England where children who appear partially immune and therefore retain thinking and feeling, are studied in a desperate search for a cure. They are taught by the empathetic Miss Justineau (Gemma Arterton), and it soon becomes apparent that the girl in question, ten year old Melanie, is different. She's special, and her 'gifts' include inquisitiveness and imagination - with the intelligence of Matilda and naivety of Jack from Room. Plus, she has a special bond with her teacher which is a relationship that runs throughout the film and provides powerful familial pondering. After the collapse of the base, it's all to play for as it feels like you're walking through a roleplay game like The Last of Us - except with no clear end point. It's a tale of survival. But whose?

One of the immediate differences is the use - and important - of children. Second generation "hungries", they're subordinate and basically prisoners. Are the kids zombies? Are they human? The treatment of these kids is a bit tough to watch, especially when they are completely unaware and haven't even registered that "anything bad" is going on. The child actors across the board are truly excellent; in fact, leaving the screening that's all viewers were talking about. In particular, newcomer Sennia Nanua (who plays Melanie) shines brightly with the ability to portray sincere worldly innocence, self-discovery, intelligence, steely determinism and a darker, hungry side. As she enters the real world, she absorbs and learns like a sponge, almost mimicking like a robot which can have quite the range of outcomes - and there's also a visible internal struggle at times. Watch out for the smart device of her interaction with a cat that changes as she changes. And all the while, she's growing up which introduces a bizarre coming-of-age point of view.


The small group of leading cast members come close in brilliance. There's Gemma Arterton playing the caring Miss Justineau, the film's ostensible 'goodie'...although she's adamant she is in fact "not a good person". The line offers a deeper glimpse into her character, but it's not backed up and is left at that. What we do get is haunted and challenged bravery, and some touching moments with Melanie, as well as a contrast to the icy Dr Caldwell (Glenn Close). Close combines ruthlessness with mad scientist, but it's her interaction with Melanie, and her desperation for a cure that successfully shows all the facets to her character. First she wanted to skin all the dalmatian puppies and now she wants to cut these kids up. Completing the cast are only two more actors - Paddy Considine who plays tough soldier Sergeant Parks, and Fisayo Akinade who plays slightly more annoying soldier Kieran.

There's a gradually plot unveiling chunk by chunk, and it is satisfying how you discover more and more as the film progresses. I guess it runs in parallel with Melanie's own journey. Pace-wise, it keeps you on the edge of your seat with some deliberately slow, eerie scenes. I didn't have any cushions to hide behind so I was firmly hiding behind my hand. It is a film that gives answers, but raises bigger questions, and the final scenes are murkier though still suspenseful. It's tense throughout, aided by the clunky and repetitive, hypnotic music that gives me chills just by thinking about it. Overkill in some places, but freakishly effective in others.

If you are a horror fan and loyal fan to the zombie-kind, you won't be disappointed. There are scares with the actual zombies, especially one dead silent scene which involves tiptoeing through a crowded maze of them, and one that gruesomely rivals Lord of the Flies. It can be graphic, with death by bullet or bite being a common occurrence, and the goosebumpin' image of Melanie wearing a blood-drenched shirt and a muzzle. There's also something for the more squeamish, as there are clever, funny quips in the script and the British apocalypse also offers low chuckles of laughter as the camera pans to the fallen retailers such as Next. Perhaps they should've done BHS instead. This is what a broken Britain looks like folks! If you're a fan of the novel, it should have your boxes ticked, though I have heard it differs slightly in the closing segment.

A gloomy future is shown in The Girl With All The Gifts, but what exactly is the future going to be? I kept guessing throughout, and I was still caught off-guard. I demand a sequel! Led by a fearless Nanua, surely one to watch, the outstanding cast elevate the film to its full potential. Director Colm McCarthy has done a great job, as has author/screenwriter M.R. Carey. Apparently the budget was £4 million, which is small for a film that feels quite big budget. It pays for a lot of scary zombie extras, and the specially selected special effects really pay off too. It stands out because there are layers, moral exploration, identity crises and surprise twists. How strange that the world's biggest threat is also their only hope. It's thought-provoking and manages to balance that alongside scaring the hell out of you - but the creepiness isn't even the priority. The Girl With All The Gifts breathes new life into the zombie story.

Bridget's the comeback kid. And she's not the only kid here...

15 years after she first won the hearts of audiences from all around the world, Bridget Jones returned over the weekend for her eagerly awaited comeback. But this time there's a slight dilemma in the form of a baby bump and the question:Who is the father!? Also returning are pretty much the rest of the cast sans Hugh Grant's Daniel Cleaver (the explanation will have you crying and laughing at the same time). The role of "second man to fight with Mark Darcy over Bridget" has been awarded to the ever charming Patrick Dempsey and his new character Jack Qwant. No matter how long it has been, there's been no love lost for our favourite unlucky-in-love diary keeper and it's a very welcome, triumphant return. Spoiler alert: She has a baby!
With Sharon Maguire back in the director's seat, with writing credits including author Helen Fielding and Emma Thompson, it's no surprise we've had high hopes for this. In a summer of film comebacks (a la Brent, Ab Fab, Dory and Bourne), there's been varying success. Bridget Jones's Baby treads a fine line of staying close to its roots and bringing in something new. It is a film well aware that Bridget herself may not be as relevant these days, and she has grown up with the times too, leading to so many opportunities to poke fun. She is a top TV news producer, but with the likes of Buzzfeed, virals and insta-everything taking over the way news is consumed, it's used as fantastic, over-the-top comic relief. Cue millennials taking over, man-buns and all. The film has also taken a masterclass in how to make this a truly updated film, with the use of glamping at festivals, parental FaceTime, and an iPad diary (it's not even a MacBook Air these days), and an Ed Sheeran cameo. The glimpse in the trailer had us scratching our heads for clues, and Ed certainly doesn't disappoint.


Well what else is new? Emma Thompson is a fantastically funny addition as a doctor filled with sarcastic one-liners. There's also news anchor Miranda (Sarah Solemani) as a slightly younger friend who's not married with kids unlike the still-hilarious Shazza and Jude, sharing some outstanding live TV gaffes that resonate a bit with me and my live radio days! More obviously, and in case you hadn't guessed, Darcy and Bridge broke up several years earlier. The news itself is enough to break hearts if it weren't for being slathered all over trailers and posters months in advance to prepare us. A lot has changed, and the adjustment starts in the opening credits which will definitely make you want to Jump Around. But then, she gets pregnant and without spoiling too much, it's either the result of a brush with the past, and a random uncharacteristic encounter. Both with much longer-term implications than any of them could imagine.

Despite all this, Bridget is still Bridget, so we can breathe a sigh of relief. She is still accident prone (prone to being linked to public humiliation), kooky, constantly unlucky, and yes, single. It's not really a 'finding yourself' plot, but things are definitely intensified with brand new life on the scene. The problem is no longer about losing weight (did you know she goes spinning!?) or cutting down on wine or cigarettes, so it's Bridget in a new era too (the focus instead shifts to her age, 43, and state of singleness - or as she likes to call it, "Spinsterhood"). Lots of people have been concerned about Renee Zellweger's changed face, and the film flashbacks will surely add fuel to the fire, but she delivers such a confident, stellar performance that the character is most wonderfully reflected through her overall portrayal...and not what her face looks like. From the spot on accent to the body language, Zellweger's nailed it again.

Onto the new main character, one of the potential baby-daddies and potential loves. Patrick Dempsey has had a lot of rom-com practice over the years and he slips into fine McDreamy-like form. It's good that Jack is the new boy on the block, because I'm not sure how I would have felt about deja vu for the second time. There are lots of similarities to the previous offerings, but the new baby element keeps it feeling relatively fresh. We don't actually find out that much about Jack Qwant's mathematician and match-making character - he's charming but borderline generic. In a similar way, it feels like there's something missing from Mark Darcy (his lack of some social awareness still exists, particularly in his interpretation of Gangnam Style.) Perhaps it's the changed chemistry between a pair now lacking a Hugh Grant. I found myself rooting for both men at certain points...and not just because it's ya'know, Colin Firth and Patrick Dempsey. With Mamma Mia daddy-issue parallels, I kind of half expect Firth to burst into song at any moment too. Maybe that would get my vote.

Another, different question alongside "who is the father?" is "who will Bridget end up with?", which emerges simultaneously. It's this point of having a man as your end goal (or ending up with a man) that has created slight divide and prompted my own post-cinema discussion of Hollywood's portrayal of needing a man to be happy. It's 2016 and although Bridget is still every woman's woman, this is still not the most feminist film. Is it so wrong to be single? Having said that, Bridget herself realises midway that the most important thing is the baby, and that the baby is loved. That's the most important relationship.


Bridget Jones's Baby is just as warm and witty as those that came before it (better than Edge of Reason!), with a script that will surely make you laugh. It's like a sitcom and can play for obvious laughs, but it's the opportunistic moments of genius comedy that shine through. There's sufficient chaos, plenty of laugh-out-loud scenes like in the news studio, maternity group, hospital, and group gatherings. It satisfactorily provides the on-screen Bridget magic we've been missing for the past decade, and provides it in buckets. We still feel like we know this Bridge. The carefully-picked soundtrack is good, as is Ellie Goulding's lead track, and yes Celine Dion's All By Myself does make a cameo too. However, for a film that relies a lot on relatability, it is a little stretched at times. It also gets rather cheesy, particularly towards the end. Also also, it can be predictable even if you're not 100% on your guess (you're probably right). The final third is undeniably not as strong as the rest; it's a bit of a muddle but at least it will get audiences talking as soon as you leave the cinema, and its understandable given everything else that happens in the lead up to it.

The third installment is a whole lot of fresh - and familiar and formulaic - fun, and a welcome next stage in the Bridget Jones series. I was stuck between 3 1/2 and 4 stars, but the fun factor won in the end. Bridget's the comeback kid in more ways than one - she is more mature and professional these days but you'll never get bored of her bumbling her way through things and making a success of things that go wrong. Cos there are a lot. You have to applaud Zellweger and the writing team. Thank goodness they didn't base it on Helen Fielding's third novel, where plot spoiler, Mark Darcy dies! (There's a question I'd like to ask Fielding - why she ever thought that would be a good idea?!)

The next question is: will there be a sequel?*

There have been some stunning SS17 collections here in New York over the past few days. Somehow, little Londoner me ended up sitting in the front row at two shows and I simply have to gush about how amazing some of these dresses were. After all, I had quite the view!

Vivienne Hu

Whilst the live singers and violinist seemed slightly out of place, there was a lot to look at for Hu's Spring/Summer 2017 show. Paying tribute to the strength of New Yorkers, we were treated to some well-tailored pieces, layering, belting up, and gorgeous hues of baby blue. There was also a range of prints thrown in for good measure, and the resurgence of the gladiator sandal. Yes there was a lot to take in (almost too much!), but I imagine it all represents the hustle and bustle of the big city! I thought the blunt bobs with a hint of colour were a nice touch, too. You can find a full gallery of gorgeous shots here.

Irina Vitjaz

Austrian-based designer Vitjaz brought us "Pure Couture" at her debut show in Skylight Clarkson Square and it was an honour to be a part of it. There were some fantastic silhouettes, some quirky, some very feminine. She chose florals and polka dots, and all of her pieces had a very ethereal, floaty feel and a consistent tone that you can tell a lot of thought has gone into.

Rosanthal Tee

Until next time, New York! x

My first New York Fashion Week has been such a whirlwind of fun! I'd never been to New York before but my idea of NY street style has always been bold and bright, so when it came to packing my suitcase, I made sure I packed an array of colour.

In fact, I found a gem of a silk shirt at a local charity shop that had been marked down even further because clearly nobody had wanted to buy something that had so many colours it was borderline  the technicolour dreamcoat (if it was a coat). Nevertheless, I bought my dreamshirt which was slightly too short to be a dress and paired it with shorts. You might say it was a fashion faux pas but a) you should always be comfortable in what you're wearing, and b) I wanted to take bright prints one step further.

I'm also a sucker for vintage, and when such 'vintage' comes straight from your mother's wardrobe, it makes it so much better! I'm obsessed with this belt and black leather backpack (est. way before the backpack resurgence), so they definitely deserved a spin out on the streets of New York.

I absolutely loved going bright(er than usual), and didn't feel out of place at all! The moral of the story is to never forget the humble charity shop, and never be afraid to show your colours!

London Film Festival returns in October, with a star-studded lineup of 193 feature films and 144 short films, plus 18 world premieres! It kicks off with A United Kingdom which features Rosamund Pike and David Oyelowo, a love story that gathered controversy through fierce opposition from their respective British and South African governments. The closing gala is Free Fire, a Ben Wheatley film, a tense game of survival that stars Brie Larson, Cillian Murphy and Armie Hammer.


Even Black Mirror (now on Netflix) will be premiering it's latest season at LFF. Other ones to watch, some of which have been doing the rounds at Venice Film Festival, include Nocturnal Animals, Snowden, A Monster Calls, Lion and La La Land. Keep an eye out later this month for more on these films, plus more sneak previews before we head to LFF ourselves!

Ring the bells and sound the alarms - Beview is jetting off to the Big Apple! Fashion Week kicks off in style and New York will be first to start showcasing from the 7th September. My latest Fashion Week was in Milan and was such a special week, so I'm more than excited to be heading Stateside this time. Here are some Spring/Summer 17 shows and previews I simply cannot wait for:

Desigual

I've grown up with the bright colours and patterns of Desigual all around me, and "I cannot wait to see this" is an understatement. As soon as I get to New York, this is the first thing I'll see! This current Autumn/Winter season centres around not being the same, which you can check out here. And the latest collection will be streamed live here this Thursday (8th)! Watch out for some global travelling influences from all over the world.

Vivienne Hu

Victoria Beckham

Irina Shabayeva

Irina Vitjaz Pure Couture

Ahh, couture and there's nothing I love more than extravagant, gorgeous gowns! Austrian designer Irina Vitjaz is bringing her European style to New York, and this is her North American debut! Plus, there will be an exciting operatic surprise to close the show on Monday 12th. I'll keep ya updated.

Fancy a bite to eat? (It's free!)

First of all, if you're in the city, there's a FREE Fashion Week lounge every day from 7th-14th at 3-5pm! It's at La Sirena in Chelsea's Maritime Hotel and here's the best bit - it's Italian Aperitivo. When living in Milan, it was the thing to do - get a drink, and there's food thrown in!

Don't forget to follow all our updates and photos over on our Facebook page.

Happy Fashion Week!