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Better the Neville You Know

average rating is 4 out of 5

Critic:

James Learoyd

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Posted on:

Oct 23, 2024

Film Reviews
Better the Neville You Know
Directed by:
Paul Stainthorpe
Written by:
Kris Taylor, Paul Stainthorpe
Starring:
Henry G. Hamilton, Connor Lawson, Beth Ellis, Jill Dellow, Craig Conway

Better the Neville You Know is the latest short from director Paul Stainthorpe, and tells a riveting tale of revenge and deceit. It's a ferociously dark thriller filled with an unsettling atmosphere and topped off with a disturbing twist (I was reminded a lot of Saw). We follow an old man who leaves his home to fulfil a mysterious deed, which the audience is not yet let in on. His position, at first, appears to be that of a victim. But as the narrative cleverly unfolds, we discover something much more shocking. Keen viewers will inevitably enjoy how the movie doesn't immediately give you all the answers; its main themes, for instance, don't truly reveal themselves until the halfway point. This encourages a far more participatory, thought-provoking level of audience engagement, and is a clear sign of a strong story. This is a really high-end piece of independent filmmaking, and absolutely deserving of your attention.

 

Starting with the visuals, it opts for what you could describe as an 'ultra-realistic' look. Meaning to say, its images are vivid and stark whilst also possessing a natural sensibility. One notices immediately how dim and desaturated the film is - and whilst extreme shadows are incredibly expressive and in no way 'natural', the overall aesthetic goes towards immersing us in its morbid world. Some unique techniques are being used to facilitate this: such as occasionally implementing high shutter-speeds so as to create a sharp, jittery, subjective feeling... It gives the action a sense of substantial threat. The particular style of lighting - with the intention of creating a nicely contrasty, lit image with minimal colour - is also fabulously inventive. From the opening shot, we as the audience can identify a clear tone and voice. What's also immediately noticeable are the strong performances. The actors manage to skilfully ground a lot of the longer sections of dialogue in a truly organic sense of emotion. And our protagonist goes through an arc which, uniquely, is as much to do with his journey as it is to do with the spectator's awareness of the journey, and yet we're fully engaged with his persona throughout.

 

It's an incredibly sharp piece from beginning to end. Not just due to its story and cinematography, but also because of the clarity and professionalism of the on-location sound, and audio design. A mention should also definitely go to the makeup department who play a big role in the piece's authenticity and plot progressions. While the director has brought the film an innate watchability, a lot of the film's success can be attributed to the screenplay in and of itself. Its concept and execution are pretty exemplary in terms of smaller scale thriller pictures. One of the few complaints a viewer might have is, depending on the kind of audience, its extreme violence and arguably overblown ending. However, one can view this film's structure as a ticking bomb that eventually detonates in splashes of blood and an overwhelming excess of fury. Additionally, one could argue that there is a misplaced use of music in the film. However, by the end - once its twists have been revealed - its relevance feels more apt, but still not entirely. Overall, it's a fantastic short film, and I would suggest this movie to anyone who enjoys those extremes within cinema, and to anyone willing to take a risk on some darker, more visceral subject-matter.

About the Film Critic
James Learoyd
James Learoyd
Short Film
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