Search Results

What You Can't Promise Listen to our review on the film podcast What our film review said: READ FULL REVIEW What You Can’t Promise succeeds in both entertaining audiences, and exploring its own concept thanks to engaging dialogue and two strong performances...this smaller scale production deserves real praise for trusting in its bread-and-butter elements of plot, script and performances – without which no film can succeed. Proudly supporting MediCinema for our 2022 film festival.

Short Film Reviews Welcome to the UK Film Review page for short film reviews . Here you will find some of the best and brightest sparks in a sea of cinema. Filmmakers from across the globe submit their short films to us to be reviewed, and our Contributors lovingly dissect them. If you would like one of our team to write a film review of your short film, please use the form below or visit our Submit Your Film page Our short film reviews are written by passionate film critics across the UK and aim to highlight and promote terrific filmmaking when we find it. We are always honest with our reviews, so if you are looking to submit your short film for review, please do so knowing that we will not alter what we have said because you don't like it. There is a wealth of amazing talent in the short film industry, and we hope by writing film reviews about this underexposed creativity we can get your movies to a new audience...but we need your help. Please join in the chatter on our social media channels so that we can grow our community and share the joy. Use the buttons in the footer to Like us on Facebook, Follow us on Twitter, and Subscribe to us on YouTube #supportindiefilm. Get Your Short Film Reviewed ↓ alexjames96 Apr 19 2 min A Happy Ending Short Film Review alexjames96 Apr 19 2 min Shear Disturbance Short Film Review alexjames96 Apr 19 2 min Watch What I Do Short Film Review alexjames96 Mar 17 2 min After Hours Short Movie Review alexjames96 Mar 17 2 min Cinerama (Music Video) Short Film Review Chris Olson Mar 1 3 min Film Podcast: George Clooney Rowing Biopic Scoops Film of the Month Chris Olson Feb 22 3 min Film Podcast: Anthony Hopkins drama crowned "Film of the Month" alexjames96 Feb 17 2 min Mannequin Short Film Review alexjames96 Feb 17 2 min The Separation Short Film Review alexjames96 Feb 17 2 min Bare Foot Short Film Review William Hemingway Jan 18 8 min Filmmaker Interview with Jiwon Lee alexjames96 Dec 19, 2023 2 min Dominion Short Film Review alexjames96 Dec 19, 2023 2 min Homecoming (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min Sunset Drive Short Film Review Chris Olson Nov 28, 2023 5 min Filmmaker Interview with Alexander Ratter alexjames96 Nov 16, 2023 2 min Purely Cosmetic Short Film Review alexjames96 Nov 16, 2023 2 min What Remains Short Film Review alexjames96 Nov 16, 2023 2 min Sheep F-cked In the Head Short Film Review Chris Olson Nov 13, 2023 3 min Filmmaker Interview with Aimie Willemse alexjames96 Oct 13, 2023 2 min Uncharted Expedition Short Film Review More Film Reviews Cast Away Joe Beck The Protégé Chris Buick On My Level William Hemingway Changing Tides Patrick Foley Jane Austen's Period Drama Joe Beck Company Chris Buick Boy.With.Angel.Wings William Hemingway Wait Till It Drops Joe Beck Fugue Jason Knight Circus Swati Verma It Could Be You Jason Knight Bestias Patrick Foley OBA OMO (The King Child) James Learoyd IRAN: A People Forever in Revolution James Learoyd Guilty Swati Verma Devon William Hemingway I am the Wanderer: Director's Cut Jason Knight My Obsession with Death Chris Buick Clodagh Jason Knight Alleviate Joe Beck Whippy Patrick Foley The Other John James Learoyd What I'm Hiding From You Jason Knight Rooftops Swati Verma The Siren Chris Buick Load More Reviews What is a short film review? A short film review is often written by a movie critic and it's their opinion on a film that is less than sixty minutes long. Short film reviews still explore every aspect of a movie. How do I write a short film review? Writing a short film review needs to cover multiple aspects of the movie. Including the script, the characters, performances, cinematography, score & sound design, editing and so on. How long should a film review be? A film review should be as long as the house style. Some publications provide lengthier reviews than others. A general minimum word count would be 300. How much money do film critics make? Film critic salaries depend massively on their publication. Many film critics are freelancers, meaning they get paid per review and sometimes this is based on word count. Making money through film reviews can be challenging.

HOME | FILMS | REVIEWS Jellyfish and Lobster Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 31, 2024 Directed by: Yasmin Afifi Written by: Yasmin Afifi Starring: Flo Wilson, Sayed Badreya, Sergute Mariam Jellyfish and Lobster (2023) is a heartwarming, hopeful piece of dramatic short filmmaking. Clearly constructed with deep passion, it tells a bittersweet story: set in a care home, a woman (Grace, played by Flo Wilson) has cancer; she befriends a man (Mido, played by Sayed Badreya) who has Alzheimer's disease. Together, they find a swimming pool which holds fantastical qualities, allowing them to live as their younger selves when submerged. It’s a fairytale of sorts – youth rediscovered; romantic passion relived. The pool acts as a fascinating narrative device, used to illuminate our protagonists’ passions for life which, in turn, informs how they are to approach their current situation. These less realistic sequences also serve as a much-needed break between the more upsetting content of the screenplay. Utilising a conceptual story-trait as a way of subtextually complementing ‘real world’ characteristics is not uncommon is short films; however, while fantasy most certainly plays a part in the characters’ journeys, they maintain an emotional realism. One really senses their sadness and then their contrasting excitement. In this respect, it’s an impressively experiential work. Tone, and the ability to gage, balance, and manipulate it, is one of the most significant traits of a movie -- truly a make-or-break when it comes to the success of any work. What’s unique about Jellyfish and Lobster is its approach to combining comedy with deep discussion of real-world issues. Subtly, we often transition from amusing to tragic in the space of a few seconds; but these transitions are always fueled by the narrative trajectory. It must be said, there are a few lines that feel slightly clunky or unnatural; yet the script is incredibly strong overall, harnessing these fluctuating emotions with expert precision. A huge factor, of course, are the central performance(s), and thankfully they deliver. There’s some brave acting on display – never afraid to explore the darkest territory, yet embracing a sense of fun when they see the light. In particular, the portrayal of Grace is the film’s best quality: as playful as she is acidic, Flo Wilson brings a wonderful complexity to the role. Displaying a range of emotions and never appearing detached, we’re always brought along for the ride. When it comes to the more technical aspects, the film is working at an exceptional level. Cinematography-wise, there’s a lot of beautiful lighting and photography to feast your eyes on. The use of widescreen is effective in its suggestion that what we’re viewing is a grander, more epic journey than we might be led to believe; and the film grain is also a pleasant addition – after all, the short is about travelling back through time, in a personal sense. Not too dissimilar from the piece’s content, the look is soft and vibrant, matching the story perfectly. Despite the serious subject matter, the film manages to be joyful and cathartic. In part, this is due to the high-concept, fantasy element... but more so it’s a tale of friendship and finding solace through those around you. With pitch perfect performances and a story that’s always engaging, there’s no doubt that audiences will be moved by Jellyfish and Lobster . About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Community Service Listen to our review on the film podcast What our film review said: READ FULL REVIEW Taken from a story by London care-giver Will O'Keeffe, Community Service strips bare the realities of a life not well lived. We struggle along with Hugh as the days unfold and nothing gets better and we look on helplessly as he fumbles around trying to keep the pieces of his life together. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS McEnroe Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 17, 2022 Directed by: Barney Douglas Written by: Barney Douglas Starring: John McEnroe, Bjorn Borg, Billie Jean King, Patti Smyth The run of bad boy Nick Kyrgios all the way to this year's Wimbledon singles final brought inevitable comparisons with the equally temperamental John McEnroe. They both railed against the tennis establishment with its inherent snobbery and elitism, but other similarities are more difficult to pin down. This new film by Barney Douglas throws more light on the kid who so spectacularly burst onto the scene as an 18-year-old. The original enfant terrible transformed tennis in the late 1970s with the rarest of talents. Quickly dubbed 'Superbrat' he was a gift to comedy writers far and wide. No comedy sketch or routine was complete without that familiar mop of curly hair and red headband. But for all his volatility and comic strip persona John McEnroe was a gifted left-hander and arguably, the greatest serve and volley player of all time. As the frames start to roll on this engrossing film, we begin to understand what a deeply complex man John McEnroe is. His wife Patti Smyth makes the most telling observation early on. She read John's report from first grade as a six-year-old. His teacher noted 'John is very harsh on himself'’. It betrays an obsession with perfection even at a very young age. His blow-ups on court were highly amusing and endeared him to many. Such antics were reminiscent of people playing tennis in the park on a Sunday afternoon as they argued over every point lost. But for McEnroe it was symptomatic of a deep rooted insecurity; failure was always attributed to circumstances beyond his control. His intense rivalry with Bjorn Borg is well documented. McEnroe broke the Swede's five year run of Wimbledon singles titles in 1981. With only three years between them McEnroe expected an ongoing duel but Borg was to all intents and purposes retired at 25. How could McEnroe prove he was the world's greatest tennis player if Borg wasn't around to beat on a regular basis? Again the quest for perfection looms large in McEnroe's life and a continual need to prove himself. The effect of Borg's absence cannot be underestimated. McEnroe's last grand slam titles were in 1984, by which time he had embarked on a toxic relationship with Tatum O'Neal. His subsequent divorce and later marriage to Patti Smyth gave him the stability he craved. However, it’s still difficult to draw conclusions from a remarkable life. The documentary cleverly links the narrative with film of McEnroe walking through deserted New York streets; another passage pictures him walking through a bleak desert that suddenly clouds over into a thunderstorm; all of which feels symbolic of a quest for answers and peace of mind. But this remains a frank and disarming portrait of a most charismatic sporting icon. About the Film Critic Brian Penn Theatrical Release, Documentary < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Scaring Women At Night - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 30, 2023 Directed by: Karimah Zakia Issa Written by: Karimah Zakia Issa & Ace Clamber Starring: Izaiah Dockery, Kavita Musty, Dashawn Lloyd Blackwood “While grappling with his own fears, moving through the world as a trans man, he does his best to navigate his new dynamic with women.” Having had its world premiere at TIFF in 2022 and part of BFI Flare’s 2023 selection, Scaring Women At Night is an impactful short film that speaks to the lived experiences of one transgender man. As he presents as masculine, he seeks to understand how he can be more approachable to women without making them fearful of him. This is particularly prevalent at night, when the film’s storyline takes place, as he is walking behind a woman who believes that he is following her. In trying to not appear threatening, this is an interesting introspective film that considers an entirely different perspective to the trans male identity and experience. Cinema has seldom considered stories and narratives in this way, and so it is refreshing to see a very contemporary issue handled in such an incredibly authentic way. The story focuses on protagonist Ash having a conversation with himself about who he is now after his transition, particularly concerning his relationships with women. As he walks home alone, he encounters a woman also walking alone, leading the film to openly confront their individual fears. Filmmaker Karimah Zakia Issa explores how Ash has lived experiences from each side and is the guiding force for audiences to see an all-too-familiar event differently. He has adapted to survive, yet is confronted by these additional societal challenges. There is a real sense of unease created that extends throughout the short, with fears that many can relate to, particularly the reality of being followed. The filming is excellent, with scenes being spliced together often with jarring jump cuts to keep the viewer alert. Placing a trans character into this action allows these fears and issues to be considered in a new way. Ash attempts to make his appearance less scary, for example, in realising that he may now be considered a threat by presenting as male. It is a truly raw inner conflict, as the resolution is unclear. Scaring Woman At Night is a fantastic beginning of a conversation that leaves the viewer wanting to learn more. As this is a pre-feature short film, it is exciting to consider how the film will be developed into a feature. It is a refreshing perspective to be considered on screen and not one to be missed. About the Film Critic Amber Jackson LGBTQ+, Short Film, Film Festival < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Where the Flowers Bloom Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 1, 2023 Directed by: Olivia Luying Wang Written by: Olivia Luying Wang Starring: Dina Selimovic, Erik Scilley, Danilo Crovetti In a challenging and emotional short drama, Olivia Luying Wang’s Where the Flowers Bloom tackles trauma, depression, and anti-war sentiment in a well-acted and produced but at-times surface-level and melodramatic account of one woman’s attempts to come home from battle. Former soldier Diana (Dina Selimovic) has returned home from war with haunting accounts of tragedy a sinister accomplice. Her husband Max (Erik Scilley) makes efforts to reclaim normality for the pair, but Diana’s PTSD creates a barrier between them. When their neighbour’s child Oleg (Danilo Crovetti) visits, Diana’s life reaches a crossroads as she realises her struggle to make human connection. Where the Flowers Bloom is an intense and emotionally heavy short that pulls no punches with a harrowing account of the damage that the unresolved traumas of war can inflict on soldiers. The film is unafraid to portray the horrors of war or to portray the realities of suicide and self-harm (for which viewers should be aware). Diana’s grief is brought to life by a spectacular performance from Dina Selimovic, who portrays the character with complexity, compassion and respect – and utterly convinces the audience that untold pain resides behind her striking eyes. The film looks great as well, with cool tones seeped over the screen that pull the viewer into Diana’s sadness-tainted world. Diana and Max’s home forbodes over the pair and further creates a sense of darkness and distance with the select sources of light only penetrating in brief moments to match the protagonist’s emotional state. The script does let the film down, with clunky and expository dialogue that never really convinces despite impressive delivery. Viewers are whacked over the head with story beats and thematics, which unintentionally create a sense of insecurity on the filmmakers’ part that audiences wouldn’t keep up with the plot. This is not to say that the film isn’t moving or touching, and it is clear that the filmmakers’ hearts are in the right place. But melodrama is the result of the attempt to punch straight through the viewer’s ribcage and tug as hard as possible at their heartstrings. The film’s final image is the ultimate embodiment of this mindset, and is sure to be divisive. Audiences must be left to their own decision as to whether they think it is necessary or appropriate (I stray on the side that thinks it is just about justified), but regardless, it is certainly evidence that the mantra of ‘less is more’ has been left by the wayside. Where the Flowers Bloom is ultimately a brave and memorable short film that does have imperfections. It is imperfect, but its compassionate message is admirable and unashamed. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS No More Inner Voice Film Review average rating is 4 out of 5 Critic: Julian Gaskell | Posted on: Jun 13, 2022 Directed by: Jozef Raiche Written by: Jozef Raiche Starring: André LeMire, Rob Lundholm, Robin Bargo A short film about a young boy Nathan (André LeMire) working in a local store for a horrible boss (Rob Lundholm) to save money to help his sick grandfather (Robin Bargo) whose savings are taken by his brother (Isaac Aderman). Nathan then ends up grappling with his inner voice to decide how he is going to get more money quickly in order to buy the medical equipment his grandfather needs. Written and directed by Jozef Raiche it’s a clever depiction of life in reality versus what is going on in the inner consciousness. By combining colour with black and white cinematography he creates two separate worlds. In colour we see the world as it is and in black and white we see his inner voice being played out in conversation with a friend in the neighbourhood. Switching between serene neighbourhood landscapes to more frantic arguments we see how he and his consciousness respond to the changing circumstances. It is nicely directed using plenty of variety of framing and movement, cutting quickly between shots to good effect. The camera follows the actor from location to location not worrying about getting a perfectly framed shot each time, which gives a dynamic feel of being there in the person's shoes, here following Nathan around his suburban neighbourhood, at his mundane job, caring for his sick grandpa and having a difficult time with his boss and brother. For me the music doesn’t quite match as a means of building tension with an overly creepy slow organ keyboard sound more in tune with an eerie futuristic horror than a psychological drama. On the flip side the dialogue and wild tracking is clear and adds to the sense of being there with Nathan as we see him battling his reality and consciousness. The actors put in good ordinary folk performances that manage to pull off this microcosm of a quaint neighbourhood consisting of Nathan’s boss, his grandpa, his brother and his consciousness friend. Josef Raiche himself plays Nathan’s consciousness and brings a friendly normality as the local neighbourhood Matrix like guide and the neighbourhood gives an extra feel of being inside someone’s consciousness by being unusually deserted in the shots. Nathan’s disillusionment with his inner voice is most powerful when he considers how he has got to this point, but it quickly escalates into trouble when he chooses to ignore it. It’s a smartly put together short that explores the internal activity of the mind by trying to visually show its emotions vis à vis what is happening in reality. It would be interesting to see if it would be successful in a longer format … but you probably don’t need me to tell you that. About the Film Critic Julian Gaskell Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Nope Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 20, 2022 Directed by: Jordan Peele Written by: Jordan Peele Starring: Daniel Kaluuya, Keke Palmer, Steven Yeun There are some truly frightening moments in Nope . Some revolve around things you may think you know based on the trailer. Others feature a bloody monkey in a party hat. All these and more are tucked inside the kind of patient and expansive brand of storytelling you might not expect from writer/director/producer Jordan Peele. Where the filmmaker’s first two exceptional features explored wildly different styles of horror, his third effort, though scary, taps much more into Sci-Fi. And Nope has plenty to say about Black cowboys, the arrogance of spectacle, and getting that elusive perfect shot. OJ Haywood (Daniel Kaluuya) and his sister Emerald (Keke Palmer) work under their father Otis, Sr. (Keith David) at the only Black-owned horse training business in Hollywood. The Haywood lineage dates back to the very first “assembly of photographs to create a motion picture,” and Haywood’s Hollywood Horses serves various TV and film productions out of a remote California ranch. But recently, OJ has also been doing business with Ricky “Jupe” Park (Steven Yeun), a former child star who runs a nearby tourist attraction. Some amazing things have been happening there, and Ricky seems to need more and more horses to keep the people amazed. Toss in Brandon Perea as a dangerously curious tech store worker and the inimitable Michael Wincott as an esteemed and disenchanted cinematographer and you have a remarkable set of oddball characters, each brought to life with peculiar but sympathetic performances. Peele’s direction and writing effortlessly mine comedic moments, but Nope is no comedy. He unravels a mystery before your eyes, and his shot-making has never been so on point. The way he splashes color and motion across this arid landscape is stunning. His visual cues—often executed with macabre humor and panache—amplify the film’s themes while inducing anxiety. Palmer and Kaluuya are a fantastic pair, sharing an uneasy, lived-in familial tension. Their battling energy—OJ is slow-moving and soft-spoken to Em’s live wire—contributes to the film’s discombobulating feel. Yeun delivers a surprise turn as a man still trading on past glories at a theme park. But everyone here has a relationship to the dangerous, life-altering, perhaps idiotic act of filming, of entertainment, of spectacle. It feels a bit like Peele is saying that making a movie will kill you, if you’re lucky. But opening a film with a Biblical passage is no accident, and on a grander scale, Peele has crafted a genre-loving ode to a comeuppance tempted by grandiose delusions. Nope is a tense, gorgeous, funny, insightful and ambitious thrill ride, which updates the filmmaker’s scorecard to three for three. And while Peele may still feel like he’s chasing perfection, here’s hoping he just keeps chasing. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS No Bears Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 8, 2023 Directed by: Jafar Panahi Written by: Jafar Panahi Starring: Jafar Panahi, Naser Hashemi, Vahid Mobasheri Even of you know nothing of acclaimed Iranian filmmaker Jafar Panahi, No Bears (Khers nist) should be an absorbing and compelling experience. But when you consider that Panahi (This Is Not a Film , Taxi, Closed Curtain ) not only shot the film in secret, but currently sits in a Tehran prison, and is barred from writing, directing, giving interviews or traveling outside Iran until 2030, his continued commitment to agitation through artistic expression grows immeasurably inspirational. With No Bears , Panahi uses the parallel lives of two Iranian couples to comment on the struggles of that expression, and on the powerful forces that conspire to restrict free will. Panahi plays himself, arriving at a small village near the Turkish border to set up a base where he can direct his latest film remotely, joining the set through internet connection. While two actors in his cast (Mina Kavani and Bakhtiyar Panjeei) are trying desperately to land fake passports and flee Iran, Panahi quickly becomes a person of interest in the village. Word has spread that Panahi may have unwittingly snapped a photo of a young Iranian woman (Darya Alei) with a man (Amir Davari) other than the one who has “claimed” her. Villagers are demanding the photo as proof of a grave misdeed, while the woman in question fears the bloodshed that will come from the photo’s existence. Despite numerous reassurances to Panahi about “honorable” intent, the pressure from the villagers only increases, much like the desperation of his actors looking to start a new life. Panahi films in a style that is understandably guerilla, but stands in sharp contrast to the dense, and thrillingly complex storytelling at work. He is deftly calling out both the oppressors and the enablers, while he weighs the rippling effect of his own choices amid a deeply ingrained bureaucracy of fundamentalism and fear, superstition and gossip. No Bears is a brave and bold blurring of fact and fiction, with Panahi embracing the gritty authenticity of the most urgent first-person documentary and the layered storylines of a political page-turner. It may be his most daring project to date, accentuated by a defiant final shot that teeters on the line between ending and beginning. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dog Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 17, 2022 Directed by: Reid Carolin, Channing Tatum Written by: Reid Carolin, Brett Rodriguez Starring: Channing Tatum Dog —the new Channing Tatum film about a former Army Ranger driving cross country with another former Army Ranger, this one an angry Belgian Malinois named Lulu—is not what you expect. I wish that was a good thing. Because what you expect is likely not that good to start with: hunky but irresponsible man learning love and responsibility from an anxious but lovable hound. And you do get that. The emotional trajectory of Dog is no more in question than whether the two bedraggled messes will make it on time to their final destination, the funeral of a fallen comrade. But if you are expecting to laugh, even once, you are in for a surprise. The film, co-directed by Tatum (his first effort behind the camera), makes a number of weak attempts at comedy. If you’ve seen the trailer, you’ve seen all of them. Not a single one lands, and each supposed joke is so lazy, so telegraphed and tired. Dog is a road trip film, which is often an excuse to string together random comedy sketches. Sometimes this works (Vacation, The Mitchells vs. the Machines ). Usually, it doesn’t. Certainly, Dog doesn’t take advantage of the opportunities for hilarity inherent in the cross-country trip. But don’t dismiss Dog as simply a decidedly unfunny comedy. Tatum and co-director Reid Carolin, who co-wrote the script with Brett Rodriguez, use the gags as a sweetener on top of a very dark story about PTSD and living with the emotional and physical damage of war. What lies just beneath the weakly attempted comedy is an incredibly dark film. Not a dark comedy—not by any stretch. Tatum and gang are not going for laughs at the expense of these two scarred veterans and their collective trauma. Lulu is every embattled, broken veteran and we don’t want anything bad to happen to Lulu. Why, then, are we so careless with our broken and embattled veterans who are not also beautiful Belgian Malinois? It’s a worthy message trapped in a sincere, tonally chaotic, humorless, lazily constructed mess of a movie. Dog has merit I did not expect going into it. I wish it was a better movie. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Fool's Game Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 31, 2023 Directed by: Laurence Roberts Written by: Angela Bell Starring: Jordan Duarte, Lora Burke, Fuad Ahmed, Angela Bell Two couples get together for a friendly dinner that leads to unexpected complications. Married couple Peter (Duarte) and Ava (Burke) have invited Matt (Ahmed), an old acquaintance of Peter, to their home for a nice dinner and some catch-up. Joining them will also be Matt's partner Sam (Bell). Initially, the four of them will chat and laugh while sitting at the table, discussing simple things, however the subjects of discussion will eventually become more serious and the drama will arrive. An intriguing short drama about a get-together that does not go the way the attendees expect it to. The four of them will talk about a variety of subjects including work and past experiences, including how Matt and Sam met, generally innocent things to begin with and the conversation turns dramatic and confrontational when they proceed to talk about gender equality in the workforce and open marriage. Now would probably be the time to point out that the popular board game chess plays a crucial role in this film. The short begins with a quote by French political leader and military commander Napoleon Bonaparte which suggests that people are either kings or pawns, emperors or fools. The film connects this quote to chess and to the narrative. The screenplay constantly cuts to a chessboard with chess pieces, with one or two being moved by an unseen person (their identity could be anyone's guess). The significance of this is that the pawns represent the four characters and everytime one of them makes a comment that offends someone, the film cuts to a chess piece making a move, signifying a sort of attack. Also, considering the quote above, the film implies that among the protagonists there are pawns and those who control them, which is perhaps more obvious in the situation between Ava and Peter, as she gave up her career in order to take care of their daughter, while he maintained his job and therefore (in some ways) became superior to his wife. The opening credits deserve credit for the interesting creativity involved. Each time an actor's name shows up on screen, it does so with the close-up of a chess piece, indicating that particular chess piece represents the character and the result is Peter and Ava being the white king and queen and Matt and Sam are the black king and queen. This technique also indicates that the two couples are engaging in a battle between them. Bell's sharp script creates scenes where the characters get into confrontation but not directly, instead unwilling insults resulting in drama and revealing a person's flaws. One character whose flaws are obvious is Matt, who repeatedly checks his phone while others are talking. Regarding the technical side of things, the film is beautifully shot by Roberts and the cinematography looks wonderful thanks to Stephen Bell and Eric Moniz. The dramatic music by Ian Cusson is also a great plus at it creates an interesting atmosphere with the violin and piano melodies. The scenes with the chess pieces are probably the most memorable part in this short, which does not mean that without them there is no significant value, as the clever dialogue, the strong performances, the explored themes and the revelation at the end make this a viewing experience well worth one's while. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >