★★★ Written & Directed by: #KatieFound Starring: #MarkelaKavenagh, #MaiahStewardson, #ArthurAngel, #SteveMouzakis, #KatherineTonkin Film Review by Taryll Baker As part of BFI Flare: London LGBTIQ+ Film Festival 2021 We’ve had decades on decades of romance stories in cinema, but it’s only in recent years that those stories started featuring the presence of LGBTIQ+ characters, becoming more relatable to a much wider audience. In Katie Found’s My First Summer, 16-year-old Claudia (Markela Kavenagh) is isolated on a remote property after her mother’s death, until Grace (Maiah Stewardson) appears like a mirage. The two girls find support and comfort in each other, sparking a warm connection of love and intimacy. As the inevitability of adult life creeps into view, their special bond is threatened and put to the test. Handling the sensitive theme of suicide alongside its portrayal of young, unconditional love, My First Summer springs through a colourful depiction of growth under the Australian heat with a genuine care for the subject. Found’s tackling of the smaller moments is really to be admired; her instinct for capturing the spiritual existence of romance sparks many opportunities for the talented, small cast to flourish. Kavenagh and Stewardson share a wonderful on-screen dynamic with delightful appeal. Their exploration of character isn’t halted by the film’s shorter runtime (roughly 80 minutes) — the pacing is fairly sharp and things happen quite fast — but it does leave some to be desired. Giving the story more time to simmer and breathe would benefit the characters, especially during the events of the last act. It’s not too damaging, though, and what we do have is a very sweet love story that doesn’t shy away from the darkness that can reside over someone when coping with loss and painfully sad thoughts. A lot of Australian cinema is particularly vibrant. It seems as though these filmmakers just have a keen sense of great storytelling, and it’s no different for Katie Found. She enwraps us with warmth, like a hug of understanding, and that warmth is elevated in the visuals. With cinematography by Matthew Chuang, a brightly lit array of location shoots and lively interiors, the world in which Claudia and Grace live feels welcoming. This is accompanied by a perfectly compiled soundtrack and almost every story beat is hit with acute accuracy as a result. The only downside of My First Summer is its length. Spending more time on the blossoming connection of the two girls would have been favourable, and perhaps with that we could see more of Claudia’s disconnect; highlighting on the escape that Grace was for her, and through that, extending its focus on grief and healing. With that in mind, the way the film tackles these themes is satisfying enough, but it’s the unravelling chemistry of Kavenagh and Stewardson that really grabs the viewer amidst the radiant visuals. If only we could spend more of the summer in their company. BFI Flare runs from March 17th - 28th, for more info visit: https://www.bfi.org.uk/flare - #TaryllBaker

★★ Directed by: Paolo Pilladi Written by: Greg Lingo, Paolo Pilladi Starring: Jeremy Piven, Taryn Manning, Cathy Moriarty Film Review by: Vikas Yadav Last Call Movie Review There is no place like home. These six words hit you the most when you circle back to your hometown after being away for a long time. The smell, the food, the familiar faces of your parents and friends and relatives - all of them make you elicit a warm response from within. The compassion and friendliness put you in the arms of serenity. You feel safe. Some of us like to visit a particular spot where memories must have been made. For me, it was my old school where I met some terrific friends who made both the school and my childhood very memorable. I used to go there and remember those good old days, which I cannot do now since I have moved to another city. My school, my friends, and my crush are now a part of my memory. I can only “see” them in my mind. I laid down my feelings to make you understand why I was so jealous of Mick (Jeremy Piven) while watching Paolo Pilladi’s Last Call. Here is a man who got the luxury to return to his home, which even after years still consisted of the same people, same friends, and same neighbours. What’s more? He even gets to meet his childhood crush! She is Ali (Taryn Manning). But Mick does not interpret the situation like me. Duh! Obviously. He might not have even come back to his home if not for the funeral. Whose funeral? Watch the movie. Let’s just say that the person is important and that Mick’s return from the city is edited into a fast forward motion, signifying the gravity of the situation. Soon after Mick reaches his hometown called Darby Heights, he is assigned the task of getting signatures from the neighbours in order to set up a casino in the town. For the locals, it is casi-NO. But Mick is one of their own, making it easy for him to butter them up into signing on the paper. We know it would backfire on him. We wait for Mick to come on the same page as the audience. Sounds familiar? Because it is. Last Call is one of those stories where the protagonist sheds his differences and accepts his home, his people, and his place. This is the kind of story that has all the necessary ingredients to pull at your heartstrings. It’s sad then that Last Call fails to even lay a finger on your heart. The supporting characters are colourful and filled with eccentricity, yet the film never manages to bring them alive. I can consider the adult portions as the film’s way of showing what Mick had missed during his time in the city. But after some time, the jump from seriousness to adult comedy felt more like a mixture of two different movies, creating a tonal inconsistency. Mick and Ali’s romance never leaps out of the page (or screen). It’s a pity because I read that Last Call is based on Greg Lingo’s - the writer of this film - experience of living in Upper Darby. The character of Mick loosely comes from him, while the rest of the cast are all combinations of a bunch of guys he grew up with (I was so happy to see Cathy Moriarty). Sadly, you just get glimpses of his real-life translations and not the entire view of it. The great Roger Ebert once said that it’s not what a movie is about; it’s how it is about it. Last Call is about accepting your home and your family. How is it about it? Not so good, frankly. #VikasYadav Last Call will be available Digital Download from 29th March Watch the film trailer for Last Call

★★★ Directed by: Mal Williamson Written by: Gordon Meredith, Orhan Ticic, Mariana Barbera, Anna Whiting, Mal Williamson Starring: Gordon Meredith, Orhan Ticic, Mariana Barbera, Anna Whiting Film Review by: Jason Knight Two couples accidentally book a stay at the same cottage, during the same time and end up developing rapports with each other. Will (Meredith) arrives at a cottage. Later during the evening, a couple also come to the property and it appears that there has been some error and as a result the place has been booked for four people. Will invites the couple, who are Zlatan (Ticic) and Katya (Whiting), to stay for the night and sort things out in the morning. Things get more complicated when Will uses his therapy skills to assist Zlatan and Katya and Will's partner Elena (Barbera) arrives. This drama was filmed during the course of a weekend by a crew that consisted of one person and the dialogue was improvised by the cast. The basic concept is that two couples get to know each other and the film focuses on exploring their lives. The characters spent a great deal of time discussing their occupations, experiences and feelings. There is confrontation as Zlatan is unhappy with Will performing therapy on Katya, in order to help her relieve her stress, and seems to have changed her personality. There are lengthy scenes, where the protagonists play board games and have meals, while having conversations. Will is the one who guides the story and gets the most screen time. He recommends that the couple remain at the property and utilizes his therapeutic skills to help them and influences them with his perception of life. He is very talkative and intelligent and enjoys socializing and painting. Ticic is convincing as an ex-military man, who has also seen combat. There isn't much music in this feature and when it is present, it consists of violins playing intensely. This is a well made film, but unlikely to appeal to a mass audience. The pace is rather slow and some scenes seem to go on for too long. Overall, the narrative is not very exciting and the ending is rather confusing. Considering that the dialogue was improvised, the actors do an interesting job and create scenes of drama. This movie deserves praise for its acting and the fact that it was made without much preparation and the result is an accomplishment worth pursuing. #JasonKnight

★★★★ Directed by: #PhilConnell Written by: #PhilConnell & #GenevieveScott Starring: #ClorisLeachman, #LindaCash, #DanielJun, #JayneEastwood, #ThomasDuplessie Film Review by Taryll Baker As part of BFI Flare: London LGBTIQ+ Film Festival 2021 Kicking off a week filled with LGBTIQ+ cinema is the fabulously heartwarming Jump, Darling, directed by Phil Connell (his feature debut) and starring the late Cloris Leachman in one of her final performances. Across the week of exciting new releases, films are sectioned into themes — Hearts, Bodies and Minds — Jump, Darling falling into the Bodies category. Connell’s film follows a rookie drag queen, Russell (Thomas Duplessie) reeling from a break-up and escaping to the country, where he finds his grandmother (Leachman) in a steep decline yet desperate to avoid the local nursing home. Although setting sights on the themes of identity and transformation, this is a film about love and kinship too. Russell is trying to find himself in drag and acting, thus finding purpose in life, meanwhile fighting for his grandmother’s freedom from a nursing home. There’s a constant battle happening within both characters; and as the film strolls steadily through to the close, Russell and Margaret’s evolution simultaneously fluctuates in a satisfying fashion. The direction is simply gorgeous, particularly in the film’s final scenes which bring a well-rounded end to the arcs of both characters, dancing between both perspectives gracefully. Beyond the simple but touching story and flawless performances, are a great array of technically engrossing features. Jump, Darling has a solid soundtrack with some stunningly vibrant cinematography; colours with blue and purple tones especially pop, and the way in which shots focus on some of the finer intimate moments, brightly contrasted by some wider framing, captures a lot of character within scenes. There’s a subtle edit that keeps the film at a steadying pace, feeling consistent across the board. Jump, Darling can walk the walk, and it certainly talks the talk as it delicately balances the echoing notion of a life beginning, or trying to, whilst another reflects and resides in its bittersweet epilogue. This film gives Duplessie a breakthrough performance with shining colours, and his partnering with Leachman is so rewarding. She leaves behind a legacy of iconic roles, and, with her support for the LGBTIQ+ community (a true ally for equality), it’s perfect that Jump, Darling be one of her final performances that audiences will see. This is a fittingly sweet and witty film that takes its time exploring two well-written characters with some gentle craftsmanship, and gives attention to two detailed performances in a heartfelt expression of love and understanding. BFI Flare runs from March 17th - 28th, for more info visit: https://www.bfi.org.uk/flare - #TaryllBaker

★★★ Directed by: #ShehrozeKhan Written by: #MohammedallyShushtari & #ShehrozeKhan Starring: #CarlaElenaRodriguez, #MohammedallyShushtari, #GianbrunoSpena Short Film Review by Taryll Baker Chocolate follows 17-year-old Jordan, who has grown up his whole life without a father. When his elusive uncle comes to visit for the weekend for the first time in years, the balance that Jordan's mum has strived to maintain at home starts to turn to chaos. It’s a story that places focus on strenuous, estranged relationships, the affect that can have on a child and how things can change when things that were crumbling attempt to repair. Jordan (Mohammedally Shushtari) is fatherless and has built a trusting relationship with his mother (Carla Elena Rodriguez), who supports him through all his football ambitions, giving him a somewhat strict but flexible upbringing. That is until his uncle (Gianbruno Spena) shows up and everything is turned upside-down. The bond between mother and son is tested as a new bond between uncle and nephew builds, but there is a secret being kept from Jordan that eventually comes to light. Chocolate, the new film from Shehroze Khan shows viewers what I assume to be a very relatable fragment of parenting and childhood. There are themes of love, anger, respect, and betrayal thrown into the mix and, across its 25-minute runtime, tackles all of them fairly well. Three solid performances bring all the action to life from a shaky script; there are scenes that feel genuine alongside those that are a touch on the forced side, but overall this is a pretty engaging piece. As the film progresses and reveals its secret, which is predictable but welcome, the tension that was building from the start finally boils to an explosion of conflicting feelings. It’s in this particular moment where the actors get to shine in their own way, with a fair-sharing of screen time and given dialogue/emotion. As this is a very brittle and rough story, the camerawork reflects that and features a lot of handheld shooting as well as a cold and raw tone to encase that. In every sense, this feels like a very British film, even though the subject matter is relatable to anyone who may come across it. Chocolate takes its time with setting up characters and reveals, the bonds, all with little pieces of relationship history to make the characters feel more lived-in and alive. It does struggle with its presentation, though. The pacing is slow and steady for the first three quarters and then it goes full-throttle which feels a little jarring. It could also use a cleaner and more attuned soundtrack with more care taken to the visuals, including the opening/closing credits, which may seem like a small detail, but one that can accelerate a film to better heights. That said, the familiar story beats and good performances make for a pretty enjoyable watch, so Chocolate succeeds in that respect. - #TaryllBaker

★★★ Directed by: Roy Dipankar Written by: Roy Dipankar Film Review by: Jason Knight In his second documentary, Dipankar examines the history and progress of underground metal music in India, Pakistan, Sri Lanka and Bangladesh. Dipankar and his film crew travelled around these countries for five years, interviewing and filming underground metal artists and documenting their performances. The result was an informative and interesting insight into the underground metal music world of these countries. It explores why people choose to follow this kind of music and how various artists and promoters have contributed to its expansion. Some of them state that this music is an escape for them from all the issues that affect them, such as politics and religion. Just to clarify: underground music is considered to be music that is not being legitimately commercialized, as opposed to mainstream music. The film contains many interviews that show vocalists, guitarists, bassists and promoters as they talk about their passion for underground metal and a great deal of footage of bands performing in front of crowds. The documentary also explores the political issues that their countries deal with, and therefore includes news footage of large crowds of people protesting, and (just to let sensitive viewers know) brief sequences of people being hurt and graphic injury. As religion is also part of this project, there are also religious ceremonies. Unsurprisingly, since this documentary focuses on metal music, there is plenty of that to be heard. It is experienced when various bands are performing and that pretty much takes place throughout. Animation sequences are also present, during which a pentagram moves from one location to another, over a map of India and the surrounding countries. The pentagram symbolizes the film crew as they travel and it is a rather clever and creative technique. Generally, the film does an effective job in presenting the level that this music has reached in these countries and it appears that it has gained many devoted followers. The performers and promoters come across as likeable and intelligent individuals. The film also provides an insight into life in those countries, by addressing their religions and politics. #JasonKnight

★★★ Written & Directed by: #RaphaelFrostGonzalez Starring: #TaylorHancock, #RaphaelFrostGonzalez Short Film Review by Taryll Baker A relationship is tested when one friend, Ezra, asks the other, Gavin, to help him commit his suicide. A somewhat comedic or light-hearted take on a serious subject, The Living shows a friend crying for help with ending his life. Ezra (Taylor Hancock) is tired. He believes that no-one likes him anymore, that there is no purpose for him. Gavin (Raphael Frost Gonzalez), his only friend, willingly agrees to assist. As the film progresses, their friendship is tested with many hurdles. Opening with no effort to ease the viewer into the dark themes, writer and director Raphael Frost Gonzalez drops the question right off the bat and things are set in motion. Across its short runtime, The Living places focus on two friends who seem close but probably haven’t seen each other in a while, showing what their relationship is like, and what kind of people they are. Over this time, filled with some fun and charm set inside a beautiful house in the plains, Ezra and Gavin connect in ways they never thought possible. There’s a lot of conflict both physically and internally for both men, and by the end of the film they seem changed, though unchanged in some strange way. Challenging an audience to view tough materiel with a lighter mindset is hard, but Gonzalez’s execution both in the witty dialogue and familiar direction makes it somehow work. It’s not the most perfect blend of humour and weightiness, but since people do utilise comedy as a means of covering up true feelings, or just as a coping mechanism, it’s believable. The two characters are played well by Hancock and Gonzalez, though I wish there was more time to expand on the topic of suicide and perhaps shine more light on the affects it can have, but there are other stories out there that do this and so, in a way, The Living is sort of refreshing. The location used in the film — an expensive looking house in the plains of what seems to be a wind turbine farm — is captured wonderfully by Emily Tapanes. There’s plenty of light coming through each scene, thanks to the design of the house, which makes for some nice framing. Additionally, the uplifting score by Alex Twomey brings some more brightness and while it doesn’t leap out, it seems like a fitting piece for this unique little puzzle. The Living, first and foremost, is a film about friendship. The test of bonds and how hurdles can be jumped. It’s also an important film about a very real subject, and though it takes a more shaky route than other stories, it ends up in a fairly satisfying place, even with its question or two to spare. Watch the trailer for The Living below. - #TaryllBaker

★★★ Directed by #ElinMargaretaNordin Written by #ElinMargaretaNordin Starring #MiguelRowlanes, #VictorNascimento, #ElinMargaretaNordin Film Review by Amber Jackson Actress Mabel (Elin-Margareta Nordin) is described as having the world at her feet because of her longstanding celebrity status. Yet, the reality shown in Elin-Margareta Nordin's eponymous short film exposes a more painful reality. In just several minutes, Nordin's film conducts an exploration into the realities of achieving stardom at a young age and how Mabel is forced to confront herself and her talents as a woman. Although presented well and maintaining a unique artistic license, this short film unfortunately lacks in some areas concerned with narrative and character development. Mabel is ultimately clever in what it does to recreate the look and feel of a silent film. Even though it is a short film, it provides a 'look-in' to Mabel's life; we are not provided with any knowledge except for her fame and we do not know the before and after events of this short sequence. The recreation of sepia tones combined with the editing to make the footage look old and grainy is an effective modern take on early cinema that is certainly intriguing. The use of music again feels classical, reminiscent of a silent film, and begins to sound more 'tech-y' and contemporary as the film progresses. This does well to build up intensity for the end of the film, as the reality of Mabel's actions sets in for the other characters. Despite its eerie feel, the rhythm does become repetitive in parts, but this may have been the artistic intention, so as to recreate the vibe of an old film. The focus tended to be placed more on the dialogue written on the intertitles (title cards) rather than on the acting of the characters. This unfortunately, to an extent, removes the viewer from the action. In doing this, whilst there is clarity as to what the characters are saying to each other, some attention is taken away from the facial expressions and reactions of the actors. Acting-wise, the performances given by the three on screen were great, but it was sometimes hard to gauge what their responses were to the dialogue and events. This means that, in such a short space of time, the storyline is not very clear in terms of what Mabel's motivations are as a character. This lack of narrative clarity confusion certainly resulted in some confusion. Why does she feel the way she does? Or are we not supposed to know? Suffice to say, this film does have a good level of artistic license. Repeated shots of both the domestic space and the outdoor spaces effectively build elements of foreshadowing for the events to come. Each scene feels cold and uninviting and is filmed differently to the last in that the camera is positioned at all various angles as if closing in on Mabel herself. Any viewer can definitely appreciate the thought that went into the filming of this short. However, what lacks is some depth with regards to the viewer, who are arguably too emotionally distanced from Mabel's story. However, Nordin has embarked upon several projects since Mabel and is continuing to create short films, all with original ideas. It will be great to see her future projects and how she continues to tell thought-provoking narratives. Watch the trailer for Mabel here: #AmberJackson #Mabel #shortfilm

★★ Directed by: #ElmerJHoward Written by: #MelissaMartin Starring: #EmilyKokidko, #SaraBrophy, #ThomasSmallwood Short Film Review by: Corey Bulloch There's a good idea somewhere in here, the character arc set forth for Lucy, our protagonist is to conquer her personal crises and reclaim her identity through the empowering spectacle of drag. That seems to be the clear layout in Melissa Martin’s script for Kings and Queens, unfortunately, though the potential is never reached in this film. There is an utter lack of vision in the filmmaking that makes this story have no impact, the script has its fair share of issues alongside director Elmer J. Howard’s execution, quickly devolving into melodrama with its hasty resolutions. Leaving audiences with Lucy’s journey on screen having little authenticity thus making any larger thematic power diminish. Though the execution of the story is flawed, there is a clear respect for the subject matter from Howard and Martin, with no diminutive humour or derogatory behaviour Kings and Queens feels designed to be a celebration of drag. Utilising Portland Maine’s actual drag scene from Blackstone’s bar to cameos from pageant winners Cherry Lemonade and Gigi Gabor, the filmmakers have the best intentions to recreate a perfectly authentic world to drop Lucy into. Though it doesn’t amount to much beyond mere set dressing as Howard’s direction can’t create a cinematic atmosphere for Lucy and the audience to be entranced by. So much of Kings and Queens falls flat from scripting to cinematography, it's frustrating how the spirit of drag is disconnected from Howard's filmmaking. There is no vigour on the screen, it just feels like a Lifetime movie, with the eye-rolling melodrama robbing the realism of Lucy reconciling with herself and embracing a drag king persona. Lucy, a struggling young woman, living with her ex-girlfriend who after getting a job at Blackstones becomes interested in the drag scene. Emily Kokidko’s performance is initially appealing but diminishes as Martin’s script stumbles in laying out her character’s history and motivations. Kings and Queens doesn’t feel like a full journey for its characters, Lucy’s backstory with ex-girlfriend/roommate Harper and her strained relationship with her parents feel rushed and underdeveloped. Thomas Smallwood’s character Eric, who mentors Lucy's initial interest in drag culture has a good scene in sharing the appeal and struggles in creating a persona but we never see Lucy go through those revelations for herself. There is a conflict of course but Lucy’s endeavour into drag comes across more as a distraction from her troubles than a soul searching journey. Whether that was Howard’s intention or not, Kings and Queens just cannot shake the feeling that something is missing. It lacks a cinematic identity and underwhelms in its portrayal of this euphoric culture despite its welcomed representation. #CoreyBulloch #shortfilm

★★★ Directed by: #BernardKordieh Written by: #JessieGraceMellor Starring: #LeonHerbert, #AdwoaAkoto Short Film Review by: Corey Bulloch Let’s start this review off with my favourite thing about the film because it expertly guides The Prayer out a trap so many short films can fall into, thus immediately vanishing into obscurity. The cinematography, while Bernard Kordieh’s direction of performance and tension is terrific in its own merit, it is the atmosphere created by Matt Perden and Tom Walder that make this film stand out. The fantastic use of colour and focus makes the forest setting almost ethereal, which lets Kordieh make the dilemma of the main character Grace all the more palpable. Many short filmmakers of low budgets (myself included) are guilty of having actors walk in the woods in place of unique imagery, it is convenient and free but never makes for anything memorable. The Prayer is a wonderful exception as Perden and Walden really do fantastic work in making something out of nothing. You are gripped into this world with its faded yellow colour grade and soft depth of field, allowing the actors to stand out within the frame. Jessie Grace Mellor’s script builds a mystery out of its few elements mainly the relationship between Adwoa Akoto’s Grace, Leon Herbert’s Jacob and the large bag being carried through the forest by them which suspiciously moves every once in a while, as if someone was inside. Morally dubious actions within the woods immediately create subconscious Miller’s Crossing comparisons but Kordieh’s direction doesn’t invite imitation. While the resolution to the film’s narrative is slightly underwhelming, with a lack of clear answers, the performances make it riveting regardless. With Akoto’s empathetic morality clashing against Herbert’s calculating authority, you can definitely get a sense of the larger history between these characters. They do not appear to be credited in the film’s titles but whoever was responsible for costume design on The Prayer did fantastic work. Beautifully complemented against the cinematography, Grace’s metropolitan fur hat and coat pairs against Jacob’s outfit resembling a modern preacher from a western. They both look fantastic and Teryne Philips make up work just adds another layer to the film’s visuals. Adwoa Akoto is glowing in her scenes, capturing this fragile innocence in her desperation against Jacob’s commands. Herbert’s gravelly voice when he calmly speaks makes Jacob a great antagonist, despite the tension in their character’s mission, there is no doubt in his control and faith that what he needs to be done will be accomplished. Kordieh and Mellor give The Prayer lots of little details in its dialogue and direction, it is a simple story and mystery but feels too vague to be resolved satisfactorily. It’s still stunning with its visuals and performances but its a film that definitely leaves you wanting more. #CoreyBulloch #shortfilm

★★★ Directed by: #IvoVanAart Written by: #DaanWindhorst Starring: #GenieDeGroot, #KatjaHerbers, #ReinHofman, #BramVanDerKelen, #AchrafKoutet Film Review by Taryll Baker Columnist and author Femke is flooded with anonymous nasty messages and death threats on social media. One day she has enough and decides to take revenge. Ivo van Aart’s dramatic thriller is an interesting look at social media, how toxic it can be, and how harmful. The internet is an open world of connectivity; that can be a good and a bad thing. While it’s incredibly useful to keep up with news from around the world, as well as friends and close-ones, it can be an easy way for haters to get to you. Words can be nothing, but they can also be harmful. There’s always the option to simply shut off and not read comments, tweets, private messages; but some are so swept up in the craze of social media that it can become addicting — far too hard to resist clicking and scrolling to find more and more things that can cripple your mood and strip away at your happiness. In The Columnist, Femke (Katja Herbers) experiences all of this, continues to indulge in it and thus, finds herself taking action. Although Femke is a target of online harassment, she’s also not the easiest of character’s to connect with. She comes across as very tough-shelled, hard to crack. She’s actually on the thin line of likeable and unlikeable. Some of her actions are reasonable, others completely unjust. This is of course, a fictional piece weaved within a very real and serious issue, so while it is relatable, it’s also an exploration of “what if?” and in that sense, the film gets to become more experimental with its genre. Herbers’ performance is quite brilliant given the role she gets to play with. There’s plenty of broodiness, sharp-eyed stares and the feeling of hatred underneath a fake smile. Her evolution to becoming a vengeful spirit is entertaining whilst far-fetched, so her part is really the most investing of the film. The Columnist is a regretfully enjoyable watch, even with its killer edge and totally crazy story. It does lack some better-written supporting characters, as like mentioned before, Femke really is the only noticeable force. One character spends most of the film telling her not to read comments, and then ends up showing her comments, which was strange. It follows the typical routes of any thriller, and Femke seems to get her way pretty easily without much oppression, but it doesn’t detract too much from the entertainment value. It would have been nice to see more of a resolution to the idea of online abuse, in fact to place a little more focus on that, but I suppose The Columnist is more set on being a revenge story than a think-piece; though this might make some people think before they spread hate… Sheeeesh. Running at just over one hour and twenty minutes, Ivo van Aart’s snappy genre-bending style draws you in fast, but beyond Herbers’ performance, there’s really not much else to savour. On Digital Platforms March 12th. #TaryllBaker

★★★ Directed by: Rob Schmidt Written by: Alan B. McElroy Starring: Eliza Dushku, Desmond Harrington, Julian Richings and Jeremy Sisto Throwback Film Review by: Rachel Pullen Wrong Turn Movie Review I did some thinking, I said to myself “Hey, you’re more than a one-trick pony, how about we talk about something other than horror, other films exist you know''...and I was like ok, let’s watch some thrillers then. And while I scrolled and scrolled through Netflix and Amazon’s choices of anything but horror I somehow, kinda accidentally clicked on a horror gem that I had always avoided called Wrong Turn. You may be wondering why I avoided it since 2003! Well personally I was busy and I'm not a creature feature kind of gal, and the idea of weird, deformed mountain folk trying to eat people in the desert/mountain/other large areas sparse of humans, just always felt a little over played and dull. There is little substance and we have seen it time and time again since The Hills Have Eyes came out, but with its upcoming remake release, Amazon was doing a good job pushing it into my feed until I gave in a clicked play. Wrong Turn tells the story of Chris (Desmond Harrington) who is running late for an important job interview and when he is faced with a highway gridlock he heads onto the back roads and ends up smashing into the only other car on the road...ever...way to go, Chris, with those observation skills I hope you don't get the job. He decides to chum up with these other peeps as they head into the mountains to look for some help, but it’s not long before they realise their accident was not so accidental and that they are being singled out by a bunch of cannibalistic hillbillies, queue banjo solos now. Now normally I would have checked out but Wrong Turn had a level of class in regards to the execution of the whole affair; the opening credits are the only clue we have to the hillbillies’ desire to eat humans for most of the film, and it’s not until the end of the movie that we find out that they are resistant to pain, we don't ever see them enough for us to find them silly, we are constantly in the position of the victim, running from the hicks and seeing them at a distance, keeping us the viewer kind of in the dark, and truly creating a sense of realism to a some what silly idea. In essence, like Chris and his new pals, we have no idea what the fuck these badly dressed mountain folk want from us. Wrong Turn gives us suspense by the bucket load, the hillbillies stalk silently, blending into the hillside, knowing every area, always giving them the upper hand over their victims. We see the road in the distance only to have them drag us away, we hold our breath as we hide in the closet as the hicks move around us, and although, as I stated hill billy cannibal killers ain’t my bag, you can’t deny the energy and viewing pleasure that brings to any horror flick, basically if you’re not holding your breath with them or screaming “run!!” as they dart away from the killer, then you’re watching a bad movie...or you’re a robot. This film gave me a lot more enjoyment than I had ever expected, and I am the sort of person who can’t admit when I am wrong, so much so I wish I had seen this film sooner, and maybe my lack of faith, if you will, in what Wrong Turn was going to provide me, is what allowed me to really love every element of it. These kind of films are not there to be taken seriously, it’s hillbillies, who wanna eat people, we are not really dealing with a Cannes film submission here, and with that in mind it’s hard to not enjoy it for what it is, a film that lives to cash in on the teen slasher flicks of the late 90's / early 2000's and I'm all about it, slather me in mud and send me into the hills because out running those hicks seems like a fun team-building exercise. Now there are like a million sequels apparently and number 2 has punk rock singer Henry Rollins in it so that's gonna be a riot, maybe I won’t do them all as apparently they get rather awful, but you can’t keep me from Mr Rollins: his dead pan face/acting style is erotic at best, are you mad or sad...I can’t tell. So what have we leaned this week? The mountains have secrets Doctors are unobservant And hillbillies have the worst fashion taste. Happy hiking. #RachelPullen