★★ Directed by #AoifeCrehan Written by #AoifeCrehan Starring #MichielHuisman #SamuelBottomley #NaimhAlgar Film Review by Hope Madden A few months back, Jamie Dornan and Emily Blunt stupefied us all (well, the dozen or so of us who saw Wild Mountain Thyme) with an Irish romance about as authentic as a Shamrock Shake. Writer/director Aoife Crehan’s The Last Right takes us back to the Emerald Isle to see if there’s any romance or magic left. Oh, there is? Well, fine then. Dutch actor Michiel Huisman plays Daniel Murphy, Irishman. Or American. Well, that’s fuzzy, but he’s certainly not Dutch, although his accent is tough to pinpoint. Daniel’s been called back from Boston to County Cork for his ma’s funeral, and to look in on his younger brother Louis (Samuel Bottomley, Get Duked!) And old man – also named Murphy – dies on the airplane and authorities believe Daniel is his next of kin. They want him to deliver the remains to a church on the northern tip of Ireland, but that’s not his responsibility plus he has all this work to do and he can’t wait to get back to Beantown where his fancy lawyer job waits for him. But Louis wants to go, and Louis has autism, which is where the film really gets a bit off the rails. Crehan nods to Barry Levinson’s Rain Man early into the cross-country drive between two brothers with a large age gap, a long way to go and a lot to learn. Along for the ride is mortuary assistant Mary (Naimh Algar) and more contrivances than you can shake a shillelagh at. Performances are solid. Algar brings a fiery spirit to the roadtrip experience, and Crehan fills small roles with the venerable talents of Brian Cox, Colm Meaney and Jim Norton. Plus the scenery is gorgeous. There is a perfectly middle-of-the-road romantic dramedy here somewhere. You may enjoy it, assuming you can get past the tangle of convenient plot twists and you don’t wince at the device of an autistic character (played by an actor who is not on the spectrum, although Bottomley delivers a layered and respectful performance) teaching the real lessons. #HopeMadden

★★★ Directed by #AnthonyScottBurns Written by #AnthonyScottBurns Starring #JuliaSarahStone #LandonLiboiron Film Review by Hope Madden There are elements of Anthony Scott Burns’s sci fi horror Come True that put you in mind of early David Cronenberg, although what Canadian filmmaker hasn’t been inspired by the master? Like Cronenberg, Burns sets his unnerving tale amid the humming florescents, beeping machines and grainy medical equipment displays of an institution—someplace hospital-like, if not quite hospital-proper. But where Cronenberg usually populated these dreary medtech landscapes with the most disturbing body horror, Burns has other, slower terror in mind. This is where 18-year-old runaway Sarah (Julia Sarah Stone) finds herself. Nights spent on friends’ couches or at the local playground have Sarah strung out enough that a two-month sleep study sounds exactly like the safe, sound rest she needs. Unfortunately, Sarah suffers from nightmares. This is where Burns develops a marvelous sense of universal dread. As his camera (he also acted as cinematographer) weaves through hallways and caverns too dark to truly make out, human shapes or something like them hang, drape, congeal and otherwise loom in shadows. They are at unnatural angles and heights. Some seem to be looking at you. What Burns sets in the corridors of Sarah’s mind abandons the Cronenberg universe in favor of a terror more reminiscent of Rodney Ascher’s documentary, The Nightmare. Whew—heady stuff, and big shoes to fill. Burns follows through with the tone and look of the film, creating a dreamy, retro vibe that he amplifies with a score by Anthony Scott Burns, Pilotpriest and Electric Youth. He also has quite a find in Stone, whose elfen look perfectly suits the project. She projects something scrappy, vulnerable and otherworldly and she carries this film on her narrow shoulders. The cast around her does wonders to suggest a backstory that isn’t shared, each pair or group with its own lingo and worn in rapport. Where Come True falls short is in its story. The slow pace eventually works against the film. Worse still, it’s hard to see the climax as anything other than a cheat. Come True leaves you feeling massively let down, which is truly unfortunate after so much investment in a world this well built. #HopeMadden

★★★ Directed by: #SeamusHaley, #LaurentRichard, #AuréliaRouvier Written by: #SeamusHaley, #LaurentRichard, #AuréliaRouvier Film Review by: Emily Davison The enigmatic street art icon Banksy is the focus of debate and discussion by various talking heads in this intriguing documentary. Banksy Most Wanted (2020) is directed by Paris-based filmmakers, Seamus Haley, Laurent Richard and Aurélia Rouvier in their first collaboration together and combines a journalistic approach with a passion for art in an entertaining investigation into one of the biggest figures in art. The film is presented with a combination of interviews, archive footage, news reports, photographs of Banksy’s graffiti, modern day footage and facts illustrated as text to inform viewers of different events if they are unaware of the context being examined. The documentary is consistently engaging throughout and is directed well, with a visual energy and fast pace establishing debates related to Banksy’s art and its impact on society. Although helmed by Paris-based filmmakers, the interviewee experts and journalists as well as members of the general public are mostly English and based in Bristol where Banksy was raised, with a couple of French experts pitching in their own views on the street artist. One of the most compelling and arguably strongest elements of the film is the focus on the mystery surrounding Banksy’s identity and the ethical debate on whether or not he should be revealed to risk losing the mystical feature that his art bestows on the world. It is an interesting and relevant topic for a feature length documentary to explore, as there are aspects which everyone can find fascination in, such as the political statements associated with Banksy’s art or the mystery surrounding his identity and the public’s views on these points of discussion. There are a handful of insightful interviews which reflect on the social and political impact the icon’s illustrations have had on communities, as well as addressment of the other public opinion which suggests that people do not want to know his true identity. For example, a woman expresses her disappointment in the council moving graffiti of a boy playing in ash from a fire in a dumpster due to its political allegory associated with the area and indicates that Banksy shares his art for the enjoyment of the public and not for economic gain. This moral and ethical debate becomes an interesting point of contention on whether Banksy’s art should be valued for monetary gain or for its artistic vision alone. The documentary offers a good summarisation of Banksy’s rise and impact as a street artist for those who may be more unfamiliar with him and want to find out more. However, the cinematic style and energetic pacing does sacrifice depth on certain issues which are raised but are never given full treatment of focus, which may be a disappointment for fans who have been following Banksy’s work for years. The film does often feel like a series of snippets and insights which only scratch the surface of what could be explored, but this does not detract from the overall intrigue and fascinating discussions the filmmakers do choose to explore. Banksy Most Wanted offers a thoroughly entertaining and thought provoking examination of one of the world’s most enigmatic art figures and its energetic direction is enough to sustain interest throughout but may not satisfy long-term fans of the titular street artist. #EmilyDavison Banksy Most Wanted (2020) Film Trailer: RELEASING ON MARCH 22

★★★★ Directed by: John Fraser Written by: John Fraser Starring: Peter D Flaherty, Sarah Timm, Krista Vendy, Jack Campbell, Kym Valentine, Lee Mason Film Review by: Jason Knight A photographer attempts to rescue a young girl from a life of prostitution and create a better life for himself. Eugene (Flaherty) lives with his ill father in a rundown neighborhood. He photographs people in the streets, as they commit bad deeds, such as assaulting and taking drugs. He tries to sell the pictures to an arts magazine. One night, he finds out that a group of criminals are operating an illegal brothel in his area. Later, he sees one of the unfortunate girls being taken to the hospital and he decides to rescue her. The girl's name is Josephine (Timm), an illegal immigrant. Unfortunately, the leader of the crooks, Daddy (Campbell) finds them and demands a large sum of money in order to leave them alone. Eugene and Josephine go to desperate measures in order to raise the money and move on. Taking place during the nineties, this Australian, hard-hitting thriller provides an insight into the world of illegal immigration and forced prostitution. It explores the struggles of unprivileged individuals but at the same time, it shows the goodness of the human spirit. There are many uncomfortable and distressing scenes, including nudity and a rape scene. But the film also has moments of tenderness, particularly in the relationship that develops between Eugene and Josephine. Flaherty is very convincing as a well-meaning, socially awkward person, who dreams of better days and becomes determined to help Josephine. Timm delivers a heartbreaking performance as an individual who lives an awful life and has been through devastating times and wants to escape from prostitution. Campbell is rather menacing as the ruthless, coldhearted leader of the villains and serves as the main antagonist. Shot in black-and-white, the cinematography gives the film a bleak look, which serves it well, giving the nature of its contents. Fraser directs well, generating terrific establishing shots. There is also a montage, which makes effective use of superimposition. The score by Asher Pope fits very well with the scenes. It is dramatic, tense and emotional and creates the idyllic atmosphere when it is added. Choir Girl is quite a dark film, focusing a great deal on the bad side of the world, such as prostitution and crime. There is a lot of suffering and there does not seem to be much hope for the heroes. This movie is not for everyone, but it is very well made, with great acting, interesting characters and an intruiging plot. It is worthy of praise and recognition. #JasonKnight

★★★ Stars Directed by: #GitanjaliRao Written by: #GitanjaliRao Starring: #AmitDeondi, #CyliKhare, #AmardeepJha, #AnuragKashyap Film Review by: Alicia Moore “Bombay Rose is a beautifully hand-painted animation created by award-winning animator, Gitanjali Rao. Amidst the bustle of a magnetic and multifaceted city, the budding love between two dreamers is tested by duty and religious divides.” Bombay Rose is simply a spectacular feast for the eyes, carrying a heavy story underneath its glamorous colour. Salim (Amit Deondi) and Kamala’s (Cyli Khare) love finds its place within the minds of the two caught in its grasp, as they face many obstacles in their daily lives that stop them from embracing each other as they please. They both dream of a world that can carry their romance and enhance it; making every colour that can be found in Mumbai shine with a newfound sense of purpose. Alongside this story of Salim and Kamala, side characters are given spotlight as well; they intertwine with that of the pair’s twisting paths, holding elements that connect full circle to the rest of the characters, but still take their own lead when they are seen front and centre on screen. Many have criticised this aspect of the film as it can, at times, feel quite overwhelming due to the focal point of the film, as it is promoted, not always being the actual true focus. I did feel the same way, however I quickly began to realise how much this overwhelming feeling should be appreciated instead — taking away the connections of the side characters to the lovers for a moment, the addition of their stories, creating an immerse impact on viewers, is perfect for establishing the yearning of Salim and Kamala. They live in a place that is always so fast paced, a place where they cannot swim to each other without quickly disappearing underwater against their will once again. The ‘side stories’ act as the current here, amplifying the struggle of hearts and also carrying them through the film’s duration as a whole. The entire animation department of Bombay Rose should receive praise in the highest of volumes. It seems that a handful of different art styles are used throughout; just from my own eye there is some beautiful variance in the features of characters and backdrops in regards to how they are painted and produced. There is also an abundance of different techniques used that can be interpreted by audiences across the global in a universal language, such as playing with the idea of visual focus. Main characters appear on screen with their details shown in full light and lines, whereas other individuals in the background of the shot are blurred along with any objects surrounding them. I like to think of this as a subtle representation of how love and deepest expression alike can blind someone, as if the rest of the world melts into simple shapes and moves only like a gust of wind past them. Colour is of great significance in this film as it is the centre of all brightness in a story that pulls at the heartstrings, as well as giving a capturing hue to the people and objects who ever so slightly fade into the background of the lives of lovers, daydreamers and ones stuck in a state of reminiscence. I happily recommend Bombay Rose — there’s a lot I had to hold myself back from talking about in this review as I didn’t want to flood my writing with spoilers, so there is even more stunning aspects of the film to be discovered outside of these words. If you’re looking for a new release on Netflix to watch this weekend that can contrast with the gloomy weather currently rustling outside, this film might be the vibrancy that is needed to complete your search.

★★ Directed by #EdwardDrake Written by #EdwardDrake #CoreyLarge Starring #BruceWillis #FrankGrillo Film Review by George Wolf Knowing that Cosmic Sin comes from the writers behind last year’s Breach probably won’t fill you with confidence about their latest sci-fi adventure. But the good news is Edward Drake and Corey Large are improving. Very, very slowly. Drake also takes the director’s chair this time, and coaxes a mildly interested performance out of returning star Bruce Willis (which Breach could never manage). The year is 2524 (remember that) and Earth’s forces have formed the Alliance of colonies throughout the universe. Willis is General James Ford, renamed the “Blood General” after he wiped out one of the colonies with a “Q-bomb” and was stripped of rank and pension (ouch!). But minutes after learning of first contact with an alien life form, General Ryle (Frank Grillo) calls Ford back to duty, where he’ll join a rag tag group of you know who to make a heroic you know what and save you know where. Drake and Large (who also plays Ford’s sidekick) clearly blew the budget on Grillo and Willis (Grillis!), with a side of Costas Mandylor. 500 years from now looks a lot like next Tuesday, while planets light years away look like next Tuesday in Michigan. And still, cinematographer Brandon Cox manages some slick deep space panoramas…that are often ruined by Saturday morning-worthy effects of our heroes flying through the stars and “pew pew pew”-ing in battle with the aliens. Likewise, Drake and Large’s script toys with the meaty issues of war, sacrifice, and colonialism, only to abandon them in the name of heroic grandstanding. Potential threads (and Grillo’s entire character) grab our attention and then vanish at random, rendering much of the 88 minute running time a meandering mess. Still better than Breach, though. #GeorgeWolf

★★★★ Directed by: #DanielAlexander #ChrisMcQuire Written by: #ChrisMcQuire Starring: #ChrisMcQuire #SharniTapakoBrown #PatriciaHobday #TenishaWhite Short Film Review by: #ChrisBuick When his addict sister Lily (Tapako-Brown) comes to him desperate for yet more money so she can keep her place in rehab, Michael (McQuire) finds himself out of options and having to turn to desperate and horrific means to get his hands on some cash and ensure his sister continues to get the help she needs. It may not be until the end credits start to roll that one might fully realise just how well put together A Past Tense really is. Sure, one can definitely appreciate both its technical prowess and acting talent right from the start and throughout, but A Past Tense is constructed in such a way that only when all is said and done can you sit back and really appreciate how deftly and intelligently it brings all of that together to tell its story, feeling like a giant jigsaw puzzle where only Director Daniel Alexander and writer/actor Chris McQuire have the picture on the box, choosing only to reveal all at just the right moment. “Blurred are the lines between right and wrong” It’s not a case of getting lucky either, Alexander and McQuire make for a really good team who know they have to earn the impact of their ending and they do the proper legwork to get us exactly where they want us to be, and through that hard work are able to deliver their eye-widening finale with great aplomb while also allowing us to understand Michael’s situation while never forcing us to sympathise with him. Not only that, but A Past Tense presents itself to an incredibly high technical standard as well, both the look and feel of the film firmly planting its melancholic feet right from the start and while the fact that it never really makes a move to change gear tonally throughout does make for quite the heavy quarter of an hour of film, it always manages to keep things balanced just enough to never descend into complete despair or melodrama. All of this is bolstered by some really good performances all round. Tenisha White as Amy does well with a couple of fleeting appearances. McQuire’s anguished expressions seem to come from a really genuine place and undoubtedly convinces as a man faced with disaster no matter what road he takes. Tapako-Brown handles her addict role not just with a commendable level of respect, but also manages to explore a number of layers in her performance such as finding ways for Lily to barb Michael with painful guilt while also never being able to hide how fragile she really is. But special mention must go to the heart-breaking portrayal of Hobday’s Mrs Gallagher, who not only rounds off an already applaudable film but is instrumental in its triumphant finish. A Past Tense is deftly paced, well written and eloquently presented piece of filmmaking both technically and in its performances and one that can be equally rewarding and perhaps even appreciated all the more on subsequent viewings. #ChrisBuick

★★★★★ Directed by: #ShaunJamesGrant Written by: #ShaunJamesGrant & #LukeShentonSharp Starring: #JaneDowden, #YannGael Short Film Review by Taryll Baker A couple on an ominous journey pull into a rest stop diner in the early hours of the morning. As Hope opens, I’m immediately met with the smokiness of 35mm, accompanied by a short monologue that plays over a nighttime journey to a dreary diner. Credited only as Him (Yann Gael) and Her (Jane Dowden), the couple hesitantly sit at a booth by the window, exchanging looks of angst; a disquietness that shows that this isn’t their first stop at a diner, and probably isn’t their last. As they order two coffees it’s clear that lack of sleep and worry is keeping them up, with the caffeine being more of a necessity of normality (being in a diner, what more is there to order?). The two are strong within each other’s company, but each falter to reveal their true feeling once alone. When they finally confront these feelings together, the picture takes its upturn to reveal what it is they are journeying so far and so long for. Every piece of this affecting drama is practically perfect, from the wonderful duo of Jane Dowden and Yann Gael, to the beautifully warm cinematography by Patrick Goaln, capturing their raw performances with great intimacy. There’s a stunning grain overlaying these visuals (thanks to shooting on Kodak 35mm) that brings out a sense of naturalness; like the shots were so uniquely stripped-back that any further touches would lessen the appeal, though I’m sure some tweaking has been done, which only impresses me more since it looks so organic. Connecting the tissue of the story and visual is a simply gorgeous score by Kyle Preston, which accentuates all the feelings brought forward by the actors. The final piece that plays over the last shot is one of the best pieces of music I’ve heard written for film this year. On a technical level, Hope is a phenomenally rich and textured film. Taking the simplest route for a story such as this can be so beneficial and in every sense, this film mastered that notion. It’s very well paced and has a superb edit, great costumes, sound; it all feels very tight. Every element spun into a singular visual and audible treat that slowly brews, and as the film creeps to its close, a tear-jerking moment simmers before the credits ease you out. Hope is a remarkably small but moving film. The theme of hope is strong, and the music, visuals and performances drive it home. - #TaryllBaker

★★★★ Directed by: #TheBrindleTwins Written by: #TheBrindleTwins Film Review by: Patrick Foley Being a football fan is miserable right now (and I say that not just because I support Liverpool). Empty stadiums, mind-boggling VAR checks deciding games, pay-per-view – for the majority of us the game has lost sight of what made us fall in love with our teams. But we are after all lucky that our teams are still there for us. The Premier League, Championship, and European leagues are still on every weekend. Grassroots reminds us that away from the glitz and glamour, thousands of Sunday league pitches are empty – and their teams’ absence hits their players and fans hard. Directed by twin brothers Alex and Lewis Brindle, Grassroots is a short tribute to the beautiful game at its rawest, purest level. Black and white footage of the pre-match routine – from early wake-ups to arriving at the club with boots in hand – is overlayed with voiceover messages of players expressing their love for amateur football and the important role it plays in their lives. As we arrive at the pitch, the voices are replaced with eerie silence as the COVID-imposed emptiness reminds us that for the time being, none of it is there for us. Grassroots manages to be emotional, moving, depressing, haunting and uplifting all in the space of 5 short minutes. The authentic and honest eulogies from real Sunday league players, coupled with a homemade, simplistic directional style, make a faithful interpretation of the importance of the sport in people’s lives. The Brindle Twins’ decision to let real voices do the talking is a brilliant one, making the film relatable to its audience. The monochrome footage builds brilliantly with the vocals, to a crowning moment of a barren, empty pitch accompanied only by the sound of the wind. It is a perfect encapsulation of the loss felt by those in the game, and the space in their life that nothing else can ever quite fill. As the silence becomes almost unbearable, viewers will be relieved to see colour return to their screen, for imposed sounds of whistles and balls being kicked to form in the distance, and for one contributor to remind us: “It will be back”. And, as he goes on to state; perhaps we will all appreciate it more once it is. Grassroots manages to brilliantly represent the devastating impact of lockdown on Sunday league football, and the devotees for whom its loss shows it is more than just a game. And yet despite the unique, and hopefully temporary circumstances of the film’s creation, threats to the sport at amateur level have existed long before the pandemic, and will continue to exist once it is over. Lack of funding, support and infrastructure are challenges faced by local teams that also threaten their existence. In this context, the message of Grassroots extends far beyond 2021, and its tribute to amateur football is one we may need to constantly remind ourselves of.

★★ Directed by #PrestonAWhitmoreII #DavidWolfgang Written by #PrestonAWhitmoreII #TeriWods Starring #LanceGross Film Review by Rachel Willis Drug kingpin Bernard “Dutch” James (Lance Gross) rules the streets of Newark, New Jersey. In co-directors Preston A. Whitmore II and David Wolfgang's film Dutch, we watch the primary event that frames this crime thriller: Dutch is put on trial for an act of domestic terrorism. There is some mystery when the film opens. Is Dutch truly guilty of the crime? Is he being railroaded by the system? We get a glimpse of Dutch committing a crime as a teenager, but nothing at the level of what he’s on trial for. It’s easy to wonder if this is a set-up. Whitmore and Wolfgang don't sustain the mystery for long. It’s quickly forgotten as we bounce between past and present. You sense a powerful theme, but the movie isn’t interested in more than a surface reference to the legal system’s injustices. Dutch maintains a decent balance between the events of the past and the present drama. Unfortunately, the film contains quite a few dull moments. We’re forced to watch a prosecutor’s entire opening statement, which is about as boring as they are in real life. There’s a lengthy discussion about a meatball that could’ve been funny had it been delivered with more conviction by characters with a little more meat to their roles. And the acting is sometimes painful. Gross is the best of the bunch, but Dutch never seems truly dangerous. Gross brings the right amount of charisma to the character, but there’s nothing sinister. His history, as it plays on the screen, speaks to heinous crimes, but there’s never a moment where we feel we’re in the presence of someone who is capable of that level of cruelty – even as we’re watching him commit these shocking acts. This is the first film in a planned trilogy, but it’s hard to muster up the interest in any sequels after a painful first installment. #RachelWillis

★★ Directed by #JerrenLauder Written by #JulieAuerbach #JesseFederman #JasonScottGoldberg #JerrenLauder Starring #MichaelFlynn #RyanFFrancis #MorganAlexandria Film Review by George Wolf Big, old, empty houses are creepy, right? Lots of dark, musty spaces to get the imagination conjuring up all manner of nasty things that might be lurking. There are some nasty things lurking in Shudder’s Stay Out of the F**king Attic, but the way they’re conjured leans more toward laborious and silly. Shillinger (Ryan Francis), Imani (Morgan Alexandria) and Carlos (Bryce Fernelius) are three ex-cons working for the Second Chance moving company. When they show up to move the elderly Vern (Michael Flynn) out of his mansion, he surprises them with a hard-to-resist offer. If the three will work through the night to get the job done by morning, Vern will reward them with a nice chunk of cash. Two things, though: stay out of the attic and the basement. Bet they don’t. The use of the edited F**king in the title suggests a mischievous, knowing tone that got off the bus in a totally different zip code than director/co-writer Jerren Lauder. That’s too bad, because this film is in serious need of lightening up. Almost every element – from performances to dialog to cheesy score to practical creature effects – lands as stilted and overly staged. Though Flynn does make an effective villain and one particular creature ain’t half bad, even the brisk 80-minute run of Lauder’s feature debut seems like an overstayed welcome. As our Second Chance movers uncover secrets about Vern (and each other), Lauder leans on body horror closeups and weak jump scares on the way to a big reveal that is bigly ridiculous. Shudder’s been on an impressive run of originals lately, which makes this misfire a little surprising. Here’s hoping Lauder’s second chance will be a bit more worthy of the investment. #GeorgeWolf

★★ Directed by: #ColinDodds Written by: #ColinDodds Starring: #KyleMinshew, #AshleyBloom and #KatLee Film Review by: David Richards Colin Dodds’ comedy drama ‘But Let’s Not Talk About Work’ follows protagonist Adam’s dating life as his paranormal profession begins to crumble in an economical crisis. This fresh perspective of the combination of real world and demonic come as a pleasantly intriguing concept, which I for one, did not expect to captivate me. The surprise comes as the production fails to hold its own when delivering such a complex premise. The initial idea of NM.ECS (Non-mortal Element Contract Securities) is unique but is explained in ineffective way leading to the plot being confusing and ultimately lost. Although the 4th wall breaks are a nice touch in expanding the audience’s knowledge of this concept, it fails to fully communicate this. All other cutaways and inserts are appreciated for their experimental approach but get lost amongst the complicated plot in being too brief and furthermore confusing. In saying this, the process of time also gets lost until the climactic scene in which we learn that a significant amount of time has passed since the opening scene. The irony of the title is humorous and relative to the entirety of the plot, which I enjoyed. On the other hand, what I did not enjoy was the miss-hit comedic beats of the script which, although noticeable, do not work due to the dialogue being engulfed by the constant explanation of the protagonist’s profession and in turn the plot. Another element of production which contributes to the failed beats is the mismatched pace of the editing. The edit tends to cut at the wrong moments leading to jumpy scenes and mis-timed transitions between them. The performances of most actors are well executed and work with the characters involved within the narrative. In particular, Kyle Minshew’s portrayal of protagonist Adam is exceptional and strong. Mathew Dublin’s camera work is inconsistent in quality from shot to shot within certain scenes, but the compositions tend to hold their own. The soundtrack occasionally carries that of an 80’s drama theme which suits the aesthetic. The sound design works in most scenes but can sometimes feel too heavy and much like the editing, does not transition well. The production design is basic and doesn’t add much to the image of the film, however, neither does it take away. The fake cat sits as a clear representation of the productions low budget. Yet this sits well with me as it adds to the almost 80’s style and comedic aspirations which serves as an accurate reflection of the type of short film this is, one which is self-aware of its poor production value, so embraces it. Considering the noticeable skeleton crew with director Dodd’s and Director of Photography Dublin taking the reins on most technical departments of production, it comes to no surprise that the outcome is rough around the edges. However, in light of this minimal crew the final product of ‘But Let’s Not Talk About Work’ in being a fully formed short film is respectable. The core idea of this short is strong and with much work could be explored further.