★★★ Written & Directed by: #JoSungHe Starring: #SongJoongKi, #KimTaeRi, #JinSeonKyu, #YooHaeJin, #RichardArmitage Netflix Film Review by Taryll Baker Set in the year 2092 and follows the crew of a space junk collector ship called The Victory. When they discover a humanoid robot named Dorothy that's known to be a weapon of mass destruction, they get involved in a risky business deal. The first big sci-fi film of 2021 is here. Jo Sung-he’s rusty epic, Space Sweepers is an exploration of a future without our trusty Earth and its luscious benefits. Life has changed and substantial existence must move up to the coldness of space. Among androids and police, a captain (Kim Tae-ri) and her crew scavenge scraps from wrecks and weave through any battle that comes their way. That is until they run into a young child humanoid who could just earn them a hefty amount of cash. A business deal is set up and with all risks at stake, an unexpected bond grows between them, setting off a string of events that could cost them their lives. Kim Tae-ri has worked on only a handful of projects thus far but each role has been vastly different, and here she shines as a strong captain with layers that become more visible as the story unfolds. The supporting cast are magnetic, highlighting Song Joong-ki and Yoo Hae-jin as the voice of Robot. Where the performances muster up some admirable charm here, it falters with Richard Armitage’s presence as Sullivan; the film’s mysterious, scummy opposing character. He plays the part to a seemingly enjoyable degree, yet his charisma barely shines through, thus making his character feel particularly flat and unimportant. I could wish for a more appropriate casting but I’m presuming this was to give Western audiences some sense of familiarity. I mean, he was Thorin Oakenshield in The Hobbit. It must be said that while Space Sweepers holds a predictable nature, it is still an entertaining blast of a film for sci-fi lovers. It contains some really nice moments scattered within the bigger set pieces, especially focusing on the teamwork and camaraderie between characters and the cast that brings them to life. But unfortunately, as the film creeps past its third quarter, the plot begins to show cracks from a lengthy stretch; hitting a running time of over two hours. With some trimming this could be a much smoother, enthralling experience. Some of the action sequences, whilst thrilling, are a touch too hard to follow. Ironically, with the film being set in space, you would assume there was a lot of playing room for camera work, yet it felt pretty tight for these ship chases and the result is a little disorientating. With that being said, the visual design of Space Sweepers is very rustic and beaten down but vibrant. The CGI is decent for a Netflix-distributed film; shaky at times but mostly captivating with a polished colour grade. Space Sweepers features some truly great performances, touching on themes of love and a story of survival. Its plot spreads thin but remains interesting enough to stick it out to the end, and the visual effects are fairly good despite their ambitiousness. It’s a conceptually sound epic, and even with its shortcomings, an enjoyable ride nonetheless. Space Sweepers is now streaming on Netflix. #TaryllBaker

★★★★ Directed by: Skip Shea, Mike Messier Written by: Mike Messier Starring: David Graziano, Diana Porter, Christine Perla Film Review by: Jason Knight A middle-aged actor tells his story about the struggles he had to go through in order to be with the woman he loves. A man (Graziano) enters a small, empty theatre and stands on the stage. He proceeds to speak to an imaginary audience about his life as an actor and his love life. As he carries on, he then appears to be talking to his coach (Porter). The two of them sit on chairs on the stage, while he tells her how he met his wife, lost her and reunited with her again. She listens with interest and concern and asks him questions. This moving drama appears to intertwine the lines that separate fiction from reality. At first, the man seems to have gone to the theatre in order to do a rehearsal by himself. All of a sudden his coach appears in front of him. They also seem to have an audience, consisting of Christine (Perla), the woman he talks about throughout and the man himself. What is real and what is not could be up to the viewer to decide. Is he alone in the theatre throughout the film and is only imagining that he is interacting with his coach and Christine or did the conversation with his coach actually take place before or after? This storytelling technique creates an interesting experience. Graziano delivers a superb performance as a well-meaning person, who has had a lot of regrets and has struggled to come to terms with them. Porter is convincing as the calm and sympathetic acting coach. The film was shot in black-and-white and the cinematography looks amazing. The entire narrative takes place inside the theatre hall and involves three people. There is music only towards the end of the film, which consists of a sentimental, tender piano piece by Steven Lanning-Cafaro. This short has an intruiging plot, with a compelling protagonist. It deserves significant recognition and Graziano's performance is a very strong aspect. #JasonKnight

★★★★ Directed by: #BearWinterPerreau, #AlexBaróCayetano Written by: #BearWinterPerreau, #AlexBaróCayetano Starring: #JaydenBoyd, #MarieHeleneBoyd, #JoshuaWhincup, #MelvynRawlinson Short Film Review by: Emily Davison Adam (Jayden Boyd) is a young boy who hates Santa (Melvyn Rawlinson), so what would a normal kid do? Well, he plans to kill the Christmas holiday icon with a nasty little scheme, only for it to backfire on the unexpectant troublemaker. Milk & Cookies (2020) is a short horror/back comedy directed and written by English filmmakers Bear Winter-Perreau and Alex Baró-Cayetano. The film is rather outlandish in its premise alone, especially in regard to its rather bleak ending depending on how you wish to view it, but for those who enjoy a slice of dark comedy and delightful charm, this short offers a sweet Christmas treat to get your teeth sunk into. The film indulges in a slick, engaging style with energetic pacing which definitely makes for wholesome, entertaining viewing. There are quick cuts to action shots, such as a pivotal sequence where Adam makes gingerbread men with his mum’s boyfriend and the exciting transitions mirror the style of directors like Edgar Wright with its wonderful cinematography. The film is very charming and witty in its dark comedy approach, as well as presenting some nice little visual gags, such as a scene in the supermarket where Adam places a pack of Jammie Dodgers in his mum’s shopping trolley, only for her to immediately take them out when he has turned away and place them on the shelf next to her. Jayden Boyd as the young lead naturally exuberates boyish mischief and acts much like one would expect a child to behave with an unconventional mission to murder Santa Clause. His mum (Marie Helene Boyd) also embodies warmth and charm as she deals with her troublemaker son, appearing to be blissfully unaware of his vendetta against Saint Nick. Nevertheless, she encourages her son to make gingerbread men with her boyfriend Greg (Joshua Whincup), not realising what disastrous plans Adam has in store for Santa when he arrives. The film is undeniably very funny if watched in the right frame of, with an emphasis on how it can be dangerous to play with things one doesn’t understand, which ends very badly for poor Adam. There is a cheeky cameo from Santa Clause himself which certainly elevates the irreverent style of dark comedy and makes for a punchy ending to a very strong five minutes of film. Milk & Cookies will likely not be a film for everyone due to its style of humour, however, the comedic unconventional premise and the wacky shenanigans that ensue are what makes this short so special and delightful. The cinematography and direction is polished and slick, with natural believable performances from its cast and a memorable ending, making for a satisfying dark Christmas feast too good to resist. #EmilyDavison

★★★ Directed by: Samuel Andrew Fenton Written by: Lewis Costello Starring: Lewis Costello Film Review by: Vikas Yadav “2020 was the worst year of our life.” - This statement has now attained a universal truth. When the coronavirus was officially declared as a pandemic, all the countries went under a strict lockdown. Many people became familiar with the word “quarantine” and added it to their dictionaries. The situation has not yet normalized. Masks are still indispensable. Sad faces reside beneath our veils, and even at such distressing times, the stand-up comedians have made sure that despair wipes out of our lips. Some comedians started doing shows on Zoom calls. Then there’s Lewis Costello, who performed his material to a crowd of empty seats in a theatre. For those of you who don’t know, Costello is a stand-up comedian, writer, and actor from Blackburn, Lancashire. He had first performed stand-up at the age of fifteen. Since then, he has never turned his back on it. In his six-minute stand-up titled Isolated, Costello expresses his thoughts to an empty crowd (and indirectly to us) to get some things off from his chest. He comments on the fickleness of the public, the inanity of the media, and the negligence towards the pandemic. He recounts an incident on a train where the don’t-sit-here seat covers are taken less and less seriously by the week. Well, I am not surprised by this reaction. Humans tend to fear the unknown. When the virus first originated, we didn’t know much about it. Like the shark in Jaws, its menace was amplified to the extreme. Once we understood its mystery, the fear dissipated automatically. Costello performs with conviviality. His views never turn into a rant. I saw his other stand-up Gina, and after comparing it with Isolated, I can definitely conclude that his delivery had improved in the latter. Gina is funny too, but there, Costello functions like an excited kid who is eager to land his joke. This gives rise to chuckles in his voice that undercut the impact of his joke. I once saw an interview of a comedian who said that their biggest drug lies in the laughter of the audience. Those sounds act as motivators. In Isolated, maybe the lack of audience eased Costello of the pressure to hear the laughter, allowing him to focus more on the clarity of his delivery than the constant need of making someone cackle among the spectators. Whatever be the reason, I liked him and enjoyed his jokes more in Isolated. The jokes are not laugh-out-loud funny but witty, a quality I deeply appreciate and respect in a material. Nowadays, there are very few comedians who try to be innovative. Most of them try dishing out lazy humor for the sake of amusement. Fortunately, Costello has a fine taste, and I am glad to have come across such a talent. To paraphrase a quote from the video for all the aspiring stand-up comedians out there: In a world where you can be anything, try to be more like Costello.

★★★ Directed by #LiDong Written by #LiDong Starring #CelindTsai #JonathanKeitz Film Review by Cat McAlpine Senior April Chen (Celine Tsai) is days away from graduating from DuPont University, and she already has a lucrative job waiting for her in Silicon Valley. All she has to do is get through her academic misconduct hearing. But her TA, Keith Ward (Jonathan Keltz), is determined to pin her for plagiarism and as the hearing wears on tensions rise and secrets are unearthed. In a mockery of a courtroom, Stealing School analyzes the personalities and egos that run rampant in academia, criticizing its self-importance, bureaucracy and institutional racism. A particularly good running gag is various character’s introduction of their thesis titles. If you’ve ever had a brush with higher education, you’ll recognize all the archetypes that writer and director Li Dong cross-examines. Particularly brutal is the Canadian school’s PR policy which seems to rely entirely on “being better than American schools.” Their only answer to accusations of racism and misconduct is that at least they aren’t like the institutions to their south. Stealing School has good pacing, and a delicious unfurling of tensions between various characters during breaks and in flashbacks. The film analyzes how important it is to be likable, rather than right or good. Keltz is absolutely loathsome and delivers the best performance of the film, being too eager, too righteous, too vindictive. Tsai matches him with a subtler performance, walking a moral gray area that has you unsure of her innocence until the final moments of the film. The rest of the supporting cast matches their archetype well, all either jaded by the academic world or still obsessed with its ability to give them better opportunities. But Stealing School’s criticisms don’t stop at academia. Dong also explores racism in broad strokes and the toxic culture of tech that only asks that you provide good code. Stealing School is a tight hour and 14 minutes, which keeps its mostly single setting from feeling claustrophobic. With good pacing and a satisfying end, this is a great watch for your evening, especially if you regret your degree. #CatMcAlpine

★★ Directed by: Oleg Maslov Written by: Vera Arngold Starring: Alexander Papykin, Alexander Shibalov, Ekaterina Zhukova, Natalia Lavrinenko Film Review by: Jason Knight A story about a young man, struggling to make sense out of life and find his way. Grigoriy is a twenty two-year-old wannabe poet. He is at a stage where he needs to decide what he wants to do with his life. He works in a restaurant and his parents are separated, his mother having remarried and his father has mental issues and is in a hospital. Grigoriy has friends and a girlfriend and socializes often, yet he still seems to feel incomplete and unsatisfied, finding solace and joy through poetry. He meets a woman named Alyona and even though she is in a relationship, the two of them develop a romantic relationship. This low-budget, Russian drama film explores themes of self-discovery, romance, friendship and family. Grigoriy is a well-meaning person, although a bit socially awkward and he spends a great deal of time chatting with relatives and acquaintances and reciting poems. He also goes through a few misfortunes that involve getting beaten up twice and falling ill. The protagonist does an OK job as a person who views life differently than most people, but generally the acting is not very realistic. Maslov does a nice job as the director and creates some great establishing shots. There is a brief sequence that utilizes interesting cinematography and depicts a flashback, during which the image appears old, scratched and damaged. The soundtrack is amusing, consisting of various tunes. For the sensitive viewers, it should be mentioned that there is a rather uncomfortable and disturbing scene that involves blood drinking. It could be argued that it is unclear what the message is here. The characters are not engaging and the narrative is not intruiging enough to attract attention. This is an achievement that is unlikely to have a significant impact. #JasonKnight

★ Stars Directed by: #FilipZylber Written by: #WiktorPiatkowski, #MarzannaPolit Starring: #AdriannaChlebicka, #MateuszBanasiuk, #AgnieszkaZulewska, #KrzysztofCzeczot, #MiroslawBaka Film Review by: Alicia Moore “A celebrity journalist and renowned womaniser starts to rethink his life choices after he falls for a mysterious model who leads a double life.” Squared Love is a Polish romantic comedy that was released on Netflix earlier this month. The release was planned for Valentine’s Day obviously, but if a viewer was to decide to press play hoping for a lighthearted and enjoyable Valentine’s film… I’m afraid disappointment would become apparent quite quickly. Although Squared Love is categorised as a romantic comedy, somehow the film’s content doesn’t actually fit in with either of these labels. The romance aspect is not kindly present as the characters lack a sense of self and motive within the storyline. The story is confusing in its entirely anyway, and the connections that are made between characters seem forced because of the absence of substance in regards to true heart and personality. What is supposed to be comedic aspects are unfortunately just, straight to the point, not funny. I found myself only painfully laughing at the fact that the entire film feels more like a glorified car company advertisement — the inclusions of such car admiring dialogue were so out of place throughout its duration, I may have been laughing due to confusion as well. The acting wasn’t strong enough to hold my attention, however I don’t want to pin that entirely on the cast’s individual abilities. With very little context and character identity to work with it must have been difficult to maintain a convincing persona onscreen. Especially for Mateusz Banasiuk’s character, Enzo, the ‘womaniser.’ Enzo is given absolutely no development as a character and usually when a character presents an attitude like his then finds himself truly falling in love, the film concludes with an uplifting change in his perspective on relationships. Nothing like this happens though, it’s really frustrating to watch unfold actually, which leads to a disappointing ending; more disappointing than the rest of the film. How can a film have one half of a romantic comedy duo be so generally unlikeable? I always aim to have a suitable balance between praise and criticism when reviewing films, but I find myself having to make an exception for Squared Love. The only piece of praise I can give to the film is the stunning location choices. Filmed in the beautiful Polish capital, Warsaw, the city brings a much needed sense of life and colour into the background of scenes where these elements cannot be seen. The natural setting here is the production’s saving grace. As a fan of Polish cinema, I can assure you that there are much better films for you to discover here. Maybe instead of watching Squared Love and wasting nearly two hours of your downtime, try watching Kogel-mogel (1988) in its place. It’s a well-loved Polish film that has almost everything that Squared Love lacks. Enjoy!

★★★ Directed by: #DaniDeLaOrden Written by: #NataliaDurán & #EricNavarro Starring: #ÁlvaroCervantes, #SusanaAbaitua, #LuisZahera, #AixaVillagrán, #TxellAixendri Netflix Film Review by Taryll Baker After a magical night together, Adri voluntarily turns himself into the psychiatric institution where Carla lives. Netflix have been expanding their library of films and series by branching out to filmmakers in many countries, broadening the tastes of their subscribers. The latest addition is Dani de la Orden’s romantic comedy, Crazy About Her. It begins with an energetic 13-minute prologue that introduces Adri (Álvaro Cervantes), who bumps into the love of his life, Carla (Susana Abaitua), though she isn’t who he thinks she is. After agreeing to have one fun night and never see each other again, Adri checks into the psychiatric institution where Carla is treated, and the bond between the two is challenged. During the prologue sequence, they turn up at a fancy hotel looking for drinks and a chance for something more intimate… I’m not quite sure how they managed to gatecrash a stranger’s wedding and how no one seemed to question who these two people were, but it certainly sets the tone for the rest of the film to follow. What began as your bog standard love story, quickly span into a man’s crazy adoration of a woman, and just how far he will go to see her once again for a chance at something more. But that’s not all Crazy About Her has to offer; it also shows a life behind the doors of a care home for the mentally ill and Adri comes to feel quite affected by his experience. The chemistry Álvaro Cervantes has, not only with Susana Abaitua but the rest of the cast, is great. His performance is quite restrained, played safe but the character was written to be charming and ideal, so he plays it well. Abatiua is the tricky Carla, a hard shell to crack but definitely crackable, and her part is essential in the growth of Álvaro’s character. The two lead with a great, likeable presence. As for the screenplay they’re working from; it’s a little shaky. Some moments seem a touch too convenient or rushed through, but the concept is interesting and at times fairly entertaining. During the third act, things start taking a turn and thus the pacing seemed to slow up. But, the ending is just as energetic as the prologue that began the film — the same race against the clock, the exciting fast-paced editing and dramatic choices being made by characters. It wraps up with enough to satisfy the rom-com lover inside of you, if you’re willing to let it. Crazy About Her has its cliché’s and typical themes, but it also has a heart, slowly beating away. For the most part this is an enjoyable exploration of self-worth, recognition, and finding yourself through others. But above all else, it serves as a reminder to be kind. Because, even for the most troubled of souls, kindness can go a very long way. Crazy About Her is now streaming on Netflix. #TaryllBaker

★★★★ Directed by: Brian Harley Starring: Neil Nevada, Ray Westwood, Nick Allen, Brian Harley, Satnam Purewal Film Review by: Jason Knight A fascinating documentary about a very creative filmmaker. That filmmaker is Neil Nevada, an individual with a terrific imagination, who showed his artistic side from a very young age. He, along with a bunch of other filmmakers, made a variety of fun indie films, involving monsters, as Nevada is a huge horror fan. He has worked in numerous countries and keeps on coming up with awesome ideas. Aside from filmmaking, he is also a keen painter and comic book creator and used to be part of a rock band. And he is also very fond of milk. The documentary contains interviews that show Nevada talking about his life, his childhood, his achievements, why he does what he does and how he does it. There are also interviews given by his frequent collaborators, who share the experiences they had working with him. Many of Nevada's creations are also shown. These include hand-made figures, drawings, paintings and still images and footage from his films, most notably Cat Kong, about a giant cat wreaking havoc, the horror film Coach Creep and the science fiction themed Rise of the Grassman, all of which show exceptional creativity. There is also footage and stills from a variety of classic movies and pictures of Nevada's past and him and the other filmmakers in action. The voice-over is effective throughout and the soundtrack consists of tracks from a variety of artists. There is the inclusion of behind-the-scenes clips from his films and video footage of him spending time with family and friends, during which the image is windowboxed. There is also a pattern that takes place throughout, which involves a vertical, white, scribbled line moving quickly across the scene, accompanied by the sound of a pencil writing. Interestingly, when each character is introduced, stylized captions add an informal, funny title, such as: 'Nick Allen, the scene stealer' and 'Ray Westwood, father of the beast'. Neilation is very interesting and entertaining to watch. It familiarizes the audience with the life and work of an intriguing artist. Nevada comes across as likeable, intelligent, with a great sense of humour (much like his relatives, friends and colleagues), and learning about his life's journey and his cool, impressive artistic accomplishments. People who have never heard of him before, will know a great deal about his life and work after viewing this documentary. #JasonKnight

★★★ Directed by: Lim Yan Bing Starring: Loo Shu Jin, Lee Szu Lin Film Review by: Vikas Yadav If there is one thing about librarians we have come to know after watching so many movies, it is that they all are lonely, sad people waiting for someone to fill their blank pages with exhilarating prose. Their eyes are stuck on computers, and their hands busy themselves filing up the book entries on the system. Why are they always shown so lonely? I have never spoken to a librarian, at least not intimately. Hence, I can’t comment on the authenticity of these gloomy portrayals. Surely, there must be librarians who revel in drinking, partying, and getting laid. Not all of them could be unpopular human beings. In director Lim Yan Bing’s Paddy, the librarian (Loo Shu Jin) is a spectacled, young man. We never come to know his name so for the sake of simplicity, let’s call him L. Similar to the “common” librarians mentioned above, L spends his time entering data and arranging books on the shelves. He almost operates like a robot until a girl makes an entrance. His eyes move around with a pinch of curiosity (and excitement, probably) when he asks why she is not at her home yet. According to the description, this girl named Jane (Lee Szu Lin) is supposed to be L’s girlfriend. I didn’t buy it for a second. To me, she appeared more as L’s crush, to whom he is unable to convey his feelings. Notice Jane’s interaction with L, and you will see that she is not into him. Oh boy, we all have been in such a relationship, haven’t we? Love flows all right. But it flows from only one direction - the other side does not reciprocate with the same intensity. I was easily able to put myself in L’s shoes (no, not the librarian part). And that is why I could understand his next move after coming across a picture left behind Jane in a book. With the help of cinematographer Chin Kien Hwa, Lim Yan Bing takes a static approach to shoot Paddy. The camera quietly observes from a distance without any movement. It’s as if L’s diffidence is transferred to the lens, holding it from making active manoeuvres. The actors move awkwardly. Perhaps, more rehearsals could have smoothened the rough edges. It suited L up to a point, but more practice could have yielded better results in the final take. In the end, however, Paddy wants to communicate that you should never beat yourself up for someone who doesn’t care. Like that photograph in the book, things may appear to be bright and seductive in the images, but its reality may reveal an unattractive truth.

★ Directed by #TimStory Written by #KevinCostello Starring #ChloeGraceMoretz #MichaelPena Film Review by Hope Madden Scooby-Doo is having a moment. The franchise got its first wide release feature film last year, and the brains of the Mystery, Inc. outfit, Velma, just nabbed her own spin off show. Why not dig deep and reintroduce us to other cartoon favorites? Tom and Jerry make their case for relevance with a live action/animation hybrid by director Tim Story (Ride Along, Barbershop). The film sees the squabbling cat and mouse team relocating to New York City, where Tom hopes (presumably – he doesn’t talk so it’s hard to say definitely) to become a musician. Jerry just wants to keep being a jerk. Is it me, or is Jerry really the villain in this twosome? They run afoul of Kayla (Chloe Grace Moretz, who needs to fire her agent because she should definitely be getting better movies than this). Kayla requires a new job after some insane, hand-drawn cat knocks her off her bike, ruining her delivery. She cons her way onto a hotel staff. Now if she can just prove that she is good enough and keep the guests’ (Pallavi Sharda and Colin Jost) wedding-of-the-century on the rails, she’ll be fine. Or will there be animated chaos? Trying to make old school ‘toons fresh and interesting for a modern audience does not always work. Even Scoob from 2020 was a miss, but Tom and Jerry’s failure to entertain lands closer to the colossal disappointment of Garfield (a film so bad Bill Murray apologized for it in a death scene in an entirely different movie). The animation sequences are hand drawn, so that’s a great change of pace from the lifeless CGI churned out in films like Earwig and the Witch. Too bad Story doesn’t know how to blend them with live action in a way that feels at all engaging. T&J is long. The story, by Brigsby Bear writer Kevin Costello, is over-stuffed and under-enjoyable. He mistakes idiocy for lunacy, busy for kinetic. A lot happens, none of it interesting, none of it funny, all of it surrounded by a bombastic soundtrack. Surprisingly little of the adventure really has to do with the ‘toons, either. There are long stretches of Kayla learning valuable lessons and Michael Peña affecting some kind of unplaceably bizarre accent. When your funniest joke is about scooping animated dog poop, no one is enjoying themselves. #HopeMadden

Directed by #RJCutler Written by #RJCutler Starring #BillieEilish #FinneasOConnell Film Review by George Wolf Two hours and twenty minutes – plus an intermission – for a documentary on a teenage pop star? Isn’t that a bit indulgent? When you put it that way, probably, but director R.J. Cutler hardly wastes a minute of the time we spend with Billie Eilish (born Billie Eilish Pirate Baird O’Connell – nice!). Bolstered by a goldmine of home and backstage video, The World’s a Little Blurry becomes a captivating window into the life of a talented young performer – and a generation coming of age in these often scary and confusing times. Eilish first got noticed as a 13-year-old after she posted the song “Ocean Eyes” (written by her older brother Finneas O’Connell) on SoundCloud, and it became a million-streaming viral hit. Billie describes her home-schooled L.A. upbringing as being “one big fucking song,” and there is no denying the family joy as we witness them all react to hearing “Ocean Eyes” on the radio for the first time. From there, we see Billie and Finneas writing “Bad Guy” – the international smash that would springboard her to world tours and multiple Grammys – and this doc quickly becomes more than just another marketing project from the record label. Billie is clearly a deep thinker – as insightful writers often are – and she isn’t afraid to put her darkness and vulnerability right there in the storefront window. But it’s clear that her family anchor is strong, and that big bro Finneas is not only a calming influence but a multi-talented musical MVP in his own right. And along with the hits, Cutler gives us plenty of real human moments. From Billie getting her driving permit to meeting her idol Justin Beiber, from rolling her eyes at something her mom just said to embracing fans as “part of me,” the film captivates because it becomes the story of a family. One member just happens to attract a little more attention. That would be Billie. Duh. #GeorgeWolf