★★★★ Directed by: #DanielGreenway Written by: #DanielGreenway Starring: #DeeHarris, #RuthPownall, #DaisyHobbs Film Review by: Patrick Foley Inverting animal and human relationships is hardly a new metaphor to demonstrate uncomfortable truths about animal rights, factory-farming, or veganism. Daniel Greenway’s animated short Deep-Fried Fingers may not be treading new ground, but its precise, macabre message is one that hits deeper than much more elaborate attempts at highlighting the gruesome reality of how we treat the animals that become our food. An unnamed human awakens in a slaughterhouse, his wounds protruding and his hands bound as he sees a shadowy, furry figure approach him with a butcher’s knife. His screams go unheard, as we transition to a Pig (Dee Harris), a Chicken (JP Wright), a Sheep (Daisy Hobbs) and a Cow (Ruth Pownall) enjoying dinner in a 5-star restaurant. Their waiter, a debonair Wolf, relays the meat-heavy menu – with a particular recommendation for the deep-fried human fingers. But as they order, Cow’s new-found aversion to meat becomes a topic of conversation. In 5 short minutes, Deep-Fried Fingers manages to make a better statement about animal treatment and portray the often-awkward vegan experience better than most of the many hour-long documentaries on the same subjects. Like a twisted episode of Bojack Horseman, the animation is equal parts amusing and grisly, and is an effective format for portraying the awful conditions on farms whilst keeping the tone light enough to entertain. Despite a strong message the film wears its heart away from its sleeve and never comes across as preachy – leaving viewers to come to their own conclusions on its fact-based allegories. It is stronger for its restraint – and allows its audience to realise the horrifying implications, such as the ‘infant’ option on the menu, or the futility of existence imposed upon the human cattle as the fingers are discarded into the trash when the pig notices a ring has not been removed. The lack of a direct message allows viewers to draw their own conclusions. And whilst not all viewers will convert to full-blown veganism upon watching, it will at least open eyes to the disturbing, undeniable realities of our meat-obsessed world. General presentation is strong given the films limitations. The tonal shift from the horror-movie-style opening to the light conversational body of the film in the restaurant sets a disconcerting undercurrent that roots Greenway’s message. This directional choice allows for the horror to be maintained throughout, even after the butchery stops. The voice acting of the animals is a little stiff at times but the conversation between them comes across as natural and authentic – Cow’s frustrations at explaining her aversion to human meat an all-too-familiar routine for vegetarian viewers. With a short running time, Greenway works effectively and efficiently to characterise each animal and establish personalities, which then clash logically. The unthinking dismissal of the plight of the humans by Pig and Sheep is not an act of intentional cruelty but wilful naivety – it is clear from the narrative that the director understands that it is this what requires combating. Essentially a short fable, what Deep-Fried Fingers lacks in originality it makes up for in execution. It packs a strong core message and highlights uncomfortable societal truths in it’s 5-minute runtime, whilst including the right level of body horror to revolt. You might just think twice the next time you order at a restaurant, or question a friend on their dietary choices. And if you do, it has done its job.

★★★ Directed by: #RaymondJEvans Written by: Raymond J. Evans Starring: #JackDoherty, #AbbeyRoseLeed Short Film Review by: Corey Bulloch Possibilities. Oh, the possibilities that present themselves when you meet someone new. Writer-director Raymond J. Evans puts forward a sweet yet calculable meet-cute between two strangers who bump into each other at a train station in the not too distant future. Bumping into one another, dropped between them is a pamphlet advertising commercial trips to Mars, a common interest for both and the seed is planted. Through a non-verbal narrative, Evans has the two characters, Ethan and Violet, communicate their interest in one another across a train platform, trying to share a phone number through hand signals. While not sharing similar aesthetics, the script and themes of Mars reminded me of John Kahrs' Oscar-winning short Paperman. Two souls meeting by chance and then the quest to ensure it was not a fluke. Though with Mars, the fantastical nature of sentient paper planes manifesting destiny is replaced in favour of the dumb luck of every day. Evans' film is about the chance encounters and the chances we take from them, its the nature in which humanity goes forth. The direction of Jack Doherty and Abbey-Rose Leed initially keeps them as blank slates, but as their encounter progresses, Evans’ lets their walls fall as they both take the chance. The excitement and hope on both Leed and Doherty’s faces during the miming of numbers across the platform is endearing, so when timely conflict introduces itself, you can’t help but root for the two. Even with science fiction elements, the film is grounded by Caitlin Burns’ production design having futuristic elements kept to a recognisable minimum. An animated brochure about space travel, the glimpse of a skyline of futuristic buildings; all of this merely set dressing against the familiar reality of smartphones, train stations, and hoping you’ll see that stranger again. Mars benefits from its production value, both simple and immersive with cinematographer Adam Lynch making the train station and the character’s separation effectively cinematic. It’s not a film about the future, Evans doesn’t want to show off any fancy cyberpunk ideas or dystopian terror; the trip to Mars is just another example to the film's theme of possibility. Meeting someone new is always its own adventure and whether Ethan and Violet’s relationship is platonic, romantic, or even endures beyond that day Evans focuses on that first step towards something new. Mars remains uncomplicated, free of exposition or backstory, it connects through our common desire that there maybe someone out there, and that the limit of how far we can go is beyond the sky. This is how we meet people, randomly in random places, possibility presenting itself. Be sure to seize it. Too many don't. #CoreyBulloch #shortfilm

Directed by: John Lee Hancock Written by: John Lee Hancock Starring: Denzel Washington, Rami Malek and Jared Leto Film Review by Robert Stayte Remember how in the 90’s we used to get a lot of cop-centric serial killer thrillers? Whether that be Silence of the Lambs, Se7en, The Glimmer Man or Fallen. The Little Things feels like a throwback to those kinds of films and it marks a transition for John Lee Hancock, who is more known for Oscar-Bait dramas like The Blind Side and The Founder. The transition is relatively unsuccessful and the film itself stands in the shadow of the films it reminds you of. A serial killer of prostitutes is loose in California in 1990. Deputy sheriff Joe Deakin (Denzel Washington) and detective Jimmy Baxter (Rami Malek) investigate the case and stumble across a prime suspect, a car dealer named Albert (Jared Leto), who they end up investigating thoroughly. The Little Things goes for a dialogue heavy, slow burn approach with its story. This could have been commendable, but it results in a film that is brutally boring and tedious in it’s pacing, with little excitement or suspense to command attention. There are individual scenes that are certainly interesting and even tense, but on the whole, it is anaemic and bland. There is little violence as well, which would have at least got a reaction. The story itself also feels largely by the numbers and predictable for the first two acts. The third act tries to be deliberately unsatisfying and morally ambiguous, especially in a couple of reveals. But whilst conceptually interesting, it makes the proceeding film feel like a waste of time and does not take the time to properly explore or critique the potentially complex moral quandary. Some might find the conclusion problematic, but it is too limp to even trigger that response. The pacing could have been manageable if the characters were at all interesting, but unfortunately, Deke and Jimmy are very dull characters, with both being your typical troubled, obsessed and determined cops. Deke is slightly more developed, but his character still remains a cliche. Neither Malek nor Washington bring much to their roles. Washington sometimes has energy but is largely one note and Malek is the same, with the latter feeling very miscast in a role that calls for something like Brad Pitt in Se7en but has none of the same spark. Leto is the only actor who brings any life as the off-putting and strange Albert (it says something when Jared Leto showing up in a film is a sign that it is improving), yet even his cliched and clunky dialogue overwhelms him. Lee Hancock’s direction and editing are both big problems too, as not only is the camerawork mostly flat aside from a few nice shots, but the shot length is way too short. Rather than let shots linger, Lee Hancock instead cuts rapidly, resulting in a slow experience that does not draw you in. Thomas Newman’s score is admittedly strong and adds atmosphere that this film is lacking and the general look is pleasing, but overall Lee Hancock’s transition to this genre is True Detective by way of Law and Order. The Little Things is by no means terrible, but it is aggressively dull and mediocre. You could do far worse in terms of crime thrillers, Dark Crimes and The Snowman being especially bad recent examples, but you could also do far better.

★★★★★ Written & Directed by: #IainCash Starring: #PhilGwilliam, #MaggieHall, #JohnNaughton Short Film Review by Taryll Baker A man receives a worrying letter from his next door neighbours. Dear John, I’m Sorry, the new soul crushing short film from writer and director Iain Cash, focuses on the painful truths of loss. The skilful direction makes this one of the strongest short-form stories I’ve seen, and captures the bittersweetness of relationships. The sweet; when you meet your significant other and everything seems great. The bitter; when that time must come to an end. In this wonderful short film — featuring top-notch performances from Maggie Hall, John Naughton and Phil Gwilliam — romantic ties are put to the ultimate test, and the worried neighbour and friend must come to terms with the heartbreaking result of a mutual, and deeply sad, agreement. The visual is just as gracious as the acting, with cinematography by Tim Follin. One moment in particular lingers on the couple as they embrace each other, and it’s beautiful. Underneath the heavy subject is a sombre score by Ian McLoughlin. His soft and melancholy melodies sweep us through the tough words from the character Susan. Though I believe some very simple edits could make this music work even better; there’s a couple scenes where the music just drops out (with a fade-out) without much progression. A quick tweak would make this film absolutely perfect. Dear John, I’m Sorry is only eight minutes in length, and tackles exactly what it means to within that time. It’s a superbly moving film with good pacing and lush colours (thanks to Neil Jones), and although quite a dark story thematically, it’s a very rich film with an honest, beating heart at the centre. In some way, this reminds me of the kind of story that Pixar would present; a romantic tale with a tragic story thread that creeps up and catches you off guard. It’s usually a bit of a mixed bag when a filmmaker takes on both directing and writing duties simultaneously, but luckily in this case, Iain Cash triumphs. The short really speaks for itself, thus anything else I could say simply wouldn’t do it justice. Dear John, I’m Sorry is a touching tear jerker, with well-rounded characters, gracious visuals and a tremendous score. It’s certainly the full package, and totally recommended viewing. Sensational. Watch the trailer for Dear John, I'm Sorry below. #TaryllBaker

★★★★ Directed by: #NicoleVandenBroeck Written by: #AsherJelinsky, #NicoleVandenBroeck Starring: #SarahSawyer, #RonDadon, #TuckerGenal Film Review by Lucy Clarke Oh, those halcyon days of youth! There’s a moment between childhood and adulthood which requires a leap across the precipice, knowing full well that you can’t go back. For many, that step is leaving home or going to university. For friends Sam (Ron Dadon) and Elle (Sarah Sawyer), this abrupt ending of childhood comes when Sam moves away. Like unbreakable blood pact, they give each other stick and poke tattoos of two tiny stars on their wrists. Set in the 90s and burnished in soft browns, Elle exudes the popular aesthetic found on TikTok and Instagram, but there isn’t a hint of vapidity in sight. This period piece suggests a longing for the simpler summer-drenched past, and it’s heightened by its two stars, Sarah Sawyer and Ron Dadon. Elle is full of quiet glances. She does as Sam asks, and lies down on the floor so she can get tattooed. Even with just a few fraught glances at the camera, we slip into her inner world. Elle is obviously harbouring a secret. While Sam talks about dumping her boyfriend and suggests that Mason (Ethan Smart) may have a crush on Elle, she remains oblivious that Elle’s romantic interests may lie closer to home. The warmth of friendship can be challenging to portray in film. While Elle doesn’t manage to attune itself completely to this familiarity as successfully as Russell T. Davies’ drama It’s A Sin, the relationship between these two girls hums with realism nonetheless. As they escape from the party to make P&J sandwiches, smearing the peanut butter thickly and haphazardly across the bread, it’s clear that these girls are most comfortable with each other. Yet, Elle’s attraction to Sam adds in a glimmer of isolation into the film. Elle doesn’t quite fit in. There are even traces of this on the audio. The boys’ voices create a low soft buzz that blurs into the background, creating an aura of silence around Elle herself. She may feel isolated, but kindness exudes this piece, and there’s hope just around the corner. Elle feels like a sun-washed summer day. The film throws us back to our own teenage-hood and the last party before the end of high school. Elle never feels awkwardly cliched, but softly explores friendships and the experiences of queer youth. It’s heartwarmingly gentle and explores its themes with an ocean of kindness.

★★★★ Written and Directed by: #Randala Starring: #JonJacobs, #BrionJames, #DanielMurray and #KellyWilliams Film review by: Brian Penn In a world still coming to terms with Covid 19 you’d think the last thing we need is a film portraying the effects of a society destroying virus. But maybe that’s the reason many will be drawn to Phoenix Point. Set in a post-apocalyptic wasteland with more than a passing nod to Mad Max, it presents a frightening vision of life. A deadly virus has killed millions and conventional society has collapsed. The virus cannot survive in hot temperatures so arid desert provides the only real sanctuary. Survivors live a chaotic existence in ramshackle settlements devoid of hope and spirit. Jack Ladd (Jon Jacobs) is an opportunistic drug dealer on a quest to find the cure. Richard McDonald (Daniel Murray) is his argumentative wingman and driver. Their car breaks down and begin to squabble about their next move when ambushed by Spyder Rico (Brion James) and his feral gang. Addicted to mind altering drugs with a tendency towards cannibalism they could barely have run into anyone worse. However, there are compensations for Jack as he becomes acquainted with fellow prisoner Edie (Kelly Williams). A grand odyssey ensues as they encounter a variety of characters ravaged by the virus and its inevitable fallout. The only vaguely mechanical object that seems to work is the radio. This enables DJ Refugee to lay down his observations on the unfolding chaos. A breath taking simplicity is evident as the landscape is used to great effect in the visuals. The sun’s heat is almost palpable as characters sweat, blister and dehydrate in the conditions. As the central character Jack’s motivation is never entirely clear. Is he seeking the cure just to ensure his own survival; or is he also trying to make a fast buck from those desperate for the antidote. Whilst the subject matter is alarming and explicit, the film still manages to convey an engaging narrative. We can watch with some comfort because Covid hasn’t wreaked quite the same havoc portrayed here. The idea that things could be much worse is a concept of which we should never lose sight. In the words of DJ Refugee ‘Stay tuned live longer’. Amen to that.

★★ Directed by: #PhilippeDib Written by: #PhilippeDib & #JonJacobs Starring: #JonJacobs, #AyeshaHauer, #LeroyJones Film Review by Taryll Baker Enmeshed in the world of sex, drugs, and chains two lost souls fight to survive and bring meaning to their lives on the back streets of Hollywood. Shot in 1992 and released in 1996, this film is almost three decades old and let me tell you, it feels it. Not just due to the gritty setting with dirty content and raunchy scenes with old fashioned dialogue, the film actually looks dated. Prefacing this with the fact that hangout films are usually my thing. That said, it’s usually the type of hangout film that doesn’t contain a mass amount of drug use and sex, which Welcome Says the Angel is proudly guilty of. Philippe Dib and actor / writer Jon Jacobs wrote Welcome says the Angel as a film they could shoot for approximately $17,000 on 16mm. They both met years prior and dropped everything to pursue their dream of filmmaking in Hollywood. This film saved Jon’s career when it received rave reviews from notable entertainment papers, so I can appreciate the grind and determination. If there’s one thing I can say for sure, beyond the overwhelming sexual and drug content, the acting from the cast is superb. This could have easily have been a film held up by audiences like Reservoir Dogs (Tim Roth ironically turned down a role in this film due to being away at Cannes for Tarantino’s classic) but personally I don’t think there’s enough happening within the grubby casing of Welcome Says the Angel. The tragic tale of someone trying to veer someone off drugs is of course the main story thread, though it feels like a path explored many times before (and after) to better affect. Welcome Says the Angel is an appreciated effort but the repetitive nature and slow pace made for a slightly frustrating watch. As mentioned before, the acting is the real pull. It’s the style of performing made for a stage, in front of a filled theatre auditorium, where simple stories such as these just flow a lot better. As a piece of film media, it doesn’t quite click. The grainy 16mm flickering by with a classic soundtrack (with music by Noels Cline) does work well together, same goes for the editing. But it does seem to feel stuck in the 90s, the timelessness of other classics born from this time is non-existent in Philippe Dib’s film. If you’re into heavy drug use and sexual themes, then you will likely find enjoyment in Welcome Says the Angel, but for the general film fan who likes some variety in thematic material and characters, this will probably be a hard miss. #TaryllBaker

★★★★ Written & Directed by: #PeterLeeScott Starring: #KieraThompson #JackVeal #FarhanBaqi Short Film Review by: #ChrisBuick After hearing about the death of his best friend Gerry, young Sam (Thompson, a young actress radiating with talent beyond her years), decides to help neighbour boy Jack (Veal, an equally capable counterpart) give Gerry the Viking funeral they deem worthy of any brilliant hamster. Winner of Best Director and nominated for Best British Short at the British Independent Film Festival, His Name Was Gerry is a delightful, pocket-sized coming of age tale which even though it may tackle its subject matter through the prism of a child's mind, still undoubtedly captures how we all deal with inevitable prospect of loss at some point in our lives, even if it’s a hamster. In fact, His Name Was Gerry is a really touching tribute to those who have lost anyone at some point in their lives, not just their first pet or pets, who really are a child's best friend at that age. And while in some respects Sam and Jack may still suffer slightly from the innocence and naivety of youth, their inherent understanding of such a significant concept and the level of dignity and importance they bestow upon it speaks to a level of maturity kids are often not given ample chance to demonstrate, but Scott’s film creates the opportunity to show just that. As a commercial director, besides having a very keen eye for the aesthetic, Scott clearly knows how to get story across as concisely and efficiently as possible. Jump cuts help move the story along to its necessary beats at a nice brisk pace and while the story is quite lean, the precision in the writing is such that we are only really given what we need to know in order facilitate the all-important emotion of the film, meaning what is happening becomes infinitely (and rightly) more important than the why. It gives its heartfelt moments the right time to breathe, never rushing to punctuate them with a joke or gag but rather letting us find the humour amongst the pathos naturally. And it is funny, delicately so, allowing us to laugh throughout without ever feeling like we’ve lost sight of the gravitas of Jack and Sam’s situation. And finally, it’s a pair of stellar acting turns from two young leads who carry the film aloft to the finish effortlessly. Thompson barely puts a foot wrong as the no-nonsense, abundantly confident Kiera, who’s motivations for helping Jack in the first place are never really made clear, but it's such an enjoyable performance that we never even have question it, we’re just happy she’s here. Veal again, is the perfect yin to Thompson’s yang, and delivers the films closing eulogy with such grace and poignancy that it really underlines everything this film is trying to say. A wonderful snapshot of a moment in two young people's lives, His Name Was Gerry manages to craft most if not all of the charm and whimsy of a full-blown indie movie in just twelve minutes courtesy of some fine writing, effective storytelling and top-notch performances. #ChrisBuick Watch the trailer for His Name Was Gerry here:

★★★ Directed by #JohnLeeHancock Written by #JohnLeeHancock Starring #DenzelWashington #RamiMalek #JaredLeto Film Review by Hope Madden When you see a film whose plot synopsis exactly mirrors hundreds of other movies, it is the little things you have to look for to set it apart. Writer/director John Lee Hancock’s The Little Things introduces plenty of those small details: a massive cross high in the Hollywood hills, a gun casing, a barrette, a radio station, a dog. Like the 1990s setting, though, they mostly amount to little more than understated flourish. Hancock (who wrote and directed The Blind Side, but I will try not to hold that against him) introduces two cops. One, Deke (Denzel Washington, always a pleasure), is a Kern County sheriff’s deputy with bad blood back in LA. The other, Baxter (Rami Malek), is a climbing homicide detective hot shot in the big town. When Deke is sent to the city to retrieve some evidence for a county case, Baxter inexplicably pulls him into a serial killer investigation, and there you have it: haunted veteran cop, ambitious newcomer, cold blooded killer (who may or may not be Jared Leto). Again, that barebones description could be about 300 movies and TV series, including Netflix’s current true crime mini The Night Stalker (who is mentioned once during this film). How to elevate it? Well, four Oscars among your three leads is a start. Perhaps that’s why this police procedural turns character study so quickly. Washington’s worn out crime fighter offers a low key emotional center, which is a needed respite from the odd Baxter. Malek’s characterization of the by-the-books half of this duo is curiously manic, and Hancock spends frustratingly little time digging into Baxter’s motivation. Still, Malek and Washington offer quick chemistry that gives their scenes some depth. Leto delivers a characteristically tic-heavy performance—perhaps also a tad overdone. Both he and Malek help generate a little energy with their accumulated weirdness, but it’s not enough to overcome the film’s general lack of momentum or purpose. It doesn’t help that the color, period and low boil bring to mind two wildly superior Fincher efforts—Seven and, even more clearly, Zodiac. And however competently made (and it is) or impressively cast (obviously), The Little Things just can’t distinguish itself from the pack. #HopeMadden

★★★★ Directed by: #KyungSokKim Written by: #KyungSokKim Cinematography by: Aakash Raj Produced by: Kyung Sok Kim, Michelle Sun Edited by: Arndt Werling, Yufei Skylar Zhang Starring: #YunJeong, #JoaquinFarfan Film Review by: Emily Davison Before returning to Korea for his marriage, a drifting young man visits his high school friend with a question that needs to be answered, resulting in an eventful night that neither anticipated in this intimate, reflective feature film. Thursday’s Child (2019), written and directed by Korean filmmaker Kyung Sok Kim (whose short films have been screened at over fifty film festivals) follows Tim (Yun Jeong), an introverted writer, as he spends a night with his old friend Joe (Joaquin Farfan) and processes his life through an introspective, personal lens. The one hour drama is primarily presented in the English language as the movie was shot in Los Angeles, with some sequences depicted in the director’s native tongue, where English subtitles are provided. The most compelling feature of the film is Aakash Raj’s gorgeous cinematography, where the wide aspect ratio of 1:85 : 1 perfectly captures the natural beauty of the beach landscapes. Soft, pastel colours with cool blues and warm oranges create an inviting, dreamy and immersive quality to the image, which is elevated by Kim’s entrancing direction. The camera lingers and reflects on shots for a longer period of time than the standard Hollywood pacing, allowing the peaceful vistas and visceral settings to convey the meditative tone effectively. The film’s stunning sound design also enhances the immersive quality of the viewing experience, with natural sounds of waves crashing against the shoreline enveloping the ears. This is coupled with simple, yet melancholic and effective piano pieces composed by Miju Kang which are particularly impactful when implemented as the rest of the film features few musical cues. Thursday’s Child offers an enriching cinematic experience and is a deliberately slow paced, intimate character study brought to stunning heights with its beautiful cinematography and captivating direction. An enticing piece with an abstract flair, this drama is highly recommended viewing. #EmilyDavison

★★★ Directed by #MikePelak Written by #MikePelak Starring: #SmittyChai #JayPotter Film Review by Matthew Sawyer What Have You Done is a simple short film. It tells the story of Chris Moon (Chai) who is a problem fixer for the bad guys. In this case the bad guy is Congressman Robson (Potter) who pulls up in a fancy car with a dead body in the boot. Robson demands Moon takes care of his problem, despite Moon’s reluctance. This film takes place in one location; at the side of the street in what looks like a rough part of an American city. However, it delivers a lot in the short run time. The premise and the twist at the end are interesting, but unfortunately, it becomes very obvious where the film is going after just a few minutes. What this film does offer that others don’t is a statement about how the rich and powerful almost always prevail. The final shot highlights the corruption in politics and society as a whole. This message is particularly pertinent to today’s audience. Mike Palek; the writer and director, delivers a strong script and good direction. Both are clearly influenced by Quentin Tarantino; Moon closely resembles Winston Wolf and we recognise Tarantino’s signature shot, looking up from the boot of a car. All that’s missing is a shot of someone's feet. The film does not really have much of a musical score which I feel would have ramped up the emotion. It’s also hard to look past the film title “What Have You Done” which is very uninspired. Both the actors in the film demonstrate clear talent. Potter really sells himself as a powerful and rich man and Cha’s internal conflict is clear and believable. He also delivers the emotion at the end when the twist comes. Overall, the film is entertaining. Unfortunately, it doesn't do anything new or exciting. This film is a good example of what you can do without a big budget and without use of a lot of locations. Everyone involved does a good job; the film offers a muted colour palette from cinematographer Christian Lesperance which complements the film well. It delivers its message successfully and other than the obvious twist, it’s a short I can recommend. It will be interesting to see what Pelak does next and I think both the lead actors are ones to watch. #MatthewSawyer

★★★★ Directed by: Gore Verbinski Written by: Ehren Kruger, Kôji Suzukim, Hiroshi Takahash Starring: Brian Cox, Martin Henderson, Naomi Watts and David Dorfman Film Review by: Rachel Pullen The Ring Film Review What movie genuinely scared you in your youth? Gave you the kind of fear that lasted long after the credits rolled, that you couldn't escape for a few days after? The kind of fear that resonated in a dark room, or when you’re alone in the house? What movie had that kind of power over you? Mine is so easy to answer, even now, when that TV falls onto static, or I see a shadowy figure in the dark of my room, I flashback to that movie...that god damn movie. I am of course talking about Gore Verbinkski's 2002 remake of The Ring, and that annoying girl who came out the TV. Ahhhhhhhhh, nooooooo an American remake of a Japanese horror film, what garbage will they possibly produce, does the creepy little girl do karate kicks and have explosions all around her as she comes out the tv? Yeah I hear ya, and I feel ya, America has been well known for taking other country’s more popular flicks and putting their distinct spin on them, and with the ever-growing popularity of J horror on the rise it was not long before The Ring got the old stars and stripes treatment. But that's why we are here...because not only is The Ring a remake we can stomach, but it’s actually regarded as one of the best remakes in the horror genera...so buckle in because some stuff is on a cursed video, lighthouses are ominous and children are once again proven to be the absolute worst (something I have believed for a long time). The Ring tells the tale of Rachel, a single mum raising her pale and gross son (he is not meant to be the evil one but he is wrong on so many levels) all alone in the city, but soon her niece dies and everyone is saying it’s because she watched a cursed tape that kills you in seven days (like when you watch the Care Bears movie) so Rachel, being the super journalist she is, decides that it’s a good idea to watch the tape and then be all bummed when she is told she is gonna die in seven days...well duh. The movie then decides to use the old bomb under the table idea that Hitchcock presented in filmmaking, it tells us how many days she has left, a counting clock to her impending doom, we as an audience are all in on the fact that time is of the essence, we know something that the characters don't, we know when the bomb if you will is set to explode, while she desperately tries to break the curse. We start to see the urgency of everything that Rachel does in order to save herself, as well as the pointlessness of everything Rachel does, time is the driving force behind everything now, whether the characters on screen know it or not. The original story of The Ring comes from a series of books which was then adapted for the screen, Verbinski sticks to that narrative, one that allows for a more fluid action to the storytelling, which is needed since we are talking about a girl that comes out of your TV (apparently the books are a bit more bonkers, maybe the girl gets parachuted from a plane, or you have to use Teletex in order to solve the case of the cursed tape) he builds characters, we see their past lives just a little, just enough to justify some of their actions, but they have enough ambiguity, like the tape itself to keep us invested in the tale. As a remake, its style cannot be overlooked; stunning colours, beautiful locations, well-chosen to remind us of the fragility and isolation of the characters, between the towering buildings of the city, to the washed-out blues and greens used to colourise the film, a sense of death is always looming, the characters always feel alone, not unlike the little girl who is in the well...good, stay there you creep! As for the little girl, although she is the main villain in the film, like all good horror we barely see her, she is simply left to our imagination until the very end, and although when written on paper, a girl coming out of a TV seems silly, I can assure it’s not. At that point in the film, you have been taken on such a journey, built up such suspense and watched the days slip away, that her presence flaws you...plus she came out of the TV...you know that thing that is in every home, store, workplace, that thing you can never escape...yeah, unnerving. This is horror, this is film noir, this is a crime film, this is people in TVs and a grown man wearing flip flops in Seattle's rainy season (you will never not notice that now!) it’s true terror without anything of actual terror happening on screen for a good hour or so, and is that not the mark of a horror classic? Let me tell you this, you will never trust your TV again. Now as for me, there are two more parts to this franchise, because of course if a film is successful, Hollywood get their bats at the ready to beat that horse till it’s dead, and so I will, of course, be eating them up like tic tacs and revelling in all the drama that this bratty little girl and her hatred for TVs and wells can cause. So this week what has The Ring taught us? Children are the root of all evil. TVs have people in. And if you’re not careful, VHS tapes could kill everyone you know. #RachelPullen